Angela Carter Quotes

Reading a book is like re-writing it for yourself. You bring to a novel, anything you read, all your experience of the world. You bring your history and you read it in your own terms.

I will tell you what Jeanne was like. She was like a piano in a country where everyone has had their hands cut off.

Cities have sexes: London is a man, Paris a woman, and New York a well-adjusted transsexual.

She herself is a haunted house. She does not possess herself; her ancestors sometimes come and peer out of the windows of her eyes and that is very frightening.

The child's laughter is pure until he first laughs at a clown.

Those are the voices of my brothers, darling; I love the company of wolves.

The tiger will never lie down with the lamb; he acknowledges no pact that is not reciprocal. The lamb must learn to run with the tigers.

I desire therefore I exist.

I think I want to be in love with you but I don't know how.

There is a striking resemblance between the act of love and the ministrations of a torturer.

Anticipation is the greater part of pleasure.

The wolf is carnivore incarnate and he's as cunning as he is ferocious; once he's had a taste of flesh then nothing else will do.

There was a house we all had in common and it was called the past, even though we'd lived in different rooms.

Stars on our door, stars in our eyes, stars exploding in the bits of our brains where the common sense should have been

I am entirely alone. I and my shadow fill the universe.

Out of the frying pan into the fire! What is marriage but prostitution to one man instead of many? No different!

We must all make do with the rags of love we find flapping on the scarecrow of humanity.

His wedding gift, clasped round my throat. A choker of rubies, two inches wide, like an extraordinarily precious slit throat.

Love is desire sustained by unfulfilment.

Is not this world an illusion? And yet it fools everybody.

When I saw him look at me with lust, I dropped my eyes but, in glancing away from him, I caught sight of myself in the mirror. And I saw myself, suddenly, as he saw me, my pale face, the way the muscles in my neck stuck out like thin wire. I saw how much that cruel necklace became me. And, for the first time in my innocent and confined life, I sensed in myself a potentiality for corruption that took my breath away.

Hope for the best, expect the worst.

Like the wild beasts, she lives without a future. She inhabits only the present tense, a fugue of the continuous, a world of sensual immediacy as without hope as it is without despair.

The invisible is only another unexplored country, a brave new world.

Comedy is tragedy that happens to other people.

To be the object of desire is to be defined in the passive case. To exist in the passive case is to die in the passive case – that is, to be killed. This is the moral of the fairy tale about the perfect woman.

A free woman in an unfree society will be a monster.

They will be like shadows, they will be like wraiths, gray members of a congregation of nightmare; hark! his long wavering howl . . . an aria of fear made audible. The wolfsong is the sound of the rending you will suffer, in itself a murdering.

It is far easier for a woman to lead a blameless life than it is for a man; all she has to do is to avoid sexual intercourse like the plague.

Before he can become a wolf, the lycanthrope strips naked. If you spy a naked man among the pines, you must run as if the Devil were after you.

Our fingernails match our toenails, match our lipstick match our rouge...The habit of applying warpaint outlasts the battle.

I see her as a series of marvellous shapes formed at random in the kaleidoscope of desire.

She herself is a haunted house. She does not possess herself; her ancestors sometimes come and peer out of the windows of her eyes and that is very frightening. She has the mysterious solitude of ambiguous states; she hovers in a no-man’s land between life and death, sleeping and waking.

I had the brief notion that his heart, pressed flat as a flower, crimson and thin as tissue paper, lay in this file. It was a very thin one.

The girl burst out laughing; she knew she was nobody's meat.

She stands and moves within the invisible pentacle of her own virginity. She is an unbroken egg: she is a sealed vessel; she has inside her a magic space the entrance to which is shut tight with a plug of membrane; she is a closed system; she does not know how to shiver.

Her beauty is a symptom of her disorder, of her soullessness.

The clown may be the source of mirth, but - who shall make the clown laugh?

I will vanish in the morning light; I was only an invention of darkness.

She stood lost in eternity... watching the immense sky...

One beast and only one howls in the woods by night.

For most of human history, 'literature,' both fiction and poetry, has been narrated, not written — heard, not read. So fairy tales, folk tales, stories from the oral tradition, are all of them the most vital connection we have with the imaginations of the ordinary men and women whose labor created our world.

And from the coffin of your madness there is no escape.

