1936 Quotes

“Faith which does not doubt is dead faith. -Miguel de Unamuno, philosopher and writer (1864-1936)”

“There is a dreamlike quality to the 1936 Basque government, the fulfillment of a historic longing that was to be crushed only nine months later in carnage the scale of which had never before been seen on earth.”

“American socialism had lost momentum even before the war. (Socialist leader Norman Thomas received 885,000 votes in his 1932 run for the presidency, but only 187,500 in 1936.)”

“Personally I think there is no doubt that sub-atomic energy is available all around us, and that one day man will release and control its almost infinite power. We cannot prevent him from doing so and can only hope that he will not use it exclusively in blowing up his next door neighbour. (1936)”

“Every line of serious work that I have written since 1936 has been written, directly or indirectly, against totalitarianism and for democratic socialism, as I understand it. It seems to me nonsense, in a period like our own, to think that one can avoid writing of such subjects. Everyone writes of them in one guise or another. It is simply a question of which side one takes and what approach one follows. And the more one is conscious of one's political bias, the more chance one has of acting politically without sacrificing one's aesthetic and intellectual integrity.”

“There is but one path of safety to the Latter-day Saints, and that is the path of duty. It is not testimony, it is not marvelous manifestations, it is not knowing that the Gospel of Jesus Christ is true, . . . it is not actually knowing that the Savior is the Redeemer, and that Joseph Smith was His prophet, that will save you and me, but it is the keeping of the commandments of God, the living the life of a Latter-day Saint. [Heber J. Grant, Improvement Era, November 1936, p. 659] Quoted in “Waiting Upon the Lord” By Henry B. Eyring, BYU Speeches, 30 Sept 1990”

“[I]n 1919, 1920 and 1921, the whole Israelite press stormed the Romanian state unleashing everywhere chaos and exhorting to violence against the regime, the form of government, the Church, the Romanian order, the national idea, patriotism. Now, as if by magic (in 1936), the same press, led exactly by the same people, has turned into a protector of the state order and its laws, and declares itself 'against violence', and we have become the 'enemies of the country', the 'right-wing extremists', 'in the pay and in the service of the enemy of Romanicity', and, before long, we will hear even this: that we are sponsored by the Jews.”

“In the same essay, Said (who is reviewing Peter Stansky and William Abrams, co-authors obsessed with the Blair/Orwell distinction) congratulates them on their forceful use of tautology:This is rather extraordinary. Orwell did indeed meet Garrett in Liverpool in 1936, and was highly impressed to find that he knew him already through his pseudonymous writing—under the name Matt Lowe—for John Middleton Murry’s Adelphi. As he told his diary:Thus the evidence that supposedly shames Orwell by contrast is in fact supplied by—none other than Orwell himself! This is only slightly better than the other habit of his foes, which is to attack him for things he quotes other people as saying, as if he had instead said them himself. (The idea that a writer must be able to ‘afford’ to write is somewhat different and, as an idea, is somewhat—to use a vogue term of the New Left—‘problematic’. If it were only the bourgeois who were able to write, much work would never have been penned and, incidentally, Orwell would never have met Garrett in the first place.)”

“Her first really great role, the one that cemented the “Jean Arthur character,” was as the wisecracking big-city reporter who eventually melts for country rube Gary Cooper in Frank Capra’s Mr. Deeds Goes to Town (1936). It was the first of three terrific films for Capra: Jean played the down-to-earth daughter of an annoyingly wacky family in Capra’s rendition of Kaufman and Hart’s You Can’t Take It With You (1938), and she was another hard-boiled city gal won over by a starry-eyed yokel in Mr. Smith Goes to Washington (1939). “Jean Arthur is my favorite actress,” said Capra, who had successfully worked with Stanwyck, Colbert and Hepburn. “. . . push that neurotic girl . . . in front of the camera . . . and that whining mop would magically blossom into a warm, lovely, poised and confident actress.” Capra obviously recognized that Jean was often frustrated in her career choice.”