Mervyn Peake Quotes

Life must be various, incongruous, vile and electric. Life must be ruthless and as full of love as may be found in a jaguar's fang."
"I like the way you talk, young man," said Grass, "but I don't know what you're saying.

Let go of my arm, or I will scream for God."
"He never helped you. Have you forgotten?

Art should be artless, not heartless.

The ritual which his body had had to perform for fifty years had been no preparation for the unexpected.

It was when he saw the great walls looming above him that he began to run.
He ran as though to obey an order. And this was so, though he knew nothing of it. He ran in the acknowledgement of a law as old as the laws of his home, the law of flesh and blood. The law of longing. The law of change. The law of youth. The law that separates the generations, that draws the child from his mother, the boy from his father, the youth from both.
And it was the law of quest. The law that few obey for lack of valour. The craving of the young for the unknown and all that lies beyond the tenuous skyline.

This is a love that equals in its power the love of man for woman and reaches inwards as deeply. It is the love of a man or of a woman for their world. For the world of their centre where their lives burn genuinely and with a free flame.

An aching to be once again in the land from which he grew gave him no rest. There is no calm for those who are uprooted. They are wanderers, homesick and defiant. Love itself is helpless to heal them though the dust rises with every footfall—drifts down the corridors—settles on branch or cornice—each breath an inhalation from the past so that the lungs, like a miner’s, are dark with bygone times.
Whatever they eat, whatever they drink, is never the bread of home or the corn of their own valleys. It is never the wine of their own vineyards. It is a foreign brew.

Autumn returned to Gormenghast like a dark spirit re-entering its stronghold.

Let him play," whispered Cheeta. "Let him make believe that he's alive again.

It was not possible for him to visit his library as often as he wished, for the calls made upon him by the endless ceremonials which were his exacting duty to perform robbed him for many hours each day of his only pleasure—books.

He was meaner, more irritable, more impatient for the ultimate power which could only be his through the elimination of all rivals; and if he had ever had any scruples, any love at all for even a monkey, a book, or a sword-hilt, all this, and even this, had been cauterized and drowned away.

If ever he had harboured a conscience in his tough narrow breast he had by now dug out and flung away the awkward thing—flung it so far away that were he ever to need it again he could never find it.

The walls of Gormenghast were like the walls of paradise or 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.

There he was. The infant Titus. His eyes were open but he was quite still. 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. Earth’s passions, earth’s griefs, earth’s incongruous, ridiculous humours—dormant, yet visible in the wry pippin of a face.

There was a library and it is ashes. Let its long length assemble." These words made me a writer. When I was in middle school, my mother brought home a used paperback copy of Mervyn Peake’s Gormenghast…Reading this at the age of 13, I understood that fantasy, the place I was looking for, is not to be found in dragons, ghosts, or magic wands. It resides in language. Fantasy is death by owls. It’s mourning through gesture. It’s music, incantation in half-light. An inverted heart.