A.S. Byatt

“Roland was so used to the pervasive sense of failure that he was unprepared for the blood-rush of success. He breathed differently. The dingy little room humped around in his vision briefly and settled at a different distance, an object of interest, not of choking confinement. He reread his letters. The world opened. […] How true it was that one needed to be seen by others to be sure of one’s own existence. Nothing in what he had written had changed and everything had changed.”

“A man may be in as just possession of truth as of a City, and yet be forced to surrender it - this was the wise saying of Sir Thomas Browne.”

“One of you needs food,' said the Old Woman, 'and three of you need healing.'So the Princess sat down to good soup, and fresh bread, and fruit tart with clotted cream and a mug of sharp cider, and the Old Woman put the creatures on the table, and healed them in her way. Her way was to make them tell the story of their hurts, and as they told, she applied ointments and drops with tiny feathery brushes and little bone pins ...”

“Think of this - that the writer wrote alone, and the reader read alone, and they were alone with each other.”

“Now and then there are readings that make the hairs on the neck, the non-existent pelt, stand on end and tremble, when every word burns and shines hard and clear and infinite and exact, like stones of fire, like points of stars in the dark—readings when the knowledge that we shall know the writing differently or better or satisfactorily, runs ahead of any capacity to say what we know, or how. In these readings, a sense that the text has appeared to be wholly new, never before seen, is followed, almost immediately, by the sense that it was always there, that we the readers, knew it was always there, and have always known it was as it was, though we have now for the first time recognised, become fully cognisant of, our knowledge.”

“Frederica also thought, for she had been there many times, that if this was a beginning, it was the beginning of an ending, that was the way it went.”

“She had had the idea that the mineral world was a world of perfect, inanimate forms, with an unchanging mathematical order of crystals and molecules beneath its sprouts and flows and branches. She had thought, when she started thinking, about her own transfiguration as something profoundly unnatural, a move from a world of warm change and decay to a world of cold permanence.But as she became mineral, and looked into the idea of minerals, she saw that there were reciprocities, both physical and figurative.”

“The minds of stone lovers had colonised stones as lichens clung to them with golden or grey-green florid stains. The human world of stones is caught in organic metaphors like flies in amber. Words came from flesh and hair and plants. Reniform, mammilated, botryoidal, dendrite, haematite. Carnelian is from carnal, from flesh. Serpentine and lizardite are stone reptiles ; phyllite is leafy-green.”

“She thought human thoughts and stone thoughts. The latter were slow, patchily coloured, textured and extreme, both hot and cold. They did not translate into the English language, or into any other she knew: they were things that accumulated, solidly, knocked against each other, heaped and slipped.”

“He always told them the same thing, to begin with. ‘Try to avoid falseness and strain. Write what you really know about. Make it new. Don’t invent melodrama for the sake of it. Don’t try to run, let alone fly, before you can walk with ease.”

“Well, I would hardly say I do write as yet. But I write because I like words. I suppose if I liked stone I might carve. I like words. I like reading. I notice particular words. That sets me off.”

“What is read and understood and contemplated and intellectually grasped is our own, madam, to live and work with. A lifetime's study will not make accessible to us more than a fragment of our own ancestral past, let alone the aeons before our race was formed. But that fragment we must thoroughly possess and hand on. Hoc opus, hic labor est. There is, I am tempted to assert, no easy way, no short cut: we are, in attempting those, like Bunyan's Ignorance who found a path to Hell at the very gate of the City of Heaven.”

“The reading eye must do the work to make them live, and so it did, again and again, never the same life twice, as the artist had intended.”

“He was a compact, clearcut man, with precise features, a lot of very soft black hair, and thoughtful dark brown eyes. He had a look of wariness, which could change when he felt relaxed or happy, which was not often in these difficult days, into a smile of amused friendliness and pleasure which aroused feelings of warmth, and something more, in many women.”

“Outside our small safe place flies mystery.”

“This is where I have always been coming to. Since my time began. And when I go away from here, this will be the mid-point, to which everything ran, before, and from which everything will run. But now, my love, we are here, we are now, and those other times are running elsewhere.”

“[Loki] was beautiful, that was always affirmed, but his beauty was hard to fix or to see, for he was always glimmering, flickering, melting, mixing, he was the shape of a shapeless flame, he was the eddying thread of needle-shapes in the shapeless mass of the waterfall. He was the invisible wind that hurried the clouds in billows and ribbons...He was amused and dangerous, neither good nor evil. Thor was the classroom bully raised to the scale of growling thunder and whipping rain. Odin was Power, was in power. Ungraspable Loki flamed amazement and pleased himself. The gods needed him because he was clever, because he solved problems. When they needed to break bargains they rashly made, mostly with giants, Loki showed them the way out. He was the god of endings. He provided resolutions for stories -- if he chose to. The endings he made often led to more problems. There are no altars to Loki, no standing stones, he had no cult. In myths he was always the third of the trio, Odin, Hodur, Loki. In myths, the most important comes first of three. But in fairy tales, and folklore, where these three gods also play their parts, the rule of three is different; the important player is the third, the *youngest* son, Loki.”

