People From Melbourne

"Soon the Myrmidons would surround him, silver nets shooting out to catch him in their sticky tracery. Then a Winger would come to take him away. Back to the Dorms. Or if he was old enough... straight to the Meat Factory."

"The Trackers were on the move again, spreading out to search. It sounded like a trio on each side of the train, coming toward him. Gold-Eye pictured them in his head, trying to get his Change Vision to show him exactly where they were. But the Change Vision came and went when it chose, and couldn't be controlled."

"Gold-Eye's Change Vision suddenly gripped him, showing him a picture of the unpleasantly close future, the soon-to-be-now. Doors slid open at each end of the carriage, forced apart by metal-gauntleted hands four times the size of Gold-Eye's own. Fog no longer fell in lazy swirls, but danced and spiraled crazily as huge shapes lumbered in, moving to the pile of blankets... Gold-Eye didn't wait to see more. He came out of the vision and took the escape route he'd planned months before, when he'd first found the carriage. Lifting a trapdoor in the floor, he dropped down, down to the cold steel rails."

"I don't believe authors need to keep any specific values or ideas in mind while they are writing for children, but I do think authors need to be aware of their audience, and of the effect their work may have. So if they want to address particularly sensitive topics or taboos, they have to do so consciously and carefully. This is very different to toeing a particular moral line or leaving things out. Certainly I don't think good always has to triumph over evil; it depends on the story and the aims of the book. For example, I could envisage telling a story where the inaction of people leads to the triumph of evil. But I would include the hope that this would lead to the people involved doing better next time. Is that story then really about the triumph of evil, or is it about the awakening of opposition to evil?"

"I was profoundly embarrassed by it and did all I could to change it."

"He reveals that he has been a poor politician, a bad judge and a malevolent individual."

"If I begin my book with a review of the coup, it is only to show that my abiding interests for Australia did not end with it. They shall end only with a long and fortunate life."

"Let me make quite clear that I am for abortion and, in your case sir, we should make it retrospective."

"We would do absolutely nothing. Now that's a blunt, truthful answer."

"Well may we say "", because nothing will save the Governor-General! The Proclamation which you have just heard read by the Governor-General's Official Secretary was countersigned "Malcolm Fraser," who will undoubtedly go down in Australian history from Remembrance Day 1975 as Kerr's cur. They won't silence the outskirts of Parliament House, even if the inside has been silenced for the next few weeks … Maintain your rage and enthusiasm for the campaign for the election now to be held and until polling day."

"A conservative government survives essentially by dampening expectations and subduing hopes. Conservatism is basically pessimistic, reformism is basically optimistic."

"Vincent Lingiari, I solemnly hand to you these deeds as proof, in Australian law, that these lands belong to the Gurindji people and I put into your hands part of the earth itself as a sign that this land will be the possession of you and your children forever."

"The Country Party never forgave him for saying that their members sat on the fence with both ears to the ground."

"When Sir Winton Turnbull [who represented a large rural seat], a slow and sometimes stumbling speaker, was raving and ranting on the adjournment and shouted: "I am a Count–ry member". I interjected "I remember". Sir Winton could not understand why, for the first time in all the years he had been speaking in the House, there was instant and loud applause from both sides."

"The punters know that the horse named Morality rarely gets past the post, whereas the nag named Self-interest always runs a good race."

"I am a different person since I read Germaine Greer's The Female Eunuch because she expressed what I felt with a great deal of humor. All my life I had experienced feelings of anger, impotence and injustice without knowing why. Suddenly I felt someone understood me and I could finally cope with my emotions. This marked not only my writing but my life."

"I'm actually passionately opposed to double beds, they're probably more responsible for bad sex than any other single piece of furniture."

"The most powerful entities on earth are not governments but the multi-national corporations that see women as their territory, indoctrinating them with their versions of beauty, health and hygiene, medicating them and cultivating their dependency in order to medicate them some more."

"Regardless of the dutiful pushing of condoms in the girls' press, the exposure of baby vaginas and cervixes to the penis is more likely to result in pregnancy and infection than orgasm."

"In a sane society no woman would be left to struggle on her own with the huge transformation that is motherhood, when a single individual finds herself joined by an invisible umbilical cord to another person from whom she will never be separated, even by death."

"If the next time our governments propose to make war on a helpless civilian population we were to uncover our grief and guilt instead of our anger, how much difference might we make?"

"We can put women on Prozac and they will think they are happy, even though they are not. Disturbed animals in the zoo are given Prozac too, which rather suggests that misery is a response to unbearable circumstances rather than constitutional."

"Greer claims that this book was one she was reluctant to write. She has said that my book, The New Feminism, spurred her to such fury that she felt she had to respond. At the end of The Whole Woman she takes up an argument with "new feminism", which she equates with "lifestyle feminism". But that equation makes me wonder if she ever read my book."

