When an elephant saved Sally Henderson's life in Botswana, it was to change her irrevocably. A passion to conserve this majestic species was ignited, and in 1990 she left Australia to join an elephant research project in the wilds of Zimbabwe.What follows is a remarkable journey into the world of Africa's elephants, and a deeply personal memoir of one woman's awakening and the choices she makes to follow her calling.Sally paints a rare and unforgettable portrait of a herd and its matriarchs, and the perils they face in an unforgiving landscape further torn apart by civil strife. But it is the daily pleasures of being in their mighty presence that gives her story its countless wonders.Beautifully written, Silent Footsteps is a love letter to the spirit of Africa and a jubilant portrayal of the lives of elephants.
Turned down by all the major film companies, The Quiet Man brought together John Wayne and Maureen O'Hara for only the second time on screen, won two Oscars and was showered with both critical and popular praise on both sides of the Atlantic. Even today, its worldwide video and DVD sales are quite outstanding. The Quiet Man is rightly hailed as a Hollywood classic. Set in the 1920s and shot in the 1950s, the timeless, fairy-tale character of director John Ford's Ireland is as captivating now as it ever was. Gerry McNee first saw the movie when he was very young and it has intrigued him ever since. In the Footsteps of the Quiet Man is a tribute to the film and all those involved in its making, for the story behind the story, the off-screen drama, is a fascinating tale in itself. McNee has researched his subject thoroughly and conducted countless interviews to produce a stimulating and compulsive homage to what critic and author Andrew Sarris called 'a retreat into the pastoral and horse-driven past [but] very much ahead of its time'. In the Footsteps of the Quiet Man is a revealing and touching account of when Hollywood came to beautiful Connemara in the West of Ireland. It is a fitting tribute to the film and all those involved in its making, as the story behind the film - the off-screen drama - is an enthralling tale in itself.
George Dane had waked up to a bright new day, the face of nature well washed by last night's downpour and shining as with high spirits, good resolutions, lively intentions—the great glare of recommencement, in short, fixed in his patch of sky. He had sat up late to finish work—arrears overwhelming; then at last had gone to bed with the pile but little reduced. He was now to return to it after the pause of the night; but he could only look at it, for the time, over the bristling hedge of letters planted by the early postman an hour before and already, on the customary table by the chimney-piece, formally rounded and squared by his systematic servant. It was something too merciless, the domestic perfection of Brown. There were newspapers on another table, ranged with the same rigour of custom, newspapers too many—what could any creature want of so much news?—and each with its hand on the neck of the other, so that the row of their bodiless heads was like a series of decapitations. Other journals, other periodicals of every sort, folded and in wrappers, made a huddled mound that had been growing for several days and of which he had been wearily, helplessly aware. There were new books, also in wrappers as well as disenveloped and dropped again—books from publishers, books from authors, boeks from friends, books from enemies, books from his own bookseller, who took, it sometimes struck him, inconceivable things for granted. He touched nothing, approached nothing, only turned a heavy eye over the work, as it were, of the night—the fact, in his high, wide-windowed room, where the hard light of duty could penetrate every corner, of the unashamed admonition of the day. It was the old rising tide, and it rose and rose even under a minute's watching. It had been up to his shoulders last night—it was up to his chin now. Nothing had passed while he slept—everything had stayed; nothing, that he could yet feel, had died—many things had been born. To let them alone, these things, the new things, let them utterly alone and see if that, by chance, wouldn't somehow prove the best way to deal with them: this fancy brushed his face for a moment as a possible solution, just giving it, as many a time before, a cool wave of air. Then he knew again as well as ever that leaving was difficult, leaving impossible—that the only remedy, the true, soft, effacing sponge, would be to be left, to be forgotten. There was no footing on which a man who had ever liked life—liked it, at any rate, as he had—could now escape from it. He must reap as he had sown. It was a thing of meshes; he had simply gone to sleep under the net and had simply waked up there. The net was too fine; the cords crossed each other at spots so near together, making at each a little tight, hard knot that tired fingers, this morning, were too limp and too tender to touch. Our poor friend's touched nothing—only stole significantly into his pockets as he wandered over to the window and faintly gasped at the energy of nature. What was most overwhelming was that she herself was so ready. She had soothed him rather, the night before, in the small hours by the lamp. From behind the drawn curtain of his study the rain had been audible and in a manner merciful; washing the window in a steady flood, it had seemed the right thing, the retarding, interrupting thing, the thing that, if it would only last, might clear the ground by floating out to a boundless sea the innumerable objects among which his feet stumbled and strayed. He had positively laid down his pen as on a sense of friendly pressure from it. The kind, full swash had been on the glass when he turned out his lamp, he had left his phrase unfinished and his papers lying quite as if for the flood to bear them away on its bosom. But there still, on the table, were the bare bones of the sentence—and not all of those; the single thing borne away and that he could never recover was the missing half that might have paired with it and begotten a figure.
