1.
Words bounce. Words, if you let them, will do what they want to do and what they have to do.
Anne Carson
2.
As Sokrates tells it, your story begins the moment Eros enters you. That incursion is the biggest risk of your life. How you handle it is an index of the quality, wisdom, and decorum of the things inside you. As you handle it you come into contact with what is inside you, in a sudden and startling way. You perceive what you are, what you lack, what you could be.
Anne Carson
3.
One of the principle qualities of pain is that it demands an explanation.
Anne Carson
4.
To be running breathlessly, but not yet arrived, is itself delightful, a suspended moment of living hope.
Anne Carson
5.
The words we read and words we write never say exactly what we mean. The people we love are never just as we desire them. The two symbola never perfectly match. Eros is in between.
Anne Carson
6.
You remember too much," my mother said to me recently. "Why hold onto all that?" And I said, "where can I put it down?
Anne Carson
7.
Eros is an issue of boundaries. He exists because certain boundaries do. In the interval between reach and grasp, between glance and counterglance, between ‘I love you’ and ‘I love you too,’ the absent presence of desire comes alive. But the boundaries of time and glance and I love you are only aftershocks of the main, inevitable boundary that creates Eros: the boundary of flesh and self between you and me. And it is only, suddenly, at the moment when I would dissolve that boundary, I realize I never can.
Anne Carson
8.
Why does tragedy exist? Because you are full of rage. Why are you full of rage? Because you are full of grief.
Anne Carson
9.
Pleasure and pain at once register upon the lover, inasmuch as the desirability of the love object derives, in part, from its lack. To whom is it lacking? To the lover. If we follow the trajectory of eros we consistently find it tracing out this same route: it moves out from the lover toward the beloved, then ricochets back to the lover himself and the hole in him, unnoticed before. Who is the subject of most love poems? Not the beloved. It is that hole.
Anne Carson
10.
Myths are stories about people who become too big for their lives temporarily, so that they crash into other lives or brush against gods. In crisis their souls are visible.
Anne Carson
11.
Under the seams runs the pain.
Anne Carson
12.
When I desire you a part of me is gone.
Anne Carson
13.
If your way of life is writing, then everything that happens becomes a sentence.
Anne Carson
14.
When an ecstatic is asked the question, What is it that love dares the self to do? she will answer: Love dares the self to leave itself behind, to enter into poverty.
Anne Carson
15.
[Short Talk on Sylvia Plath] Did you see her mother on television? She said plain, burned things. She said I thought it an excellent poem but it hurt me. She did not say jungle fear. She did not say jungle hatred wild jungle weeping chop it back chop it. She said self-government she said end of the road. She did not say humming in the middle of the air what you came for chop.
Anne Carson
16.
Give me a world, you have taken the world I was.
Anne Carson
17.
I've come to understand that the best one can hope for as a human is to have a relationship with that emptiness where God would be if God were available, but God isn't.
Anne Carson
18.
What is an adjective? Nouns name the world. Verbs activate the names. Adjectives come from somewhere else. The word adjective (epitheton in Greek) is itself an adjective meaning 'placed on top', 'added', 'appended', 'foreign'. Adjectives seem fairly innocent additions, but look again. These small imported mechanisms are in charge of attaching everything in the world to its place in particularity. They are the latches of being.
Anne Carson
19.
The beloved's innocence brutalizes the lover. As the singing of a mad person behind you on the train enrages you, its beautiful animal-like teeth shining amid black planes of paint. As Helen enrages history. Senza uscita.
Anne Carson
20.
Caught between the tongue and the taste.
Anne Carson
21.
A page with a poem on it is less attractive than a page with a poem on it and some tea stains.
Anne Carson
22.
Madness and witchery as well as bestiality are conditions commonly associated with the use of the female voice in public.
Anne Carson
23.
Reality is a sound, you have to tune in to it not just keep yelling.
Anne Carson
24.
Sometimes I dream a sentence and write it down. It’s usually nonsense, but sometimes it seems a key to another world.
Anne Carson
25.
