All Quotes

"… The famousness of Manuel is but a dream and a loud jingling of words which happen to sound well together; it is a vanity and a great talking by his old wife and gray peers; and yet, this nonsense, it may be, will hearten people, and will serve all people always, better than would the truth. And my faith is a foolishness, in that, because of a mere oath, — like your Star Warriors' Word of the Thingumajigs, sir, — I have followed after the truth, across this windy planet upon which every person is nourished by one or another lie." "Each to his creed," said Yaotl. "So do men choose between hope and despair." "Yet creeds mean very little," Coth answered the dark god, still speaking almost gently. "The optimist proclaims that we live in the best of all possible worlds; and the pessimist fears this is true. So I elect for neither label. …"

"Everywhere in the world people were expecting the latter coming of one or another kickshaw messiah who would remove the discomforts which they themselves were either too lazy or too incompetent to deal with; and nobody had anything whatever to gain with electing for peculiarity among one's fellow creatures and a gloomier outlook. Even Coth saw that."

"These young people were getting a calm and temperate, but a positive, gratification out of being virtuous. There must, then, lurk somewhere deep hidden in humanity a certain trend to perverse delight in thus denying and curbing its own human appetites. And since the comparatively intelligent and unregenerate persons were all profiting by their fellows' increased forbearance, altogether everybody was reaping benefit. This damnable new generation was, because of its insane aspiring, happier than its fathers had been under the reign of candor and common sense."

"Coth admitted that, say what you might as to the Manuel who had really lived, the squinting rascal did as a rule know what he was talking about."

"Is it not a pity, Guivric, that this Kalki will not come in our day, and that we shall never behold his complete glory? I cry a lament for that Kalki who will someday bring back to their appointed places high faith and very ardent loves and hatreds; and who will see to it that human passions are in never so poor a way to find expressions in adequate speech and action. Ohé, I cry a loud lament for Kalki! The little silver effigies which his postulants fashion and adore are well enough: but Kalki is a horse of another color."

"I consider the saga of no lord of the Silver Stallion to be worth squabbling over. Your sagas in the end must all be perverted and engulfed by the great legend about Manuel. No matter how you strive against that legend, it will conquer: no matter what you may do or suffer, my doomed Guivric, your saga will be recast until it conforms in everything to the legend begotten by the terrified imaginings of a lost child. For men dare not face the universe with no better backing than their own resources; all men that live, and that go perforce about this world like blundering lost children whose rescuer is not yet in sight, have a vital need to believe in this sustaining legend about the Redeemer: and the wickedness and the foolishness of no man can avail against the fond optimism of mankind."

"This is a strong magic.This is a sententious magic. They had warned me that I would here face my own destruction, that I would here face the most pitiable and terrible of all things: and I face here that which I have made of life, and life of me. I shudder; I am conscious of every appropriate sentiment. Nevertheless, sir, I must venture the suggestion that mere, explicit allegory as a form of art is somewhat obsolete."

"They tell me that truth lies somewhere at the bottom of a well, and at virtually the door of our home is a most notable if long dried well. Our location is thus quite favorable, if we but keep patience."

"Life is very marvelous ... and to the wonders of the earth there is no end appointed."

"I hereby state, and mean all I say, that I never have been and never will be a candidate for President; that if nominated by either party I should peremptorily decline; and even if unanimously elected I should decline to serve."

"I do not seek to copy nature. I, on the contrary, create to divert me such faith and dreams as living among men would tend to destroy. But as it is, my worshipers depart from me heartedly, in this grey corridor, and they are devoid of fear and parvanimity; for the effect of my singing, like that of all great singing, is to fill my hearers with a sentiment of their importance as moral beings and the greatness of their destinies."

"Nothing ... nothing in the universe, is of any importance, or is authentic to any serious sense, except the illusions of romance. For man alone of animals plays the ape to his dreams. These axioms — poor, deaf and blinded spendthrift! — are none the less valuable for being quoted."

