Nasty Nineteen Quotes

Are you Hilary Westfield?” She sounded like she hoped it wasn’t the case. Hilary nodded. “Oh. Well, I’m Philomena. I have to show you to your room.” Hilary looked wildly at Miss Greyson. “I’m Miss Westfield’s governess,” Miss Greyson said, to Hilary’s relief. Maybe talking politely to people like Philomena was something you learned at Miss Pimm’s, or maybe getting past Philomena was a sort of entrance exam. “Is there any chance we could see Miss Pimm? We’re old acquaintances. I used to go to school here, you see.” Miss Greyson smiled for the second time that day—the world was getting stranger and stranger by the minute—but Philomena didn’t smile back. “I’m terribly sorry,” said Philomena, “but Miss Pimm doesn’t receive visitors. You can leave Miss Westfield with me, and the porter will collect Miss Westfield’s bags.” She raised her eyebrows as the carriage driver deposited the golden traveling trunk on the doorstep. “I hope you have another pair of stockings in there.” “I do.” Hilary met Philomena’s stare. “I have nineteen pairs, in fact. And a sword.” Miss Greyson groaned and put her hand to her forehead. “Excuse me?” said Philomena. “I’m afraid Miss Westfield is prone to fits of imagination,” Miss Greyson said quickly. Philomena’s eyebrows retreated. “I understand completely,” she said. “Well, you have nothing to worry about. Miss Pimm’s will cure her of that nasty habit soon enough. Now, Miss Westfield, please come along with me.” Hilary and Miss Greyson started to follow Philomena inside. “Only students and instructors are permitted inside the school building,” said Philomena to Miss Greyson. “With all the thefts breaking out in the kingdom these days, one really can’t be too careful. But you’re perfectly welcome to say your good-byes outside.” Miss Greyson agreed and knelt down in front of Hilary. “A sword?” she whispered. “I’m sorry, Miss Greyson.” “All I ask is that you take care not to carve up your classmates. If I were not a governess, however, I might mention that the lovely Philomena is in need of a haircut.” Hilary nearly laughed, but she suspected it might be against the rules to laugh on the grounds of Miss Pimm’s, so she gave Miss Greyson her most solemn nod instead. “Now,” said Miss Greyson, “you must promise to write. You must keep up with the news of the day and tell me all about it in your letters. And you’ll come and visit me in my bookshop at the end of the term, won’t you?” “Of course.” Hilary’s stomach was starting to feel very strange, and she didn’t trust herself to say more than a few words at a time. This couldn’t be right; pirates were hardly ever sentimental. Then again, neither was Miss Greyson. Yet here she was, leaning forward to hug Hilary, and Hilary found herself hugging Miss Greyson back. “Please don’t tell me to be a good little girl,” she said. Miss Greyson sniffed and stood up. “My dear,” she said, “I would never dream of it.” She gave Hilary’s canvas bag an affectionate pat, nodded politely to Philomena, and walked down the steps and through the gate, back to the waiting carriage. “Come along,” said Philomena, picking up the lightest of Hilary’s bags. “And please don’t dawdle. I have lessons to finish.” HILARY FOLLOWED PHILOMENA through a maze of dark stone walls and high archways. From the inside, the building seemed more like a fortress

As Flannery O’Connor and Alice Munro have shown, it’s one thing to teach yourself to write and another to train your editors to read you. Both these regional writers – each stubbornly invested in particularity – educated their publishers and their readers with sheer persistence, by holding their nerve. Every Australian reader is forced to accommodate the strangeness of overseas – usually American or British – fictional settings. To keep up you need to adapt to new and weird idioms and soon these become normative. This provincial form of cosmopolitanism isn’t optional. Similarly, a reader from some no-account place like Perth is expected to adjust their senses eastward with no reciprocity. At nineteen and twenty it was a nasty surprise to realize just how resistant a Sydney or Melbourne editor could be to the appearance on the page of Australian places and species with which they were unfamiliar. It may be hard to believe at this distance, but in my early days it wasn’t just the foreign publishers suggesting I append a glossary to the end of a novel. As I recall, the pesky dugite (Pseudonaja affinis) caused the most editorial grief at home and abroad, and I was tempted to follow St Patrick’s lead and ban elapid snakes entirely. But I kept coming back to Flannery O’Connor. Not only was she misunderstood in New York, she was a problem for folks at home in Georgia, too. I loved her craft and the singularity of her world. But I also admired O’Connor’s cussedness, her refusal to come to heel. She was an important influence.

I’d have aged it a bit more,” Marco said, “but not much.” He explained that he had experimented with aging. What he said in fact was this: “I’ve aged birds for one day, two days, three days, four days, five days, six days, seven days, eight days, nine days, ten days, eleven days, twelve days, thirteen days, fourteen days, fifteen days, sixteen days, seventeen days, eighteen days, nineteen days, twenty days, and twenty-one days.” “Your conclusion?” I asked. “Twenty-one days is too long,” he said. “Pretty nasty?” I asked. “Fucking inedible,” he said.