Oscar and Lucinda Quotes

“To know you will be lonely is not the same as being lonely.”
― Peter Carey, Oscar and Lucinda

“You could not tell a story like this. A story like this you could only feel.”
― Peter Carey, Oscar and Lucinda

“She could marry this man, she knew, and still be captain of her soul.”
― Peter Carey, Oscar and Lucinda

“But now she could not bear the way she sounded. She was not a person anyone could love.

...

And thus fled to her room. There she wept, bitterly, an ugly sound punctuated by great gulps. She could not stop herself. She could hear his footsteps in the passage outside. He walked up and down, up and down.

'Come in,' she prayed. 'Oh dearest, do come in.'

But he did not come in. He would not come in. This was the man she had practically contracted to give away her fortune to. He offered to marry her as a favour and then he would not even come into her room.

Later, she could smell him make himself a sweet pancake for his lunch. She thought this a childish thing to eat, and selfish, too. If he were a gentleman he would now come to her room and save her from the prison her foolishness had made for her. He did not come. She heard him pacing in his room.”
― Peter Carey, Oscar and Lucinda

“Oh, we were a degree or two hotter than improper.”
― Peter Carey, Oscar and Lucinda

“He was tender with her. He wiped her eyelids with his handkerchief, not noticing how soiled it was. It was stained with ink, crumpled, stuck together. Her lids were large and tender and the handkerchief was stiff, not nearly soft enough. He moistened a corner in his mouth. He was painfully aware of the private softness of her skin, of how the eyes trembled beneath their coverings. He dried the tears with an affection, a particularity, that had never been exercised before. It was a demonstration of 'nature.' He was a birth-wet foal rising to his feet.”
― Peter Carey, Oscar and Lucinda

“She held out her hand, like a man. He hesitated, then took the hand and shook it. It was very warm. You could not help but be aware of the wild passage of blood on the other side of its wall, veins, capillaries, sweat glands, tiny factories in the throes of complicated manufacture. [He] looked at the eyes and, knowing how eyes worked, was astonished, not for the first time, at the infinite complexity of Creation, wondering how this thing, this instrument for seeing, could transmit so clearly its entreaty while at the same time—-Look, I am only an eye—-denying that it was doing anything of the sort.”
― Peter Carey, Oscar and Lucinda

“Theophilus Hopkins was a moderately famous man. You can look him up in the 1860 Britannica. There are three full columns about his corals and his corallines, his anemones and starfish. It does not have anything very useful about the man. It does not tell you what he was like. You can read it three times over and never guess that he had any particular attitude to Christmas pudding.”
― Peter Carey, Oscar and Lucinda

“A cormorant broke the surface, like an improbable idea tearing the membrane between dreams and life.”
― Peter Carey, Oscar and Lucinda

“She had no criticism of his dress, which was bagged at the knees, dropping at the lapels, rucked around the buttons, while she-although she wore a flowing white cotton-appeared (she knew it and wished it was not so) as starched and pressed as a Baptist in a riding habit.

They were different, and yet not ill matched.

They had both grown used to the attentions that are the eccentric’s lot-the covert glances, smiles, whispers, worse. Lucinda was accustomed to looking at no one in the street. It was an out-of-focus town of men with seas of bobbing hats.

But on this night she felt the streets accept them. She thought: When we are two, they do not notice us. They think us a match. What wisdom does a mob have? It is a hydra, an organism, stupid or dangerous in much of its behaviour, but could it have, in spite of this, a proper judgement about which of its component parts fit best together?

They pushed past bold-eyed young women with too many ribbons and jewels, past tight-laced maidens and complacent merchants with their bellies pushing so forcefully against their waistcoats that their shirts showed above their trousers. Lucinda was happy. Her arm rested on Oscar’s arm.

She thought: Anyone can see I have been crying. She thought: I have pink eyes like a dormouse. But she did not really care.”
― Peter Carey, Oscar and Lucinda

“Lucinda might sneak from her own house at midnight to place a wager somewhere else, but she dared not touch the pack that lay in her own sideboard. She knew how passionate he had become about his 'weakness.' She dared not even ask him how it was he had reversed his opinions on the matter. But, oh, how she yearned to discuss it with him, how much she wished to deal a hand on a grey wool blanket. There would be no headaches then, only this sweet consummation of their comradeship.

