Seduction and Betrayal Quotes

“They had created themselves together, and they always saw themselves, their youth, their love, their lost youth and lost love, their failures and memories, as a sort of living fiction.”
― Elizabeth Hardwick, Seduction and Betrayal

“There is nothing quite like this novel with its rage and ragings, its discontent and angry restlessness. Wuthering Heights is a virgin's story.”
― Elizabeth Hardwick, Seduction and Betrayal

“I was immensely moved by this novel when I read it recently and yet I cannot think of anything to say about it except that it is wonderful. The people are not characters, there is no plot in the usual sense. What can you bring to bear: verisimilitude — to what? You can merely say over and over that it is very good, very beautiful, that when you were reading it you were happy.”
― Elizabeth Hardwick, Seduction and Betrayal

“The Brontë sisters have a renewed hold upon our imagination. They were gifted, well-educated, especially self-educated, and desperate. Their seriousness and poverty separated them forever from the interests and follies of respectable young girls. It was Charlotte’s goal to represent the plight of plain, poor, high-minded young women. Sometimes she gave them more rectitude and right thinking than we can easily endure, but she knew their vulnerability, the neglect they expected and received, the spiritual and psychological scars inflicted upon them, the way their frantic efforts were scarcely noticed, much less admired or condoned.”
― Elizabeth Hardwick, Seduction and Betrayal

“In this couple defects were multiplied, as if by a dangerous doubling; weakness fed upon itself without a counterstrength and they were trapped, defaults, mutually committed, left holes everywhere in their lives. When you read their letters to each other it is often necessary to consult the signature in order to be sure which one has done the writing. Their tone about themselves, their mood, is the fatal one of nostalgia--a passive, consuming, repetitive poetry. Sometimes one feels even its most felicitious and melodious moments are fixed, rigid in experession, and that their feelings have gradually merged with their manner, fallen under the domination of style. Even in their suffering, so deep and beyond relief, their tonal memory controls the words, shaping them into the Fitzgerald tune, always so regretful, regressive, and touched with a careful felicity.”
― Elizabeth Hardwick, Seduction and Betrayal

“Nevertheless the severance is rather casual and it drops a stain on our admiration of Nora. Ibsen has put the leaving of her children on the same moral and emotional level as the leaving of her husband and we cannot, in our hearts, asssent to that. It is not only the leaving but the way the play does not have time for suffering, changes of heart. Ibsen has been too much a man in the end. He has taken the man's practice, if not his stated belief, that where self-realization is concerned children shall not be an impediment.”
― Elizabeth Hardwick, Seduction and Betrayal

“The 'swapping' is interesting. This practice one had thought confined to certain earnest Americans in the smaller, more tedious cities, to those wives and husbands who had read sex manuals and radically wanted more of life even if it had to be, like pizza, brought in from around the corner--all of this was accomplished by Bloomsbury in the lightest, most spontaneous and good-natured manner.”
― Elizabeth Hardwick, Seduction and Betrayal

“The large, gaping flaws in the construction of the stories--mad wives in the attic, strange apparitions in Belgium--are a representation of the life she could not face; these gothic subterfuges represent the mind at a breaking point, frantic to find any way out. If the flaws are only to be attributed to the practicce of popular fiction of the time, we cannot then explain the large amount of genuine feeling that goes into them. They stand for the hidden wishes of an intolerable life.”
― Elizabeth Hardwick, Seduction and Betrayal

“A sort of insatiability seems to infect our feelings when we look back on women, particularly on those who are highly interesting and yet whose effort at self-definition through works is fitful, casual, that of an amateur. We are inclined to think they could have done more, that we can make retroactive demands upon them for a greater degree of independence and authenticity.”
― Elizabeth Hardwick, Seduction and Betrayal

“[Charlotte Bronte] had thought of every maneuver for circumventing those stony obstructions of wives who would not remove themselves.”
― Elizabeth Hardwick, Seduction and Betrayal

“the great is seldom a deterrent to the mediocre”
― Elizabeth Hardwick, Seduction and Betrayal

“The social world of Ibsen’s plays is greatly restricted, enclosed in a narrow frame, cut off by the very geography of Norway; the long, dark winters make for social repetition…Everyone else you know is right there, so to speak. This small-town life has moral consequences always; the players live with the threat of trouble over the most petty matters.”
― Elizabeth Hardwick, Seduction and Betrayal

“A Doll’s House is about money, about the way it turns locks.”
― Elizabeth Hardwick, Seduction and Betrayal

“Leonard Woolf’s endurance of Virginia’s famous frigidity is, we must suppose after the fact, altogether to his credit. Their honeymoon did not bring the amelioration they had hoped for and it is incredibly innocent and moving to think of them discussing it with Vanessa. They wanted to know when she had first had an orgasm. She said she couldn’t remember but she knew she had been “sympathetic” from the age of two. Vita Sackville-West said about Virginia, “She dislikes the possessiveness and love of domination in men. In fact she dislikes the quality of masculinity.”
― Elizabeth Hardwick, Seduction and Betrayal