“Tick is a humble genesis, tock a feeble apocalypse; and tick-tock is in any case not much of a plot. We need much larger ones and much more complicated ones if we persist in finding 'what will suffice.' And what… — Frank Kermode Copy Share Image
“The first phase of modernism, which so far as the English language goes we associate with Pound and Yeats, Wyndham Lewis and Eliot and Joyce, was clerkly enough, sceptical in many ways; and yet we can without difficulty convict most of these authors of dangerous lapses into mythical thinking. All were men of critical temper, haters of the decadence of… — Frank Kermode Copy Share
“It is already the fashion to diminish Eliot by calling him derivative, the mouthpiece of Pound, and so forth; and yet if one wanted… — Frank Kermode Copy Share Image
“I suppose it would be better if one were aggressive, contentious and so on. But there's rarely any occasion to be savage.” — Frank Kermode Copy Share Image
“When tragedy established itself in England it did so in terms of plots and spectacle that had much more to do with medieval apocalypse… — Frank Kermode Copy Share Image
“The novel, then, provides a reduction of the world different from that of the treatise. It has to lie. Words, thoughts, patterns of word and thought, are enemies of truth, if you identify that with what may be had by phenomenological reductions. Sartre was always, as he explains in his autobiography, aware of their being at variance with reality. One… — Frank Kermode Copy Share
“The books which seal off the long perspectives, which sever us from our losses, which represent the world of potency as a world of act, these are the books which, when the drug wears off, go on to the dump with the other empty bottles. Those that continue to interest us move through time to an end, an end we… — Frank Kermode Copy Share
“The discords of our experience--delight in change, fear of change; the death of the individual and the survival of the species, the pains and pleasures of love, the knowledge of light and dark, the extinction and the perpetuity of empires--these were Spenser's subject; and they could not be treated without this third thing, a kind of time between time and… — Frank Kermode Copy Share
“It might be useful here to say a word about Beckett, as a link between the two stages, and as illustrating the shift towards schism. He wrote for transition, an apocalyptic magazine (renovation out of decadence, a Joachite indication in the title), and has often shown a flair for apocalyptic variations, the funniest of which is the frustrated millennialism of… — Frank Kermode Copy Share
“The great majority of interpretations of Apocalypse assume that the End is pretty near. Consequently the historical allegory is always having to be revised; time discredits it. And this is important. Apocalypse can be disconfirmed without being discredited. This is part of its extraordinary resilience. It can also absorb changing interests, rival apocalypses, such as the Sibylline writings. It is… — Frank Kermode Copy Share
“You sometimes hear people say, with a certain pride in their clerical resistance to the myth, that the nineteenth century really ended not in 1900 but in 1914. But there are different ways of measuring an epoch. 1914 has obvious qualifications; but if you wanted to defend the neater, more mythical date, you could do very well. In 1900 Nietzsche… — Frank Kermode Copy Share