"Life is a pageant that passes very quickly, going hastily from one darkness to another darkness with only ignes fatui to guide; and there is no sense in it. I learned that, Kerin, without moiling over books. But life is a fine ardent spectacle; and I have loved the actors in it: and I have loved their youth and high-heartedness, and their ungrounded faiths, and their queer dreams, my Kerin, about their own importance and about the greatness of the destiny that awaited them, — while you were piddling after, of all things, the truth!"

"People must have both their dreams and their dinners in this world, and when we go out of it we must take what we find. That is all."

"At the gate of the garden, beside the lingham post which stood there in eternal erection, sat a boy who was diverting himself by whittling, with a small green-handled knife, a bit of cedar-wood into the quaint shaping which the post had. His hair was darkly red: and now, as he regarded Alfgar with brown and wide-set eyes, the face of this boy was humorously grave, and he nodded now, as the complacent artist nods who looks upon his advancing work and finds all to be near his wishes."

"The touch of time does more than the club of Hercules."

"I do that which I do in every place. Here also, at the gateway of that garden into which time has not entered, I fight with time my ever-losing battle, because to do that diverts me."

"I fight against the gluttony of time with so many very amusing weapons — with gestures and with three attitudes and with charming phrases; with tears and with tinsel, and with sugar-coated pills, and with platitudes slightly regilded. Yes, and I fight him also with little mirrors wherein gleam confusedly the corruptions of lust, and ruddy loyalty, and a bit of moonshine, and the pure diamond of the heart's desire, and the opal cloudings of human compromise: but, above all, I fight that ravening dotard with the strength of my own folly."

"I take it that I must be the eternal playfellow of time. For piety and common-sense and death are rightfully time's toys; and it is with these three that I divert myself."

"My immortality has sharp restrictions. For it is at a price that I pass down the years, as yet, in eternal union with the witch-woman whose magic stays — as yet — more strong than the magic of time. The price is that I only of her lovers many not ever hope to win Ettare. This merely is permitted me: that I may touch the hand of Etarre in the moment I lay that hand in the hand of her last lover. I give, who may not ever take... So do I purchase an eternally unfed desire against which time — as yet — remains powerless."

"A strange thing happened to the American fantasy author James Branch Cabell in 1920. Cabell was a writer of novels, short stories and poetry who'd been published regularly for about twenty years to great critical acclaim (fans included Mark Twain, Sinclair Lewis and H. L. Mencken) but no commercial success whatsoever. The previous year, his latest mediaeval fantasy novel, Jurgen: A Comedy of Justice, had been published to the usual glowing reviews and public indifference, and appeared destined for the same obscurity as the rest of his work. Then the New York Society for the Suppression of Vice, under John S. Sumner, brought an action against the novel for obscenity. The case went to court, amid considerable publicity – one side dedicated to protecting outraged public morals, the other championing the author as a martyr to the philistines – and dragged on for two years, at the end of which Cabell and his publishers were fully vindicated. The result was inevitable: Jurgen became a huge bestseller, and for several years everything Cabell wrote was a commercial success."

"Cabell's humour is complex and many layered, ranging from erudite jokes to evasion to broad satire to double entendres (“Why, I travel with a staff, my dear, as you perceive; and it suffices me.” “Certainly it is large enough, in all conscience.”). ... Cabell's portrayal of Hell and Heaven (which Jurgen visits in that order) is perhaps the cleverest part of the book, and caused him considerable trouble – his attitude to religion offended Sumner and co. as much as his oblique portrayals of sex. Both are, essentially, fakes, created by Koshchei at the insistence of Jurgen's own forebears and using the Bible as his model. However, “whatever Koshchei wills, not only happens, but has already happened beyond the ancientest memory of man and his mother. How otherwise could he be Koshchei?” So, despite being fakes, the Heaven and Hell of the Bible are also true, and always have been. The two things, we are told, that are impossible for Koshchei are love and pride, and his fascination with these two realms is that they are based on these two emotions: Heaven on the love that creates ideal versions of what is very far from ideal, Hell on the pride that demands petty sins and crimes as worthy of being recognised and punished. Neil Gaiman's Sandman graphic novels, which include a few Cabellian references, adopt this image of Hell, while being silent on the nature of Heaven."

