When you understand your obligations to God then you can understand your obligations to society.
At 17, the smallest crises took on tremendous proportions; someone else's thoughts could take root in the loam of your own mind; having someone accept you was as vital as oxygen. Adults, light years away from this, rolled their eyes and smirked and said, 'This too shall pass' - as if adolescence was a disease like chicken pox, something everyone recalled as a milk nuisance, completely forgetting how painful it had been at the time.
I have almost reached the regrettable conclusion that the Negro's great stumbling block in the stride toward freedom is not the White Citizen's Councilor or the Ku Klux Klanner, but the white moderate, who is more devoted to 'order' than to justice who prefers a negative peace which is the absence of tension to a positive peace which is the presence of justice who constantly says 'I agree with you in the goal you seek, but I cannot agree with your methods of direct action' who paternalistically believes he can set the timetable for someone else's freedom who lives by a mythical concept of time and who constantly advises the Negro to wait for a 'more convenient season.'
I become more than ever convinced that it was not the sword that won a place for Islam in those days. It was the rigid simplicity, the utter self-effacement of Hussein, the scrupulous regard for pledges, his intense devotion to his friends and followers and his intrepidity, his fearlessness, his absolute trust in God and in his own mission. These and not the sword carried everything before them and surmounted every obstacle.
I decided to leave and go to California, so I packed up mySalvador Dali print of two blindfolded dental hygienists tryingto make a circle on an EtchaSketch, and I headed for thehighway and began hitching. Within three minutes I got pickedup by one of those huge trailer trucks carrying 20 brand newcars. I climbed up the side of the cab and opened the door.The guy said, I don't have much room up here, why don't you getinto one of the cars out back. So I did. And he was reallyinto picking people up because he picked up 19 more. We all hadour own cars. Then he went 90 miles per hour and we all gotspeeding tickets.
[from ]For a historian considering the achievement of a certain aim, there are heroes; for the artist treating of a man's relation to all sides of life there cannot and should not be heroes, but there should be men.[...]The historian has to deal with the results of an event, the artist with the fact of the event. An historian in describing a battle says: 'The left flank of such and such an army was advanced to attack such and such a village and drove out the enemy, but was compelled to retire; then the cavalry, which was sent to attack, overthrew...' and so on. But these words have no meaning for the artist and do not actually touch on the event itself. Either from his own experience, or from the letters, memoirs, and accounts, the artist realizes a certain event to himself, and very often (to take the example of a battle) the deductions the historian permits himself to make as to the activity of such and such armies prove to be the very opposite of the artist's deductions. The difference of the results arrived at is also to be explained by the sources from which the two draw their information. For the historian (to keep to the case of a battle) the chief source is found in the reports of the commanding officers and the commander-in-chief. The artist can draw nothing from such sources; they tell him nothing and explain nothing to him. More than that: the artist turns away from them as he finds inevitable falsehood in them. To say nothing of the fact that after any battle the two sides nearly always describe it in quite contradictory ways, in every description of a battle there is a necessary lie, resulting from the need of describing in a few words the actions of thousands of men spread over several miles, and subject to most violent moral excitement under the influence of fear, shame and death.
You had to have these peasant leaders quickly in this sort of war and a real peasant leader might be a little too much like Pablo. You couldn't wait for the real Peasant Leader to arrive and he might have too many peasant characteristics when he did. So you had to manifacture one. At that, from what he had seen of Campesino, with his black beard, his thick negroid lips, and his feverish, staring eyes, he thought he might give almost as much trouble as a real peasant leader. The last time he had seen him he seemed to have gotten to believe his own publicity and think he was a peasant.