Quote

He is the intermediary between us, his audience, the living, and they, the dolls, the undead, who cannot live at all and yet who mimic the living in every detail since, though they cannot speak or weep, still they project those signals of signification we instantly recognize as language.

Angela Carter

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Angela Carter
Age: 51 †
Born: 1940
Born: May 7
Died: 1992
Died: February 16
Author
Journalist
Linguist
Novelist
Science Fiction Writer
Screenwriter
Translator
Writer
Eastbourne
Sussex
Angela Olive Stalker Carter
Angela Olive Carter
Angela Olive Stalker
Angela Olive Pearce
Speak
Details
Mimic
Cannot
Recognize
Undead
Stills
Projects
Dolls
Still
Since
Instantly
Live
Audience
Weep
Every
Though
Signals
Language
Detail
Signification
Living
Project
Intermediary

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Proposition one: time is a man, space is a woman.
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He is, I think, already pondering a magisterial project: that of buggering the English language, the ultimate revenge of the colonialised.
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Moonlight, white satin, roses. A bride.
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I will tell you what Jeanne was like. She was like a piano in a country where everyone has had their hands cut off.
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Strangers used to gather together at the cinema and sit together in the dark, like Ancient Greeks participating in the mysteries, dreaming the same dream in unison.
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I haven't changed much, over the years. I use less adjectives, now, and have a kinder heart, perhaps.
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You were the living image of the entire Platonic shadow show, an illusion that could fill my emptiness with marvellous, imaginary things as long as, just as long as, the movie lasted, and then all would all vanish.
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I see her as a series of marvellous shapes formed at random in the kaleidoscope of desire.
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In the mythic schema of all relations between men and women, man proposes, and woman is disposed of.
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It is far easier for a woman to lead a blameless life than it is for a man all she has to do is to avoid sexual intercourse like the plague.
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She herself is a haunted house. She does not possess herself her ancestors sometimes come and peer out of the windows of her eyes and that is very frightening. from The Lady of the Haunted House
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Sad so sad, those smoky-rose, smoky-mauve evenings of late Autumn, sad enough to pierce the heart.
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Why do you do up your hair in those tortured plaits, now, Melanie? Why? Because, she said. You know that's no answer. You're spoiling your pretty looks, pet. Come here. She did not move. He ground out his cigarette on the window-ledge and laughed. Come here, he said again, softly. So she went.
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Spindly branches of buttercups were secreted among gleaming stems still moist at the roots from last night's rain that had washedand refreshed the entire wood, had dowered it in poignant transparency, the unique, inconsolable quality of rainy countries, as if all was glimpsed through tears.
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Irish was a man of parts even if some of them didn't work too well.
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The bed is now as public as the dinner table and governed by the same rules of formal confrontation.
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Our fingernails match our toenails, match our lipstick match our rouge...The habit of applying warpaint outlasts the battle.
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We must all make do with the rags of love we find flapping on the scarecrow of humanity.
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To pin your hopes upon the future is to consign those hopes to a hypothesis, which is to say, a nothingness. Here and now is what we must contend with.
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Anxiety is the beginning of conscience, which is the parent of the soul but is not compatible with innocence.
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