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“... This​ is an essay about hands and handwriting. I think of handwriting as a way to organise thought into shapes. I like shapes. I like organising them. But because of recent neurological changes in my brain I find shapes fall apart on me. My responsibility to forms can’t be gracefully fulfilled. Nonetheless, I offer the following in the hope it does not strike you as dishevelled or depressing ...”

“... Funeral Marches I hear in me the funeral voices call out transcendentally, when in German style the bands go beating by. At a mad shiver of my vertebrae if I sob like a lost man, it’s that I hear the funeral voices call out transcendentally. As a ghostly gallop of zebras my dream goes strangely prowling and I am so haunted that in me always, inside my darknesses I hear the funeral voices groan ...”

“... And can love be said to have its own economy? In Economy of the Unlost and Autobiography of Red, Anne Carson has proposed answers to both these questions. Economy of the Unlost is a compact yet supple series of essays (first aired in the Martin Classical Lectures series delivered annually at Oberlin College) complementing her previous long essay on a ...”

“... This is the Nile and I’m a liar.’ These are the opening words of an amazing play by Anne Carson, first performed in 2019. The statement is in one sense correct. The speaker is nowhere near Egypt and about three thousand years too late for the Trojan War. J.L. Austin listed being ‘said by an actor on the stage’ as one of the ways in which an utterance might be ‘hollow or void’, and for a moment Carson’s speaker takes exactly this line ...”

“... ago the scholar Jean-Pierre Vernant reminded us that Greek gods are not persons but forces; and in Anne Carson’s Oresteia, her sharp, sceptical, often laconic version of three plays about the legacy of Atreus, one each by Aeschylus, Sophocles and Euripides, as well as in her translations of four other plays by Euripides,* I kept hearing an invitation to ...”

“... Some writers discover their powers gradually. Others – Anne Carson, for example – spring from the head of Zeus. With three books in four years during the mid-1990s, the Canadian poet, classical scholar, essayist and translator became suddenly prominent in North America; she had found readers in Britain as well by 2001, when The Beauty of the Husband: A Fictional Essay in 29 Tangos won the T ...”

“... the sense that fell through us of untouchable wind, unknown effort – one black mane? Anne Carson Funny you should mention a crow. For years light … for years light eluded me or stayed only a short time … something … what was it … heavy in me … a weight I couldn’t put down … How will you let her go, the girl with the high ...”

“... There are numerous small literary quotations in Sparrows on the Stone – passages from Auden, Anne Carson, William Gass – but none of them are quite so peculiar as Marten’s own style, whether in prose or in polished Jesmonite.In an essay on the word ‘and’ in his Habitations of the Word, Gass writes: ‘To the logician, who is at least patient ...”

“... it produces a kind of constructive estrangement from words. Think William Gass, Lydia Davis or Anne Carson, and you won’t be too wrong. Now I feel like someone who thinks there’s a shower on the way, and then it rains for ten days straight. Williams is just full of alphabets. The first story is even called ‘The Alphabet’, and near its end ...”

“... from one claw. Both scholars and creative writers have made much of Sappho’s fragmentariness. Anne Carson’s new translations, with facing Greek text, make effective use of blank space and brackets to convey the feeling of a torn or burned scrap of papyrus. Carson loves the spaces almost as much as the words: she ...”

“... the silence associated with her own. In the film, Antigone is played with great fierceness by Anne Carson, whose own obsession with Sophocles led to a poem, ‘TV Men: Antigone (Scripts 1 and 2)’, which is incorporated in the spoken text. Oedipus is played by Stephen Dillane, who limps across blasted landscapes – Bodmin Moor, Wyoming, Yellowstone ...”

“... to produce more than a scrawl. Not even a treasured fountain pen could save it. It all became, as Anne Carson on behalf of us Parkinsonians says, ugly.* What happened next was entirely unexceptional. In Oxford, where I had become a visiting professor, the neurologist, a thoughtful and likeable man whom I still see yearly, confirmed the diagnosis of ...”

“... wanted to read it. A survey of historical mystics, examined through the lenses of writers such as Anne Carson and Annie Dillard and T.S. Eliot? Sketches of Dionysius, Bernard of Clairvaux, Christina of Markyate, Christina the Astonishing, Hadewijch of Antwerp, Mechthild of Magdeburg, Angela of Foligno, Marguerite Porete, Meister Eckhart, Henry ...”

“... You can’t just carry over the words of a poem into a different language, across that space Anne Carson describes as ‘like no other’, nor can you just re-create the thinking or the experience in the poem. Both Proust and Valéry described writing itself as an act of translation: translation, equally, is an act of writing, and at its best can ...”

“... Mallo writes at one point, and gaps such as these allow the fragments to ‘drift’, as Anne Carson put it in ‘Merry Christmas for Hegel’, ‘in gentle and mutual redefinition of one another’. ‘The so-called obra fragmentada,’ Mallo has said, is ‘usually understood as a collage of more or less erratic ...”