"But why can't Greer acknowledge the confidence and freedom that many women now bring to their sexual lives? The liberation that Greer herself helped us to achieve she now denies."

"I have always been wary of feminists who seek to tell me that I must share a common personal experience with them that, more often than not, seems utterly alien to me. In Greer's eyes, if I am a woman I must not only be very sad, I must be obsessed with my body, and I must have really bad sex."

"In this era the only feminism that makes sense to me is one that acknowledges the differences between women, and yet still encourages women to work together to forge a more equal society. Germaine Greer, who I believe helped to spring open that cage of femininity in her first book, The Female Eunuch, is now refusing to acknowledge the differences among women. In her new book, The Whole Woman, she tries to blend all women's lives into one shared experience of sorrow and unrequited love."

"For a start, her assertion that we've forgotten about liberation and settled, instead, for the hope of equality feels like a revelation. "Liberation struggles are not about assimilation, but about asserting difference," she writes. "...What none of us noticed [in the 70s] was that the ideal of liberation was fading out with the word. We were settling for equality." [...] Now, the Women's Liberation spearheaded by the likes of Greer never told anyone that they shouldn't shave their legs. What it did do was say that if you want to shave, you should be aware that political pressures are behind that desire; just as political pressures force women to diet, and have breast implants, and use anti-ageing creams made from placenta, and generally feel hateful towards their physical selves. Greer's new book is an exciting reminder of how discrimination against women stops them, physically, from being 'the whole woman'. 'Your cellulite is you,' she says. It might sound obvious; but what a thrill to talk about owning our bodies, about being who we are. This is where the equality-seekers get it wrong, and liberationists like Greer get it right. Because how we feel about our bodies has an impact on whether we get paid the same. Of course we'll never get equal status if we're spending all our time and energy worrying about our thighs. Of course we'll never get equal pay if we ask for it wearing a baby-doll slip."

"She enjoys what most women do not enjoy, and therefore it's valuable, which is going out and doing battle with men."

"Women who were housewives, who were pretty miserable … felt inspired by her book and their life changed. They didn't become megastars, but they became a librarian or something. I've heard women say again and again when the subject of Germaine comes up: 'Well, her book changed my life for the better.' And they'll be modest women living pretty ordinary lives, but better lives."

"The Female Eunuch is a fitful, passionate, scattered text, not cohesive enough to qualify as a manifesto. It's all over the place, impulsive and fatally naive — which is to say it is the quintessential product of its time. So was Greer. … If Greer were a bit more honest and had a bit more perspective, she'd have a useful message to relay to young women about the perils of confusing sexual autonomy with the real but ephemeral ability to manipulate men. She could elucidate the difference between a sexual freedom that abuses body and soul and a sexual freedom that cherishes and respects them. But Greer has always spoken directly from the tangles of her personal experience, shamelessly extrapolating from her own condition to the rest of womankind and seemingly unaware of her presumption. … In the '70s, she admonished women who lacked her confidence, stylishness and libido for their timorousness. Today, feeling betrayed, she's become grim and hectoring, a feminist more cartoonishly man-hating than the ones she supposedly defied in the '70s, nattering on about body hair and bras."

"She has been in the business of shaking up a complacent establishment for nearly 40 years now and was employing the most elemental shock tactic of getting naked in public both long before and long after it ever crossed Madonna's mind. She has repeatedly written about her own experiences of lesbian sex, rape, abortion, infertility, failed marriage (she was married for three weeks to a construction worker in the 1960s) and menopause, thereby leaving herself open to claims that she shamelessly extrapolates from her own condition to the rest of womankind and calls it a theory … In part, her ability to remain so prominently in the public consciousness comes from an astute understanding and well-established symbiotic relationship with a media as eager to be shocked as she is to shock."

"Early white feminists, such as Kate Millett and Germaine Greer, made arguments that resounded throughout the western world, regarding their rage against white, male-dominated society and claimed their right to be angry. "Woman" had for too long been forced into quiet complacency. In the sixties, what was the purpose of the campus bra-burning, after all, if not to demonstrate their militant refusal to be continually sexualized by male culture. And yet, when feminists of color show their indignation and express intolerance of racism, some white feminists and intellectuals accuse us of being "too angry". Should we ask first what is "anger-appropriate" so as not to offend anyone by expressing our indignation and pain?"

"Once a paper admits any principle of censorship for survival, the we-don't-want-to-do-it-but-we-don't-want-to-lose-the-printer kind of censorship, it jeopardizes the integrity of its editorial principle. It's better to print and be damned, because you'll be damned anyway."

"Kinkiness comes from low energy. It's the substitution of lechery for lust."

