Anne Carson > Quotes

“Why does tragedy exist? Because you are full of rage. Why are you full of rage? Because you are full of grief.”
― Anne Carson, Grief Lessons: Four Plays

“Words bounce. Words, if you let them, will do what they want to do and what they have to do.”
― Anne Carson, Autobiography of Red

“When I desire you a part of me is gone...”
― Anne Carson

“Could you visit me in dreams? That would cheer me.
Sweet to see friends in the night, however short the time.”
― Anne Carson, Grief Lessons: Four Plays

“Under the seams runs the pain.”
― Anne Carson, Autobiography of Red

“Here we go mother on the shipless ocean.
Pity us, pity the ocean, here we go.”
― Anne Carson, Decreation

“Desire is no light thing.”
― Anne Carson, Autobiography of Red

“What is a quote? A quote (cognate with quota) is a cut, a section, a slice of someone's orange. You suck the slice, toss the rind, skate away.”
― Anne Carson, Decreation

“Each night about this time he puts on sadness like a garment and goes on writing.”
― Anne Carson

“Then a miracle occurred in the form of a plate of sandwiches.
Geryon took three and buried his mouth in a delicious block of white bread filled with tomatoes and butter and salt.
He thought about how delicious it was, how he liked slippery foods, how slipperiness can be of different kinds.
I am a philosopher of sandwiches, he decided. Things good on the inside.”
― Anne Carson, Autobiography of Red

“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.”
― Anne Carson

“Philosophers say man forms himself in dialogue.”
― Anne Carson, The Beauty of the Husband: A Fictional Essay in 29 Tangos

“Love is a good place to situate our distrust of fake women.”
― Anne Carson

“Men know almost nothing about desire, they think it has to do with sexual activity or can be discharged that way. But sex is a substitute, like money or language. Sometimes I just want to stop seeing.”
― Anne Carson

“You can get used to eating breakfast with a man in a fedora. You can get used to anything, my mother was in the habit of saying.”
― Anne Carson, Plainwater: Essays and Poetry

“A man moves through time. It means nothing except that, like a harpoon, once thrown he will arrive.”
― Anne Carson, Autobiography of Red

“When they made love
Geryon liked to touch in slow succession each of the bones of Herakles' back
as it arched away from him into who knows what dark dream of its own, running both hands all the way down
from the base of the neck
to the end of the spine which he can cause to shiver like a root in the rain.”
― Anne Carson, Autobiography of Red

“Small, red, and upright he waited,
gripping his new bookbag tight
in one hand and touching a lucky penny inside his coat pocket with the other,
while the first snows of winter
floated down on his eyelashes and covered the branches around him and silenced
all trace of the world.”
― Anne Carson, Autobiography of Red

“caught between the tongue and the taste”
― Anne Carson

“[Short Talk on Sylvia Plath] Did you see her mother on television? She said plain, burned things. She said I thought it an excellent poem but it hurt me. She did not say jungle fear. She did not say jungle hatred wild jungle weeping chop it back chop it. She said self-government she said end of the road. She did not say humming in the middle of the air what you came for chop.”
― Anne Carson

“I used to think when I was younger and writing that each idea had a certain shape and when I started to study Greek and I found the word morphe it was for me just the right word for that, unlike the word shape in English which falls a bit short morphe in greek means the sort of plastic contours that an idea has inside your all your senses when you grasp it the first moment and it always seemed to me that a work should play out that same contour in its form. So I can’t start writing something down til I get a sense of that, that morphe. And then it unfolds, I wouldn’t say naturally, but it unfolds gropingly by keeping only to the contours of that form whatever it is.”
― Anne Carson

“That night we made love "the real way" which we had not yet attempted
although married six months.
Big mystery. No one knew where to put their leg and to this day I'm not sure
we got it right.
He seemed happy. You're like Venice he said beautifully.
Early next day
I wrote a short talk ("On Defloration") which he stole and had published
in a small quarterly magazine.
Overall this was a characteristic interaction between us.
Or should I say ideal.
Neither of us had ever seen Venice.”
― Anne Carson

“THE PRESOCRATIC PROBLEM

[all snap flags]
Parmenides named his gun The Hot Power of the Stars. His gun was one, uncreated, imperishable, timeless, changeless, perfect, spherical. Spherical was the problem.”
― Anne Carson, Decreation

“You used to say. "Desire doubled is love and love doubled is madness."
Madness doubled is marriage
I added
when the caustic was cool, not intending to produce
a golden rule.”
― Anne Carson, The Beauty of the Husband: A Fictional Essay in 29 Tangos

“Come here, let me share a bit of wisdom with you.
Have you given much thought to our mortal condition?
Probably not. Why would you? Well, listen.
All mortals owe a debt to death.
There's no one alive
who can say if he will be tomorrow.
Our fate moves invisibly! A mystery.
No one can teach it, no one can grasp it.
Accept this! Cheer up! Have a drink!
But don't forget Aphrodite--that's one sweet goddess.
You can let the rest go. Am I making sense?
I think so. How about a drink.
Put on a garland. I'm sure
the happy splash of wine will cure your mood.
We're all mortal you know. Think mortal.
Because my theory is, there's no such thing as life,
it's just catastrophe.”
― Anne Carson, Grief Lessons: Four Plays

“Eros is an issue of boundaries. He exists because certain boundaries do. In the interval between reach and grasp, between glance and counterglance, between ‘I love you’ and ‘I love you too,’ the absent presence of desire comes alive. But the boundaries of time and glance and I love you are only aftershocks of the main, inevitable boundary that creates Eros: the boundary of flesh and self between you and me. And it is only, suddenly, at the moment when I would dissolve that boundary, I realize I never can.”
― Anne Carson, Eros the Bittersweet