“She was a thinking child, and worked this out. It hurt her, unlike most knowledge, which was strength and pleasure.”

“There are readings—of the same text—that are dutiful, readings that map and dissect, readings that hear a rustling of unheard sounds, that count grey little pronouns for pleasure or instruction and for a time do not hear golden or apples. There are personal readings, which snatch for personal meanings, I am full of love, or disgust, or fear, I scan for love, or disgust, or fear. There are—believe it—impersonal readings—where the mind's eye sees the lines move onwards and the mind's ear hears them sing and sing.Now and then there are readings that make the hairs on the neck, the non-existent pelt, stand on end and tremble, when every word burns and shines hard and clear and infinite and exact, like stones of fire, like points of stars in the dark—readings when the knowledge that we shall know the writing differently or better or satisfactorily, runs ahead of any capacity to say what we know, or how. In these readings, a sense that the text has appeared to be wholly new, never before seen, is followed, almost immediately, by the sense that it was always there, that we the readers knew it was always there, and have always known it was as it was, though we have now for the first time recognised, become fully cognisant of, our knowledge.”

“It is possible for a writer to make, or remake at least, for a reader, the primary pleasures of eating, or drinking, or looking on, or sex. Novels have their obligatory tour-de-force, the green-flecked gold omelette aux fines herbes, melting into buttery formlessness and tasting of summer, or the creamy human haunch, firm and warm, curved back to reveal a hot hollow, a crisping hair or two, the glimpsed sex. They do not habitually elaborate on the equally intense pleasure of reading. There are obvious reasons for this, the most obvious being the regressive nature of the pleasure, a mise-en-abîme even, where words draw attention to the power and delight of words, and so ad infinitum, thus making the imagination experience something papery and dry, narcissistic and yet disagreeably distanced, without the immediacy of sexual moisture or the scented garnet glow of a good burgundy. And yet, natures such as Roland's are at their most alert and heady when reading is violently yet steadily alive. (What an amazing word "heady" is, en passant, suggesting both acute sensuous alertness and its opposite, the pleasure of the brain as opposed to the viscera—though each is implicated in the other, as we know very well, with both, when they are working.)”

“So—I went on, on my own—deeper and deeper into the silent Tunnel of the Ride—not so sure of where I was and yet not anxious either, not concerned about my companions nor even about the nearness of—certain friends. The trees were beech, and the buds, just breaking, fiercely brilliant, and the new, the renewed light on them—intermittent diamond—but the depths were dark, a silent Nave. And no birds sang, or I heard none, no woodpecker tapped, no thrush whistled or hopped. And I listened to the increasing Quiet—and my horse went softly on the beech-mast—which was wet after rain—not crackling, a little sodden, not wet enough to plash. And I had the sensation, common enough, at least to me, that I was moving out of time, that the way, narrow and dark-dappled, stretched away indifferently before and behind, and that I was who I had been and what I would become—all at once, all wound in one—and I moved onward indifferently, since it was all one, whether I came or went, or remained still. Now to me such moments are poetry. [Randolph Henry Ash]”

“Don't you find it rather heavy, to have everything really in front of you – all the people who are going to matter, whom you haven't met yet, all the choices you are going to have to make, everything you might achieve, and all the possible failures – unreal now? The future flaps round my head like a cloud of midges.”

“Ang cute ni Lor!”

“All English stories get bogged down in whether or not the furniture is socially and aesthetically acceptable.”

“Young girls are sad. They like to be; it makes them feel strong.”

“We are a species of animal which is bringing about the end of the world we were born into. Not out of evil or malice, or not mainly, but because of a lopsided mixture of extraordinary cleverness, extraordinary greed, extraordinary proliferation of our own kind, and a biologically built-in short-sightedness.”

“I cannot let you burn me up, nor can I resist you. No mere human can stand in a fire and not be consumed.”

“Part of her wanted simply to sit and stare out of the window, at the lawn, flaky with sodden leaves, and the branches with yellow leaves, or few, or none, she thought, taking pleasure at least in Shakespeare’s rhythm, but also feeling old. She took pleasure, too, in the inert solidity of glass panes and polished furniture and rows of ordered books around her, and the magic trees of life woven in glowing colours on the rugs at her feet.”

“Independent women must expect more of themselves, since neither men nor other more conventionally domesticated women will hope for anything, or expect any result other than utter failure.”

“For my true thoughts have spent more time in your company than in anyone else's, these last two or three months, and where my thoughts are, there am I, in truth".”

