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Quote by Lucy Hughes-Hallett

“Leaving Wychwood gave him, as it did each time, the mingled anxiety and exhilaration of a rebirth. Womb-warm and sequestered, it was at once a sanctuary and a place of internment.”

Quote by Lucy Hughes-Hallett

Work

Peculiar Ground

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Author

Lucy Hughes-Hallett
Lucy Hughes-Hallett

Lucy Hughes-Hallett is a renowned British cultural historian known for her in-depth research into modern art, literature, and history. Born on December 7, 1951, she graduated from Oxford University and later became a researcher at University College London. Her works cover the art and literature from the late 19th to the 20th century, with a particular focus on the works of female writers. more

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“Take Canada again: why does Canada have the health-care program it does? Up until the mid-1960s, Canada and the United States had the same capitalist health service: extremely inefficient, tons of bureaucracy, huge administrative costs, millions of people with no insurance coverage―exactly what would be amplified in the United States by Clinton's proposals for "managed competition" [put forward in 1993].21 But in 1962 in Saskatchewan, where the N.D.P. is pretty strong and the unions are pretty strong, they managed to put through a kind of rational health-care program of the sort that every industrialized country in the world has by now, except the United States and South Africa. Well, when Saskatchewan first put through that program, the doctors and the insurance companies and the business community were all screaming―but it worked so well that pretty soon all the other Provinces wanted the same thing too, and within a couple years guaranteed health care had spread over the entire country. And that happened largely because of the New Democratic Party in Canada, which does provide a kind of cover and a framework within which popular organizations like unions, and then later things like the feminist movement, have been able to get together and do things.”

“Dead towns are the Cathedrals of Silence. They, too, have their gargoyles, singular figures, exaggerated, dubious, set in high profile. They stand out from the mass of grey, which takes all it has in the way of character, its twitchings of stagnant life from them. Some have been distorted by solitude, others grimace with a directionless fervour; here there are masks of cherished lust, there faces ceaselessly sculpted and furrowed by mysticism. Human gargoyles, the only figures of interest in this monotonous population.”

“Bruges had the air of a ghost town. The high towers, the trees along the canals withdrew, absorbed by the same muslin: impenetrable fog with not a single rift. Even the carillon seemed to have to escape, to force its way out of a prison yard filled with cotton wool to be free in the air, to reach the gables over which, every quarter of an hour, the bells poured, like falling leaves, a melancholy autumn of music.”

“The carillon is, after all, the music of the people. Elsewhere, in the glittering capitals, public festivals are celebrated with fireworks, that magical offering that can thrill the very soul. Here, in the meditative land of Flanders, among the damp mists so antagonistic to the brilliance of fire, the carillon takes their place. It is a display of fireworks that one hears: flares, rockets, showers, a thousand sparks of sound which colour the air for visionary eyes alerted by hearing.”