Debut Small Quotes

The boarding school memoir or novel is an enduring literary subgenre, from 1950s classics such as The Catcher in the Rye to Curtis Sittenfeld’s Prep. Doust’s recognisably Australian contribution to the genre draws on his own experiences in a West Australian boarding school in this clever, polished, detail-rich debut novel. From the opening pages, the reader is wholly transported into the head of Jack Muir, a sensitive, sharp-eyed boy from small-town WA who is constantly measured (unfavourably) against his goldenboy brother. The distinctive, masterfully inhabited adolescent narrator recalls the narrator in darkly funny coming-of-age memoir Hoi Polloi (Craig Sherborne)—as does the juxtaposition of stark naivety and carefully mined knowingness.’ — Bookseller+Publisher

I’d rather be lucky than good.’ [Baseball player] Lefty Gomez said that, and I live and breathe that fortune-dwelling, fuzzy-dice-dangling creed. I was fantastically lucky to be taken in by Montag Press and its extraordinary managing editor, Charlie Franco. But I’m also a bit of a research freak and I'm convinced that homework helped me set up a situation where luck could flash and ignite. I spent an inordinate amount of time researching small and independent imprints. Here I reveal the flip side of thinking that any hours spent researching literary agents is wasted (in my unwashed opinion) while time spent reading and learning about quality independent publishers is essential. It’s the best and only way to identify the little houses in that vibrant village that might be just right for your own book. (Interview with Ruuf Wangersen on sevencircumstances.com)

I PALE HORSE 1 THE VIRUS NOW known as Hendra wasn’t the first of the scary new bugs. It wasn’t the worst. Compared to some others, it seems relatively minor. Its mortal impact, in numerical terms, was small at the start and has remained small; its geographical scope was narrowly local and later episodes haven’t carried it much more widely. It made its debut near Brisbane, Australia, in 1994. Initially there were two cases, only one of them fatal. No, wait, correction: There were two human cases, one human fatality. Other victims suffered and died too, more than a dozen—equine victims—and their story is part of this story. The subject of animal disease and the subject of human disease are, as we’ll see, strands of one braided cord. The original emergence of Hendra virus didn’t seem very dire or newsworthy unless you happened to live in eastern Australia. It couldn’t match an earthquake, a war, a schoolboy gun massacre, a tsunami. But it was peculiar. It was spooky. Slightly better known now, at least among disease scientists and Australians, and therefore slightly less spooky, Hendra virus still seems peculiar. It’s a paradoxical thing: marginal, sporadic, but in some larger sense representative. For exactly that reason, it marks a good point from which to begin toward understanding the emergence of certain virulent new realities on this planet—realities that include the death of more than 30 million people since 1981. Those realities involve a phenomenon called zoonosis. A zoonosis is an animal infection transmissible to humans. There are more such diseases than you might expect. AIDS is one. Influenza is a whole category of others. Pondering them as a group tends to reaffirm the old Darwinian truth (the darkest of his truths, well known and persistently forgotten) that humanity is a kind of animal, inextricably connected with other animals: in origin and in descent, in sickness and in health. Pondering them individually—for starters, this relatively obscure case from Australia—provides a salubrious reminder that everything, including pestilence, comes from somewhere.

She has never before given herself over to anyone-she'd always parceled herself out little by little. This bit for Samuel, some small part for her father, barely anything for Henry. She'd never put all of herself in just one place. It felt too risky. Because her great and constant fear all these years was that if anyone ever came to know all of her--the real her, the true deep essential Faye--they would not find enough stuff there to love. Hers was not a soul large enough to nourish another.

magically written effort … quite brilliant. Savvy, beautiful, and with the sort of overall rhythm that artists of all media should dream of managing … One can only strongly recommend this extremely funny and enchanting and pretty much genius piece of debut fiction.

