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People are always asking me why I chose Robert Moses and Lyndon Johnson to write about. Well, I must say I never thought of my books as the stories of Moses or Johnson. I never had the slightest interest in writing the life of a great man. From the very start, I thought of writing biographies as a means of illuminating the times of the men I was writing about and the great forces that molded those times — particularly the force that is political power.
When my eyes shall be turned for the last time on the meridian sun, I hope I may see him shining brightly upon my united, free and happy Country. I hope I shall not live to see his beams falling upon the dispersed fragments of the structure of this once glorious Union. I hope that I may not see the flag of my Country, with its stars separated or obliterated, torn by commotion, smoking with the blood of civil war. I hope I may not see the standard raised of separate State rights, star against star, and stripe against stripe; but that the flag of the Union may keep its stars and its stripes corded and bound together in indissoluble ties. I hope I shall not see written, as its motto, first Liberty, and then Union. I hope I shall see no such delusion and deluded motto on the flag of that Country. I hope to see spread all over it, blazoned in letters of light, and proudly floating over Land and Sea that other sentiment, dear to my heart, “Union and Liberty, now and forever, one and inseparable!
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Johnson, who had been reading a newspaper in the back seat, “suddenly … lowered the newspaper and leaned forward,” and said, “ ‘Chief, does it bother you when people don’t call you by name?’ ” Parker was to recall that “I answered cautiously but honestly, ‘Well, sir, I do wonder. My name is Robert Parker.’ ” And that was evidently not an answer acceptable to Johnson. “Johnson slammed the paper onto the seat as if he was slapping my face. He leaned close to my ear. ‘Let me tell you one thing, nigger,’ he shouted. ‘As long as you are black, and you’re gonna be black till the day you die, no one’s gonna call you by your goddamn name. So no matter what you are called, nigger, you just let it roll off your back like water, and you’ll make it. Just pretend you’re a goddamn piece of furniture.’
the Founders’ armor had resisted every attempt by others to force them open; the Senate had been designed as the “firm” body; it had become too firm — too firm to allow the reforms the Republic needed. Never had the dam been more firm than during the last decade, the decade since the conservative coalition had learned its strength. During that decade, despite the mandate of three presidential elections, it had stood across and blocked the rising demand for social justice, had stood so solidly that it seemed too strong ever to be breached. In January, 1949, when Lyndon Johnson arrived in it, it was still standing.
But this belief demonstrated only that Lyndon Johnson simply had not grasped that there was another world, a world in which Douglas and Lehman were not crazies but heroes, in which principles mattered far more than they did in the Senate. In addition, Lyndon Johnson had not fully appreciated that it didn’t matter what he did for the liberals in Social Security and housing so long as he was not on their side on the “great issue.” He should have appreciated this.
"The city in which the shaping by his hand is most evident is New York, Titan of cities, collosal synthesis of urban hope and urban despair. It has become a cliché by the mid-twentieth century to say that New York was "ungovernable," and this meant, since the powers of government in the city had largely devolved on its mayor, that no mayor could govern it, could hope to do more than merely stay afloat in the maelstrom that had engulfed the vast metropolis. In such a context, the cliché was valid. No mayor shaped New York; no mayor — not even La Guardia — left upon its roiling surface more than the faintest of lasting imprints.
But Robert Moses shaped New York."