Marina Warner Quotes & Sayings

There is humanist enterprise of the book, and amongst that there are many, many stories. And that is why at the end, when he says that the stories are so illuminating that they must be engraved and encased in gold and put in the palace library, the people who compile the book are telling us that this is a collection of human wisdom. — Marina Warner

Although the stories are very present in my book, and very present in my mind, what I was most interested in was the question of why it had attracted such a following in the 18th Century. It's less mysterious that it attracted a following in the Romantic period, and in the 19th Century, but the early 18th Century when the Rationalists fell in love with it ... that was mysterious. What I wanted to look at was the forms of enchantment. — Marina Warner

True to their history, the English are very domineering and have manipulated it in different ways. I wouldn't say that there was an original, but there is a lot of expurgation in some of the Victorian translations, and there's a lot of additional salacious nonsense in some of them, too. I also like the early French one, much-derided for being fanciful but which is actually very elegantly done. It's very big, very capacious. — Marina Warner

The store of fairy tales, that blue chamber where stories lie waiting to be rediscovered, holds out the promise of just those creative enchantments, not only for its own characters caught in its own plotlines; it offers magical metamorphoses to the one who opens the door, who passes on what was found there, and to those who hear what the storyteller brings. The faculty of wonder, like curiosity can make things happen; it is time for wishful thinking to have its due. — Marina Warner

I love titles and organizing chains of ideas. I like that very much. — Marina Warner

An interesting example is that the worst woman in the book, who is so cruel and violent, is the sorceress in "The Prince of the Black Islands." She's a beautiful young woman, and she has turned her husband into stone from the waist down. A traveling sultan finds him, in his dreadful state, and the man petrified from the waist down tells his sad story ... how his wife comes every afternoon and beats him until the blood runs down. She's just unwontedly, arbitrarily cruel. — Marina Warner

The forest is where you are when your surroundings are not mastered. — Marina Warner

I think that a true economics thinker or a Marxist thinker would make nonsense of my argument, although I have given massive seminars and no one has demolished it so far. I did think that this idea from an artisanal and trading perception of the auratic quality of goods when they are given character and inscription, made the stories of phantasmic wealth read more powerfully in the 18th and 19th centuries than the stories of Cinderella's wealth, because they are conjured out of nothing by these magic means. — Marina Warner

The Grimm brothers always said that their informants were women, which is possibly not true, women of the people. There is the constant evocation of women's voices, in the collecting and arrangement of these stories, and yet the message of so many of them is incredibly misogynist. I was very puzzled by that, and that book explores that contradiction. — Marina Warner

I do not think commodities are taken for granted. One of the convergences in time I noticed, and to me seemed very important, was the emergence of paper money. There had been permissionary notes, exchanging money by writing it, but there was no duplicated form of guaranteeing an exchange. — Marina Warner

I am not a great believer in dialectical struggle. I am much more of a fusion person. I see it as a dialogue, or trialogue, or polylogue: many, many, many voices, going back a long way. The cultural picture is much more mutually enriching at many different levels, manufacturers ... absolutely, design and calligraphy. It's an amazing amount of cross-interests between people. — Marina Warner

I don't think that there's a target audience at all. These stories were in circulation. The stories were told by men, told in the marketplace by men, but also behind doors by women, but there's no real record of this. It's likely they were told by women to children in their interior rooms. The story could be a negative story, they could be presented as a, "Watch out! Women will get round you, do things to you, weave you in their toils." It could be buried in it an old cautionary story about women and their wiles. — Marina Warner

If you remember the pleasure of hearing a story many times, and you will remember that while you were listening you become three people. There is an incredible fusion: you become the storyteller, the protagonist, and you remember yourself listening to the story. — Marina Warner

Behind every book for young people and every global product of family entertainment, the hum of boardroom discussion about the politics of the work can be heard. — Marina Warner

Mary Jane Clairmont, the second wife of William Godwin, and Mary Shelley's stepmother, had the idea of bringing out French fairy tales for children in an attempt to make some much needed money for the family (she has not been given her due by biographers, in my view). — Marina Warner

I have many, many editions of the books, and they are all rather different. In the end, the one I used was the most recent French translation. French suits the tales well, and it's a beautiful translation. The Italian one is good as well ... English has fallen short. — Marina Warner