"While young fools of my generation produced terrifying symptoms by ingesting poisons of various synthetic kinds, I was taken to extraordinary realms by a bacillus carried from human excrement by a fly's foot. I swelled to the size of a mountain and shrank to the size of a pin, flew and sang and fell through exotic configurations, in the intervals between agonizing convulsions on the heavy earthenware vaso, whose lethal contents I had to dispose of in the fields when the fever subsided. When the burning and shivering stopped and I could see again only what was there, I stayed enthralled by clarity. There was nothing to me in biochemical mindbending or bullshit psychedelia that did not have the slimy scent of death about it. I hated being out of touch, isolated by the solipsism of delirium, unable to communicate or comprehend."

"The blind conviction that we have to do something about other people’s reproductive behaviour, and that we may have to do it whether they like it or not, derives from the assumption that the world belongs to us, who have so expertly depleted its resources, rather than to them, who have not."

"The management of fertility is one of the most important functions of adulthood."

"By 1627 Judith Leyster was famous enough to be mentioned in Ampzing's description of the city of Haarlem; by 1661 she had been so far forgotten that De Bie does not mention her in his Golden Cabinet. Her eclipse by Frans Hals may have begun in her own lifetime, as a consequence of her marriage to Molenaer perhaps, for Sir Luke Schaub acquired the painting now known as The Jolly Companions as a Hals in Haarlem in the seventeenth century. If Judith Leyster had not been in the habit of signing her work with the monogram JL attached to a star, a pun on the name her father had taken from his brewery, Leyster or Lodestar, her works might never have been reattributed to her: few paintings can boast of a provenance as clear as that of The Jolly Companions. As a result of the discovery that The Jolly Companions bore Leyster's monogram, the English firm which had sold the painting to Baron Schlichting in Paris as a Hals attempted to rescind their own purchase and get their money back from the dealer, Wertheimer, who had sold it to them for £4500 not only as a Hals but "one of the finest he ever painted." Sir John Millars agreed with Wertheimer about the authenticity and value of the painting. The special jury and the Lord Chief Justice never did get to hear the case, which was settled in court on 31st May 1893, with the plaintiffs agreeing to keep the painting for £3500 plus £500 costs. The gentlemen of the press made merry at the experts' expense, for all they had succeeded in doing was in destroying the value of the painting. Better, they opined, to have asked no questions. At no time did anyone throw his cap in the air and rejoice that another painter, capable of equalling Hals at his best, had been discovered."

"Great artists are products of their own time: they do not spring forth fully equipped from the head of Jove, but are formed by the circumstances acting upon them since birth. These circumstances include the ambiance created by the other, lesser artists of their own time, who have all done their part in creating the pressure that forces up an exceptional talent. Unjustly, but unavoidably, the very closeness of a great artist to his colleagues and contemporaries leads to their eclipse."

"The element of heroic maleness had always been present in the concept of the artist as one who rides the winged horse above the clouds beyond the sight of lesser men, a concept seldom applied to those who worked with colours until the nineteenth century. When the inevitable question is asked, "Why are there no great women artists?" it is this dimension of art that is implied. The askers know little of art, but they know the seven wonders of the painting world."

"Great art, for those who insist upon this rather philistine concept (as if un-great art were unworthy of even their most casual and ill-informed attention), makes us stand back and admire. It rushes upon us pell-mell like the work of Rubens or Tintoretto or Delacroix, or towers above us. There is of course another aesthetic: the art of a Vermeer or a Braque seeks not to amaze and appal but to invite the observer to come closer, to close with the painting, peer into it, become intimate with it. Such art reinforces human dignity."

"The surest guide to the correctness of the path that women take is joy in the struggle. Revolution is the festival of the oppressed."

"They still say "fuck you" as a venomous insult; they still find "cunt" the most degrading epithet outside the dictionary."

"Loneliness is never more cruel than when it is felt in close propinquity with someone who has ceased to communicate."

"Women have very little idea of how much men hate them."

"Man is jealous because of his amour propre; woman is jealous because of her lack of it."

"The principle of the brotherhood of man is that narcissistic one, for the grounds for that love have always been the assumption that we ought to realize that we are the same the whole world over."

"Women have been charged with deviousness and duplicity since the dawn of civilization so they have never been able to pretend that their masks were anything but masks. It is a slender case but perhaps it does mean that women have always been in closer contact with reality than men: it would seem to be the just recompense for being deprived of idealism."

"The failure of women to produce great works of art and all that can be explained in terms of this statement. Insofar as she escapes or rejects her conditioning, the little girl may excel in those kinds of intellectual activity that are called creative, but eventually she either capitulates to her conditioning, or the conflicts become so pressing that her efficiency is hampered."

"Even crushed against his brother in the Tube the average Englishman pretends desperately that he is alone."