Elizabeth Costello Quotes

No, Paul, I couldn't care less if you tell me made-up stories. Our lies reveal as much about us as our truths.' (Said to Paul by Elizabeth Costello, the interloping novelist-angel-inner voice).

There is no position outside of reason where you can stand and lecture about reason and pass judgment on reason.

All is allegory... Each creature is key to all other creatures.

She is no longer sure that people are always improved by what they read. Furthermore, she is not sure that writers who venture into the darker territories of the soul always return unscathed.

No consciousness that we would recognize as consciousness. Not awareness, as far as we can make out, of a self with a history. What I mind is what tends to come next. They have no consciousness therefore. Therefore what? Therefore we are free to use them for our own ends Therefore we are free to kill them? Why? What is so special about the form of consciousness that we recognize that makes killing a bearer of it a crime while killing an animal goes unpunished?

...we can pretend that the book in question is not Mr. West’s but mine, made mine by the madness of my reading.

It’s that I no longer know where I am. I seem to move around perfectly easily among people, to have perfectly normal relations with them. Is it possible, I ask myself, that all of them are participants in a crime of stupefying proportions? Am I fantasizing it all? I must be mad! Yet every day I see the evidences. The very people I suspect produce the evidence, exhibit it, offer it to me. Corpses. Fragments of corpses that they have bought for money. It is as if I were to visit friends, and to make some polite remark about the lamp in their living room, and they were to say, “Yes, it’s nice, isn’t it? Polish-Jewish skin it’s made of, we find that’s best, the skins of young Polish-Jewish virgins.” And then I go to the bathroom and the soap wrapper says, “Treblinka – 100% human stereate.” Am I dreaming, I say to myself? What kind of house is this? Yet I’m not dreaming. I look into your eyes, into Norma’s, into the children’s, and I see only kindness, human kindness. Calm down, I tell myself, you are making a mountain out of a molehill. This is life. Everyone else comes to terms with it, why can't you? Why can't you?

Jokes, secrets, complicities; a glance here, a word there: that is their way of being together, of being apart.

The death cry of that hen imprinted itself on the boy’s memory so hauntingly that in 1958 he wrote an impassioned attack on the guillotine. As a result, in part, of that polemic, capital punishment was abolished in France. Who is to say, then, that the hen did not speak?

Lei mi chiede se ho cambiato la mia difesa. Ma io chi sono, chi è questo io, questo lei? Cambiamo ogni giorno, e restiamo anche sempre gli stessi. Non c’è un io, non c’è un lei che sia più fondamentale di qualsiasi altro. Lei potrebbe chiedermi quale sia la Elizabeth Costello più vera: quella che ha fatto la prima dichiarazione o quella che ha fatto la seconda. Rispondo che entrambe sono vere. Entrambe. E nessuna delle due. Io sono un’altra. Perdonatemi se ricorro a parole che non sono miei ma non posso migliorarle. Davanti a voi c’è la persona sbagliata. Credete di avere qui la persona giusta, ma avete quella sbagliata. L’altra Elizabeth Costello.

There is first of all the problem of the opening, namely, how to get us from where we are, which is, as yet, nowhere, to the far bank. It is a simple bridging problem, a problem of knocking together a bridge. People solve such problems every day. They solve them, and having solved them push on. Let us assume that, however it may have been done, it is done. Let us take it that the bridge is built andcrossed, that we can put it out of our mind. We have left behind the territory in which we were. We are inthe far territory; where we want to be.

...she prefers to think in similitudes rather than reason things out...

Orpheus instead of Apollo. The ecastatic instead of the rational. Someone who changes form, changes colour, according to his surroundings. Someone who appeals to women. Because it is women who live closest to the ground. Someone who moves among the people, whom they can touch - put their hand into the side of, feel the wound, smell the blood.

