A well-educated black has a tremendous advantage over a well-educated white in terms of the job market. I think sometimes a black may think they don't have an advantage or this and that... I've said on one occasion, even about myself, if I were starting off today, I would love to be a well-educated black, because I believe they do have an actual advantage.
受过良好教育的黑人在就业市场方面比受过良好教育的白人有着巨大的优势。有时黑人可能会认为他们没有这个优势...我曾经说过一次,即使是我自己,如果我重新投胎,也想成为一个受过良好教育的黑人,因为我相信他们确实有实际的优势。
The computer is incredibly fast, accurate, and stupid. Man is unbelievably slow, inaccurate, and brilliant. The marriage of the two is a force beyond calculation.
To exist is to be in dialogue—with others, with time, with the unknown.
Every child should have mud pies, grasshoppers, water bugs, tadpoles, frogs, mud turtles, elderberries, wild strawberries, acorns, chestnuts, trees to climb, brooks to wade in, water lilies, woodchucks, bats, bees, butterflies, various animals to pet, hayfields, pine-cones, rocks to roll, sand, snakes, huckleberries and hornets; and any child who has been deprived of these has been deprived of the best part of education.
The best songs come from pain.
Recycling should be the last resort, not the first solution. Better design comes first.
The greatest lessons come from the hardest struggles.
世间往往误以两种文学为革命文学:一是在一方的指挥刀的掩护之下,斥骂他的敌手的;一是纸面上写着许多“打,打”,“杀,杀”,或“血,血”的。如果这是“革命文学”,则做“革命文学家”,实在是最痛快而安全的事。从指挥刀下骂出去,从裁判席上骂下去,从官营的报上骂开去,真是伟哉一世之雄,妙在被骂者不敢开口。而又有人说,这不敢开口,又何其怯也?对手无“杀身成仁”之勇,是第二条罪状,斯愈足以显革命文学家之英雄。所可惜者只在这文学并非对于强暴者的革命,而是对于失败者的革命。唐朝人早就知道,穷措大想做富贵诗,多用些“金”“玉”“锦”“绮”字面,自以为豪华,而不知适见其寒蠢。真会写富贵景象的,有道:“笙歌归院落,灯火下楼台”,全不用那些字。“打,打”,“杀,杀”,听去诚然是英勇的,但不过是一面鼓。即使是鼙鼓,倘若前面无敌军,后面无我军,终于不过是一面鼓而已。我以为根本问题是在作者可是一个“革命人”,倘是的,则无论写的是什么事件,用的是什么材料,即都是“革命文学”。从喷泉里出来的都是水,从血管里出来的都是血。“赋得革命,五言八韵”,是只能骗骗盲试官的。但“革命人”就希有。俄国十月革命时,确曾有许多文人愿为革命尽力。但事实的狂风,终于转得他们手足无措。显明的例是诗人叶遂宁的自杀,还有小说家梭波里,他最后的话是:“活不下去了!”在革命时代有大叫“活不下去了”的勇气,才可以做革命文学。叶遂宁和梭波里终于不是革命文学家。为什么呢,因为俄国是实在在革命。革命文学家风起云涌的所在,其实是并没有革命的。