Mervyn Quotes & Sayings

Keda's oldness was the work of fate, alchemy. An occult agedness. A transparent darkness. A broken and mysterious grove. A tragedy, a glory, a decay. - Titus Groan — Mervyn Peake

No eye may see dispassionately. There is no comprehension at a glance. Only the recognition of damsel, horse or fly and the assumption of damsel, horse or fly; and so with dreams and beyond, for what haunts the heart will, when it is found, leap foremost, blinding the eye and leaving the main of Life in darkness. — Mervyn Peake

Global market forces will sort out those companies that do not have sound corporate governance. — Mervyn King

Countless candles dribbled with hot wax, and their flames, like little flags, fluttered in the unchartered currents of air. Thousands of lamps, naked, or shuttered behind coloured glass, burned with their glows of purple, amber, grass-green, blue, blood red and even grey. The walls of Gormenghast were like the walls of paradise or like the walls of an inferno. The colours were devilish or angelical according to the colour of the mind that watched them. They swam, those walls, with the hues of hell, with the tints of Zion. The breasts of the plumaged seraphim; the scales of Satan. — Mervyn Peake

Behind him she saw something which by contrast with the alien incalculable figure before her, was close and real. It was something which she understood, something which she could never do without, or be without, for it seemed as though it were her own self, her own body, at which she gazed and which lay so intimately upon the skyline. Gormenghast. The long, notched outline of her home. It was now his background. It was a screen of walls and towers pocked with windows. He stood against it, an intruder, imposing himself so vividly, so solidly, against her world, his head overtopping the loftiest of its towers. — Mervyn Peake

Mount and begone. The world awaits you. — Mervyn Peake

A drawing of the nude is a most revealing expression because it is at once the most private and the most personal. Often such drawings are made with no thought of public exhibition. They possess the intimacy of diaries. — Mervyn Levy

Sketching is the breath of art: it is the most refreshing of all the more impulsive forms of creative self-expression and, as such, it should be as free, and happy, as a song in the bath. — Mervyn Levy

But there were also times when she cried out in the darkness biting her lips - cried out against the substance of her age: for it was now that she should be young; now above all other times, with the wisdom in her, the wisdom that was frittered away in her 'teens', set aside in her twenties, now, lying there, palpable and with forty summers gone. She clenched her hands together. What good was wisdom; what good was anything when the fawn is fled from the grove? — Mervyn Peake

I've always loved what I'd term 'dark fiction' writers, everyone from J. G. Ballard to Mervyn Peake and Philip Pullman. I'm not sure it's a genre, but it's what I like best. — Christopher Fowler

He had no longer any need for home, for he carried his Gormenghast within him. All that he sought was jostling within himself. He had grown up. What a boy had set out to seek a man had found, found by the act of living. — Mervyn Peake

In great thick dusty books he read
And hardly ever went to bed
Before it was eleven.

- One Day When They Had Settled Down — Mervyn Peake

The crumbling castle, looming among the mists, exhaled the season, and every cold stone breathed it out. The tortured trees by the dark lake burned and dripped, their leaves snatched by the wind were whirled in wild circles through the towers. The clouds mouldered as they lay coiled, or shifted themselves uneasily upon the stone skyfield, sending up wreathes that drifted through the turrets and swarmed up hidden walls. — Mervyn Peake

He had emptied the bright goblet of romance; at a single gulp he had emptied it. The glass of it lay scattered on the floor. — Mervyn Peake

I want a big breakfast," said Fuchsia at last. "I want a lot to eat, I'm going to think today. — Mervyn Peake

The road was wet with rain, black and shiny like oilskin. The reflection of the street lamps wallowed like yellow jelly-fish. A bus was approaching - a bus to Piccadilly, a bus to the never-never land - a bus to death or glory.
I found neither. I found something which haunts me still.
The great bus swayed as it sped. The black street gleamed. Through the window a hundred faces fluttered by as though the leaves of a dark book were being flicked over. And I sat there, with a sixpenny ticket in my hand. What was I doing! Where was I going?
("Same Time, Same Place") — Mervyn Peake

