Quotes from Hilary Mantel

Brother Luca Pacioli. It took him thirty years to write." The book is bound in deepest green with a tooled border of gold, and its pages are edged in gilt, so that it blazes in the light. Its clasps are studded with blackish garnets, smooth, translucent. "I hardly dare open it," the boy says. "Please. You will like it." It is Summa de Arithmetica. He unclasps it to find a woodcut of the author with a book before him, and a pair of compasses.

But it is no use to justify yourself. It is no good to explain. It is weak to be anecdotal. It is wise to conceal the past even if there is nothing to conceal. A man's power is in the half-light, in the half-seen movements of his hand and the unguessed-at expression of his face. It is the absence of facts that frightens people: the gap you open, into which they pour their fears, fantasies, desires.

He is struck by her overview of his situation. It is as if she has understood his life. He is taken by an impulse to clasp her hand and ask her to marry him; even if they did not get on in bed, she seems to have a gift for précis that eludes most of his clerks.

But the winter king, less occupied, will begin to think about his conscience. He will begin to think about his pride. He will begin to prepare the prizes for those who can deliver him results.

The page of an accounts book is there for your use, like a love poem. It's not there for you to nod and then dismiss it; it's there to open your heart to possibility. It's like the scriptures: it's there for you to think about, and initiate action. Love your neighbor. Study the market. Increase the spread of benevolence. Bring in better figures next year.

Henry," the archbishop says, "I have seen you promote within your own court and council persons whose principles and morals will hardly bear scrutiny. I have seen you deify your own will and appetite, to the sorrow and scandal of Christian people. I have been loyal to you, to the point of violation of my own conscience. I have done much for you, but now I have done the last thing I will ever do.

Look, he says: once you have exhausted the process of negotiation and compromise, once you have fixed on the destruction of an enemy, that destruction must be swift and it must be perfect. Before you even glance in his direction, you should have his name on a warrant, the ports blocked, his wife and friends bought, his heir under your protection, his money in your strong room and his dog running to your whistle. Before he wakes in the morning, you should have the axe in your hand.

It's just that you are practiced at persuading, and sometimes it's quite difficult, sir to distinguish being persuaded by you from being knocked down in street and stamped on.

Fantasy is unconstrained by truth.

You could not know, sir, what Katherine was asking.' That's the point of a promise, he thinks. It wouldn't have any value, if you could see what it would cost you when you made it.

What for do we nail down the dead?

England is always remaking herself, her cliffs eroding, her sandbanks drifting, springs bubbling up in dead ground. They regroup themselves while we sleep, the landscapes through which we move, and even the histories that trail us; the faces of the dead fade into other faces, as a spine of hills into the mist.

But my sins are my strength, he thinks; the sins I have done, that others have not even found the opportunity of committing. I hug them close; they're mine.

If a man should live as if every day is his last, he should also die as if there is a day to come, and another after that.

It is St. Catherine's Day: in honor of the saint who was threatened with martyrdom on a wheel, we all walk in circles to our destination. At least, that's the theory. He has never seen anyone over the age of twelve actually doing it.

A man's power is in the half-light, in the half-seen movements of his hand and the unguessed-at expression of his face. It is the absence of facts that frightens people: the gap you open, into which they pour their fears, fantasies, desires.

He cannot quite accept that real property cannot be changed into money with the same speed and ease with which he changes a wafer into the body of Christ.

The story of my own childhood is a complicated sentence that I am always trying to finish, to finish and put behind me. It resists finishing, and partly this is because words are not enough; my early world was synesthetic, and I am haunted by the ghosts of my own sense impressions, which reemerge when I try to write, and shiver between the lines.

And so it came to pass, as you would imagine, since only the successful prophets are remembered.

They have been witnessing miracles at Thetford for three hundred years, ever since they turned up a cache of relics, neatly labelled, that included rocks from Mount Calvary, part of Our Lady's sepulchre, and fragments of the manger in which the child Jesus was laid. Now comes the greatest miracle of all, Thomas Cromwell, the Putney boy: who holds that the passage of time does not add lustre to fakes, and that there is no need to reverence a lie because of its antiquity.

He would have thought God could make his own decisions, but Weston believes the creator may be pushed and coaxed and maybe bribed a little.

We make great progress only at those times when we become melancholy—at those times when, discontented with the real world, we are forced to make for ourselves one more bearable. "The Theory of Ambition," an essay: JEAN-MARIE HÉRAULT DE SÉCHELLES

He draws a line under his conclusions. Says, 'Gregory, what should I do about the great worm?' 'Send a commission against it, sir,' the boy says. 'It must be put down.' He gives his son a long look. 'You do know it's Arthur Cobbler's tales?' Gregory gives him a long look back. 'Yes, I do know.' He sounds regretful. 'But it makes people so happy when I believe them.

T]here comes a point where the fear is too great and the human spirit just gives up and a child wanders off numb and directionless and ends up following a crowd and watching a killing.