I knew I was going to be a journalist when I was eight years old and I saw the printing presses rolling at the Sydney newspaper where my dad worked as a proofreader.
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APAGeraldine Brooks Quotes. (n.d.). Jar of Quotes. Retrieved , from JarofQuotes.com Web site: https://www.jarofquotes.com/view.php?id=i-knew-i-was-going-to-be-journalist-when-i-was-eight-years-old-i-saw-printing-presses-rolling-at-sydney-newspaper-where-my-dad-worked-as-geraldine-brooks
ChicagoGeraldine Brooks Quotes. Jar of Quotes, 2019. https://www.jarofquotes.com/view.php?id=i-knew-i-was-going-to-be-journalist-when-i-was-eight-years-old-i-saw-printing-presses-rolling-at-sydney-newspaper-where-my-dad-worked-as-geraldine-brooks, accessed .
MLA"Geraldine Brooks Quotes." Jar of Quotes, 2019. . https://www.jarofquotes.com/view.php?id=i-knew-i-was-going-to-be-journalist-when-i-was-eight-years-old-i-saw-printing-presses-rolling-at-sydney-newspaper-where-my-dad-worked-as-geraldine-brooks
It is natural to want to forget, Anna, when everyday is a brimful of sadness. But those souls also forgot those that they had loved. You do not want that, surely? I have heard some preach that God wants us to forget the dead, but I cannot believe so. I think He gives us precious recollections so that we may not be parted entirely from those He has given us to love. You must cherish your memories of your babes, Anna, until you see them again in Heaven.
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I was really interested in how marriages work, how you can, you know, be in love with somebody and spend many years with your lives intertwined, but in the end another soul can be fundamentally unknowable. And I think that the stress of war, when one party goes away and the other has to deal at home, is a really testing time in a lot of marriages.
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Write what you know. Every guide for the aspiring author advises this. Because I live in a long-settled rural place, I know certain things. I know the feel of a newborn lamb's damp, tight-curled fleece and the sharp sound a well-bucket chain makes as it scrapes on stone. But more than these material things, I know the feelings that flourish in small communities. And I know other kinds of emotional truths that I believe apply across the centuries.
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And at this moment in history, our core value happens to be the raw, aching truth of the human predicament. It may also be the only belief that can save us as a species. A species that will continue to find comfort and delight in the companionship of animals, the miracle of birds, the colours of the corals and the majesty of the forests. We are in it together, on this blue spinning marble in the cold and silent void. And we must act on that belief, if we are going to be able to continue to live a good life here, in this beautiful and fragile country, on this lovely planet, our only home.
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And one of the things that I learned was you can't generalise at all about a woman in a veil. You can't think you know her story, because she will confound you over and over again. She may be an engineer or a diplomat or a doctor. Or she may be an unbelievable babe with bleached hair down to her waist.
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[The haggadah] was made to teach, and it will continue to teach. And it might teach a lot more than just the Exodus story." What do you mean?" Well, from what you've told me, the book has survived the same human disaster over and over again. Think about it. You've got a society where people tolerate difference, like Spain in the Convivencia, and everything's humming along: creative, prosperous. Then somehow this fear, this hate, this need to demonize 'the other' - it just sort of rears up and smashes the whole society. Inquisition, Nazis, extremist Serb nationalists... same old, same old. It seems to me that the book, at this point, bears witness to all that.
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Are there any two words in all of the English language more closely twinned than courage and cowardice? I do not think there is a man alive who will not yearn to possess the former and dread to be accused of the latter. One is held to be the apogee of man's character, the other its nadir. An yet, to me the two sit side by side on the circle of life, removed from each other by the merest degree of arc. (MARCH - Chapter 11 - page 168)
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I reached for her, pushing back the fall of hair-it was heavy and thick and smooth to the touch-and tilted her chin so that the moonlight shone on her wet face. We married each other that night, there on a bed of fallen pine needles-even today, the scent of pitch-pine stirs me-with Henry's distant flute for a wedding march and the arching white birch boughs for our basilica. At first, she quivered like an aspen, and I was ashamed at my lack of continence, yet I could not let go of her. I felt like Peleus on the beach, clinging to Thetis, only to find that, suddenly, it was she who held me; that same furnace in her nature that had flared up in anger blazed again, in passion.
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He walked through the woods like a young Adam, naming creation. I learned to shape my mouth to the words-sasumuneash for cranberry, tunockuquas for frog. So many things grew and lived here that were strange to us, because they had not been in England. We named the things of this place in reference to things that were not of this place-cat briar for the thickets of vine whose thorns were narrow and claw-like; lambskill for the low-growing laurel that had proved poisonous to some of our hard-got tegs. But there had been no cats or lambs here until we brought them. So when he named a plant or a creature, I felt that I heard the true name of the thing for the first time.
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Raz was one of those vanguard human beings of indeterminate ethnicity, the magnificent mutts that I hope we are all destined to become given another millennium of intermixing. His skin was a rich pecan color from his dad, who was part African American and part native Hawaiian. His hair, straight and glossy black, and the almond shape of his eyes came from his Japanese grandmother. But their color was the cool blue he'd inherited from his mum, a Swedish windsurfing champion.
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It didn't take me long out there, in the landscapes my father had painted, to realize that as much as I loved my country [Australia], I barely knew it. I'd spent so many years studying the art of our immigrant cultures, and barely any time at all on the one that had been here all along... So I set myself a crash course and became a pioneer in a new field: desperation conservation. My job became the documentation and preservation of ancient Aboriginal rock art, before the uranium and bauxite companies had a chance to blast it into rubble" (pp. 345-346)
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