Years on end, and swords on end - where will it end, if our ears unbend - what shall I spend on a wrinkled friend in a pair of tights like a bunch of lights? — Mervyn Peake

For what is more lovable than failure? — Mervyn Peake

I sometimes think about old tombs and weeds
That interwreathe among the bones of kings
With cold and poisonous berry and black flower:
Or ruminate upon the skulls of steeds
Frailer than shells and on those luminous wings -
The shoulder blades of Princes of fled power,
Which now the unrecorded sandstorms grind
Into so wraith-like a translucency
Of tissue-thin and aqueous bone
- A Reverie of Bone — Mervyn Peake

The love of the painter standing alone and staring, staring at the great coloured surface he is making. Standing with him in the room the rearing canvas stares back with tentative shapes halted in their growth, moving in a new rhythm from floor to ceiling. The twisted tubes, the fresh paint squeezed and smeared across the dry upon his palette. The dust beneath the easel. The paint has edged along the brushes' handles. The white light in a northern sky is silent. The window gapes as he inhales his world. His world: a rented room, and turpentine. He moves towards his half-born. He is in love. — Mervyn Peake

But Fuchsia might as well have been carved from dark marble. Only her tears moved. — Mervyn Peake

In 'Colonization in Reverse'41 (a famous poem much anthologized) the speaker is presented as a more or less reliable commentator who implies that Jamaicans who come to 'settle in de motherlan' are like English people who settled in the colonies. West Indian entrepreneurs, shipping off their countrymen 'like fire', turn history upside down. Fire can destroy, but may also be a source of warmth to be welcomed in temperate England. Those people who 'immigrate an populate' the seat of the Empire seem, like many a colonizer, ready to displace previous inhabitants. 'Jamaica live fi box bread/Out a English people mout' plays on a fear that newcomers might exploit the natives; and some of the immigrants are - like some of the colonizers from 'the motherland' - lazy and inclined to put on airs. Can England, who faced war and braved the worst, cope with people from the colonies turning history upside down? Can she cope with 'Colonizin in reverse'? — Mervyn Morris

His youth had been so long ago that he could remember nothing of it but he presumed, erroneously, that he had tasted the purple fruit, had broken hearts and hymens, had tosses flowers to ladies on balconies, had drunk champagne out of their shoes and generally been irresistible. — Mervyn Peake

His staff had shaken hands with her as though a woman was merely another kind of man. Fools! The seeds of Eve were in this radiant creature. The lullabyes of half a million years throbbed in her throat. Had they no sense of wonder, no reverence, no pride? — Mervyn Peake

She could feel the blood flowing within her and she felt that she must die or break forth into leaves and flowers. It was not passion she felt: not the passion of the body, though that was there, but rather an exultation, a reaching for life, for the whole of the life which she was capable, and in that life which she but dimly divined was centered love, the love for a man. She was not in love with Rantel: she was in love with what he meant to her as someone she could love. — Mervyn Peake

The activity of painting: A thrilling tussle between the artist's materials and his inspiration. — Mervyn Levy

She and her sister were dressed in purple, with gold buckles at their throats by way of brooches, and another gold buckle each at the end of hatpins which they wore through their grey hair in order apparently to match their brooches. Their faces, identical to the point of indecency, were quite expressionless, as though they were the preliminary lay-outs for faces and were waiting for sentience to be injected. — Mervyn Peake

Rottcodd was unmarried. An aloofness and even a nervousness was apparent on first acquaintance and the ladies held a peculiar horror for him. His, then, was an ideal existence, living alone day and night in a long loft. Yet
occasionally, for one reason or another, a servant or a member of the household would make an unexpected appearance and startle him with some question appertaining to ritual, and then the dust would settle once more in the hall and on the soul of Mr.
Rottcodd. — Mervyn Peake

