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Anna Kavan

56quotes

Anna Kavan
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Full Name and Common Aliases


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Anna Kavan was born on August 10, 1901, in London, England. She is also known by her birth name, Julia Madeline Katharine Bell.

Birth and Death Dates


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August 10, 1901 – April 5, 1968

Nationality and Profession(s)


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Anna Kavan was a British novelist, poet, and short story writer. Her work often explores the realms of surrealism, psychology, and philosophy.

Early Life and Background


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Kavan's early life was marked by turmoil. Her father, James Bell, abandoned his family when she was just a child, leaving her mother to raise Julia alone. This event had a profound impact on Kavan's writing, which often grapples with themes of identity, family dynamics, and the human condition.

As a young woman, Kavan became involved in London's bohemian scene, befriending writers like Lawrence Durrell and Henry Miller. Her own writing style was influenced by her exposure to avant-garde movements and literary experimentation.

Major Accomplishments


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Kavan's writing career spanned several decades, during which she published numerous novels, short story collections, and poetry volumes. Some of her most notable works include:

Asylum Piece (1954), a novel that explores themes of mental illness, identity, and the blurring of reality.
The Heat of the Day (1948), a novel set during World War II, which examines the psychological effects of war on civilians.
Julien (1945), a novel that defies easy categorization as either fiction or nonfiction, blending elements of memoir, fantasy, and philosophical inquiry.

Notable Works or Actions

Kavan's writing often pushed the boundaries of conventional narrative. She was known to experiment with language, form, and structure, creating works that are both deeply personal and universally relatable.

In addition to her literary output, Kavan's life was marked by periods of intense creativity, as well as episodes of mental illness and addiction. Her struggles with these issues have been the subject of much speculation and analysis among scholars and biographers.

Impact and Legacy


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Anna Kavan's writing has had a lasting impact on modern literature. Her innovative style and willingness to explore themes that were previously taboo or marginalized paved the way for future generations of writers.

Kavan's influence can be seen in the work of authors like Margaret Atwood, who has cited her as an inspiration. Kavan's unique blend of psychological insight, philosophical inquiry, and literary experimentation continues to captivate readers and inspire new writing.

Why They Are Widely Quoted or Remembered

Anna Kavan is widely quoted and remembered for several reasons:

Innovative style: Her writing often defied conventions, pushing the boundaries of what was possible in literature.
Personal honesty: Kavan's work is characterized by its unflinching examination of her own experiences with mental illness, addiction, and personal struggle.
Universal themes: Despite its experimental nature, Kavan's writing often grapples with fundamental human questions about identity, meaning, and the human condition.

Overall, Anna Kavan was a groundbreaking writer who left an indelible mark on modern literature. Her innovative style, personal honesty, and exploration of universal themes continue to inspire readers and writers today.

Quotes by Anna Kavan

Anna Kavan's insights on:

The past had vanished and become nothing; the future was the inconceivable nothingness of annihilation. All that was left was the ceaselessly shrinking fragment of time called ‘now’.
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The past had vanished and become nothing; the future was the inconceivable nothingness of annihilation. All that was left was the ceaselessly shrinking fragment of time called ‘now’.
To speak of the catastrophe was an offense under the new regulations. The rule was to choose not to know. Remembering how I myself had wished to forget on another occasion, I understood the euphoric blindness without condoning it.
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To speak of the catastrophe was an offense under the new regulations. The rule was to choose not to know. Remembering how I myself had wished to forget on another occasion, I understood the euphoric blindness without condoning it.
And suddenly the idea comes into your head that perhaps now, at this very moment while you are passing by, in one of the rooms behind those drab shutters, at a worm-eaten desk, among bundles of papers tied up with red or green tape, with scratchy old-fashioned penstrokes, your fate is being inscribed.
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And suddenly the idea comes into your head that perhaps now, at this very moment while you are passing by, in one of the rooms behind those drab shutters, at a worm-eaten desk, among bundles of papers tied up with red or green tape, with scratchy old-fashioned penstrokes, your fate is being inscribed.
Hell had at least been familiar; she knew that, if she’d been capable of feeling anything, she would have felt afraid of this irresistible force that had picked her up like a scrap of paper and was sweeping her into the void, right out of the world as she knew it, as if whirling her off the earth altogether.
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Hell had at least been familiar; she knew that, if she’d been capable of feeling anything, she would have felt afraid of this irresistible force that had picked her up like a scrap of paper and was sweeping her into the void, right out of the world as she knew it, as if whirling her off the earth altogether.
You don’t like it here? Why didn’t you keep out, then, for God’s sake, while you had the chance? Anyhow, it’s no good moaning and snivelling now. Put a good face on it. Be tough. Show the crowd you can take it. You’re an individualist, aren’t you? To hell with the crowd. What do you care about them? You’re here because you’ve got no time for the crowd. What do you care about them and their damnfool heaven? To hell with heaven, anyway.
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You don’t like it here? Why didn’t you keep out, then, for God’s sake, while you had the chance? Anyhow, it’s no good moaning and snivelling now. Put a good face on it. Be tough. Show the crowd you can take it. You’re an individualist, aren’t you? To hell with the crowd. What do you care about them? You’re here because you’ve got no time for the crowd. What do you care about them and their damnfool heaven? To hell with heaven, anyway.
Like people who from a bridge watch fish swimming below them, we saw the outside world as an alien element where we could take no part. Isolated behind the glass of our lonely window we looked down on the daily life which was not for us.
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Like people who from a bridge watch fish swimming below them, we saw the outside world as an alien element where we could take no part. Isolated behind the glass of our lonely window we looked down on the daily life which was not for us.
It was the summer, and Clare Bryant was happy. In the midst of the world which seemed so vast and dangerous to her, so full of change and precariousness, she had found one enduring rock to which her thin arms could cling.
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It was the summer, and Clare Bryant was happy. In the midst of the world which seemed so vast and dangerous to her, so full of change and precariousness, she had found one enduring rock to which her thin arms could cling.
Below, the fjord was an impossible icy volcano erupting the baleful fire of the swallowed sun.
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Below, the fjord was an impossible icy volcano erupting the baleful fire of the swallowed sun.
The men’s tanned faces, the faces of the women, bright with cosmetics, all suddenly appeared similar, as though wearing identical masks; hard, smiling, decorative, devoid of feeling. Not one of the seemed capable of expressing affection or pity or any of the softer emotions. They frightened her, these gay, hard, animated, worldly masks; she would always be a stranger among them, lost, ill-at-ease, out of place.
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The men’s tanned faces, the faces of the women, bright with cosmetics, all suddenly appeared similar, as though wearing identical masks; hard, smiling, decorative, devoid of feeling. Not one of the seemed capable of expressing affection or pity or any of the softer emotions. They frightened her, these gay, hard, animated, worldly masks; she would always be a stranger among them, lost, ill-at-ease, out of place.
Perhaps I am the victim of some mysterious political, religious or financial machination – some vast and shadowy plot, whose ramifications are so obscure as to appear to the uninitiated to be quite outside reason, requiring, for instance, something as apparently senseless as the destruction of everybody with red hair or with a mole on his left leg.
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Perhaps I am the victim of some mysterious political, religious or financial machination – some vast and shadowy plot, whose ramifications are so obscure as to appear to the uninitiated to be quite outside reason, requiring, for instance, something as apparently senseless as the destruction of everybody with red hair or with a mole on his left leg.
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