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A stone has been cast into the reliable immutable pond of the past, and as the ripples subside everything appears different. The reflections are quite other; everything has swung and shattered, it is all beyond recovery.
Penelope Lively
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The city feeds his mind, but in so doing he is manipulated by it, its sights and sounds condition his responses, he is its product and its creature. Neither can do without the other.
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Wars are fought by children. Conceived by their mad demonic elders, and fought by boys.
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Language tethers us to the world; without it we spin like atoms.
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I have an iPad but I wouldn't dream of reading a book on it.
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We are walking lexicons. In a single sentence of idle chatter we preserve Latin, Anglo-Saxon, Norse; we carry a museum inside our heads, each day we commemorate peoples of whom we have never heard.
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If people don't read, that's their choice; a lifelong book habit may itself be some sort of affliction.
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There are two points at which I might use a Kindle: when travelling, though I don't do much of that any more, and when in hospital, which is quite likely to arise at some point. So that could be very useful. But as a general way of reading books, no. It seems to me that anyone whose library consists of a Kindle lying on a table is some sort of bloodless nerd.
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This city is entirely in the mind. It is a construct of the memory and of the intellect.
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Grief-stricken. Stricken is right; it is as though you had been felled. Knocked to the ground; pitched out of life and into something else.
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Chronology irritates me. There is no chronology inside my head. I am composed of a myriad of Claudias who spin and mix and part like sparks of sunlight on water.
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Are [children] reading less today? I have a nasty feeling they are.
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The days of our lives vanish utterly, more insubstantial than if they had been invented. Fiction can seem more enduring than reality.
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And in another year everything will be different yet again. It is always like that, and always will be; you are forever standing on the brink, in a place where you cannot see ahead; there is nothing of which to be certain except what lies behind. This should be terrifying, but somehow it is not.
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History unravels; circumstances, following their natural inclination, prefer to remain ravelled.
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I am addicted to arrivals, to those innocent dawn moments from which history accelerates.
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You have this comet trail of your own lived life, sparks from which arrive in the head all the time, whether you want them or not - life has been lived but it is still all going on, in the mind for better and for worse.
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The place didn't look the same but it felt the same; sensations clutched and transformed me. I stood outside some concrete and plate-glass tower-block, picked a handful of eucalyptus leaves from a branch, crushed them in my hand, smelt, and tears came to my eyes.
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We all act as hinges — fortuitous links between other people.
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The day is refracted, and the next and the one after that, all of them broken up into a hundred juggled segments, each brilliant and self-contained so that the hours are no longer linear but assorted like bright sweets in a jar.
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Far as I'm concerned, they're all still here, like a lot of dear little ghosts.
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If we had not met, that day, I think I would have imagined you somehow.
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I've grown old with this century; there's not much left of either of us.
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The past is our ultimate privacy; we pile it up, year by year, decade by decade, it stows itself away, with its perverse random recall system.
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His prime resource is the leaky vessel of is own memory. At times he views it thus, quite literally — as some old pail with holes and rusted seams. Alternatively, he imagines an extensive manuscript of which there survive only a handful of charred fragments; it is like trying to piece together the Gospels from the Dead Sea Scrolls.
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An ending is an artificial device; we like endings, they are satisfying, convenient, and a point has been made. But time does does not end, and stories march in step with time. Equally, chaos theory does not assume an ending; the ripple effect goes on, and on.
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Mythology is much better stuff than history. It has form; logic; a message.
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But who knows their own child? You know bits — certain predictable reactions, a handful of familiar qualities. The rest is impenetrable. And quite right too. You give birth to them. You do not design them.
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I believe that the experience of childhood is irretrievable. All that remains, for any of us, is a headful of brilliant frozen moments, already dangerously distorted by the wisdoms of maturity.
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I can remember the lush spring excitement of language in childhood. Sitting in church, rolling it around my mouth like marbles — tabernacle and pharisee and parable, trespasses and Babylon and covenant.
Penelope Lively
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Quote of the day
Every word she writes is a lie, including 'and' and 'the'.
Mary McCarthy
Penelope Lively
Creative Commons
Born:
March 17, 1933
(age 91)
Bio:
Dame Penelope Margaret Lively is a British writer of fiction for both children and adults. She has won both the Booker Prize and the Carnegie Medal for British children's books.
Known for:
Moon Tiger (1987)
How It All Began (2011)
The Ghost of Thomas Kempe (1973)
The Road to Lichfield (1977)
The Photograph (1953)
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