“Good writing is always new.”

“Here Carlyle had come, here George Eliot had progressed through the bookshelves. Roland could see her black silk skirts, her velvet trains, sweeping compressed between the Fathers of the Church, and heard her firm foot ring on metal among the German poets.”

“Randolph Henry Ash: “What is it? My dear?”Christabel LaMotte: “Ah, how can we bear it?”Randolph Henry Ash: “Bear what?”Christabel LaMotte: “This. For so short a time. How can we sleep this time away?”Randolph Henry Ash: “We can be quiet together, and pretend – since it is only the beginning – that we have all the time in the world.”Christabel LaMotte: “And every day we shall have less. And then none.”Randolph Henry Ash: “Would you rather, therefore, have had nothing at all?”Christabel LaMotte: “No. This is where I have always been coming to. Since my time began. And when I go away from here, this will be the mid-point, to which everything ran, before, and from which everything will run. But now, my love, we are here, we are now, and those other times are running elsewhere.”

“I worry about anthropomorphism as a form of self-deception. (The Christian religion is an anthropomorphic account of the universe.)”

“Yo soy mi adivinanza. Señor, no pretende usted bondadosamente aliviar ni secuestrar mi soledad. Es una cosa que a las mujeres se nos enseña a temer: oh la torre terrible, oh las zarzas que las circundan; no un nido sociable, sino un calabazo.Pero nos han mentido, sabe usted, en esto como en otras tantas cosas. El calabozo podrá ser severo y amenazador, pero dentro de él estamos muy seguras, dentro de sus confines somos libres de una manera que ustedes, que tienen libertad para correr el mundo, no necesitan imaginar. Ni yo recomiendo imaginarla; pero hágame la justicia de creer que mi soledad es mi tesoro, lo mejor que poseo. No me decido a salir. Si abriera usted la puertecilla, no escaparía; pero ay, cómo canto en mi jaula de oro...”

“We two remake our world by naming it / Together, knowing what words mean for us / And for the other for whom current coin / Is cold speech--but we say, the tree, the pool, / And see the fire in the air, the sun, our sun, / Anybody's sun, the world's sun, but here, now / Particularly our sun....”

“Funny way to spend your life, though, studying another chap's versifying.”

“But now, my dear, we are here, we are now, and those other times are running elsewhere.”

“Once upon a time, when men and women hurtled through the air on metal wings, when they wore webbed feet and walked on the bottom of the sea, learning the speech of whales and the songs of the dolphins, when pearly-fleshed and jewelled apparitions of Texan herdsmen and houris shimmered in the dusk on Nicaraguan hillsides, when folk in Norway and Tasmania in dead of winter could dream of fresh strawberries, dates, guavas and passion fruits and find them spread next morning on their tables, there was a woman who was largely irrelevant, and therefore happy.”

“She devoured stories with rapacious greed, ranks of black marks on white, sorting themselves into mountains and trees, stars, moons and suns, dragons, dwarfs, and forests containing wolves, foxes and the dark.”

“An odd phrase, "by heart," he would add, as though poems were stored in the bloodstream.”

“The world of magic is double, natural, and supernatural. Magic is impossible in a purely materialist world, a purely sceptical world, a world of pure reason. Magic depends on, it makes use of, the body, the body of desire, the libido, or life-force which Sigmund Freud said stirred the primitive cells as the sun heated the stony surface of the earth-cells which, according to him, always had the lazy, deep desire to give up striving, to return to the quiescent state from which they were roused."-The Biographer's Tale”

“...bleached by darkness”

“It is good for a man to invite his ghosts into his warm interior, out of the wild night, into the firelight, out of the howling dark.”

“She leads you on and baffles you,” said Beatrice. “She wants you to know and not to know. She took care to write down that the box was there. And she buried it.”

“That is human nature, that people come after you, willingly enough, provided only that you no longer love or want them.”

“He hesitated. “They were what stayed alive, when I’d been taught and examined everything else.”Maud smiled then. “Exactly. That’s it. What could survive our education.”

“I hit on something I believe when I wrote that I meant to be a Poet and a Poem. It may be that this is the desire of all reading women, as opposed to reading men, who wish to be poets and heroes, but might see the inditing of poetry in our peaceful age, as a sufficiently heroic act. No one wishes a man to be a Poem. That young girl in her muslin was a poem; cousin Ned wrote an execrable sonnet about the chaste sweetness of her face and the intuitive goodness shining in her walk. But now I think -- it might have been better, might it not, to have held on to the desire to be a Poet?”

“He felt changed, but there was no one to tell.”

“Dorothy was in that state human beings passed through at the beginning of a love affair, in which they desire to say anything and everything to the beloved, to the alter ego, before they have learned what the real Other can and can't understand, can and can't accept.”