That is not the point of the story, say I, who am, however, in no position to dictate what the point of the story is. There used to be a time, we believe, when we could say who we were. Now we are just performers speaking our parts. The bottom has dropped out. We could think of this as a tragic turn of events, were it not that it is hard to have respect for whatever was the bottom that dropped out - it looks to us like an illusion now, one of those illusions sustained only by the concentrated gaze of everyone in the room. Remove your gaze for but an instant, and the mirror falls to the floor and shatters.

Strange how, as desire relaxes its grip on her body, she sees more and more clearly a universe read by desire. Haven't you read your Newton, she would like to say to the people in the dating agency (would like to say to Nietzsche too if she could get in touch with him)? Desire runs both ways. A pulls B because B pulls A, and vice versa: that is how you go about building a universe. Or if desire is still too rude a word, then what of appetency? Appetency and chance: a powerful duo, more than powerful enough to build a cosmology on, from the atoms and the little things with nonsense names that make up atoms to Alpha Centauri and Cassiopeia and the great dark back of beyond. The gods and ourselves, whirled helplessly around by the winds of chance, yet pulled equally towards each other, towards not only B and C and D but towards X and Y and Z and Omega too. Not the least thing, not the last thing but is called to by love.

Strange how, as desire relaxes its grip on her body, she sees more and more clearly a universe ruled by desire. Haven't you read your Newton, she would like to say to the people in the dating agency (would like to say to Nietzsche too if she could get in touch with him)? Desire runs both ways: A pulls B because B pulls A, and vice versa: that is how you go about building a universe. Or if desire is still too rude a word, then what of appetency? Appetency and chance: a powerful duo, more than powerful enough to build a cosmology on, from the atoms and the little things with nonsense names that make up atoms to Alpha Centauri and Cassiopeia and the great dark back of beyond. The gods and ourselves, whirled helplessly around by the winds of chance, yet pulled equally towards each other, towards not only B and C and D but towards X and Y and Z and Omega too. Not the least thing, not the last thing but is called to by love.

That at least she does not have to invent: this dumb, faithful body that has accompanied her every step of the way, this gentle, lumbering monster that has been given to her to look after, this shadow turned to flesh that stands on two feet like a bear and laves itself continually from the inside with blood. Not only is she in this body, this thing which not in a thousand years could she have dreamed up, so far beyond her powers would it be, she somehow is this body; and all around her on the square, on this beautiful morning, these people, somehow, are their bodies too.

¿Qué es el futuro, al fin y al cabo, más que una estructura de expectativas y esperanzas? Reside en la mente. Carece de realidad.

¿Qué le da derecho a sentir asco por los tópicos cuando el resto del mundo los acepta y vive de acuerdo con ellos?

En esos momentos incluso una criatura insignificante, un perro, una rata, un escarabajo, un manzano raquítico, un camino de carretas que sube una colina, una piedra cubierta de musgo, me importa más que una noche de éxtasis con la amante más hermosa y más entregada

Por supuesto, la razón validará a la razón como principio rector del universo. ¿Qué otra cosa iba a hacer? ¿Destronarse a sí misma?

El pasado es historia, y ¿qué es la historia salvo un relato hecho de aire que nos contamos a nosotros mismos?

La cuestión que le ocupa verdaderamente, igual que ocupa al gato y al ratón y a cualquier otro animal atrapado en el infierno del laboratorio o del zoo es: ¿Dónde está mi casa y cómo llego a ella?

la razón no es más que una enorme tautología.

It’s that I no longer know where I am. I seem to move around perfectly easily among people, to have perfectly normal relations with them. Is it possible, I ask myself, that all of them are participants in a crime of stupefying proportions? Am I fantasizing it all? I must be mad! Yet every day I see the evidences. The very people I suspect produce the evidence, exhibit it, offer it to me. Corpses. Fragments of corpses that they have bought for money.

She shakes him; that is what she presumable does to other readers too. That is, presumably why, in the larger picture, she exists. What a strange reward for a lifetime of shaking people: to be conveyed to this town in Pennsylvania and given money!

It always puzzled him, when he was a child, that a woman who wrote books for a living should be so bad at telling bedtime stories.