Aarne-Thompson-Uther index — Marina Warner

Mythographer was suggested by the man who made my website, actually. I do write a lot about myth and I do feel it's a bit pompous to state it that way, but it does distinguish me from other writers. When it was first on the web, people began to use it in an ironical and satirical way. Now, however, people tend to use it straight. — Marina Warner

If you want to learn about a culture, you look at what buildings the people lived in but you also want to know about their cosmos. — Marina Warner

I used to retain information extremely fast, so perhaps it's hardening a bit and I don't take the impression as well as I used to. Instead of writing in free flight, I had to check on the stories all the time. So I have decided I better to do it while I am fresh! — Marina Warner

Fairy tales are about money, marriage, and men. They are the maps and manuals that are passed down from mothers and grandmothers to help them survive. — Marina Warner

The other thing about the Nights is that it is quite racist. One parentheses is that I think this is one of the negative things that appeal to people, that The Arabian Nights could be used as a disguise for racism. It suited the West. You could smuggle racism into children's literature, you see. The African magician in the story of Aladdin, he's labeled explicitly as the "African Magician." He's not a character but a stereotype, and a lot of this got into nursery literature in this Oriental disguise. — Marina Warner

Wonder has no opposite; it springs up already doubled in itself, compounded of dread and desire at once, attraction and recoil, producing a thrill, the shudder of pleasure and of fear. — Marina Warner

When virtue is pictured as innocence and innocence equated with childlikeness, the implication is obviously that knowledge and experience are no longer media of goodness, but have become in themselves contaminating. This is a very despairing outlook, in its way as black as Augustine's original sin, for it supposes that original goodness will in all likelihood be defiled ... It surrenders the attempt to represent virtue in a mature phase. — Marina Warner

There are a range of women not represented in the Western fairy tale tradition. Husband-beaters are particularly interesting, as well as male pederasts. Children are often told in The Arabian Nights, "This man likes to abduct boys, be careful of him." These issues are explored through the medium of the stories, but actually the architecture of the book is such that there are many examples of women who are loyal, brave, devoted - especially to their lovers. — Marina Warner

The model of the educational Kalila Wa-Dimna. These are books of instruction to rulers and humans. The stories unfold a range of human psychology, a vast range of human psychology. The Sultan is being moved from his narrow and bigoted position into a wider, more subtle, more nuanced understanding of human experiences. — Marina Warner

Creating simplicity often makes the heart leap; order has been restored, the crooked made straight. But order is understanding that things cannot be made simple, that complexity reigns and must be accepted. — Marina Warner

The more one knows fairy tales the less fantastical they appear; they can be vehicles of the grimmest realism, expressing hope against all the odds with gritted teeth. — Marina Warner

The technique of the book and the technique carried by the figure of Scheherazade is one of opening the Sultan's mind. He's emblematic of the ignorant person: the ignorant, lock-in, raging man who wants to kill all he doesn't understand. The model of the book is the extraordinary, very-large, Mirror of Princes. — Marina Warner

I see the carpet reflecting that narratological structure of the storytelling, with Scheherazade as the outside frame story on the outside, with the stories woven on the inside. It's also demonstrative of the infinity of it, with no beginning and no end. The carpet is also a kind of metonym for cinema, this idea that the flat surface carries a terrific depth of imaginative field while remaining totally flat. — Marina Warner

I was brought up a Catholic and I was quite fervent, because I was sent to a convent school. — Marina Warner

I always have done work on mythic relations since I started writing. I really want to be a novelist, or at least a writer of imaginative work ... I do try to make my critical studies imaginative and try to write them in ways that are more like literature than philosophy, but I have disappointed myself because I am still so wedded to criticism. — Marina Warner

Love can make you turn on yourself, and it can do harmful things to you. It's a deep lesson in human psychology, as with many of the stories. Anyways, that's just an example of one of the most wicked women in the Nights. — Marina Warner

The price the Virgin demanded was purity, and the way the educators of Catholic children have interpreted this for nearly two thousand years is sexual chastity. Impurity, we were taught, follows from many sins, but all are secondary to the principal impulse of the devil in the soul
lust. — Marina Warner