"We may list Fitzgerald as one of the sources of Cabell's cosmic skepticism. As important as the source, however, is the attitude evinced. In his late teens, Cabell is beginning to feel the same tension between real and ideal apparent in his later novels. Man feels that it is "not fitting" (Jurgen would say "not just") that he should be trapped in a completely material world of "Raiment, Food and Fire," and yet, at the same time, he realizes the futility of seeking after "Knowledge" of "higher things." In this tension between real and ideal, man must somehow make the best of an infinitely poor situation."

"Cabell brought many new elements into the modern fantasy tradition, from his romantic poeticism to his ironic comedy; but perhaps the most impressive is the way his stories interact with one another. Each book stands quite comfortably alone, but the more Cabell you read, the more you understand. ... Jurgen has a curious conversation with a young man named Horvendile, who speculates that maybe he himself is the author of all that is happening. Horvendile's appearance here is only fleeting, but he recurs in a great many of Cabell's books, unchanged whatever the period, and does seem to exert a great deal of control over events. In The Cream of the Jest, however, we discover that Horvendile is actually the dream-self of the twentieth-century author, Felix Kennaston of Lichfield, who writes tales of mediaeval Poictesme and who wanders time as Horvendile, controlling all the characters he's created. So all these stories are really the creations of Kennaston – a figure not entirely unlike Cabell himself? Not quite. In the genealogical work that links all the characters together, Cabell makes it quite clear that Felix Kennaston is actually a descendant of both Jurgen and Manuel – whom he consequently couldn't possibly have invented. All Cabell's writings work like this, almost as if he were creating an intricate Chinese puzzle, and the wealth of connections between the books somewhat foreshadow later authors, such as Michael Moorcock, who also weave many separate books into a grand design. ... The female characters in Cabell's books are, almost without exception, either romantic beauties or nags – if not both at the same time – and they have no real substance in the stories beyond how they relate to the male characters. This can certainly be off-putting; but, if the reader can read the books as a product of their time and ignore these short-comings, there's plenty of reward. With that caveat, I heartily recommend Jurgen, along with the other books mentioned here. Oh, and what of those obscenities that caused John S. Sumner a near apoplexy? Well, I don't doubt you can find them, if you dig deep and approach Jurgen with plenty of humour and imagination, as well as being willing to look up various of Cabell's obscure references. Just don't expect Lady Chatterley’s Lover."

"James Branch Cabell totally ripped off Neil Gaiman!"

"The only American author of genius to devote his career to fantasy."

"There is an outcry against epoch-making masterpieces of philosophy like Jurgen. The salacious musical comedy goes its libidinous way rejoicing, while Ibsen and Bernard Shaw are on the black list. The fact is, of course, that the puritan has been turned by sexual repression into a sexual pervert and degenerate, so that he is insane on the subject."

"In the early part of the 20th century, there was a fantasy writer named James Branch Cabell who had a theory of writing as magic. His books (highly recommended, especially Jurgen) are both funny and mythological ... and it's easy to see how his process of creating characters was really a process of evocation and invocation."

"Actually, my favorite treatment of bad reviews is James Branch Cabell who, in the back of the 18 volume beautiful, huge collection of all of his works the Biography of Manuel, did a final section detailing what the reviewers said for each of his books. The book reviews go like this. The first 5 or 6 books, the reviews he quotes say something like: "Beautiful illustrations by the artist; such a pity about the words." Then you get to the reviews of Jurgen: A Comedy of Justice and the reviews say: "This a terrible book. It has no redeeming features; it's simply awful; a major misstep." And then every single review for every book he wrote after Jurgen begins, "Well, this isn't Jurgen. Apparently the author has lost the facility with which he wrote that delightful book." So he did put this wonderful parade of the ridiculous things that the reviewers said over time. As I mentioned in the blog, the only final thing that you can say about the reviewers, is this. The same day that the Publisher's Weekly review came in which said, "The road trip plot was completely aimless, but I liked the stuff in Lakeside," the Summer Book Forum book review came in which said, "The roadside stuff is amazing -- the novel only loses focus when you get to the stuff in Lakeside." ... If you actually pay any credence to it, it does make you crazy. So you just kind of smile and think, "Maybe someday I'll review all the reviewers someday." But you probably won't."