Those nights lying alone are not discontinuous with this cold hectic dawn. It is who I am.
Anne Carson
26.
They were two superior eels at the bottom of the tank and they recognized each other like italics.
Anne Carson
27.
To live past the end of your myth is a perilous thing.
Anne Carson
28.
Could you visit me in dreams? That would cheer me. Sweet to see friends in the night, however short the time.
Anne Carson
29.
We are only midway through the central verse of our youth when we see ourselves begin to blacken. ... We had been seduced into thinking that we were immortal and suddenly the affair is over.
Anne Carson
30.
Simply do something else and return to it later to find the problem wasn't a problem at all. Ruptures almost always lead to a stronger project.
Anne Carson
31.
A man moves through time. It means nothing except that, like a harpoon, once thrown he will arrive.
Anne Carson
32.
Lava bread makes you passionate.
Anne Carson
33.
All human desire is poised on an axis of paradox, absence and presence its poles, love and hate its motive energies.
Anne Carson
34.
Desire doubled is love and love doubled is madness.
Anne Carson
35.
I emphasize the distinction between brackets and no brackets because it will affect your reading experience, if you will allow it. Brackets are exciting. Even though you are approaching Sappho in translation, that is no reason you should miss the drama of trying to read a papyrus torn in half or riddled with holes or smaller than a postage stamp--brackets imply a free space of imaginal adventure.
Anne Carson
36.
Meanwhile music pounded / across hearts opening every valve to the desperate drama of being / a self in a song.
Anne Carson
37.
I am kind of a curmudgeonly person, so I don't gravitate to groups or traditions, which is probably just pretentious of me.
Anne Carson
38.
It is easier to tell a story of how people wound one another than of what binds them together.
Anne Carson
39.
Comfortable means gradually more and more flattened down, more and more blunt - less and less sharp and biting into you.
Anne Carson
40.
I don't know that we really think any thoughts; we think connections between thoughts. That's where the mind moves, that's what's new, and the thoughts themselves have probably been there in my head or lots of other people's heads for a long time.
Anne Carson
41.
My religion makes no sense
and does not help me
therefore I pursue it.
Anne Carson
42.
When they made love Geryon liked to touch in slow succession each of the bones of Herakles' back as it arched away from him into who knows what dark dream of its own, running both hands all the way down from the base of the neck to the end of the spine which he can cause to shiver like a root in the rain.
Anne Carson
43.
We're talking about the struggle to drag a thought over from the mush of the unconscious into some kind of grammar, syntax, human sense; every attempt means starting over with language. Starting over with accuracy.
Anne Carson
44.
Prowling the meanings of a word, prowling the history of a person, no use expecting a flood of light. Human words have no main switch. But all those little kidnaps in the dark. And then the luminous, big, shivering, discandied, unrepentant, barking web of them that hangs in your mind when you turn back to the page you were trying to translate.
Anne Carson
45.
Then a miracle occurred in the form of a plate of sandwiches. Geryon took three and buried his mouth in a delicious block of white bread filled with tomatoes and butter and salt. He thought about how delicious it was, how he liked slippery foods, how slipperiness can be of different kinds. I am a philosopher of sandwiches, he decided. Things good on the inside.
Anne Carson
46.
Beauty spins and the mind moves. To catch beauty would be to understand how that impertinent stability in vertigo is possible. But no, delight need not reach so far. To be running breathlessly, but not yet arrived, is itself delightful, a suspended moment of living hope.
Anne Carson
47.
Making is always a slightly hopeful thing because once you've made something, it'll - the world will be different.
Anne Carson
48.
What would it be like to live in a library of melted books. With sentences streaming over the floor and all the punctuation settled to the bottom as a residue. It would be confusing. Unforgivable. A great adventure.
Anne Carson
49.
He was trying to fit this Herakles onto the one he knew.
Anne Carson
50.
You used to say. "Desire doubled is love and love doubled is madness." Madness doubled is marriage I added when the caustic was cool, not intending to produce a golden rule.
Anne Carson