There are times when the air that floats between mortals becomes, in its stillness and silence, as cruel as the edge of a scythe. — Mervyn Peake

I do not understand your love,' he said. — Mervyn Peake

The crags of the mountain were ruthless in the moon; cold, deadly and shining. Distance had no meaning. The tangled glittering of the forest roof rolled away, but its furthermost reaches were brought suddenly nearer in a bound by the terrifying effect of proximity in the mountain that they swarmed. The mountain was neither far away nor was it close at hand. It arose starkly, enormously, across the lens of the eye. The hollow itself was a cup of light. Every blade of the grass was of consequence, and the few scattered stones held an authority that made their solid, separate marks upon the brain - each one with its own unduplicated shape: each rising brightly from the ink of its own spilling. — Mervyn Peake

As I see it, life is an effort to grip before they slip through one's fingers and slide into oblivion, the startling, the ghastly or the blindingly exquisite fish of the imagination before they whip away on the endless current and are lost for ever in oblivion's black ocean. — Mervyn Peake

Yet here apparently on this stifling summer afternoon was the eye of Mr. Flay at the outer keyhole of the Hall of the Bright Carvings, and presumably the rest of Mr Flay was joined on behind it. — Mervyn Peake

Something to remember, that: cats for missiles. — Mervyn Peake

Then slowly, as his erratic shape approached the next guttering aura he would begin by degrees to become a silhouette, until immediately before the candle he would for a moment appear like an inky scarecrow, a mantis of pitch-black cardboard worked with strings. — Mervyn Peake

Lingering is so very lonely when one lingers all alone. — Mervyn Peake

Are you lishening, my pretty vermin, are you lishening? — Mervyn Peake

I am too rich already, for my eyes mint gold.
- Coloured Money — Mervyn Peake

Banks have come to realize in the recent crisis that they are paying the price for having designed compensation packages which provide incentives that are not, in the long run, in the interests of the banks themselves, and I would like to think that would change. — Mervyn King

Steerpike was, of course, alive with ideas and projects. These two half-witted women were a gift. That they should be the sisters of Lord Sepulchrave was of tremendous strategic value. They would prove an advance on the Prunesquallors, if not intellectually at any rate socially, and that at the moment was what mattered. And in any case, the lower the mentality of his employers the more scope for his own projects. — Mervyn Peake

Of all the many ways of organising banking, the worst is the one we have today. — Mervyn King

In the euro area the fight for survival has become a battle between politicians and arithmetic. — Mervyn King

Gormenghast.
Withdrawn and ruinous it broods in umbra: the immemorial masonry: the towers, the tracts. Is all corroding? No. Through an avenue of spires a zephyr floats; a bird whistles; a freshet beats away from a choked river. Deep in a fist of stone a doll's hand wriggles, warm rebellious on the frozen palm. A shadow shifts its length. A spider stirs ...
And darkness winds between the characters.
- Gormenghast — Mervyn Peake

Our Savior invites us on a daily basis to cleanse our names and return to His presence. His encouragement is full of love and tenderness. Envision with me the Savior's embrace as I read His words: Will ye not now return unto me, and repent of your sins, and be converted, that I may heal you? — Mervyn B. Arnold

From daybreak to sunset she turned her thoughts, like boulders, over. She set them in long lines. She rearranged their order ... — Mervyn Peake

Through her, in microcosm, the wide earth sobbed. The starglobe sank in her; the colours faded. The death-dew rose and the wild birds in her breast climbed to her throat and gathered songless, hovering, all tumult, wing to wing, so ardent for those climes where all things end. — Mervyn Peake

She had expressed herself, as women will, in a smug broadside of pastel shades. Nothing clashed because nothing had the strength to clash; everything murmured of safety among the hues; all was refinement. — Mervyn Peake

The puckered-up face of the newly-born child, old as the world, wise as the roots of trees. Sin was there and goodness, love, pity and horror, and even beauty for his eyes were pure violet. — Mervyn Peake

There is a kind of laughter that sickens the soul. Laughter when it is out of control: when it screams and stamps its feet, and sets the bells jangling in the next town. Laughter in all its ignorance and cruelty. Laughter with the seed of Satan in it. It tramples upon shrines; the belly-roarer. It roars, it yells, it is delirious: and yet it is as cold as ice. It has no humor. It is naked noise and naked malice. — Mervyn Peake

She feels a splash of water on her hand and, turning, sees that the sky has become overcast with a blanket of ominous dark rose-colored cloud, and of a sudden the light fades from the lawn and the cedars.