I shop online because I don't like to try things on in front of an alien mirror. — Marina Warner

Angela Carter ... refused to join in rejecting or denouncing fairy tales, but instead embraced the whole stigmatized genre, its stock characters and well-known plots, and with wonderful verve and invention, perverse grace and wicked fun, soaked them in a new fiery liquor that brought them leaping back to life. From her childhood, through her English degree at the University of Bristol where she specialised in Medieval Literature, and her experiences as a young woman on the folk-music circuit in the West Country, Angela Carter was steeped in English and Celtic faerie, in romances of chivalry and the grail, Chaucerian storytelling and Spenserian allegory, and she was to become fairy tale's rescuer, the form's own knight errant, who seized hold of it in its moribund state and plunged it into the fontaine de jouvence itself.
(from "Chamber of Secrets: The Sorcery of Angela Carter") — Marina Warner

I have always argued that we can't live by or be made to exist outside of mythology, and that every group and nation has, possibly unacknowledged to themselves, some myths by which they live. It remains important to revisit them, understand them and possibly retell them - or at least own up to them - and then it becomes possible to move something. If it's obscure or invisible to you, you can't budge those understandings. — Marina Warner

The sombre-suited masculine world of the Protestant religion is altogether too much like a gentlemen's club to which the ladies are only admitted on special days. — Marina Warner

I avoid looking in the mirror. — Marina Warner

a world in a grain of sand | And a heaven in a wild flower'. — Marina Warner

When I was young, I did actually model and was much photographed by famous photographers. But I was always a bookworm. — Marina Warner

There's a whole slew of wonderful speculation of flying in a fanciful way. Gulliver is one of the central examples; Swift has the hum of Arabian Nights in his ear with Gulliver's Travels. The difference is in scale - Gulliver as a kind of Sinbad kind of figure, the way he is picked up and carried. Just to finish up with Scheherazade, I do think that The Arabian Nights could be considered as a great book on women's position in the world. — Marina Warner

Many of the enchanted things in the book are lamps, carpets, sofas, gems, brass rings. It is a rather different landscape than the fairy tale landscape of the West. Though we have interiors and palaces, we don't have bustling cities, and there isn't the emphasis on the artisan making things. The ambiance from which they were written was an entirely different one. The Arabian Nights comes out of a huge world of markets and trade. Cairo, Basra, Damascus: trades and skills. — Marina Warner

I consider it as a foreshadowing of modernity in many different respects, and the consistency of character is interesting to the emerging modern psychology. The emphasis on dream knowledge relates quite deeply to psychoanalysis, although I suppose psychoanalysis wouldn't like to say that ... Freud was always saying he was a scientist. — Marina Warner

Though it's marvelously entertaining, and I had fantastic fun writing the book, it's not terribly easily, the material, and it's not all that familiar ... although we think it is familiar. The processes of the wonderful narratives are very intricate. It's about the charm - the spellbinding charm - of ingenuity, and it's not so easy to remember the plots or the structure or even the names. — Marina Warner

One of the achievements of our generation of feminists was to emancipate women from the division between being interested in clothes and appearance, and being serious and ambitious. I am of the first generation that could go to Biba, wear miniskirts and get a degree. — Marina Warner

Theories about world literature, of which fairy tale is a fundamental part, emphasize the porousness of borders, geographical and inguistic: no frontiercan keep a good story from roaming. It will travel, and travel far, and travel back again in a different guise, a changed mood, and, above all, a new meaning. — Marina Warner

The stories are most often about justice. In her stories, those who commit injustice, or act tyrannically, come to no good. They are punished. — Marina Warner

Meanings of all kinds flow through the figures of women, and they often do not include who she herself is. — Marina Warner

The seductive invitation of metamorphosis - of turning into something other - has continued to suffuse fantasies of identity; on the one hand holding out a way of escape from humanity, on the other annihilating the self. — Marina Warner

One of the metaphors of the book is the carpet. Not just the flying carpet, but the carpet as a woven surface in which many repetitions and motifs recur and mirror one another. This is very much reflected within the stories: they have borders within borders, repeated motifs which change. They have their feet in oral conventions, and for the mnemonics, the storyteller needs to have a structure in order to remember the stories. — Marina Warner

