"God is the one who saved me. He who believes in God, in His cause and His truth is capable of standing up to the greatest power."

-- King Hussein I

#God Quotes #Believe Quotes #Causes Quotes

“No march, movement, or agenda that defines manhood in the narrowest terms and seeks to make women lesser partners in this quest for equality can be considered a positive step.”
“Peace and war begin at home. If we truly want peace in the world, let us begin by loving one another in our own families. If we want to spread joy, we need for every family to have joy.”
“You're getting old when you see a girl who looks like someone you used to know, and it turns out to be her daughter.”
“What a child does not know and does not want to know of race and colour and class, he learns soon enough as he grows to see each man flipped inexorably into some predestined groove like a penny or a sovereign in a banker's rack. Kibii, the Nandi boy, was my good friend. Arab Ruta (the same boy grown to manhood), wo sits before me, is my good friend, but the handclasp will be shorter, the smile will not be so eager on his lips, and though the path is for a while the same, he will walk behind me now, when once, in the simplicity of our nonage, we walked together.”
“I have never learned to say 'gas' for gasoline. It seems to me as absurd as if I were to say 'but' for butter.”

Source : Mary Roberts Rinehart (2014). “Tish: The Chronicle of Her Escapades and Excursions”, p.11, Simon and Schuster
“Remember also that it is not knowledge but the yearning for knowledge that makes for a complete, accomplished man. Such a man does not stand still but perseveres in the face of adversity, nor does he remain untouched by the pain cause by absence. On the contrary, he recognizes himself in each cry, uttered or repressed, in the smallest rift, in the most pressing need.”
“I have no mystic faith in the people. I have in the individual.”
“After illuminating the work of Rembrandt, Caravaggio, Louise Bourgeois, Balthus, and other modern artists, Mieke Bal again demonstrates her extraordinary flair for cultural criticism in taking on the work of Doris Salcedo, exploring the philosophical and aesthetic stakes of this committed political art and the relation between beauty, violence, and memory. A tour de force.”

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