“The Opera House is a splendid edifice, and I wish to take nothing away from it, but my heart belongs to the Harbour Bridge. It's not as festive, but it is far more dominant – you can see it from every corner of the city, creeping into frame from the oddest angles, like an uncle who wants to get into every snapshot. From a distance it has a kind of gallant restraint, majestic but not assertive, but up close it is all might. It soars above you, so high that you could pass a ten-storey building beneath it, and looks like the heaviest thing on earth. Everything that is in it – the stone blocks in its four towers, the latticework of girders, the metal plates, the six-million rivets (with heads like halved apples) – is the biggest of its type you have ever seen. This is a bridge built by people who have had an Industrial Revolution, people with mountains of coal and ovens in which you could melt down a battleship. The arch alone weighs 30,000 tons. This is a great bridge.”
Pages 80-81
In a Sunburned Country (US), Down Under (UK) (2000)
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Bill Bryson 112
American author 1951Related quotes

1941 - 1967
Source: 'Portrait: Edward Hopper', Brian O'Doherty, 'Art in America', 1952 (December 1964), p. 73

"All You Wanted"
2000s, The Spirit Room (2001)
Context: I wanted, to be like you. I wanted, everything. So, I tried. To be like you, and I got swept away. I didn't know that it was so cold and, you needed someone to show you the way. So I took your hand and we figured out, that when the time comes? I'd take you away. If you want to? I can save you; I can take you away from here. So lonely inside; so busy out there. And all you wanted, was somebody who cares.

Source: Player Piano (1952), Chapter 9 (p. 86)
Context: "You think I'm insane?" said Finnerty. Apparently he wanted more of a reaction than Paul had given him.
"You're still in touch. I guess that's the test."
"Barely — barely."
"A psychiatrist could help. There's a good man in Albany."
Finnerty shook his head. "He'd pull me back into the center, and I want to stay as close to the edge as I can without going over. Out on the edge you see all kinds of things you can't see from the center." He nodded, "Big, undreamed-of things — the people on the edge see them first."

On making studio recordings
Callas : The Art and the Life (1974)