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8 " The American really loves nothing but his automobile: not his wife his child nor his country nor even his bank-account first (in fact he doesn't really love that bank-account nearly as much as foreigners like to think because he will spend almost any or all of it for almost anything provided it is valueless enough) but his motor-car. Because the automobile has become our national sex symbol. We cannot really enjoy anything unless we can go up an alley for it. Yet our whole background and raising and training forbids the sub rosa and surreptitious. So we have to divorce our wife today in order to remove from our mistress the odium of mistress in order to divorce our wife tomorrow in order to remove from our mistress and so on. As a result of which the American woman has become cold and and undersexed; she has projected her libido on to the automobile not only because its glitter and gadgets and mobility pander to her vanity and incapacity (because of the dress decreed upon her by the national retailers association) to walk but because it will not maul her and tousle her, get her all sweaty and disarranged. So in order to capture and master anything at all of her anymore the American man has got to make that car his own. Which is why let him live in a rented rathole though he must he will not only own one but renew it each year in pristine virginity, lending it to no one, letting no other hand ever know the last secret forever chaste forever wanton intimacy of its pedals and levers, having nowhere to go in it himself and even if he did he would not go where scratch or blemish might deface it, spending all Sunday morning washing and polishing and waxing it because in doing that he is caressing the body of the woman who has long since now denied him her bed. "

William Faulkner , Intruder in the Dust

11 " José Martí, born on January 28, 1853, is known as the George Washington of Cuba, or is perhaps better identified with Simon Bolivar, the liberator of South America. Although he admired and visited the United States, José Martí realized that not only would he have to free his country from Spain, he would also have to prevent the United States from interfering in Cuba’s internal affairs. By his admirers, he was considered a great Latin American intellectual, and his newspaper Patria became the voice of “Cuban Independence.” After years of suppression, the Cuban struggle for independence began in 1868. At the age of 17, José Martí was jailed in Cuba and then exiled to Spain because of his revolutionary activities. It was during this time in his life that he published a pamphlet describing the atrocities he had experienced while being imprisoned in Cuba. He strongly believed in racial equality and denounced the horrors of people having to live under a dictatorship.
In 1878, Martí was allowed to return to Cuba under a general amnesty, but was once again banished from Cuba after being accused of conspiracy against the Spanish authorities. From 1881 to 1895, he lived and worked in New York City. Moving to Florida, he organized forces for a three-pronged attack supporting the smoldering Cuban War of Independence. It was during one of the first battles that he was killed at the Battle of Dos Ríos in Cuba, and thus became a national hero and martyr when he was only 42 years old. "

Hank Bracker

20 " This is a love story, Michael Deane says.
But, really, what isn’t? Doesn’t the detective love the mystery, or the chase, or the nosy female reporter, who is even now being held against her wishes at an empty warehouse on the waterfront? Surely the serial murderer loves his victims, and the spy loves his gadgets or his country or the exotic counterspy. The ice trucker is torn between his love for ice and truck, and the competing chefs go crazy for scallops, and the pawnshop guys adore their junk just as the Housewives live for catching glimpses of their own Botoxed brows in gilded hall mirrors, and the rocked-out dude on ‘roids totally wants to shred the ass of the tramp-tatted girl on Hookbook, and because this is reality, they are all in love—madly, truly—with the body mic clipped to their back buckle, and the producer casually suggesting just one more angle, one more Jell-O shot. And the robot loves his master, alien loves his saucer, Superman loves Lois, Lex, and Lana, Luke love Leia (till he finds out she’s his sister), and the exorcist loves the demon even as he leaps out the window with it, in full soulful embrace, as Leo loves Kate and they both love the sinking ship, and the shark—God, the shark loves to eat, which is what the Mafioso loves, too—eating and money and Paulie and omerta` --the way the cowboy loves his horse, loves the corseted girl behind the piano bar, and sometimes loves the other cowboy, as the vampire loves night and neck, and the zombie—don’t even start with the zombie, sentimental fool; has anyone ever been more lovesick than a zombie, that pale, dull metaphor for love, all animal craving and lurching, outstretched arms, his very existence a sonnet about how much he wants those brains? This, too, is a love story. "

Jess Walter , Beautiful Ruins