But she said not a word. And although she might have her 'dainty' shoes tossed to the floor, have her bare toes quite visible through her stockings, have a draught of sherry in her hand, in short appear quite radical, she was too timid, she thought, too much a mouse, to reveal her gambler's heart to him. She did not like this mouselike quality. As usual, she found herself too careful, too held in.

Once she said: 'I wish I had ten sisters and a big kitchen to laugh in.'

Her lodger frowned and dusted his knees.

She thought: He is as near to a sister as I am likely to get, but he does not understand.

She would have had a woman friend so they could brush each other's hair, and just, please God, put aside this great clanking suit of ugly armor.

She kept her glass dreams from him, even whilst she appeared to talk about them. He was an admiring listener, but she only showed him the opaque skin of her dreams--window glass, the price of transporting it, the difficulties with builders who would not pay their bills inside six months. He imagined this was her business, and of course it was, but all the things she spoke of were a fog across its landscape which was filled with such soaring mountains she would be embarrassed to lay claim to them. Her true ambition, the one she would not confess to him, was to build something Extraordinary and Fine from glass and cast iron. A conservatory, but not a conservatory. Glass laced with steel, spun like a spider web--the idea danced around the periphery of her vision, never long enough to be clear. When she attempted to make a sketch, it became diminished, wooden, inelegant. Sometimes, in her dreams, she felt she had discovered its form, but if she had, it was like an improperly fixed photograph which fades when exposed to daylight. She was wise enough, or foolish enough, to believe this did not matter, that the form would present itself to her in the end.”
― Peter Carey, Oscar and Lucinda

“We are alive on the very brink of eternity.”
― Peter Carey, Oscar and Lucinda

“...the hair...that frizzy nest which grew outwards, horizontal like a wind-blown tree in an Italianate painting.”
― Peter Carey, Oscar and Lucinda

“It was a knife of an idea, a cruel instrument of sacrifice, but also one of great beauty, silvery, curved, dancing with light.”
― Peter Carey, Oscar and Lucinda

“The pain from his arthritis was sewn through the fabric of his day, like a bright needle threaded with dull wire.”
― Peter Carey, Oscar and Lucinda

“...it was born out of habits of mind produced by Christianity: that if you sacrificed yourself you would somehow attain the object of your desires. It was a knife of an idea, a cruel instrument of sacrifice...”
― Peter Carey, Oscar and Lucinda

“chooks. You cannot go away and leave”
― Peter Carey, Oscar and Lucinda

“men in high collars who might—this”
― Peter Carey, Oscar and Lucinda

“They watched the flying foxes wheel above them, like shadows of thoughts, things so indistinct they would not exist without two witnesses.”
― Peter Carey, Oscar and Lucinda

“She thought: When we are two, they do not notice us. They think us a match. What wisdom does a mob have? It is a hydra, an organism, stupid or dangerous in much of its behaviour, but could it have, in spite of this, a proper judgement about which of its component parts fit best together?”
― Peter Carey, Oscar and Lucinda

“She sat so straight, such a good back, such a proper back, a back you would trust in any crowd, and there was her hand—a different animal entirely—scuttling off down, a tiny crab with its friend the snake, gone stealing little florets of cauliflowers. Sol Myer started giggling. You could not tell a story like this. A story like this you could only feel.”
― Peter Carey, Oscar and Lucinda

“He wished to kneel beside him and pray. It was not shyness prevented him from doing it on Southampton railway station...It was the fear of being overcome with emotion. This was his flaw, the crack in his clay, and the more dreadful for being so unexpected...”
― Peter Carey, Oscar and Lucinda

“And then Lucinda was like an athlete who, with her body warm, has ripped a muscle and not felt it. As she cooled, she stiffened, and felt-it hurt more than you would think possible-the damage.”
― Peter Carey, Oscar and Lucinda

“By the way they looked at me, by their perception of me, they would make me into the creature they perceived. I would feel myself becoming a lesser thing. It is the power of men.”
― Peter Carey, Oscar and Lucinda

“Churches are not carried by choirboys,” said Mr Jeffris. “Neither has the Empire been built by angels,”
― Peter Carey, Oscar and Lucinda