A Quote by Fredrik Logevall
Admittedly, key archival documentation remains under lock and key and will be inaccessible for a long time to come. But enough material is available, in the form of declassified documents, memoirs, oral histories and journalistic treatments, to begin to piece together the story.
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I've spent a lot of time working on declassified documents - and they do get declassified after decades - you look at the record of declassified documents, and they are mostly concerned with keeping what the government does secret from its own population. It's mostly defense of the power system from its own population. Very little is authentic security.
I tell young comics, 'Do you want this badly enough? It's there. But you have to go get it. And if you think I'm going to give you the key to the lock of that door, there is no key, there is no lock, and there is no door.'
Long before the technology revolution there was declassification of documents and I've spent quite a lot of time studying declassified internal documents and written a lot about them. In fact, anybody who's worked through the declassified record can see very clearly that the reason for classification is very rarely to protect the state or the society from enemies. Most of the time it is to protect the state from its citizens, so they don't know what the government is doing.
I am thankful the most important key in history was invented. It's not the key to your house, your car, your boat, your safety deposit box, your bike lock or your private community. It's the key to order, sanity, and peace of mind. The key is 'Delete.'
The key to the city of Florence was about two feet long, and painted a garish gold. Hamilton was fascinated by it. "Wow! How big is the lock?" Jonah laughed. "There is no lock, cuz. It's an honorary gig. Back in my crib in LA, I've got a whole shed full of keys from different cities. Want to know the kicker? I can't get at them. The gardener lost the key to the shed.
Cases of genocide carried out as policy may be found in historical documents as well as in the oral histories of Indigenous communities.
The mold in which a key is made would be a strange thing, if you had never seen a key: and the key itself a strange thing if you had never seen a lock. Your soul has a curious shape because it is a hollow made to fit a particular swelling in the infinite contours of the divine substance, or a key to unlock one of the doors in the house with many mansions. Your place in heaven will seem to be made for you and you alone, because you were made for it -- made for it stitch by stitch as a glove is made for a hand.
If we look long enough and hard enough ... we will begin to see the connections that bind us together, and when we recognize those connections, we will begin to change the world.
It does not matter what you call the gaoler so long as he has the key that will open the door of your prison! Similarly, as I have the key to release Life from its prison, it does not matter in the least what you call either the key or myself. I am not concerned about the title.
My heart to you is given:
Oh, do give yours to me; We'll lock them up together, And throw away the key.
Whenever you trade away a key piece of your organization, somebody who's been there for a long time, it has to change everything.
All my life I thought that the story was over when the hero and heroine were safely engaged -- after all, what's good enough for Jane Austen ought to be good enough for anyone. But it's a lie. The story is about to begin, and every day will be a new piece of the plot.
A man forced to spend his life without ever having the right, without ever finding the time, to shut himself up all alone, no matter where, to think, to reflect, to work, to dream? Ah! my dear boy, a key, the key of a door which one can lock this is happiness, mark you, the only happiness!
As soon as you are in a social setting, you better take away the key to the lock of your heart and pocket it; those who leave thekey in the lock are fools.
I had to leave some traces. In the beginning, I would give complete instructions to the photographer. In the '70s, people would come to photograph your work and you would just end up with this crazy material that had nothing to do with your work; maybe I'd pick up two or three photographs that were the closest to the idea. This is why when you look at the '70s, you see much less documentation and really bad material. The material will become misleading to what the piece was.
Pick a theme for your material, and stick to it for the entirety of the piece. The repetition of certain key phrases, however irritating they may sound, will give your set rhythm, and the illusion of structure.
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