Novelists From England

"Looking around at the faces of his colleagues in the Senior Common Room he felt reassured: not a Lineament of Gratified Desire to be seen."

"Literature is mostly about having sex and not much about having children. Life is the other way round."

"I respect a man who can recognize a quotation. It's a dying art."

"Four times, under our educational rules, the human pack is shuffled and cut – at eleven-plus, sixteen-plus, eighteen-plus and twenty-plus – and happy is he who comes top of the deck on each occasion, but especially the last. This is called Finals, the very name of which implies that nothing of importance can happen after it."

"(What’s the last great book you read?) ...John Berger’s “Portraits” is among the greatest books on art I’ve ever read. I had a sort of spiritual experience with it."

"In the first stages of the industrial revolution, animals were used as machines. As also were children. Later, in the so-called post-industrial societies, they are treated as raw material. Animals required for food are processed like manufactured commodities. … This reduction of the animal … is part of the same process as that by which men have been reduced to isolated productive and consuming units. Indeed, during this period an approach to animals often prefigured an approach to man. The mechanical view of the animal’s work capacity was later applied to that of workers. F. W. Taylor who developed the “Taylorism” of timemotion studies and “scientific” management of industry proposed that work must be “so stupid” and so phlegmatic that he (the worker) “more nearly resembles in his mental makeup the ox than any other type.” Nearly all modern techniques of social conditioning were first established with animal experiments. As were also the methods of so-called intelligence testing. Today behaviourists like Skinner imprison the very concept of man within the limits of what they conclude from their artificial tests with animals."

"Nowhere in a zoo can a stranger encounter the look of an animal. At the most, the animal’s gaze flickers and passes on. They look sideways. They look blindly beyond. They scan mechanically. … That look between animal and man, which may have played a crucial role in the development of human society, and with which, in any case, all men had always lived until less than a century ago, has been extinguished. Looking at each animal, the unaccompanied zoo visitor is alone."

"Yet why should an artist's way of looking at the world have any meaning for us? Why does it give us pleasure? Because, I believe, it increases our awareness of our own potentiality. Not of course our awareness of our potentiality as artists ourselves. But a way of looking at the world implies a certain relationship with the world, and every relationship implies action. The kind of actions implied vary a great deal. ... A work of art can, to some extent, increase an awareness of different potentialities in different people. The important point is that a valid work of art promises in some way or another the possibility of an increase, an improvement. Nor need the word be optimistic to achieve this; indeed, its subject may be tragic. For it is not the subject that makes the promise, it is the artist's way of viewing his subject. Goya's way of looking at a massacre amounts to the contention that we ought to be able to do without massacres."

"A peasant becomes fond of his pig and is glad to salt away its pork. What is significant, and is so difficult for the urban stranger to understand, is that the two statements in that sentence are connected by an and and not by a but."

"Animals are born, are sentient and are mortal. In these things they resemble man. In their superficial anatomy — less in their deep anatomy — in their habits, in their time, in their physical capacities, they differ from man. They are both like and unlike."

"I agree with John Berger that peasants don't write novels because they don't need them. They have a portrait of themselves from gossip, tales, music, and some celebrations. That is enough. The middle class at the beginning of the industrial revolution needed a portrait of itself because the old portrait didn't work for this new class. Their roles were different; their lives in the city were new. The novel served this function then, and it still does. It tells about the city values, the urban values. Now my people, we "peasants," have come to the city, that is to say, we live with its values. There is a confrontation between old values of the tribes and new urban values. It's confusing. There has to be a mode to do what the music did for blacks, what we used to be able to do with each other in private and in that civilization that existed underneath the white civilization."

"According to usage and conventions which are at last being questioned but have by no means been overcome, the social presence of a woman is different in kind from that of a man. A man’s presence is dependent upon the promise of power which he embodies. If the promise is large and credible his presence is striking. If it is small or incredible, he is found to have little presence. The promised power may be moral, physical, temperamental, economic, social, sexual – but its object is always exterior to the man. A man’s presence suggests what he is capable of doing to you or for you. His presence may be fabricated, in the sense that he pretends to be capable of what he is not. But the pretence is always towards a power which he exercises on others. By contrast, a woman’s presence expresses her own attitude to herself, and defines what can and cannot be done to her. Her presence is manifest in her gestures, voice, opinions, expressions, clothes, chosen surroundings, taste – indeed there is nothing she can do which does not contribute to her presence. Presence for a woman is so intrinsic to her person that men tend to think of it as an almost physical emanation, a kind of heat or smell or aura."