"The Silver Stallion, Jurgen, The High Place: Eighteen volumes of beautiful, worldly-wise writing by a forgotten American master. The books aren't all in print, and they range all over genre (including poetry and literary criticism). Of the fantasies, The Silver Stallion, Jurgen, and The High Place are three of the most notable, each book different but united in their sly wisdom."

"Cabell's far and away my favourite forgotten American writer — he wrote about 25 books, most of them very different from each other. The only ones to have remained more or less in print over the last forty years are the fantasies Figures of Earth, Jurgen and The Silver Stallion."

"I think that unless a reviewer gets their facts completely wrong, the author should shut up (and even then, the author should probably let it go — although I'm a big fan of a letter that James Branch Cabell wrote to the New York Times pointing out that their review of Figures of Earth was bollocks. ... For most authors, not being James Branch Cabell, it's probably wisest after reading a particularly stupid or vicious or bad review to mentally compose your letter to the editor, fill it with your sharpest and most cutting and brilliant bon mots, and then, having made it up, to successfully resist the urge to put it to paper, and to return cheerfully to work."

"Among the literary men of the time, Cabell's circle of friends was large: Sinclair Lewis, Joseph Hergesheimer, Carl Van Vechten, Burton Rascoe, Arthur Machen, to name a few. In his Nobel Prize Address in 1930, Lewis mentioned Cabell as one of the three American writers, along with Hemingway and Faulkner, worthy of the attention of the Swedish Academy. All in all, Cabell's reputation in the 20's must have seemed unassailable. But fortune's wheel turned, and the years that followed his initial popularity gave rise to a series of hostile critics. Cabell's novels were attacked from almost every conceivable position: stylistically, ideologically, socially, personally. In 1933, Granville Hicks, abdicating the critic's responsibility of balanced judgment, strikes at the author himself, calling him "a sleek, smug egoist," and his work "a structure of lies." Hicks begins the series of attacks; and Oscar Cargill in Intellectual America (1941), after damning "Cabell's reputation as a stylist" as "overblown," attempts to have the final word. He sums Cabell up "as a museum piece representing the psychology of a Virginian who would be an intellectual leader yet had not quite what it takes." However, the 1950's had better words for Cabell. Edward Wagenknecht in the Cavalcade of the American Novel (1952) reminds us that "James Branch Cabell …is still a unique and incomparable figure in American literature … He will never be the voice of a 'party' or of a 'movement'; he will never speak for anything smaller or more limited than the human spirit itself." Four years later, Edmund Wilson in a long article in the New Yorker suggested that Cabell's work had been maligned by partial critics and called for a reevaluation of his novels. In the 60's two book-length studies have appeared, and a biography is in preparation. Joe Lee Davis concludes that "one must — in common decency and simple justice — rank him among the major rather than the minor authors of the twentieth century... . Cabell is both the Spenser and the Boccaccio of the second American Renaissance." After years of neglect, Cabell's work is again receiving the attention it deserves."

"Torn between the ideal and the real, Cabellian man is forever thwarted in his quest for the ideal by the demands of the real. Cabell explores all the aspects of this human dilemma, perhaps reaching the conclusion that man can never achieve his ideals, simply because he must exist in the world of reality; and yet, for his self-preservation in that world he must, paradoxically, cling to these very ideals, unrealized, unrealizable. Even in the face of materialistic denial of spiritual value, man must believe in some kind of transcendent worth. Although the meaning of Cabellian comedy can be comprehended without the ability to recognize each learned allusion, the incidents of the novels are often based on classical, Russian, Hebrew, medieval, and even Aztec myths and legends. The reader is quite obviously in the presence of a learned author, and many of Cabell's intellectual pursuits can be traced to his college years."

