
Source: Jean-Francois Millet – Peasant and Painter, 1881, p. 46-49
Preface to the 1984 edition
Arabian Sands (1959)
Source: Jean-Francois Millet – Peasant and Painter, 1881, p. 46-49
“part memory part distance remaining
mine in the ways that I learn to miss you”
Source: The Shadow of Sirius
Source: Memoirs (1885), Chapter III, pp. 128–130
Source: Between Caesar and Jesus (1899), p. 22
"The Argentine Writer and Tradition", Fervor of Buenos Aires (1923)
Context: Some days past I have found a curious confirmation of the fact that what is truly native can and often does dispense with local color; I found this confirmation in Gibbon's Decline and Fall of the Roman Empire. Gibbon observes that in the Arabian book par excellence, in the Koran, there are no camels; I believe if there were any doubt as to the authenticity of the Koran, this absence of camels would be sufficient to prove it is an Arabian work. It was written by Mohammed, and Mohammed, as an Arab, had no reason to know that camels were especially Arabian; for him they were part of reality, he had no reason to emphasize them; on the other hand, the first thing a falsifier, a tourist, an Arab nationalist would do is have a surfeit of camels, caravans of camels, on every page; but Mohammed, as an Arab, was unconcerned: he knew he could be an Arab without camels. I think we Argentines can emulate Mohammed, can believe in the possibility of being Argentine without abounding in local color.
page 439
Last line of the documentary film " John Muir in the New World http://www.pbs.org/wnet/americanmasters/episodes/john-muir-in-the-new-world/watch-the-full-documentary-film/1823/" (American Masters), produced, directed, and written by Catherine Tatge.
John of the Mountains, 1938
Source: John of the Mountains: The Unpublished Journals of John Muir