“Now every mortal has pain
and sweat is constant,
but if there is anything dearer than being alive,
it's dark to me.
We humans seem disastrously in love with this thing
(whatever it is) that glitters on the earth--
we call it life. We know no other.
The underworld's a blank
and all the rest just fantasy.”
― Anne Carson, Grief Lessons: Four Plays

“Lava bread makes you passionate.”
― Anne Carson, Autobiography of Red

“What is an adjective? Nouns name the world. Verbs activate the names. Adjectives come from somewhere else. The word adjective (epitheton in Greek) is itself an adjective meaning 'placed on top', 'added', 'appended', 'foreign'. 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.”
― Anne Carson

“[Short Talk on the Sensation of Airplane Takeoff] Well you know I wonder, it could be love running toward my life with its arms up yelling let’s buy it what a bargain!”
― Anne Carson, Short Talks

“Time isn't made of anything. It is an abstraction. Just a meaning that we impose upon motion.”
― Anne Carson

“DEATH
. . .
And now you are here to fight for this woman.
You know her promise is given.
She has to die or her husband won't go free.

APOLLO
Relax, I'm not breaking any laws.

DEATH
Why the bow, if you're breaking no laws?

APOLLO
I always carry a bow, it's my trademark.”
― Anne Carson, Grief Lessons: Four Plays

“Prowling the meanings of a word, prowling the history of a person, no use expecting a flood of light. Human words have no main switch. But all those little kidnaps in the dark. And then the luminous, big, shivering, discandied, unrepentant, barking web of them that hangs in your mind when you turn back to the page you were trying to translate...”
― Anne Carson, Nox

“A refugee population is hungry for language and aware that anything can happen.”
― Anne Carson, Autobiography of Red

“All myth is an enriched pattern,
a two-faced proposition,
allowing its operator to say one thing and mean another, to lead a double life.
Hence the notion found early in ancient thought that all poets are liars.
And from the true lies of poetry
trickled out a question.

What really connects words and things?”
― Anne Carson, The Beauty of the Husband: A Fictional Essay in 29 Tangos

“M: Is he smart
I: She yes very smart sees right through me
M: In my day we valued blindness rather more”
― Anne Carson, Plainwater: Essays and Poetry

“He was trying to fit this Herakles onto the one he knew.”
― Anne Carson, Autobiography of Red

“The fact that Anna is somewhere
having coffee or a dream
is an assault on me.
I hate these moments of poverty.
What does man eat? ask the phenomenologists.
Like the dogs, names,
down there,
starving.”
― Anne Carson, Plainwater: Essays and Poetry

“He had a respect for facts maybe this was one.”
― Anne Carson, Autobiography of Red

“The beloved's innocence
brutalizes the lover.
As the singing of a mad person
behind you on the train
enrages you,
its beautiful
animal-like teeth
shining amid black planes
of paint.
As Helen
enrages history.

Senza uscita.”
― Anne Carson, Plainwater: Essays and Poetry

“Repression speaks about sex better than any other form of discourse / or so the modern experts maintain. How do people / get power over one another? is an algebraic question”
― Anne Carson, The Beauty of the Husband: A Fictional Essay in 29 Tangos

“The man has a theory. The woman has hipbones. Here comes Death.”
― Anne Carson

“To be running breathlessly, but not yet arrived, is itself delightful, a suspended moment of living hope.”
― Anne Carson

“...And tonight—Geryon? You okay?
Yes fine, I'm listening. Tonight—?
Why do you have your jacket over your head?
. . . . . . . . . . . . . . . . . . .
Can't hear you Geryon. The jacket shifted. Geryon peered out. I said sometimes
I need a little privacy.”
― Anne Carson, Autobiography of Red

“Who does not end up a female impersonator?”
― Anne Carson

“let's do something cheerful
all your designs are about captivity, it depresses me.
Geryon watched the top of Herakles' head
and felt his limits returning. Nothing to say. He looked at this fact
in mild surprise. Once in childhood
his ice cream had been eaten by a dog. Just an empty con
in a small dramatic red fist.
Herakles stood up. No? Let's go then. On the way home they tried "Joy To The World"
but were too tired. It seemed a long drive.”
― Anne Carson

“M: ... but everytime I start in everytime I everytime you see I would have to tell the whole story all over again or else lie so I lie I just lie who are they who are the storytellers who can put an end to stories”
― Anne Carson, Plainwater: Essays and Poetry

“fr. 2
All We as Leaves
He (following Homer) compares man's life with the leaves.
All we as leaves in the shock of it:
spring-
one dull gold bounce and you're there.
You see the sun? - I built that.
As a lad. The Fates lashing their tails in a corner.
But (let me think) wasn't it a hotel in Chicago where I had the first of those - my body walking out of the room
bent on some deadly errand
and me up on the ceiling just sort of fading out-
brainsex paintings I used to call them?
In the days when I (so to speak) painted.
Remember
that oddly wonderful chocolate we got in East
(as it was then) Berlin?”
― Anne Carson, Plainwater: Essays and Poetry

“Three old women were bending in the fields. What use is it to question us? they said. Well it shortly became clear that they knew everything there is to know about the snowy fields and the blue green shoots and the plant called "audacity", which poets mistake for violets. I began to copy out everything that was said. ... I will do anything to escape boredom. 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.”
― Anne Carson, Plainwater: Essays and Poetry

“Town of the Dragon Vein

If you wake up too early listen for it.
A sort of inverted whistling the sound of sound.
Being withdrawn after all where?
From mountains but.
They have to give it back.
At night just as.
Your nightly dreams.
Are taps open reversely.
In.
To.
Time.”
― Anne Carson, Plainwater: Essays and Poetry