Steerpike, who is on his way back to the Earl's bedroom, stops a moment at a staircase window to see the first decent of the rain. It is falling from the sky in long, upright, and seemingly motionless lines of rosy silver that stand rigidly upon the ground as though there were a million harp strings strung vertically between the solids of earth and sky. — Mervyn Peake

Cold love's the loveliest love of all. So clear, so crisp, so empty. In short, so civilized. — Mervyn Peake

To live at all is miracle enough. — Mervyn Peake

Another comber of far pleasure followed the first, for his books came suddenly before his eyes, row upon row of volumes, row upon priceless row of calf-bound Thought, of philosophy and fiction, of travel and fantasy; the stern and the ornate, the moods of gold or green, of sepia, rose, or black; the picaresque, the arabesque, the scientific - the essays, the poetry and the drama.
All this, he felt, he would now re-enter. He could inhabit the world of words, with, at the back of his melancholy, a solace he had not known before. — Mervyn Peake

Home is a room dappled with firelight: there are pictures and books. And when the rain sighs, and the acorns fall, there are patterns of leaves against the drawn curtains. Home is where I was safe. Home is what I fled from. — Mervyn Peake

It is my cape of good hope, and if it isn't I will probably bite your nose off — Mervyn Peake

The Earth swirls down through the ominous moons of preconsidered generations. — Mervyn Peake

And then he began to laugh in a peculiar way of his own which was both violent and soundless. His heavy reclining body, draped in its black gown, heaved to and fro. His knees drew themselves up to his chin. His arms dangled over the sides of the chair and were helpless. His head rolled from side to side. It was as though he were in the last stages of strychnine poisoning. But no sound came, nor did his mouth even open. Gradually the spasm grew weaker, and when the natural sand colour of his face had returned (for his corked-up laughter had turned it dark red) he began his smoking again in earnest. — Mervyn Peake

He ran because his decision had been made. It had been made for him by the convergence of half-forgotten motives, of desires and reasons, of varied yet congruous impulses. And the convergence of all these to a focus point of action. — Mervyn Peake

How merciful a thing is man's ignorance of his immediate future! What a ghastly, paralysing thing it would have been if all those present could have known what was about to happen within a matter of seconds! For nothing short of pre-knowledge could have stopped the occurrence, so suddenly it sprang upon them. — Mervyn Peake

I saw a Puffin
In the Bay of Baffin
Sittin on Nuffin
And it was Laffin. — Mervyn Peake

Irma, my dear sister,' said Prunesquallor, 'I have two things to say. Firstly, why in the name of discomfort are we hanging around in the hall and probably dying of a draught that as far as I'm concerned runs up my right trouser leg and sets my gluteous maximus twtiching; and secondly, what is wrong, when you boil the matter down - with feet? I have always found mine singularly useful, especially for walking with. In fact, ha, ha, ha, one might almost imagine that they have been designed for that very purpose. — Mervyn Peake

It was obvious that their sorrows were conjoined. — Mervyn Peake

Each day I live in a glass room unless I break it with the thrusting of my senses and pass through the splintered walls to the great landscape. — Mervyn Peake

Bellgrove, eminently lovable, because of his individual weakness, his incompetence, his failure as a man, a scholar, a leader or even as a companion, was neverless utterly alone. For the weak, above all, have their friends. Yet his gentleness, his pretence at authority, his palpable humanity were unable, for some reason or other, to function. He was demonstrably the type of venerable and absent-minded professor about whom all the sharp-beaked boys of the world should swarm. — Mervyn Peake

