next Zitate

WHEN father bought the lamp, or a little before that, he said to mother:
"Hark ye, mother—ought n't we to buy us a lamp?"
"A lamp? What sort of a lamp?"
"What! Don't you know that the storekeeper who lives in the market town has brought from St. Petersburg lamps that actually burn better than ten päreä? [1] They've already got a lamp of the sort at the parsonage."
"Oh, yes! Is n't

it one of those things which shines in the middle of the room so that we can see to read in every corner, just as if it was broad daylight?"
"That's just it. There's oil that burns in it, and you only have to light it of an evening, and it burns on without going out till the next morning."
"But how can the wet oil burn?"

During the next 10 years about 1.2 billion young 15-to-30-year-olds will be entering the job market and with the means now at our disposal about 300 million will get a job. What will we offer these young, about a billion of them? — or will we leave them to be recruited by criminal leagues and terrorists? … I think this is one of the greatest challenges if we want to achieve peaceful

development and hope for these young.

I don't know much about the score for GODZILLA 1985. However, my impression of GODZILLA VS. BIOLLANTE is a negative one, both in terms of the direction and the music. For example, the music that is heard while the scenes that take place in Saradia are shown is just ridiculous. The composer used European music instead of some modern Arabic music. By the way, during the production of GODZILLA VS.

BIOLLANTE, Toho asked for permission to use some of my music in the film. I said that I would allow its use as long as it was not turned into popular music. Toho agreed to that, but just before GODZILLA VS. BIOLLANTE was completed, a Toho representative came to me and said, "Well, your music was turned into popular music." By that time, it was too late to do anything about the situation. After

GODZILLA VS. BIOLLANTE was released, my daughter came to me and said, "No matter how much you try to escape from Godzilla movies, Toho always uses your name and your melodies, so why don't you just score the next Godzilla film yourself?"

Seeing several of these paintings [his series paintings 'Hommage to the square', Josef Albers painted in 1963-64] next to each other makes it obvious that each painting is an instrumentation on its own.
This means that they all are of different palettes, and, therefore, so to speak, of different climates.
Choice of the colors used, as well as their order, is aimed at an interaction –

influencing and changing each other forth and back.
Thus, character and feeling alter from painting to painting without any additional 'handwriting' or, so-called, texture.
Though the underlying symmetrical and quasi-concentric order of squares remains the same in all paintings – in proportion and placement – these same squares group or single themselves, connect and separate in many

different ways
In consequence, they move forth and back, in and out, and grow up and down and near and far, as well as enlarged and diminished. All this to proclaim color autonomy as a means of plastic organization.

I used to think I could understand everything and express everything. Or almost everything. I remember when I was writing my book about the war in Afghanistan, Zinky Boys, I went to Afghanistan and they showed me some of the foreign weapons that had been captured from the Afghan fighters. I was amazed at how perfect their forms were, how perfectly a human thought had been expressed. There was an

officer standing next to me and he said, "If someone were to step on this Italian mine that you say is so pretty it looks like a Christmas decoration, there would be nothing left of them but a bucket of meat. You'd have to scrape them off the ground with a spoon." When I sat down to write this, it was the first time I thought, "Is this something I should say?" I had been raised on great Russian

literature, I thought you could go very very far, and so I wrote about that meat. But the Zone—it's a separate world, a world within the rest of the world—and it's more powerful than anything literature has to say.