For hours, for days, for years, she had wandered endlessly within herself but never met anybody, nobody.

They were connoisseurs of boredom. They savoured the various bouquets of the subtly differentiated boredoms which rose from the long, wasted hours at the dead end of night.

And each stroke of his tongue ripped off skin after successive skin, all the skins of a life in the world, and left behind a nascent patina of shining hairs. My earrings turned back to water and trickled down my shoulders; I shrugged the drops off my beautiful fur.

He was a lovely man in many ways. But he kept on insisting on forgiving me when there was nothing to forgive.

Amongst the monsters, I am well hidden; who looks for a leaf in a forest?

For all cats have this particularity, each and every one, from the meanest alley sneaker to the proudest, whitest she that ever graced a pontiff's pillow — we have our smiles, as it were, painted on. Those small, cool, quite Mona Lisa smiles that smile we must, no matter whether it's been fun or it's been not. So all cats have a politician's air; we smile and smile and so they think we're villains

Your thin white face, chérie; he said, as if he saw it for the first time. Your thin white face, with its promise of debauchery only a connoisseur could detect.

Language is power, life and the instrument of culture, the instrument of domination and liberation.

ordered me a sky from a florist

What would the daughters of the rich do with themselves if the poor ceased to exist?

She was feeling supernatural tonight. She wanted to EAT diamonds.

Okay, I write overblown, purple, self-indulgent prose. So fucking what?

This lack of imagination gives his heroism to the hero.

At the best of times, spring hurts depressives.

I would really like to have had the guts and the energy and so on to be able to write about, you know, people having battles with the DHSS. But I...I haven't. They're dull things. I mean, I'm an arty person. OK, I write overblown, purple, self-indulgent prose. So fucking what?

Reason cannot produce the poetry disorder does.

Despair is the constant companion of the clown.

To ride a bicycle is in itself some protection against superstitious fears, since the bicycle is the product of pure reason applied to motion. Geometry at the service of man! Give me two spheres and a straight line and I will show you how far I can take them. Voltaire himself might have invented the bicycle, since it contributes so much to man’s welfare and nothing at all to his bane. Beneficial to the health, it emits no harmful fumes and permits only the most decorous speeds. How can a bicycle ever be an implement of harm?

She is so beautiful she is unnatural; her beauty is an abnormality, a deformity, for none of her features exhibit any of those touching imperfections that reconcile us to the imperfection of the human condition.

I clung to him as though only the one who had inflicted the pain could comfort me for suffering it.

We keep the wolves outside by living well.

See! sweet and sound she sleeps in granny's bed, between the paws of the tender wolf.

His touch both consoles and devastates me; I feel my heart pulse, then wither, naked as a stone on the roaring mattress while the lovely, moony night slides through the window to dapple the flanks of this innocent who makes cages to keep the sweet birds in. Eat me, drink me; thirsty, cankered, goblin-ridden, I go back and back to him to have his fingers strip the tattered skin away and clothe me in his dress of water, this garment that drenches me, its slithering odour, its capacity for drowning.

If women allow themselves to be consoled for their culturally determined lack of access to the modes of intellectual debate by the invocation of hypothetical great goddesses, they are simply flattering themselves into submission (a technique often used on them by men). All the mythic versions of women, from the myth of the redeeming purity of the virgin to that of the healing, reconciliatory mother, are consolatory nonsenses; and consolatory nonsense seems to me a fair definition of myth, anyway. Mother goddesses are just as silly a notion as father gods. If a revival of the myths gives women emotional satisfaction, it does so at the price of obscuring the real conditions of life. This is why they were invented in the first place.

I don't begrudge you my company, my darling. We must all make do with what rags of love we find flapping on the scarecrow of humanity.

His main principles were indeed as follows: everything it is possible to imagine can also exist.

Some cities are women and must be loved; others are men and can only be admired or bargained with

A mother is always a mother, since a mother is a biological fact, whilst a father is a movable feast.

And it was sad music fit to make you cut your throat.

Losing their names, these things underwent a process of uncreation.

I shall take two huge handfuls of his rustling hair as he lies half dreaming, half waking, and wind them into ropes, very softly, so he will not wake up, and, softly, with hands as gentle as rain, I shall strangle him with them.

I have sharp teeth inside my mouth, Inside my dark red lips, And lacquer slickly hides the claws In my red fingertips. So I conceal my armoury. Yours is all on view. You think you are possessing me- But I've got my teeth in you.