"A Cabellesque satire on religion and sex."

"Cabell and Hitler did not inhabit the same universe."

"A book of dreams it is, and of very wonderful dreams."

"Surely the cosmic irony that loves men's dullness because it alone can preserve them from madness, and retorts upon the cosmic terrors with a jest, is higher than gallantry and more enduring. It arrives at tolerance for all human shortcomings; it embraces high and low in its sympathies; it achieves urbanity as a final goal. It is the stuff of which great literature is made. And Mr. Cabell is creating great literature. A self-reliant intellectual, rich in the spoils of all literatures, one of the great masters of English prose, the supreme comic spirit thus far granted us, he stands apart from the throng of lesser American novelists, as Mark Twain stood apart, individual and incomparable."

"Mr. Cabell has played too long with the ideal of gallantry; he has devoted too much precious time to creating to fall in love with; he has listened too credulously to the ."

"Cabell's Biography of Manuel had been structured as parallel examinations of three contrasting modes of life, the Way of the Artist, the Way of Chivalry, and the Way of Gallantry. Cabell's personal "picture" of gallantry is said to have derived from the phony chivalry of late 19th century Virginians, which he imbibed with his mother's milk, his family being respectably connected to the upper crust of Virginian aristocracy. ... The models he cites, however, are the gallants of Restoration Comedy ... Mark Twain, fascinated by the chivalric ideal, was quite taken with Cabell's writings on the subject. His encouragement directed to Cabell resulted in Domnei, published in 1911 as The Soul of Melicent. ... in both The Silver Stallion and in his explications, Cabell conceptualizes the progressive vitiation of the Life as a matter of the blurring of the realities of person and place by the remove of time and the world's will to be deceived, and the work of the cosmic Romancer."

"It is true, of course, that like the fruit of the tree of life, Mr. Cabell's artistic progeny sprang from a first conceptual germ — "In the beginning was the Word." That animating idea is the assumption that if life may be said to have an aim it must be an aim to terminate in success and splendor. It postulates the high, fine importance of excess, the choice or discovery of an overwhelming impulse in life and a conscientious dedication to its fullest realization. It is the quality and intensity of the dream only which raises men above the biological norm; and it is fidelity to the dream which differentiates the exceptional figure, the man of heroic stature, from the muddling, aimless mediocrities about him. What the dream is, matters not at all — it may be a dream of sainthood, kingship, love, art, asceticism or sensual pleasure — so long as it is fully expressed with all the resources of self. It is this sort of completion which Mr. Cabell has elected to depict in all his work: the complete sensualist in Demetrios, the complete phrase-maker in Felix Kennaston, the complete poet in Marlowe, the complete lover in Perion. In each he has shown that this complete self-expression is achieved at the expense of all other possible selves, and that herein lies the tragedy of the ideal. Perfection is a costly flower and is cultured only by an uncompromising, strict husbandry."

"Once we understand the fundamentals of Mr. Cabell's artistic aims, it is not easy to escape the fact that in Figures of Earth he undertook the staggering and almost unsuspected task of rewriting humanity's sacred books, just as in Jurgen he gave us a stupendous analogue of the ceaseless quest for beauty. For we must accept the truth that Mr. Cabell is not a novelist at all in the common acceptance of the term, but a historian of the human soul. His books are neither documentary nor representational; his characters are symbols of human desires and motives. By the not at all simple process of recording faithfully the projections of his rich and varied imagination, he has written thirteen books, which he accurately terms biography, wherein is the bitter-sweet truth about human life."

