Happy birthday, Anne Carson! 69, today! Here are some quotes from her writing.
“It is the task of a lifetime. You can never know enough, never work enough, never use the infinitives and participles oddly enough, never impede the movement harshly enough, never leave the mind quickly enough.”
“Beauty makes me hopeless. I don’t care why anymore I just want to get away. When I look at the city of Paris I long to wrap my legs around it. When I watch you dancing there is a heartless immensity like a sailor in a dead-calm sea. Desires as round as peaches bloom in me all night, I no longer gather what falls.”
“What is a quote? A quote (cognate with quota) is a cut, a section, a slice of someone else’s orange. You suck the slice, toss the rind, skate away. Part of what you enjoy in a documentary technique is the sense of banditry. To loot someone else’s life or sentences and make off with a point of view, which is called ‘objective’ because you can make anything into an object by treating it this way, is exciting and dangerous.”
“Novels institutionalize the ruse of eros. It becomes a narrative texture of sustained incongruence, emotional and cognitive. It permits the reader to stand in triangular relation to the characters in the story and reach into the text after the objects of their desire, sharing their longing but also detached from it, seeing their view of reality but also its mistakenness. It is almost like being in love.”
“A thinking mind is not swallowed up by what it comes to know. It reaches out to grasp something related to itself and to its present knowledge (and so knowable in some degree) but also separate from itself and from its present knowledge (not identical with these). In any act of thinking, the mind must reach across this space between known and unknown, linking one to the other but also keeping visible their difference. It is an erotic space.”
“The words we read and words we write never say exactly what we mean. The people we love are never just as we desire them. The two symbola never perfectly match. Eros is in between.”
“To feel anything
deranges you. To be seen
feeling anything strips you
naked. In the grip of it
pleasure or pain doesn’t
matter. You think what
will they do what new
power will they acquire if
they see me naked like
this. If they see you
feeling. You have no idea
what. It’s not about them.
To be seen is the penalty.”
“To be running breathlessly, but not yet arrived, is itself delightful, a suspended moment of living hope.”
“What would it be like
to live in a library
of melted books.
With sentences streaming over the floor
and all the punctuation
settled to the bottom as a residue.
It would be confusing.
Unforgivable.
A great adventure.”
—from “Wildly Constant”
“Humans in love are terrible. You see them come hungering at one another like prehistoric wolves, you see something struggling for life in between them like a root or a soul and it flares for a moment, then they smash it. The difference between them smashes the bones out. So delicate the bones.”
“Words bounce. Words, if you let them, will do what they want to do and what they have to do. […] What is an adjective? Nouns name the world. Verbs activate the names. Adjectives come from somewhere else. […] Adjectives seem fairly innocent additions but look again. These small imported mechanisms are in charge of attaching everything in the world to its place in particularity. They are the latches of being.”
John Madera's fiction may be found in Conjunctions, Opium Magazine, The &Now Awards 2: The Best Innovative Writing, and many other journals. His criticism may be found in American Book Review, Bookforum, The Review of Contemporary Fiction, Rain Taxi: Review of Books, The Believer, The Brooklyn Rail, and many other venues. Recipient of an M.F.A. in Literary Arts from Brown University, John Madera lives in New York City, where he runs Rhizomatic and manages and edits Big Other.
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