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Home is where the heart is and hence a movable feast.

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
Movable
Feast
Hence
Home
Heart

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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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Is not this world an illusion? And yet it fools everybody.
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The wolf is carnivore incarnate and he's as cunning as he is ferocious once he's had a taste of flesh then nothing else will do.
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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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One beast and only one howls in the woods by night.
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Nostalgia, the vice of the aged.
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The lovely Hazard girls', they used to call them. Huh. Lovely is as lovely does if they looked like what they behave like, they'd frighten little children.
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Those are the voices of my brothers, darling I love the company of wolves.
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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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The kind of power mothers have is enormous.
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The one-eyed man will be King in the country of the blind only if he arrives there in full possession of his partial faculties--that is, providing he is perfectly aware of the precise nature of sight and does not confuse it with second sightnor with madness.
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[T]ea, that uniquely English meal, that unnecessary collation at which no stimulants--neither alcohol nor meat--are served, that comforting repast of which to partake is as good as second childhood.
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Sade has a curious ability to render every aspect of sexuality suspect, so that we see how the chaste kiss of the sentimental lover differs only in degree from the vampirish love-bite that draws blood, we understand that a disinterested caress is only quantitatively different from a disinterested flogging.
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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.
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It is, perhaps, a better thing to be valued only as an object of passion than never to be valued at all.
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This lack of imagination gives his heroism to the hero.
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They will be like shadows, they will be like wraiths, gray members of a congregation of nightmare hark! his long wavering howl . . . an aria of fear made audible. The wolfsong is the sound of the rending you will suffer, in itself a murdering.
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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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Language is power, life and the instrument of culture, the instrument of domination and liberation.
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Anticipation is the greater part of pleasure.
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