“Nicaragua”

“Nicaragua sounded dangerous; she liked the word. Nicaragua! It sounded like some kind of spider. There it goes, under the table - Nicaragua!”

“The only problem with your dream of a prosperous Nicaragua is that guys like me will never let it happen.”

“Happy birthday, Nicaragua. I drank a toast in the best rum in the world, Flor de Caña Extra Seco. Mixed with Coke, it was called a Nica-libre, and after a few glasses I was ready to take on the salsa champions and knock them dead. I went outside to dance.”

“Most people, of course, spend their lives caring about the wrong things. The worry about South Africa or Nicaragua. They spend so much time finding themselves that they lose their taxicabs. They don't see that what kind of napkin you get at a delicatessen is a matter of much significance in the world today.That's why they don't get linen”

“If through no fault of his own the hero is crushed by a bulldozer in Act II, we are not impressed. Even though life is often like this—the absconding cashier on his way to Nicaragua is killed in a collision at the airport, the prominent statesman dies of a stroke in the midst of the negotiations he has spent years to bring about, the young lovers are drowned in a boating accident the day before their marriage—such events, the warp and woof of everyday life, seem irrelevant, meaningless. They are crude, undigested, unpurged bits of reality—to draw a metaphor from the late J. Edgar Hoover, they are “raw files.” But it is the function of great art to purge and give meaning to human suffering, and so we expect that if the hero is indeed crushed by a bulldozer in Act II there will be some reason for it, and not just some reason but a good one, one which makes sense in terms of the hero’s personality and action. In fact, we expect to be shown that he is in some way responsible for what happens to him.”