“—Shush sweet baby, I said, so tired, and mixed her gripe water with whiskey and dill weed, but it did no good, so I seen now why lullabies was all about cradles falling from trees, oh dear, when the wind blows, down will come baby, whoops too bad, but at least it’s quiet.”
― Kate Manning, quote from My Notorious Life
“Lust was a weed, a nightshade vine, a nettle, impossible to uproot as the mugwort I pulled in the fields of Illinois, so while in the daylight I was a flower of virtuous resolution, at night I was motherless in a cold kitchen, starved for the warm arms of a sweetheart and pretty words of approval.”
― Kate Manning, quote from My Notorious Life
“who dwells in the past robs the present,”
― Kate Manning, quote from My Notorious Life
“In this time, I learned for myself as my teacher predicted, how it is these two extremes - that we are transported by love and jailed by it - that are ever impossible for mothers to reconcile.”
― Kate Manning, quote from My Notorious Life
“You could eat the air in the place, so thick with bread and warmth that it stang our cheeks.”
― Kate Manning, quote from My Notorious Life
“The newspapers next day wrote that "with much hesitation the witness proceeded to recount the treatment she received from Madame DeBeausacq, the details of which are so extremely disgusting and filthy we forbear to give publicity to them." Let me say right now the papers was wrong on them details. The details are of Human Kindness. These judges, these police, these reporters, are squeamish low bloodworms, half of them, consorting with cancan girls. How I know this is because them girls come to me. So do their society mistresses. Also, their wives. I know them, daughters of Judges, sisters of Prosecutors. But these robes of the law did not wish to hear the filthy details of their own sex's duplicity, or dwell on the disgusting filthy things they did THEMSELVES, nor see the fair face of the ones they punish for their own masculine debauchery.”
― Kate Manning, quote from My Notorious Life
Kate Manning
Born place: Syracuse, NY, The United States
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“Alone and lost, appeared this saint,
With pretty gray eyes, darkness can’t taint.
He stole her from cold, from blustering storm,
Kind and gentle, he took her from harm.
Fearful of dark, he created her light,
A jar of gold, chasing demons of night.
Telling stories of love, he brought to her life,
A moment by his side: no pain, no strife.
He gifted her poems, a gesture on whim,
With every word read, she could see only him.
She counted the days until he returned home,
The boy with his light, the girl not alone.
Invisible to all, a shade wandering in dark,
He brought back her faith, with his pure kind heart.
- Elsie”
― Tillie Cole, quote from Sweet Soul
“Then, just as we were to leave on a whirlwind honeymoon in the beautiful Pacific Northwest, a call came from Australia. Steve’s friend John Stainton had word that a big croc had been frequenting areas too close to civilization, and someone had been taking potshots at him.
“It’s a big one, Stevo, maybe fourteen or fifteen feet,” John said over the phone. “I hate to catch you right at this moment, but they’re going to kill him unless he gets relocated.”
John was one of Australia’s award-winning documentary filmmakers. He and Steve had met in the late 1980s, when Steve would help John shoot commercials that required a zoo animal like a lizard or a turtle. But their friendship did not really take off until 1990, when an Australian beer company hired John to film a tricky shot involving a crocodile.
He called Steve. “They want a bloke to toss a coldie to another bloke, but a croc comes out of the water and snatches at it. The guy grabs the beer right in front of the croc’s jaws. You think that’s doable?”
“Sure, mate, no problem at all,” Steve said with his usual confidence. “Only one thing, it has to be my hand in front of the croc.”
John agreed. He journeyed up to the zoo to film the commercial. It was the first time he had seen Steve on his own turf, and he was impressed. He was even more impressed when the croc shoot went off flawlessly.
Monty, the saltwater crocodile, lay partially submerged in his pool. An actor fetched a coldie from the esky and tossed it toward Steve. As Steve’s hand went above Monty’s head, the crocodile lunged upward in a food response. On film it looked like the croc was about to snatch the can--which Steve caught right in front of his jaws. John was extremely impressed. As he left the zoo after completing the commercial shoot, Steve gave him a collection of VHS tapes.
Steve had shot the videotapes himself. The raw footage came from Steve simply propping his camera in a tree, or jamming it into the mud, and filming himself single-handedly catching crocs.
John watched the tapes when he got home to Brisbane. He told me later that what he saw was unbelievable. “It was three hours of captivating film and I watched it straight through, twice,” John recalled to me. “It was Steve. The camera loved him.”
He rang up his contacts in television and explained that he had a hot property. The programmers couldn’t use Steve’s original VHS footage, but one of them had a better idea. He gave John the green light to shoot his own documentary of Steve.
That led to John Stainton’s call to Oregon on the eve of our honeymoon.
“I know it’s not the best timing, mate,” John said, “but we could take a crew and film a documentary of you rescuing this crocodile.”
Steve turned to me. Honeymoon or crocodile? For him, it wasn’t much of a quandary. But what about me?”
“Let’s go,” I replied.”
― Terri Irwin, quote from Steve & Me
“If I had been in charge of reorganizing the government’s security agencies into a homeland defense organization, I would have divided the responsibilities into two agencies: The Bureau of What the Fuck Was That? and The Department of What the Fuck Are We Gonna Do Now?”
― George Carlin, quote from When Will Jesus Bring the Pork Chops?
“He was familiar enough with pleasure to know it might become jaded or reluctant; but joy was literally foreign to him, a word he would never easily pronounce, an exhilaration that had some other reckless nationality. For this reason, Caro's wholeness in love, her happiness in it, made her exotic.”
― Shirley Hazzard, quote from The Transit of Venus
“A man thinks he owns things, and it is he who is owned”
― André Gide, quote from The Immoralist
Crazy Good
The Unreals
Cuckoo Song
Before Life Happened
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