And now, my poor old woman, why are you crying so bitterly? It is autumn. The leaves are falling from the trees like burning tears- the wind howls. Why must you mimic them? — Mervyn Peake

For death is life. It is only living that is lifeless. — Mervyn Peake

His habitual melancholy was changing day by day into something more sinister. There were moments when he would desecrate the crumbling and mournful mask of his face with a smile more horrible than the darkest lineaments of pain. Across the stoniness of his eyes a strange light would pass for a moment, as though the moon were flaring on the gristle, and his lips would open and the gash of his mouth would widen in a dead, climbing curve — Mervyn Peake

Noon, ripe as thunder and silent as thought, had fled unfingered. — Mervyn Peake

Meanwhile Bellgrove had been savouring love's rare aperitif, the ageless language of the eyes. — Mervyn Peake

And there shall be a flame-green daybreak soon. And love itself will cry for insurrection! For tomorrow is also a day - and Titus has entered his stronghold. — Mervyn Peake

And a ton came down on a coloured road,
And a ton came down on a gaol,
And a ton came down on a freckled girl,
And a ton on the black canal,
And a ton came down on a hospital,
And a ton on a manuscript,
And a ton shot up through the dome of a church,
And a ton roared down to the crypt.
And a ton danced over the Thames and filled
A thousand panes with stars,
And the splinters leapt on the Surrey shore
To the tune of a thousand scars. — Mervyn Peake

The artist and writer Mervyn Peake, invalided out of military service, joined the Design, Poster and Visualising Group of the Ministry of Information in 1942. — Laura Brandon

My passion,
My queen of fire and dread;
Divine amalgamation
Of swedes and cooper-thread,
Unstitch your irritation
And kiss me when I'm dead. — Mervyn Peake

For answer Mr Flay shot his head forward out of his collar and croaked, 'Silence! you kitchen thing. Hold your tongue you greasy fork. — Mervyn Peake

Prunesquallor, as urbane as ever, had nevertheless something in his fish-like eyes that might almost be described as determination. One glance at his sister was sufficient to make him realize that to attempt to reason with her would be about as fruitful as to try to christianize a vulture. — Mervyn Peake

I am clever enough to know that I am clever. — Mervyn Peake

The underlying intellectual argument for seeking to tax economic rents retains its force. — Mervyn King

To set aside one's prejudices, one's present needs, and one's own self interest in making a decision as a director for a company is an intellectual exercise that takes constant practice. In short, intellectual honesty is a journey and not a destination. — Mervyn King

The most important aspect of leading is knowing oneself. Know yourself, know the people around you, and then get on with it. — Mervyn Davies

In that glorious day when we stand before our beloved Savior to report what we have done with His name, may we be able to declare: I have fought a good fight, I have finished my course, I have kept the faith. I have honored Thy name. — Mervyn B. Arnold

Lord Peter Wimsey: Facts, Bunter, must have facts. When I was a small boy, I always hated facts. Thought they were nasty, hard things, all nobs.
Mervyn Bunter: Yes, my lord. My old mother always used to say ...
Lord Peter Wimsey: Your mother, Bunter? Oh, I never knew you had one. I always thought you just sort of came along already-made, so it were. Oh, excuse me. How infernally rude of me. Beg pardon, I'm sure.
Mervyn Bunter: That's all right, my lord.
Lord Peter Wimsey: Thank you.
Mervyn Bunter: Yes indeed, I was one of seven.
Lord Peter Wimsey: That is pure invention, Bunter, I know better. You are unique. But you were going to tell me about your mater.
Mervyn Bunter: Oh yes, my lord. My old mother always used to say that facts are like cows. If you stare them in the face hard enough, and they generally run away.
Lord Peter Wimsey: By Jove, that's courageous, Bunter. What a splendid person she must be.
Mervyn Bunter: I think so, my lord. — Dorothy L. Sayers

