Peter Ackroyd
Author
1949-10-05
Books by Peter Ackroyd
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London: The Biography
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Quotes by Peter Ackroyd
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But just as my philosophy had ceased to interest me as soon as it was formulated into a set of principles so, when I saw myself being imitated, I realised at once what an incubus my aesthetic personality might become if I were to be trapped within it. Imitation changes, not the impersonator, but the impersonated.
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Now his work-mates pitied him, although they tried not to show it, and it was generally arranged that he was given jobs which allowed him to work alone. The smell of ink, and the steady rhythm of the press, then induced in him a kind of peace - it was the peace he felt when he arrived early, at a time when he might be the only one to see the morning light as it filtered through the works or to hear the sound of his footsteps echoing through the old stone building. At such moments he was forgetful of himself and thus of others until he heard their voices, raised in argument or in greeting, and he would shrink into himself again. At other times he would stand slightly to one side and try to laugh at their jokes, but when they talked about sex he became uneasy and fell silent for it seemed to him to be a fearful thing. He still remembered how the girls in the schoolyard used to chant,Kiss me, kiss me if you canI will put you in my pan,Kiss me, kiss me as you saidI will fry you till you're deadAnd when he thought of sex, it was as of a process which could tear him limb from limb. He knew from his childhood reading that, if he ran into the forest, there would be a creature lying in wait for him.
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It is the kind of stoicism which had been seen as characteristic of Anglo-Saxon poetry, perhaps nowhere better expressed than in 'The Battle of Maldon' where the most famous Saxon or English cry has been rendered - 'Courage must be the firmer, heart the bolder, spirit must be the greater, as our strength grows less'. That combination of bravery and fatalism, endurance and understatement, is the defining mood of Arhurian legend.
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There is a camaraderie that grows up among those who work with old books and old papers, largely, I suspect, because we understand that we are at odds with the rest of the world: we are travelling backwards, while all those around us are still moving forward.
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History is about longing and belonging. It is about the need for permanence and the perception of continuity. It concerns the atavistic desire to find deep sources of identity. We live again in the twelfth or in the fifteenth century, finding echoes and resonances of our own time; we may recognise that some things, such as piety and passion, are never lost; we may also conclude that the great general drama of the human spirit is ever fresh and ever renewed. That is why some of the greatest writers have preferred to see English history as dramatic or epic poetry, which is just as capable of expressing the power and movement of history as any prose narrative; it is a form of singing around a fire.
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Women, of their nature, crave for liberty; they will not be ordered around like servants.
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the great advantage of really contemporary fiction is that one finds oneself mirror on every page
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Some drink to forget, I drink to remember. I drink in order to understand what I mean and to discover what I know. Under its benign influence all the stories and dramas which properly belong to the sphere of art are announced by me in conversation.
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the great advantage of really contemporary fiction is that one finds oneself mirrored on every page
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absinthe removes the bitter taste of failure and grants me strange visions which are charming principally because they cannot be written down. Only in absinthe do I become entirely free and, when I drink it, I understand the symbolic mysteries of odour and of colour.
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One can forgive Shakespeare anything, except one's own bad lines.
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So do we discover, in the world, that our worst fears are unfulfilled; yet we must fear, in order that we may feel delight.
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There were pools of light among the stacks, directly beneath the bulbs which Philip had switched on, but it was now with an unexpected fearfulness that he saw how the books stretched away into the darkness. They seemed to expand as soon as they reached the shadows, creating some dark world where there was no beginning and no end, no story, no meaning. And if you crossed the threshold into that world, you would be surrounded by words; you would crush them beneath your feet, you would knock against them with your head and arms, but if you tried to grasp them they would melt away. Philip did not dare turn his back upon these books. Not yet. It was almost, he thought, as if they had been speaking to each other while he slept.
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So we may use our books to form a barricade against the world,interweaving their words with our own to ward off the heat of the day.
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Books do not perish like humankind. Of course we commonly see them broken in the haberdasher's shop when only a few months before they lay bound on the stationer's stall; these are not true works, but mere trash and newfangleness for the vulgar. There are thousands of such gewgaws and toys which people have in their chambers, or which they keep upon their shelves, believing that they are precious things, when they are the mere passing follies of the passing time and of no more value than papers gathered up from some dunghill or raked by chance out of the kennel. True books are filled with the power of the understanding which is the inheritance of the ages: you may take up a book in time, but you read it in eternity.
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And when I was young, did I ever tell you, I always wanted to get insidea book and never come out again? I loved reading so much I wantedto be a part of it, and there were some books I could have stayed infor ever.
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For when I trace back the years I have liv'd, gathering them up in my Memory, I see what a chequer'd Work Of Nature my life has been. If I were now to inscribe my own History with its unparalleled Sufferings and surprizing Adventures (as the Booksellers might indite it), I know that the great Part of the World would not believe the Passages there related, by reason of the Strangeness of them, but I cannot help their Unbelief; and if the Reader considers them to be but dark Conceits, then let him bethink himself that Humane life is quite out of the Light and that we are all Creatures of Darknesse.
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I have liv'd long enough for others, like the Dog in the Wheel, and it is now the Season to begin for myself: I cannot change that Thing call'd Time, but I can alter its Posture and, as Boys do turn a looking-glass against the Sunne, so I will dazzle you all.
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He is a Londoner, too, in his writings. In his familiar letters he displays a rambling urban vivacity, a tendency to to veer off the point and to muddle his syntax. He had a brilliantly eclectic mind, picking up words and images while at the same time forging them in new and unexpected combinations. He conceived several ideas all at once, and sometimes forgot to separate them into their component parts. This was true of his lectures, too, in which brilliant perceptions were scattered in a wilderness of words. As he wrote on another occasion, The lake babbled not less, and the wind murmured not, nor the little fishes leaped for joy that their tormentor was not. This strangely contorted and convoluted style also characterizes his verses, most of which were appended as commentaries upon his paintings. Like Blake, whose prophetic books bring words and images in exalted combination, Turner wished to make a complete statement. Like Blake, he seemed to consider the poet's role as being in part prophetic. His was a voice calling in the wilderness, and, perhaps secretly, he had an elevated sense of his status and his vocation. And like Blake, too, he was often considered to be mad. He lacked, however, the poetic genius of Blake - compensated perhaps by the fact that by general agreement he is the greater artist.
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Is Dust immortal then, I ask'd him, so that we may see it blowing through the Centuries? But as Walter gave no Answer I jested with him further to break his Melancholy humour: What is Dust, Master Pyne?And he reflected a little: It is particles of Matter, no doubt.Then we are all Dust indeed, are we not?And in a feigned Voice he murmered, For Dust thou art and shalt to Dust return. Then he made a Sour face, but only yo laugh the more.
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