Quotes About Development

I don't very much believe in blood," said Samuel. "I think when a man finds good or bad in his children he is seeing only what he planted in them after they cleared the womb." "You can't make a race horse of a pig." "No," said Samuel, "but you can make a very fast pig.

You don't seem like the same man." "I'm not. Maybe nobody is, for long.

the technique must be learned the way I learned it, by failures

For man, unlike any other thing organic or inorganic in the universe, grows beyond his work, walks up the stairs of his concepts, emerges ahead of his accomplishments.

I think when a man finds good or bad in his children he is seeing only what he planted in them after they cleared the womb.

And if these men steal, if there is developing among them a suspicion and hatred of well-dressed, satisfied people, the reason is not to be sought in their origin nor in any tendency to weakness in their character.

When you're a child you're the centre of everything. Everything happens for you. Other people? They're only ghosts furnished for you to talk to. But when you grow up you take your place and you're your own size and shape. Things go out of you to others and come in from other people. It's worse, but it's much better too.

Samuel smiled at him. "They say man lived in trees one time. Somebody had to get dissatisfied with a high limb or your feet would not be touching flat ground now.

Once the miracle of creation has taken place, the group can build and extend it, but the group never invents anything.

there must be a saturation point and the progress may be a progression toward strangulation.

Cand cauti inapoi cu atentie, poti gasi intotdeauna momentul de inceput al unei noi epoci, dupa care totul merge de la sine, se inlantuie.

His body was rearranging itself towards manhood, and he was shaken by the veering winds of adolescence.

By this time the Indian fighting had become like dangerous cattle drives—the tribes were forced into revolt, driven and decimated, and the sad, sullen remnants settled on starvation lands. It was not nice work but, given the pattern of the country's development, it had to be done.

Young Henry was conscious, this night, that he had lived for fifteen tedious years without accomplishing any single thing of importance. And had his mother known his feeling she would have said, 'He is growing.' And his father would have repeated after her, 'Yes, the boy is growing.' But neither would have understood what the other meant.

Tom Joad is Steinbeck's only character to move from violently selfish immaturity to compassionate maturity without losing a naive faith or his life before the action ends.

Only through imitation do we develop toward originality.

wonder why progress looks so much like destruction.

When a city begins to grow and spread outward, from the edges, the center which was once its glory is in a sense abandoned to time. Then the buildings grow dark and a kind of decay sets in; poorer people move in as the rents fall, and small fringe businesses take the place of once flowering establishments. The district is still too good to tear down and too outmoded to be desirable.

Then, with time, the squatters were no longer squatters, but owners;

Persons of genius, it is true, are, and are always likely to be, a small minority; but in order to have them, it is necessary to preserve the soil in which they grow.

A party of order or stability, and a party of progress or reform, are both necessary elements of a healthy state of political life.

During World War I, Paul Starrett formed Starrett & Goss, which built steamships for the government. By the time Starrett Bros. & Eken was formed in 1922, Paul had already built Macy's to the designs of De Lemos & Cordes; Pennsylvania Station and the Main Post Office to the designs of McKim, Mead & White; and Warren & Wetmore's Biltmore Hotel, where the meeting with the Empire State's directors would decide their fate.

Stone and wood had been the coin of the building realm until the arrival of cast iron in the middle of the nineteenth century. Until then the weight of buildings had been borne by their walls, but in 1848 James Bogardus used a skeleton of cast-iron posts and beams to support a building from within. Since the walls no longer bore the load, they could be freed from their former obligations.

Elisha Graves Otis had demonstrated an elevator at the Crystal Palace in 1853 that had a safety device that prevented it from falling if the cable broke.3 In the cast-iron Haughwout Building on Broadway at Broome Street, where china and cutlery were sold, Otis installed the first of his passenger safety-elevators