How far does a pretence of feeling, maintained with absolute conviction, become authentic?

Moonlight, white satin, roses. A bride.

You were the living image of the entire Platonic shadow show, an illusion that could fill my emptiness with marvellous, imaginary things as long as, just as long as, the movie lasted, and then all would all vanish.

Then she broke down and cried onto the flowery wrapping paper. Melanie put her arms around the poor, thin body. What is Aunt Margaret made of? Birdbones and tissue paper. spun glass and straw.

The questions that I ask myself, I think they're very much to do with reality. I would really like to have had the guts and the energy and so on to be able to write about, you know, people having battles with the DHSS. But I...I haven't. They're dull things. I mean, I'm an arty person. OK, I write overblown, purple, self-indulgent prose. So fucking what?

She has the mysterious solitude of ambiguous states; she hovers in a no-man’s land between life and death, sleeping and waking.

I drew the curtains to conceal the sight of my father's farewell; my spite was sharp as broken glass.

Do you not feel’, said the Doctor in his very soft but still crisp-edged voice, ‘that invisible presences have more reality than visible ones? They exert more influence upon us. They make us cry more easily.

Sad; so sad, those smoky-rose, smoky-mauve evenings of late autumn, sad enough to pierce the heart. The sun departs the sky in winding sheets of gaudy cloud; anguish enters the city, a sense of the bitterest regret, a nostalgia for things we never knew, anguish of the turn of the year, the time of impotent yearning, the inconsolable season.

One day, Annabel saw the sun and moon in the sky at the same time. The sight filled her with a terror which entirely consumed her and did not leave her until the night closed in catastrophe for she had no instinct for self-preservation if she was confronted by ambiguities.

There is a vast melancholy in the canticles of the wolves, melancholy infinite as the forest, endless as these long nights of winter and yet that ghastly sadness, that mourning for their own, irremediable appetites, can never move the heart for not one phrase in it hints at the possibility of redemption.

Her voice is filled with distant sonorities, like reverberations in a cave: now you are at the place of annihilation, now you are at the place of annihilation. And she is herself a cave full of echoes, she is a system of repetitions, she is a closed circuit.

Your green eye is a reducing chamber. If I look into it long enough, I wil become as small as my own reflection, I will diminish to a point and vanish. I will be drawn down into that black whirlpool and be consumed by you. I shall become so small you can keep me in one of your osier cages and mock my loss of liberty.

And, ah! his castle. The faery solitude of the place, with its turrets of mistly blue, its courtyard, its spiked gate, his castle that lay on the very bosom of the sea with seabirds mewing about its attics, the casements opening onto the green and purple, evanescent departures of the ocean, cut off by the tide from land for half a day . . . that castle, at home neither on the land nor on the water, a mysterious, amphibious place, contravening the materiality of both earth and waves, with the melancholy of a mermaiden who perches on her rocks and waits, endlessly, for a lover who had drowned far away, long ago. That lovely, sad, sea-siren of a place.

She sleeps. And now she wakes each day a little less. And, each day, takes less and less nourishment, as if grudging the least moment of wakefulness, for, from the movement under her eyelids, and the somnolent gestures of her hands and feet, it seems as if her dreams grow more urgent and intense, as if the life she lives in the closed world of dreams is now about to possess her utterly, as if her small, increasingly reluctant wakenings were an interpretation of some more vital existence, so she is loath to spend even those necessary moments of wakefulness with us, wakings strange as her sleepings. Her marvellous fate - a sleep more lifelike than the living, a dream which consumes the world. 'And, sir,' concluded Fevvers, in a voice that now took on the sombre, majestic tones of a great organ, 'we do believe . . . her dream will be the coming century. 'And, oh, God . . . how frequently she weeps!

So I suppose I do not know how he really looked, and, in fact, I suppose I shall never know, now, for he was plainly an object created in the mode of fantasy. His image was already present somewhere in my head and I was seeking to discover it in actuality, looking at every face I met in case it was the right face - that is, the face which corresponded to my notion of the unseen face of the one I should love, a face created parthenogeneticallyby the rage to love which consumed me.

