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Quote by Brendan Nelson

“In the process of building an inspiring and attractive alternative government, Liberals will not follow in Lord Derby's oft-quoted advice, given in 1841, that 'the duty of an Opposition is to oppose everything, and propose nothing'. The British Tories did not win a parliamentary majority for the next thirty-three years, and if the Liberals adopted such a strategy, we too could be in the political wilderness for a long time. As Menzies once put it: 'The duty of an Opposition, if it has no ambition to be permanently on the left-hand side of the Speaker, is not to Oppose for Opposition's sake, but to oppose selectively. No Government is always wrong on everything, whatever the critics may say. The Opposition must choose the grounds on which to attack. To attack indiscriminately is to risk public opinion, which has a reserve of fairness not always understood'. Indeed, simply opposing the government may create headlines, but to win an election you need to present an alternative.”

Quote by Brendan Nelson

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Brendan Nelson

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“As you climb up a mountain towards nightfall, the trees and the houses, the steeple, the fields and the orchards, the road, and even the river, will gradually dwindle and fade, and at last disappear in the gloom that steals over the valley. But the threads of light that shine from the houses of men and pierce through the blackest of nights, these shine on undimmed. And every step that you take to the summit reveals but more lights, and more, in the hamlets asleep at your foot. For light, though so fragile, is perhaps the one thing of all that yields naught of itself as it faces immensity. Thus it is with our moral light too, when we look upon life from some slight elevation. It is well that reflection should teach us to disburden our soul of base passions; but it should not discourage, or weaken, our humblest desire for justice, for truth, and for love.”

“Nobody goes that deep. Everybody is so awestruck by this exterior beauty that they never think further—including me. After I fuck you in ten different positions to the content of my heart, there always comes a moment when the rate of return diminishes. After fucking you a thousand times, you’ll be just another girl. A woman, to me. Have you ever heard the phrase that no matter how beautiful a woman is there is always a man tired of fucking her. Then what? Then comes the void. The empty. The nothing. I am afraid of that shallow, because I know you... but I really don’t know you.”

“When Jesus talked about following Him, He didn’t sugarcoat it all. He didn’t say, ‘Follow Me, it’ll be great. You’re going to live an amazing life and I will pour my blessings on you financially.” Instead, it’s a much more realistic message, ‘Follow Me. It will probably be hard. People will probably persecute you and even hate you, but remember they hated Me first. I will be with you and give you strength to endure. Follow Me because I can give you eternal life.”

“When people dis fantasy—mainstream readers and SF readers alike—they are almost always talking about one sub-genre of fantastic literature. They are talking about Tolkien, and Tolkien's innumerable heirs. Call it 'epic', or 'high', or 'genre' fantasy, this is what fantasy has come to mean. Which is misleading as well as unfortunate. Tolkien is the wen on the arse of fantasy literature. His oeuvre is massive and contagious—you can't ignore it, so don't even try. The best you can do is consciously try to lance the boil. And there's a lot to dislike—his cod-Wagnerian pomposity, his boys-own-adventure glorying in war, his small-minded and reactionary love for hierarchical status-quos, his belief in absolute morality that blurs moral and political complexity. Tolkien's clichés—elves 'n' dwarfs 'n' magic rings—have spread like viruses. He wrote that the function of fantasy was 'consolation', thereby making it an article of policy that a fantasy writer should mollycoddle the reader. That is a revolting idea, and one, thankfully, that plenty of fantasists have ignored. From the Surrealists through the pulps—via Mervyn Peake and Mikhael Bulgakov and Stefan Grabiński and Bruno Schulz and Michael Moorcock and M. John Harrison and I could go on—the best writers have used the fantastic aesthetic precisely to challenge, to alienate, to subvert and undermine expectations. Of course I'm not saying that any fan of Tolkien is no friend of mine—that would cut my social circle considerably. Nor would I claim that it's impossible to write a good fantasy book with elves and dwarfs in it—Michael Swanwick's superb Iron Dragon's Daughter gives the lie to that. But given that the pleasure of fantasy is supposed to be in its limitless creativity, why not try to come up with some different themes, as well as unconventional monsters? Why not use fantasy to challenge social and aesthetic lies? Thankfully, the alternative tradition of fantasy has never died. And it's getting stronger. Chris Wooding, Michael Swanwick, Mary Gentle, Paul di Filippo, Jeff VanderMeer, and many others, are all producing works based on fantasy's radicalism. Where traditional fantasy has been rural and bucolic, this is often urban, and frequently brutal. Characters are more than cardboard cutouts, and they're not defined by race or sex. Things are gritty and tricky, just as in real life. This is fantasy not as comfort-food, but as challenge. The critic Gabe Chouinard has said that we're entering a new period, a renaissance in the creative radicalism of fantasy that hasn't been seen since the New Wave of the sixties and seventies, and in echo of which he has christened the Next Wave. I don't know if he's right, but I'm excited. This is a radical literature. It's the literature we most deserve.”