Chris Good evening, ladies . . . He steps into it. . . . and gentlemen and welcome to the Cornley Polytechnic Society’s spring production of The Murder at Haversham Manor. I would like to personally welcome you to what will be my directorial debut, and my first production as head of the drama society. We are particularly excited to present this play because, for the first time in the society’s history, we have managed to find a play that fits the company’s numbers perfectly. If we’re honest, a lack of numbers has hampered past productions, such as last year’s Chekov play; Two Sisters. Or last Christmas’s The Lion and the Wardrobe, and of course our summer musical, Cat. This will be the first time the society has been able to stage a play of this scale and we are thrilled. It’s no secret we usually have to contend with a small budget, as we had to in last year’s presentation of Roald Dahl’s classic, James and the Peach. Of course, during the run of that particular show the peach went off, and we were forced to present a hastily devised alternative entitled James! Where’s your Peach? Finally we’ve managed to stage a play as it should be, and cast it exceptionally well. I’m sure no one will forget the problems we’ve faced with casting before, such as 2010’s Christmas presentation of Snow White and the Tall, Broad Gentlemen, or indeed our previous year’s pantomime, another Disney classic: Ugly . . . and the Beast. But now, on with the main event, which I am confident will be our best show yet! So without any further ado, please put your hands together for Susie H.K. Brideswell’s thrilling whodunit – The Murder at Haversham Manor.

Later in the day, Holly frowned at her reflection in the mirror. “This can’t be right!” Holly muttered to herself. She looked like a cross between a panda bear and a raccoon. She had tried to apply a more advanced version of makeup than she was used to, and it was not going well. “Smokey eye, my foot! I look like I have two black eyes.” She had not done the proper shading with her eye shadow, and now her large green eyes were encased with a deep black color that spanned her entire eyelid. “Maybe I should try a different one,” Holly mused aloud. She sat in William’s bedroom at his dresser. She already had on her pretty crushed velvet black dress and a small heart-shaped diamond pendant. It had been William’s birthday gift to her last year. “Let me re-read this article again to see if I can make sense of these instructions.” Holly read her magazine article out loud. “Which Greek Goddess are you? Athena, Venus, or Aphrodite? Check out our makeup tips below to turn heads at your next event!” “Hmmmm, that sounds soooooo good, if only I was better at applying makeup.” She had decided to try their Aphrodite look and had been trying to apply the eyeliner to give her a smoky eye effect. Holly had to wash her face four times already and start over because each time was worse than the last. “Concentrate, Holly, or you’ll be late for the gala. This is your last chance; it’s do or die time!” she warned her reflection in the mirror. “So, it says to put the light grey eyeshadow on the inner one-third of my eyelids. Hmmm, maybe that’s the problem. I don’t know where the inner third is.” She got an idea and went to William’s desk. Looking around, she found a ruler. “Ah-ha! Eureka, I got it!” She went back to her position at his dresser and closed her eyes for a quick, small prayer, then held the ruler up to measure her eye. “Ah-ha! Twenty-one millimeters. So, that means the inner one-third of my eye must be from my nose out seven millimeters . . . right about HERE!” Holly expertly applied the light grey eye shadow to the inner third of her eyelids. “What a big improvement already! Wow! I’m not a panda bear anymore! Ok, one-third down, two-thirds to go . . . I can do this!” Reading further, she said, “Ok, now apply the dark grey eye shadow to the next third of your eye, finishing with the dark brown eye shadow on the outer third of your eyelid.” Holly expertly followed the instructions and sat back in her chair, stunned. She looked beautiful! She had achieved the desired effect, and now her green eyes were enhanced to perfection. “Wow, wow, wow!” Holly felt encouraged to keep going. She read the next instructions. “‘Now, apply blush to your face with an emphasis on contouring your cheekbones.’” “‘Contouring my cheekbones? Who do they think I am, Rembrandt?” Holly said with a groan. Holly gingerly picked up her blush container as if it were about to bite her. She decided another quick prayer wouldn’t go amiss. With a deep breath she muttered, “Ok, I’m going in!” She glanced nervously at the picture in the magazine and tried her hardest to follow it along her cheekbones. “That turned out pretty good!” Holly turned her face this way and that, examining it. It may not have been exactly as in the picture, but the blush now accentuated her beautiful high cheekbones. “Whew! Only the lip left, thank goodness! You got this, Holly!” She encouraged her reflection in the mirror.

