The psychologist Elizabeth Loftus has shown great courage, in the face of spiteful vested interests, in demonstrating how easy it is for people to concoct memories that are entirely false but which seem, to the victim, every bit as real as true memories.

Courage is managing fear to accomplish what you want to accomplish. And it's a great demonstration of love. It's really what love is. It's finding areas in which other people are more important than you.

Than Shwe ordered the confiscation of all cell phones and laptops and computers so no reportage could come out of Burma. It seemed clear that a demon, something diabolical, rather than something compassionate and human was in charge of Burma.

I'm looking to evolve the concept of the new renaissance artist, taking the world by storm through the art of public display and demonstration, with technical savvy, using cell phones and computers.

History has demonstrated that efforts to censure and control communication will not succeed.

We write in ways that, we generally hope, reflect real life, or at least look familiar to humans. And in life, recurring themes are a recurring theme. We never quite conquer a pet vice or a relationship pattern or a communication habit. We're haunted by our particular demons.

My Barbies were usually naked. Once, I took their heads off, cut their hair, drew on their short, spiky hair with some markers, then stuck the heads on Christmas lights. Every year, we'd string our tree with those Barbie heads. It looked demonic. My parents were so cool - they saw it as a form of self-expression.

Change will come slowly, across generations, because old beliefs die hard even when demonstrably false.

I am a partisan for conversation. To make room for it, I see some first, deliberate steps. At home, we can create sacred spaces: the kitchen, the dining room. We can make our cars 'device-free zones.' We can demonstrate the value of conversation to our children. And we can do the same thing at work.

If any demonstrator ever lays down in front of my car, it'll be the last car he'll ever lay down in front of.

I feel that people are basically trying to do their best in the world. Even when you see people making mistakes, you understand why they're making a mistake. Everybody has flaws, everybody has demons, everybody has ghosts, but I think you watch people and you see everybody trying to do their best.

Well the beauty of 'Iyanla: Fix My Life' is that men are in every show. To our surprise, some of the deepest healing demonstrations have been with the men - the sons, the fathers, the husbands - because they agree to participate with the wife or the daughter or whatever it is we are looking at, and it is there.

The lighter the skin, the more acceptable you are. The darker the skin, the more marginalised you become. I want to demonstrate that you can produce beauty in the context of a figure that has that kind of velvety blackness. It can be done.

It's so rare to see a woman lose control and also gain it back. Women are always told, 'Oh, be in control of your feelings,' and a woman is never allowed to express her anger without being demonised as being PMS-y.

I think the core of fans' relationship is one that vacillates schizophrenically and mercurially from reverence to resentment. Fans fetishize the players' athletic genius and both deify it and demonize it; witness the way awe turns into anger whenever a player holds out or flips off the offensive coordinator.

Many are observing Ferguson and witnessing the anger, demonstrations, looting and vandalism and calling for quiet. But quiet isn't enough. The absence of noise isn't the presence of justice - and we must demand justice in Ferguson and the other 'Fergusons' around America.

It isn't enough just to scream at the Occupy Wall Street demonstrations. We need our political system to start reflect this anger back into, 'How do we fix it? How do we get the economy going again?'

Writing is finally about one thing: going into a room alone and doing it. Putting words on paper that have never been there in quite that way before. And although you are physically by yourself, the haunting Demon never leaves you, that Demon being the knowledge of your own terrible limitations, your hopeless inadequacy, the impossibility of ever getting it right. No matter how diamond-bright your ideas are dancing in your brain, on paper they are earthbound.

All writers are vain, selfish, and lazy, and at the very bottom of their motives there lies a mystery. Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand. For all one knows that demon is simply the same instinct that makes a baby squall for attention. And yet it is also true that one can write nothing readable unless one constantly struggles to efface one's own personality. Good prose is like a windowpane.

All writers are vain, selfish and lazy, and at the very bottom of their motives lies a mystery. Writing a book is a long, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven by some demon whom one can neither resist nor understand.

Any writer worth his salt writes to please himself...It's a self-exploratory operation that is endless. An exorcism of not necessarily his demon, but of his divine discontent.

Writers are the exorcists of their own demons.

The first step - especially for young people with energy and drive and talent, but not money - the first step to controlling your world is to control your culture. To model and demonstrate the kind of world you demand to live in. To write the books. Make the music. Shoot the films. Paint the art.

No one says a novel has to be one thing. It can be anything it wants to be, a vaudeville show, the six o'clock news, the mumblings of wild men saddled by demons.