If you want a good handbag and glasses, it's hard to get something without the brand name on it because it's so important to have the charmed inscription. The only way you do it ... This handbag was the only one in the shop without a charmed inscription. It's just an ordinary bag. I went into the department store in Sloane Square, because I needed a new bag, because my old one lost its handles. Then I found this one, and I said "Why is it so cheap?" and the seller said, "Because it doesn't have a name!" — Marina Warner

The tales are quite hard to remember and I found that going back to it between bouts of writing fiction, I was having to retrace my steps quite a lot, because the stories are very intricate and the material is elusive, and possibly with age, my memory is not as malleable as it used to be. — Marina Warner

For example, John Law's Mississippi Company venture printed shares, and the money had gone up in smoke when it had been inscribed objects. The inscription made it magic and changed its meaning. That's how objects become charmed in The Arabian Nights, and they are often originally ordinary objects. The carpet is an ordinary, paltry object. The lamp is a rusty old lamp, and the bottles jinns are imprisoned within are old bottles. They are changed by the magic and the jinn's presence, and the jinn's presence is often embodied in the seal or inscription. — Marina Warner

Storytelling is a dangerous vocation, for the fairies punish those who return to tell their secrets. — Marina Warner

There is a theory, that I rather subscribe to. The frame story implies that if he doesn't change, she will kill him. It's all very complex and subtle. The story is about a woman who persuades a man in power to a different temper and attitude, and so it is about women's wiles, what women will get up to. She has a plan, she has a scheme. — Marina Warner

A society that doesn't know any longer how to observe every death with proper rituals, that does not know that death is not the end, but only part of the journey, has lost its way, has had the very heart of its humanity torn out. — Marina Warner

The vocabulary of pleasure depends on the imagery of pain. — Marina Warner

One of the things I try to do is try to make repetitions, rhymes, and mirrorings across the subject matter of my own books so that the chapter titles and the epigraphs and pictures all kind of form a tapestry. In this book, I retell fifteen of the stories. You have the critical frame, and then you have these rosettes like the motif in a carpet. — Marina Warner

The tripartite structure - so you remember the third brother, second brother, first brother, or the first dervish, second dervish, and third dervish. This is very like embroidering a cloth, as you have to know where you are with the knots. — Marina Warner

Stories were migrants, blow-ins, border-crossers, tunnellers from France and Italy and more distant territories where earlier and similar stories had been passed on in Arabic and Persian and Chinese and Sanskrit. — Marina Warner

Scheherazade, of course, was always in the back of my mind, because she's also a storyteller identified as female who tells a lot of anti-female stories. There's a parade in The Arabian Nights of sorceresses, adulteresses, ghouls, sirens, harridans. — Marina Warner

Our traditional stories are based on an aristocratic model without a middle class, whereas The Arabian Nights reflect people living in cities, traders, merchants, travelers, with a wide range of personalities. — Marina Warner

The French Revolution printed money because they didn't have any, so they just printed it, and this was a revolutionary step which of course we are still reaping the huge consequences of today. It struck me that this was beginning to happen ... there had been scandals where shares had been printed. — Marina Warner

It seemed to me to be a parable of the exchange of goods, rather Marxist in some ways, in the new world of global forces. What the forgers do is write the brand name to try and change it, and it works! Loads of people buy fake Prada handbags, or Chanel sunglasses; they've been changed. They have been truly, really changed. — Marina Warner

I do think that this represents a kind of shift towards myth, a recovery of myth, largely through the popularity of writers like Philip Pullman. Somehow myths have returned as a serious subject. It used to be scorned ... really scorned. It was part of a nursery tradition, and it was also rather tainted - but not in an immovable way - by the association with right-wing ideologies after the World Wars. — Marina Warner

The Other Worlds which fairy tales explore open a way for writers and storytellers to speak in Other terms, especially when the native inhabitants of the imaginary places do not belong to an established living faith and therefore do not command belief or repudiation. The tongue can be very free when it is speaking outside the jurisdiction of religion. — Marina Warner

The female form provides the solution in which the essence itself is held; she is passio, and acted upon, the male is actio, the mover. — Marina Warner