24
" And when the earth began to rumble and quake, as fear and frantic set in, he ran back inside the house past his wife and children, gathering all the valuables and things he thought of importance, and ran back to his car packing away. After making two trips in and out, he waited in the car for his family to come out, in fear they darted through the darkness and pelting cold rain. When everything calmed down, and the house was intact and safe, he returned putting everything back in its place, had the kids go to bed, told his wife he loves her and turned off the light. "
― Anthony Liccione
29
" [Y]ou are not ashamed of your sin [in committing adultery] because so many men commit it. Man's wickedness is now such that men are more ashamed of chastity than of lechery. Murderers, thieves, perjurers, false witnesses, plunderers and fraudsters are detested and hated by people generally, but whoever will sleep with his servant girl in brazen lechery is liked and admired for it, and people make light of the damage to his soul. And if any man has the nerve to say that he is chaste and faithful to his wife and this gets known, he is ashamed to mix with other men, whose behaviour is not like his, for they will mock him and despise him and say he's not a real man; for man's wickedness is now of such proportions that no one is considered a man unless he is overcome by lechery, while one who overcomes lechery and stays chaste is considered unmanly. "
― Augustine of Hippo , Sermons 1-19
30
" The bourgeois sees in his wife a mere instrument of production. He hears that the instruments of production are to be exploited in common, and, naturally, can come to no other conclusion than that the lot of being common to all will likewise fall to the women. He has not even a suspicion that the real point is to do away with the status of women as mere instruments of production. For the rest, nothing is more ridiculous than the virtuous indignation of our bourgeois at the community of women which, they pretend, is to be openly and officially established by the Communists. The Communists have no need to introduce the community of women; it has existed almost from time immemorial. Our bourgeois, not content with having the wives and daughters of their proletarians at their disposal, not to speak of common prostitutes, take the greatest pleasure in seducing each other's wives. Bourgeois marriage is in reality a system of wives in common and thus, at the most, what the Communists might possibly be reproached with, is that they desire to introduce, in substitution for a hypocritically concealed, an openly legalised community of women. For the rest, it is self-evident that the abolition of the present system of production must bring with it the abolition of the community of women springing from that system, i.e., of prostitution both public and private. "
― Karl Marx , The Communist Manifesto
33
" In the history of American fatherhood, there have been roughly three stages, each a response to economic change. In the first, agrarian stage, a father trained and disciplined his son for employment, and often offered him work on the farm, while his wife brought up the girls. (For blacks, this stage began after slavery ended.) As economic life and vocational training moved out of the family in the early nineteenth century, fathers left more of the child-rearing to their wives. According to the historian John Nash, in both these stages, fathers were often distant and stern. Not until the early twentieth century, when increasing numbers of women developed identities, beyond brief jobs before marriage, in the schoolhouse, factory, and office, did the culture discover the idea that " father was friendly" . In the early 1950s, popular magazines began to offer articles with titles such as " Fathers Are Parents Too" and " It's Time Father Got Back into the Family" . Today, we are in the third stage of economic development but the second stage of fatherhood. "
37
" The true artist will let his wife starve, his children go barefoot, his mother drudge for his living at seventy, sooner than work at anything but his art. To women he is half vivisector, half vampire. He gets into intimate relations with them to study them, to strip the mask of convention from them, to surprise their inmost secrets, knowing that they have the power to rouse his deepest creative energies, to rescue him from his cold reason, to make him see visions and dream dreams, to inspire him, as he calls it. He persuades women that they may do this for their own purpose whilst he really means them to do it for his. He steals the mother’s milk and blackens it to make printer’s ink to scoff at her and glorify ideal women with. He pretends to spare her the pangs of child-bearing so that he may have for himself the tenderness and fostering that belong of right to her children. Since marriage began, the great artist has been known as a bad husband. But he is worse: he is a child-robber, a blood-sucker, a hypocrite, and a cheat. Perish the race and wither a thousand women if only the sacrifice of them enable him to act Hamlet better, to paint a finer picture, to write a deeper poem, a greater play, a profounder philosophy! For mark you, Tavy, the artist’s work is to shew us ourselves as we really are. Our minds are nothing but this knowledge of ourselves; and he who adds a jot to such knowledge creates new mind as surely as any woman creates new men. In the rage of that creation he is as ruthless as the woman, as dangerous to her as she to him, and as horribly fascinating. Of all human struggles there is none so treacherous and remorseless as the struggle between the artist man and the mother woman. Which shall use up the other? that is the issue between them. And it is all the deadlier because, in your romanticist cant, they love one another. "
― George Bernard Shaw , Man and Superman
39
" Margrethe Mather, a photographer from Los Angeles, came to his studio in Glendale, California called Tropico, where Weston asked her to be his studio assistant. It didn’t take long before the two developed a passionate, lustful, relationship. Both Weston and Mather became active in the growing bohemian cultural scene in the greater Los Angeles area. She was extremely outgoing and artistic in a most flamboyant way. Her bohemian sexual values were new to Weston’s conventional thinking, but Mather excited him and presented him with a new outlook that he found enticing. Mather was beautiful, and being bisexual and having been a high-class prostitute, was delightfully worldly. Mather's uninhibited lifestyle became irresistible to Weston and her photography took him into a new and exciting art form. As Mather worked and overtly played with him, she presented a lifestyle that was in stark contrast to Weston’s conventional home life, and he soon came to see his wife Flora as a person with whom he had little in common. "
― Hank Bracker
40
" As with millions of others, Adeline Perry and her two young daughters endured the horrors of the Second World War in NAZI Germany. Following her death and armed with her manuscript, Captain Hank Bracker and his wife Ursula, Adeline’s youngest daughter, followed in Adeline’s footsteps to better understand the ordeal she experienced. Realizing that this book was the only way that her story could be preserved, Captain Hank took on the task of recording it. Ursula’s brother-in-law and stepsister, Peter Klett and his wife Jutta drove them to many of the places described in this book including Bischoffsheim, Strasbourg and Rosheim, in what was known as Reichsland Elsaß-Lothringen during World War II and which is now recognized as the administrative territory of Alsace-Moselle, France. He found the still existing bunker in Feudenheim and talked to people in Mannheim, Überlingen and Bischoffsheim who still remembered some of the details of the incidents in this book. Ursula’s sister Brigitte wrote her own manuscripts which helped fill in some previously unknown facts. “Suppressed I Rise” is an insight into how individual people’s lives were adversely affected by the insane acts of one man and the country he decimated. "
― Hank Bracker