"Aeneas carried his aged father on his back from the ruins of Troy and so do we all, whether we like it or not, perhaps even if we have never known them"
About this Quote
Angela Carter takes a marble-still image from epic myth and makes it uncomfortably domestic. Aeneas hauling Anchises out of Troy is usually read as noble piety: duty, continuity, the seed of a future civilization. Carter keeps the posture but changes the pressure. Her pivot is the sly, coercive "and so do we all", followed by the tightening screw of "whether we like it or not". In her hands, inheritance isn’t a medal; it’s weight you wake up already wearing.
The line works because it treats the past as physical. "Carried" isn’t metaphorical garnish; it’s the point. Families, nations, and cultures don’t hand down ideas as neat advice. They hand down bodies of expectation: trauma, class scripts, gender roles, the unspoken rules of what love costs. Carter’s "perhaps even if we have never known them" is the coldest twist. The father on your back might be absent, dead, estranged, or simply emotionally unavailable, yet still present as a pattern: the shape of a temper, a silence, a craving for approval you can’t trace.
Context matters: Carter’s fiction is famous for raiding old stories to expose the machinery inside them - especially the patriarchal and moralistic wiring that pretends to be timeless. By recruiting Virgil, she’s not paying homage; she’s showing how canonical narratives keep recruiting us. The ruins of Troy aren’t just a city on fire. They’re the wreckage every generation inherits, then calls tradition.
The line works because it treats the past as physical. "Carried" isn’t metaphorical garnish; it’s the point. Families, nations, and cultures don’t hand down ideas as neat advice. They hand down bodies of expectation: trauma, class scripts, gender roles, the unspoken rules of what love costs. Carter’s "perhaps even if we have never known them" is the coldest twist. The father on your back might be absent, dead, estranged, or simply emotionally unavailable, yet still present as a pattern: the shape of a temper, a silence, a craving for approval you can’t trace.
Context matters: Carter’s fiction is famous for raiding old stories to expose the machinery inside them - especially the patriarchal and moralistic wiring that pretends to be timeless. By recruiting Virgil, she’s not paying homage; she’s showing how canonical narratives keep recruiting us. The ruins of Troy aren’t just a city on fire. They’re the wreckage every generation inherits, then calls tradition.
Quote Details
| Topic | Legacy & Remembrance |
|---|---|
| Source | Help us find the source |
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