"What do these conventions mean? What does a nude signify? It is not sufficient to answer these questions merely in terms of the art-form, for it is quite clear that the nude also relates to lived sexuality. To be naked is to be oneself. To be nude is to be seen naked by others and yet not recognized for oneself. A naked body has to be seen as an object in order to become a nude. (The sight of it as an object stimulates the use of it as an object.) Nakedness reveals itself. Nudity is placed on display. To be naked is to be without disguise. To be on display is to have the surface of one’s own skin, the hairs of one’s own body, turned into a disguise which, in that situation, can never be discarded. The nude is condemned to never being naked. Nudity is a form of dress."

"Publicity is usually explained and justified as a competitive medium which ultimately benefits the public (the consumer) and the most efficient manufacturers - and thus the national economy. It is closely related to certain ideas about freedom: freedom of choice for the purchaser: freedom of enterprise for the manufacturer. The great hoardings and the publicity neons of the cities of capitalism are the immediate visible sign of "The Free World." For many in Eastern Europe such images in the West sum up what they in the East lack. Publicity, it is thought, offers a free choice."

"Glamour cannot exist without personal social envy being a common and widespread emotion. The industrial society which has moved towards democracy and then stopped half way is the ideal society for generating such an emotion. The pursuit of individual happiness has been acknowledged as a universal right. Yet the existing social conditions make the individual feel powerless."

"Seeing comes before words. The child looks and recognizes before it can speak. But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled."

"Images were first made to conjure up the appearances of something that was absent. Gradually it became evident that an image could outlast what it represented; it then showed how something or somebody had once looked – and thus by implication how the subject had once been seen by other people. Later still the specific vision of the image-maker was also recognized as part of the record. An image became a record of how X had seen Y."

"The uniqueness of every painting was once part of the uniqueness of the place where it resided."

"No collection of people who are all waiting for the same thing are capable of holding a natural conversation. Even if the thing they are waiting for is only a taxi."

"The earth only has so much bounty to offer and inventing ever larger and more notional prices for that bounty does not change its real value."

"The appropriation of radical thinking by lazy, self-obsessed hippies is a public relations disaster that could cost the earth."

"Lies are as important as truth, for without lies, the truth is worthless."

"Leave a message, don't leave a message. live, die, it's all the same dream."

"Things get shaped straight and thin for reasons of aerodynamics. Missiles and skyscrapers are shaped the way they are on the soundest principles of engineering, not as monuments to the dick. In fact, so is the dick. The dick is shaped like a dick because that is the most efficient shape for a dick to be. That's why it's dick shaped. I mean a dick shaped like a table would cause all sorts of practical spatial problems."

"Her writing life began in her early 20s in , where she and her first husband, Paul Carter, were part of the folk scene. The and her early novels are set against a landscape more postwar than pop, of derelict houses and bombsites turning to waste ground. The first, ', came out in 1966. Two more followed, establishing her as a promising writer, albeit not one likely to prop up the literary establishment. Shy, with a slight stammer, she veered from gauche to wildly outspoken. After a reading by in 1968 she buttonholed AS Byatt, who recalled: “This very disagreeable woman stomped up to me and she said, ‘My name’s Angela Carter … and I wanted to stop and tell you that the sort of thing you’re doing is no good at all.’” The “sort of thing” she meant was the in which “people drink tea and commit adultery”."

"One thing that happens with gothic fiction, and I think the person who explores this most keenly is probably Angela Carter in her collection of retold fairy tales, is that gothic fiction seems to echo certain fairy tales...She pulls at these threads that fairy tales have, these elements that they have that we don’t think about much."

"A book is simply the container of an idea—like a bottle; what is inside the book is what matters."

"Aeneas carried his aged father on his back from the ruins of Troy and so do we all, whether we like it or not, perhaps even if we have never known them."

"My work cuts like a steel blade at the base of a man's penis."

"Cities have sexes: London is a man, Paris a woman, and New York a well-adjusted transsexual."

"Comedy is tragedy that happens to other people."