I know she'll hate him. She likes to be the only one, you know. She likes to dream that she's queen and that when the rest are dead there'll be no one who can order her to do anything. She said, dear, that she'd burn down the whole place, burn down Goremenghast when she was ruler and she'd live on her own, and I said she was wicked, and she said that everyone was- everyone and everything except rivers, clouds, and some rabbits. She makes me frightened sometimes. — Mervyn Peake

I am the wilderness lost in man. — Mervyn Peake

She had shown him by her independence how it was only fear that held people together. The fear of being alone and the fear of being different. — Mervyn Peake

Keda,' she said to herself,' Keda, this is tragedy.' But as her words hung emptily in the morning air, she clenched her hands for she could feel no anguish and the bright bird that had filled her breast was still singing ... was still singing. — Mervyn Peake

With what characters she had filled this lost stage of emptiness! It was here that she would see the people of her imagination, the fierce figures of her making, as they strolled from corner to corner, brooded like monsters or flew through the air like seraphs with burning wings, or danced, or fought, or laughed, or cried. This was her attic of make-believe, where she would watch her mind's companions advancing or retreating across the dusty floor. — Mervyn Peake

Consensus wisdom has it that all modern commercial fantasy novels fall into two camps: those derived from J.R.R. Tolkien and those derived from Mervyn Peake. The 'Lord of the Rings' template or the 'Gormenghast' mold. — Paul Di Filippo

Yet not with all of me am I in love. Too much of my own quietness is with me. — Mervyn Peake

The Aunts put their arms about one another so that their faces were cheek to cheek, and from this doublehead they gazed up at Steerpike with a row of four equidistant eyes. There was no reason why there should not have been forty, or four hundred of them. It so happened that only four had been removed from a dead and endless frieze whose inexhaustible and repetitive theme was forever, eyes, eyes, eyes. — Mervyn Peake

It was then that the Boy went through his darkest hell of all: the long ache of his body, acute as it was, was yet forgotten or disposed of in some way, for he was filled with a disembodied pain, an illness so penetrating, so horrible, that had he been given the opportunity to die he would have taken it. No normal sensation could find a way through this overpowering nausea of the soul that filled him. — Mervyn Peake

Gormenghast, that is, the main massing of the original stone, taken by itself would have displayed a certain ponderous architectural quality were it possible to have ignored the circumfusion of those mean dwellings that swarmed like an epidemic around it s Outer Walls. — Mervyn Peake

He does not listen for an answer, but yawns, his face opening lewdly upon regions compared with which nudity becomes a milliner's invention. — Mervyn Peake

He knew that he was caught up in one of those stretches of time when for anything to happen normally would be abnormal. The dawn was too tense and highly charged for any common happening to survive. — Mervyn Peake

Mervyn Peake is a finer poet than Edgar Allan Poe, and he is therefore able to maintain his world of fantasy brilliantly through three novels. It (Gormenghast trilogy) is a very, very great work ... a classic of our age. — Mervyn Peake

His mind had been working away behind his high forehead. Unimaginative himself he could recognize imagination in her: he had come upon one whose whole nature was the contradiction of his own. He knew that behind her simplicity was something he could never have. Something he despised as impractical. Something which would never carry her to power or riches, but would retard her progress and keep her apart in a world of her own make-believe. To win her favour he must talk in her own language. — Mervyn Peake

Civilized people don't feel. — Mervyn Peake

Why break the heart that never beat from love? — Mervyn Peake

Seeing an Earl as an owl on a mantelpiece, and having part of one's face removed by a cat, both on the same morning, can temporarily undermine the self-control of any man. — Mervyn Peake

But his mind saw nothing of all this. His mind was engaged in a warfare of the gods. His mind paced outwards over no-man's-land, over the fields of the slain, paced to the rhythm of the blood's red bugles. To be alone and evil! To be a god at bay. What was more absolute? — Mervyn Peake

Life is too fleet for onomatopoeia. — Mervyn Peake