"The Cabell novels are ordinarily anything but grim. He is essentially a comic writer, and those who have placed him in the lineage of Boccaccio, Rabelais, Petronious Arbiter, Laurence Sterne are generally correct. Mr. Cabell is amused by the world; his novels are constructed upon that amusement. If the laughter seems sardonic sometimes, when the absurdities of his people seem only too recognizable to us, then we must remember that Mr. Cabell considers that amusing too."

"I have finished Jurgen; a great and beautiful book, and the saddest book I ever read. I don't know why, exactly. The book hurts me — tears me to small pieces — but somehow it sets me free. It says the word that I've been trying to pronounce for so long. It tells me everything I am, and have been, and may be, unsparingly... I don't know why I cry over it so much. It's too — something-or-other — to stand. I've been sitting here tonight, reading it aloud, with the tears streaming down my face..."

"Mr. Cabell has a profound creed of comedy rooted in that romance which is his regular habit. ... only gradually did his gaiety strengthen into irony. Although that irony was the progenitor of the comic spirit which now in his maturity dominates him, it has never shaken off the romantic elements which originally nourished it. Rather, romance and irony have grown up in his work side by side. ... He allows John Charteris in Beyond Life — for the most part Mr. Cabell's mouthpiece — to set forth the doctrine that romance is the real demiurge, "the first and loveliest daughter of human vanity," whereby mankind is duped — and exalted."

"Poor and naked as this aspiring ape must seem to the eye of reason, asks Mr. Cabell, is there not something magnificent about his imaginings? Does the course of human life not singularly resemble the dance of puppets in the hands of a Supreme Romancer? How, then, may any one declare that romance has become antiquated or can ever cease to be indispensable to mortal character and mortal interest? The difference between Mr. Cabell and the popular romancers who in all ages clutter the scene and for whom he has nothing but amused contempt is that they are unconscious dupes of the demiurge whereas he, aware of its ways and its devices, employs it almost as if it were some hippogriff bridled by him in Elysian pastures and respectfully entertained in a snug Virginian stable."

"Still on the whole the campaign is the best, cleanest and most satisfactory of the war. I have received the most fulsome praise of all men from the President down, but I fear the world will jump to the wrong conclusion that because I am in Atlanta the work is done. Far from it. We must kill three hundred thousand I have told of so often, and the further they run the harder for us to get them."

"Of all the fine places in the world where beautiful happenings come together, Mr. Cabell argues, incomparably the richest is in the consciousness of a poet who is also a scholar. There are to be found the precious hoarded memories of some thousands of years: high deeds and burning loves and eloquent words and surpassing tears and laughter. There, consequently, the romancer may well take his stand, distilling bright new dreams out of ancient beauty. And if he adds the heady tonic of an irony springing from a critical intelligence, so much the better."

"If the poets and warriors who make up the list of Mr. Cabell's heroes devote their lives almost wholly to love, it is for the reason that no other emotion interests him so much or seems to him to furnish so many beautiful happenings about which to write perfectly. Love, like art, is a species of creation, and the moods which attend it, though illusions, are miracles none the less. ... In this tale love is canonized: throned on alabaster above all the vulgar gods it diffuses among its worshipers a crystal radiance in which mortal imperfections perish — or are at least forgotten during certain rapturous hours. Ordinarily one cynical touch will break such pretty bubbles; but Mr. Cabell, himself a master of cynical touches and shrewdly anticipant of them, protects his invention with the competent armor of irony..."

"I had not been two weeks in the United States before someone said to me: "Well, at any rate, there is Cabell." That was a new name to me. I was given Beyond Life to read. My excitement during the discovery of that perverse and eloquent testament was one of the happiest moments of my American stay. I spent then a wild and eccentric search after his earlier masterpieces. Inside the cover of Beyond Life there were the titles of no less than fourteen books. I could see from the one which I held in my hand that Mr. Cabell was no careless writer. He had been writing then for many years and he was unobtainable! "No, he has never had any success," a bookseller told me. "No one ever asks for his books." That situation is now changed. There are, I imagine, a great many more persons in the United States of America asking for Jurgen than are likely to obtain it. That good, at any rate, an idiotic censorship has done."