En Eski Barbara Branden Sözleri ve Alıntıları
En Eski Barbara Branden sözleri ve alıntılarını, en eski Barbara Branden kitap alıntılarını, etkileyici sözleri 1000Kitap'ta bulabilirsiniz.
“Man,” she wrote, “is a being of self-made soul.”
“My infatuation with Kerensky had a very important influence on me in one respect,” Alice later said. “I decided that I could never be in love with an ordinary man. I said to Mother, ‘I’m in love with Kerensky.’ The adults said it was an infatuation, not love—so I stopped telling them. I concluded that I am in love, it’s not just infatuation. And since he was married, I would never marry— because I could never be in love with anyone but a hero. In my last years in high school, when girls began to go out on dates, I remember feeling a very superior contempt: How can they be interested in just ordinary boys? J have to have a hero. By then, I had given up the idea that I’d never marry, but one thing did remain, and remains to this day: I can never be in love with anybody but a hero.”
Sayfa 20 - Rand'ın "I'm in love" diyebildiği adamı araştırma hatırlatıcısı alıntı, Alexander Kelensky
“Nothing existential gave me any great pleasure. And progressively, as my ideas developed, I had more and more a sense of loneliness. I felt a driving ambition, and in that sense it was pleasant, but I was enormously unhappy with my position at home; I did not like being a child, I did not like being attached to a family. I resented enormously the implication that anything to do with the family was binding on me—or anything to do with anybody—I had no obligation to unchosen values. Boredom was a cardinal emotion in rela- tion to the events available to me. I didn’t care about any of the immediate reality, there was nothing in it for me. My world was the future. Today, I would know that the difference between me and others was my romantic sense of life, my more heroic sense of life. My whole development was desiring and looking for things which are interesting, versus the boredom of the routine or the conventional, looking for the unusual or purposeful. The heroic concept of man: that’s what interested me.”
Sayfa 35
"...Great romance is important, and all of my projected novels had great romances—but it is not the main concern. Love has to be part of a great cause, never the main focus for the man or for the woman."
Sayfa 37
“That was the real time of starvation, those years,” Alice later grimly recalled. One evening, after a dinner consisting of a handful of dried peas, she felt her legs sagging under her. She sank to the floor, too weakened by hunger and fright to stand. A small portion of peas was being saved for Fronz’s arrival home. “May I have... just one of Father’s peas?” Alice asked. Her mother handed her a single pea, on her face the most terrible anguish Alice had ever seen in a human face.
Sayfa 44
Even in her first readings of Thus Spake Zarathustra, Alice was aware that Nietzsche was “equivocal about the issue of power. I assumed he really meant spiritual power, the conquest of nature, not power over others. He is very much like the Bible, he writes poetically, and you can take it as a metaphor or not; I took it metaphorically. I believed that the superior man could not be bothered enslaving others, that slavery is immoral, that to enslave his inferiors is an unworthy occupation for the heroic man.” When she read further in Nietzsche, and discovered, in The Birth of Tragedy, that he was “‘statedly anti-reason,” her early enthusiasm began to abate. “He said that reason is an inferior faculty, that drunken-orgy emotions were superior. That finished him as a spiritual ally.”
Sayfa 45
Then I discovered operettas—and they saved my life. They were the most marvelous benevolent-universe shot in the arm—the one positive fuel I could have. They kept my sense of life going. My favorites—I saw one eleven times, another eight times—were Millocher’s The Beggar Student, Offenbach’s Grand Duchess, Kalman’s The Bayadere, and Lehar’s The Song of the Lark. The Song of the Lark was presented in modern costume; the actors wore fashionable clothes in the latest foreign style; the men wore top hats; I remember one scene of a ball, and a huge window showing a lighted street of a foreign city. That was more important to me than Nietzsche and the whole university. You know my love for city lights, city streets, skyscrapers—it was all that category of value.
That’s what I expected from abroad.
Sayfa 46
And then, one day, she stopped. Slowly, painfully, step by small step, her contempt for suffering began to restore her to life. She would not allow her love for Leo to be a tragedy, and to become a scar on her soul, she told herself angrily. She would not let pain win its one permanent victory: to make her forget her conviction that joy is the meaning of human existence. “Life is ahead,” she told herself ferociously. She stopped questioning his friends about him, she stopped seeking him out—she tried to stop thinking about him. But in 1961, in her middle years, at the height of her powers and strength, when it seemed as if the whole world were spread out before her, offering her everything she had ever dreamed of, she said, with an almost childlike wistfulness, “I am not indifferent to Leo, to this day.” Then she added softly, “But you see, it was fortunate that he didn’t ask me to marry him. I would have said yes, I would have stayed in Russia—and I would have died there.”
Sayfa 49
During her stay in Chicago, Ayn often expressed her deep gratitude to her American family; she would not have survived in Russia if they had not gotten her out, she said; she would never forget what they had done for her. “When I make a lot of money,” she told her aunt Minna, “I’m going to get you a Rolls- Royce.” Sadly, in the years that followed, they felt that she had forgotten. “I didn’t want the Rolls-Royce,” Minna explained. “It wasn’t money. It was to be remembered.”
Sayfa 72 - Tanıdığım en hödük kadınsın ama saygımı kazandın bir kere
That money, with the option payments from Woods, was what Ayn and Frank lived on for almost a year. Ayn was a promising playwright with a play about to go into production—and she was struggling to buy enough food to survive. At RKO, she earned about eleven dollars a week, at MGM about twenty dollars a week. Rent was forty dollars a month; her payments were often late. “I’d buy one lamb chop for dinner for Frank,” Ayn would recall. “I had to diet anyway, so I would do without. One day, we had fifty cents between us, and our only - food was the remains of a box of oatmeal. It was slightly Russian. . . . You see why I’m not very glamour-conscious and don’t like to live glamorously. I gave up the idea long before then, but that helped. There was no time to think of it... The tension was enormous because of our financial situation. I was plan- ning The Fountainhead at that time, but I had no peace of mind to really work, I could neither work nor not work—I was running a race with an undefined bank account.” And month by month, Ayn waited for word that Al Woods had obtained his backing.
Sayfa 120