...in their millenial and long-lived patience they knew quite well how, in a hundred years, or a thousand years' time, or else, perhaps, tomorrow, in an hour's time, for it was all a gamble, a million to one chance, but all the same there was a chance that if they kept on shaking their chains, one day, some day, the clasps upon the shackles would part.

Memory is the grid of meaning we impose on the random and bewildering flux of the world. Memory is the line we pay out behind us as we travel through time--it is the clue, like Ariadne's, which means we do not lose our way. Memory is the lasso with which we capture the past and haul it from chaos towards us in nicely ordered sequences, like those of baroque keyboard music.

His contagious conviction that our love was unique and desperate infected me with an anxious sickness; soon we would learn to treat one another with the circumspect tenderness of comrades who are amputees, for we were surrounded by the most moving images of evanesecence, fireworks, morning glories, the old, children. But the most moving of these images were the intagible relfections of ourselves we saw in one another's eyes, reflections of nothing but appearances, in a city dedicated to seeming, and, try as we might to possess the essence of each other's otherness, we would inevitably fail.

Outside the window, there slides past that unimaginable and deserted vastness where night is coming on, the sun declining in ghastly blood-streaked splendour like a public execution across, it would seem, half a continent, where live only bears and shooting stars and the wolves who lap congealing ice from water that holds within it the entire sky. All white with snow as if under dustsheets, as if laid away eternally as soon as brought back from the shop, never to be used or touched. Horrors! And, as on a cyclorama, this unnatural spectacle rolls past at twenty-odd miles an hour in a tidy frame of lace curtains only a little the worse for soot and drapes of a heavy velvet of dark, dusty blue.

Wearing an antique bridal gown, the beautiful queen of the vampires sits all alone in her dark, high house under the eyes of the portraits of her demented and atrocious ancestors, each one of whom, through her, projects a baleful posthumous existence; she counts out the Tarot cards, ceaselessly construing a constellation of possibilities as if the random fall of the cards on the red plush tablecloth before her could precipitate her from her chill, shuttered room into a country of perpetual summer and obliterate the perennial sadness of a girl who is both death and the maiden.

He strips me to my last nakedness, that underskin of mauve, pearlized satin, like a skinned rabbit; then dresses me again in an embrace so lucid and encompassing it might be made of water. And shakes over me dead leaves as if into the stream I have become. Sometimes the birds, at random, all singing, strike a chord. His skin covers me entirely; we are like two halves of a seed, enclosed in the same integument. I should like to grow enormously small, so that you could swallow me, like those queens in fairy tales who conceive when they swallow a grain of corn or a sesame seed. Then I could lodge inside your body and you would bear me.

What do you see when you see me?' She asked him, burying her own face in his bosom. 'Do you want the truth?' She nodded. 'The firing squad.' 'That's not the whole truth. Try again.' 'Insatiability,' he said with some bitterness. 'That's oblique but altogether too simple. Once more,' she insisted. 'One more time.' He was silent for several minutes. 'The map of a country in which I only exist by virtue of the extravagance of my metaphors.' 'Now you're being too sophisticated. And, besides, what metaphors do we have in common?

Do not think I do not realise what I am doing. I am making a composition using the following elements: the winter beach; the winter moon; the ocean; the women; the pine trees; the riders; the driftwood; the shells; the shapes of darkness and the shapes of water; and the refuse. These are all inimical to my loneliness because of their indifference to it. Out of these pieces of inimical indifference, I intend to represent the desolate smile of winter which, as you must have gathered, is the smile I wear.

The lucidity, the clarity of light that afternoon was sufficient to itself; perfect transparency must be impenetrable, these vertical bars of brass-coloured distillation of light coming down from sulphur-yellow interstices in a sky hunkered with grey clouds that bulge with more rain. It struck the wood with nicotine-stained fingers, the leaves glittered. A cold day of late October, when the withered blackberries dangled like their own dour spooks on the discoloured brambles. There were crisp husks of beechmast and cast acorn cups underfoot in the russet slime of the dead bracken where the rains of the equinox had so soaked the earth that the cold oozed up through the soles of the shoes, lancinating cold of the approaching winter that grips hold of your belly and squeezed it tight. Now the stark elders have an anorexic look; there is not much in the autumn wood to make you smile but it is not yet, not quite yet, the saddest time of the year. Only, there is a haunting sense of the imminent cessation of being; the year, in turning, turns in on itself. Introspective weather, a sickroom hush.