Jerry Stratton

The rooms were small, but not claustrophobic like the dungeon bathrooms or the racks in a Coast Guard cutter.

The rooms were small, but not claustrophobic like the dungeon bathrooms or the racks in a Coast Guard cutter.

…she is more self-centered than that thing at at the center of the galaxy.

“We are all parts of the same, inexorable machine. All of us are afraid. Yes, your place in this really sucks. It’s not fair. You know it. I know it. The cat knows it.”

None of us ever entirely outgrows the love of the doll’s house or, usually in a vicarious form, the love of squatting under the table.

None of us ever entirely outgrows the love of the doll’s house or, usually in a vicarious form, the love of squatting under the table.

Well sited, crescents are irresistible. On steep sites they sink comfortably into the hill-side; by the sea they give a happy suggestion of panoramic vision; and where there is neither hill nor sea they still possess an elegance and humanity denied to the straight terrace or the awesome and too-embracing circus.

…

Unconsciously, perhaps, the Woods realized the profound unimportance of symmetry in a town-plan—a lesson which some of our more academic planners have, it seems, still to learn.

Architecture, by virtue of its actual limitations, can exploit our capacity for dramatizing ourselves, for heightening the action of ordinary life; it can increase man’s psychological stature to an angel’s.

This fear of ornament is part of the protestantism of modern architecture; it contains a sense of fending off some insidious evil… Architecture has, with some difficulty, liberated itself from ornament, but it has not liberated itself from the fear of ornament.

…whether the architecture we are making is or is not adding something to the experience of living. That is the only test that is worth anything.

When Oklahoma was in New Haven under the title of Away We Go Dick Rogers was very worried and asked me to come and see it. I found Rodgers and Hammerstein, Agnes de Mille and Lawrence Langner all feeling harried and insecure. I saw the Saturday matinee and thought it was completely charming… I did have the prescience to state that the show contained some of the best music that Dick had ever done, but I certainly did not realize that I had been watching an epochal production.

In 1908 Rochester was—and it still is—more like a small town than any big city I have known. It seemed as though the people there were all of one kind. There was no slum, no depressed area, and no unassimilated block of foreign born. The industries there—optical works, cameras, dental equipment—had brought about an immigration of skilled German workmen, and whereas if you get enough Germans in one place you may possibly have a war, when you get just a small proportion of them you are likely to get industry, cleanliness, love of music, and a group of law-abiding citizens.

And the rich boys always have an edge over the poor boys. For many years this obvious injustice made me unreasonably prejudiced against the rich, but when I became rich myself, the prejudice somewhat abated.

To conclude this sermon: if you can approach your work and your play with exuberant physical vigor, you will enjoy life and it will burn a brighter light for you than any two-ended candle ever invented.

… perhaps moderation is more temperate than temperance.

He directed and produced Too Many Girls in 1939, and then sold it to RKO. Desi Arnaz was in his company; RKO required “some picture names… so Lucille
Ball and Ann Miller were hired.”

After the day’s shooting we used to go down to El Zarapi, have dinner and dance. One night I invited Lucille Ball to join us, and I asked Desi to bring her. When I arrived at the club, they were already there; I expected them to join us, but I could see that they did not intend to. The next day Desi apologized. He said Lucille had suggested that they stay by themselves. Well, that was the beginning of staying by themselves. They kept at it for quite a long time.

Ten o’clock arrived. Cashmore was carrying on louder than ever and showing no sign of concluding his harangue. We turned off the spotlight and we turned off the microphone.

I was in for one great shock: when we had our dress rehearsal in Paris, Alan came back and told me that they couldn’t hear me. I had always assumed that while my voice was not deep or beautiful, it was strong and penetrating and this was a terrible blow to my whole conception of myself.

It all came about by the usual indirect circumstances.

[Lovecraft mentions R’lyeh as one of many of his places that “non esiste precisa”.]

L. B.: - Che forsa ha un corrispettivo in New York?

H.P.L.: - Esattamente. È una sorta di New York, se vista da una certa prospettiva: i palazzi enormi, altissimi, ciclopici appunto, e l’invasione creature bizzarre…

L.B. - Vero, l’ultima frontiera della scienza in questa prima metà del XX secolo è l’astronomia.

H.P.L. - È così. Astronomia e fisica hanno scoperto un universo misterioso, infinito e terrificante.

The rooms were small, but not claustrophobic like the dungeon bathrooms or the racks in a Coast Guard cutter.

The rooms were small, but not claustrophobic like the dungeon bathrooms or the racks in a Coast Guard cutter.

…she is more self-centered than that thing at at the center of the galaxy.

“We are all parts of the same, inexorable machine. All of us are afraid. Yes, your place in this really sucks. It’s not fair. You know it. I know it. The cat knows it.”