"I'm interested in the division that Judeo-Christianity has made between human nature and animal nature. None of the other great faiths in the world have got quite that division between us and them. None of the others has made this enormous division between birds and beasts who, as Darwin said, would have developed consciences if they'd had the chance, and us. I think it's one of the scars in Western Europe. I think it's one of the scars in our culture that we have too high an opinion of ourselves. We align ourselves with the angels instead of the higher primates."

"Throwing open the door, she brings forth the veritable queen of all the souffles, that spreads its archangelic wings over the entire kitchen as it leaps upwards from the dish in which the force of gravity alone confines it."

"Women's sexy underwear is a minor but significant growth industry of late-twentieth-century Britain in the twilight of capitalism."

"Heigh, ho, fair Rosalynde!"

"Her neck is like a stately tower, Where Love himself imprison'd lies"

"With orient pearl, with ruby red, With marble white, with sapphire blue, Her body every way is fed, Yet soft in touch, and sweet in view:"

"When Harriet Martineau, a reformer of the 1830s, wrote Society in America, one reviewer suggested it be kept away from women: "Such reading will unsettle them for their true station and pursuits, and they will throw the world back again into confusion.""

"Women's position has variously been likened to that of the slaves, oppressed ethnic or racial minorities, or economically deprived groups. But these comparisons quickly prove inadequate. The slave comparison obviously was a rhetorical device rather than a factual statement even at the time when Harriet Martineau first made it."

"We talked over many things and persons. She is a heroine, or to speak more truly her fine sense and her lofty principles, with the sincerest religion, give her a fortitude that is noble to the best height of heroism."

"Lord Brougham remarked that the works of Harriet Martineau upon Political Economy were not excelled by those of any political writer of the present time. The first few chapters of her "Society in America," her views of a Republic, and of government generally, furnish evidence of woman's capacity to embrace subjects of universal interest."

"Only a little over a quarter of a century ago women were allowed to enter very few remunerative occupations. In 1840, when Harriet Martineau visited this country to study its institutions, that she might be able to forecast the type of civilization to be evolved from them, she especially investigated the position of women in the young republic. She was surprised to find the occupying a very subordinate position in a country calling itself free, and to find they had entered only seven paying occupations. They were allowed to teach, to be seamstresses, which included tailoring, dress-making, and millinery; they could keep boarding-houses, enter domestic service, become operatives in factories, compositors in printing offices, and folders and stitchers in book binderies."

"What a visitation! Miss Martineau is the more formidable friend, however—Mrs. Jameson will be contented with a little confidence, you see, and ask no questions—but I doubt if you arrange matters so easily with the newcomer. Because no great delicacy can be kept alive with all that conceit—and such conceit! A lady told me a few weeks ago that she had seen a letter in which Miss M. gave as her reason for not undertaking then, during the London season, this very journey which empty London is to benefit from now, "that at such a time she should be mobbed to death": whereupon the lady went on to comment, "Miss M. little knows what London is, and how many nearly as notable objects may be found to divert its truculence from herself"—Tom Thumb, and Ibrahim Pacha, to wit."

"Of all these ornamented human creatures the one I take most delight in is Harriet Martineau. The horrid picture in Fraser with the cat looking over its shoulder was not a bit like; and the Artist deserved to have been hanged and quartered for so vile a calumny. Neither does the idea generally formed of the woman merely from her reputation as a Political Economist do her more justice than that picture! They may call her what they please, but it is plain to me and to everybody of common sense (as my Uncle Robert said) that she is distinctly good-looking, warm-hearted even to a pitch of romance, witty as well as wise, very entertaining and entertainable in spite of the deadening and killing appendage of an ear-trumpet, and finally, as "our Mother" used to finish off a good character, "very fond of ME.""

"Miss Martineau had been extremely kind to me... Well, she is the sort of woman that would have made a good matron in an hospital."

"What office is there which involves more responsibility, which requires more qualifications, and which ought, therefore, to be more honourable, than that of teaching?"

"If a test of civilization be sought, none can be so sure as the condition of that half of society over which the other half has power."

"For my own part, I had rather suffer any inconvenience from having to work occasionally in chambers and kitchen … than witness the subservience in which the menial class is held in Europe."

"After all, she is a trump—the only Englishwoman that possesses thoroughly the art of writing."

"Fidelity to conscience is inconsistent with retiring modesty. If it be so, let the modesty succumb. It can be only a false modesty which can be thus endangered."