The football monologue catapulted Andy into a career in radio and on Broadway. In 1957, he got his shot at film stardom, debuting in Elia Kazan’s astonishing A Face in the Crowd, written by Budd Schulberg. The movie, a dark, prescient take on American politics and mass media, is more appreciated now than it was at the time of its release. But even then, critics were mesmerized by Andy’s fiery performance as Lonesome Rhodes, a small-time radio host who, as his popularity snowballs, transforms into a lusty, egomaniacal demagogue. Many years later, when I was a young adult, Andy told me that playing Lonesome Rhodes had been a harrowing experience for him. Kazan was a brilliant director, he said, but he had manipulated and provoked Andy to summon his darkest, ugliest thoughts and impulses, and the process about wrecked him. “I don’t ever want to do that again,” Andy said. “I like to laugh when I’m working.” Andy had his pick of dramatic roles after A Face in the Crowd, but he chose not to go down that path—the psychological toll had been too high. To some degree, Andy said, Mayberry and the benevolent Sheriff Andy Taylor were a conscious response to Lonesome Rhodes, embodiments of rural America at its best.

Adam's marvelous eyes, which learned to see, saw how the atoms--new, brand new--began to trace their orbits, still hesitantly, not knowing how to function. Colors shone one by one, in the gentle fluoride tones that they would never recover when they matured. Space stretched out, dimensions scampered along hallways of burnished ozone, like small children looking for toys. Time had not stopped tightening the spring that it would later release a little at a time. Adam could almost touch the edge of the universe, which was expanding like the corolla of a flower preparing to be the All. Forms were born, wrapped in the shimmering dampness, they grew sharper as they felt their way along, successively adopting the line, the plane, volume, aligning themselves in the perspective of an infinite trompe l'oeil. Gravity intervened and each thing making its debut found its place--mountains and suns, galaxies and roses. Adam heard the first birdsong.

One day in 1885, the twenty-three-year old Henry Ford got his first look at the gas-powered engine, and it was instant love. Ford had apprenticed as a machinist and had worked on every conceivable device, but nothing could compare to his fascination with this new type of engine, one that created its own power. He envisioned a whole new kind of horseless carriage that would revolutionize transportation. He made it his Life’s Task to be the pioneer in developing such an automobile. Working the night shift at the Edison Illuminating Company as an engineer, during the day he would tinker with the new internal-combustion engine he was developing. He built a workshop in a shed behind his home and started constructing the engine from pieces of scrap metal he salvaged from anywhere he could find them. By 1896, working with friends who helped him build a carriage, he completed his first prototype, which he called the Quadricycle, and debuted it on the streets of Detroit. At the time there were many others working on automobiles with gas-powered engines. It was a ruthlessly competitive environment in which new companies died by the day. Ford’s Quadricycle looked nice and ran well, but it was too small and incomplete for large-scale production. And so he began work on a second automobile, thinking ahead to the production end of the process. A year later he completed it, and it was a marvel of design. Everything was geared toward simplicity and compactness. It was easy to drive and maintain. All that he needed was financial backing and sufficient capital to mass-produce it. To manufacture automobiles in the late 1890s was a daunting venture. It required a tremendous amount of capital and a complex business structure, considering all of the parts that went into production. Ford quickly found the perfect backer: William H. Murphy, one of the most prominent businessmen in Detroit. The new company was dubbed the Detroit Automobile Company, and all who were involved had high hopes. But problems soon arose. The car Ford had designed as a prototype needed to be reworked—the parts came from different places; some of them were deficient and far too heavy for his liking. He kept trying to refine the design to come closer to his ideal. But it was taking far too long, and Murphy and the stockholders were getting restless. In 1901, a year and a half after it had started operation, the board of directors dissolved the company. They had lost faith in Henry Ford.