Margaret Atwood

“When you alter yourself, the alterations become the truth...”

“And yet it disturbs me to learn I have hurt someone unintentionally. I want all my hurts to be intentional.”

“I walk away from him. It's enormously pleasing to me, this walking away. It's like being able to make people appear and vanish, at will.”

“Tell what is yours to tell. Let others tell what is theirs.”

“It’s always encouraging to be told that it is intellectually acceptable to read the sorts of things that you like to read anyway.”

“I look up at the ceiling, tracing the foliage of the wreath. Today it makes me think of a hat, the large-brimmed hats women used to wear at some period during the old days: hats like enormous halos, festooned with fruit and flowers, and the feathers of exotic birds; hats like an idea of paradise, floating just above the head, a thought solidified.”

“I don't even glance at the herbal teas, I go straight for the real, vile coffee. Jitter in a cup. It cheers me up to know I'll soon be so tense.”

“And sometimes it happened, for a time. That kind of love comes and goes and is hard to remember afterwards, like pain. You would look at the man one day and you would think, I loved you, and the tense would be past, and you would be filled with a sense of wonder, because it was such an amazing and precarious and dumb thing to have done; and you would know too why your friends had been evasive about it, at the time. There is a good deal of comfort, now, in remembering this.”

“If you can call it talking, these clipped whispers, projected through the funnels of our white wings. It’s more like a telegram, a verbal semaphore. Amputated speech.”

“I don’t even close my eyes. Out there or inside my head, it’s an equal darkness. Or light.”

“There are to be no toeholds for love. We are two-legged wombs, that’s all: sacred vessels, ambulatory chalices.”

“I avoid looking down at my body, not so much because it’s shameful or immodest but because I don’t want to see it. I don’t want to look at something that determines me so completely.”

“Without a word she swivels, as if she’s voice activated, as if she’s on little oiled wheels, as if she’s on top of a music box. I resent this grace of hers. I resent her meek head, bowed as if into a heavy wind. But there is no wind.”

“I’m losing the appetite for strangers. Once I would have focused on the excitement, the hazard; now it’s the mess, the bother. Getting your clothes off gracefully, always such an impossibility; thinking up what to say afterwards, without setting the echoes going in your head. Worse, the encounter with another set of particularities: the toenails, the ear-holes, the nosehairs. Perhaps at this age we return to the prudishness we had as children.”

“Never underestimate the value of superior hair as a literary influence.”

“Like a White Russian drinking tea in Paris, marooned in the twentieth century, I wander back, try to regain hose distant pathways; I become too maudlin, lose myself. Weep...I sit in the chair and ooze like a sponge.”

“What was in them was promise. They dealt in transformations; they suggested an endless series of possibilities, extending like the reflections in two mirrors set facing one another, stretching on, replica after replica, to the vanishing point.”

“Messy love is better than none, I guess. I am no authority on sane living.”

“But it's love that does us in.”

“Nor did I make any distinctions between great literature and any other kind. I just liked reading.”

“As any bank robber can tell you (Nell would say), the best thing to do when running away is not to run. Just walk. Just stroll. A combination of ease and purposefulness is desirable. Then no one will notice you're running. In addition to which, don't carry heavy suitcases, or canvas bags full of money, or packsacks with body parts in them. Leave everything behind you except what's in your pockets. Lightest is best.”

“I don't want to look at something that determines me so completely.”

“In this country you can say what you likebecause no one will listen to you anyway”

“I am like a room where things once happened and now nothing does, except the pollen of the weeds that grow up inside the window, blowing in as dust across the floor.”

“we lived in the gaps between the stories”

“The CorpSeCorps always substituted rumour for action, if action would cost them anything. They believed in the bottom line.”

“Instead I will say, "Take me to your trees. Take me to your breakfasts, your sunsets, your bad dreams, your shoes, your nouns. Take me to your fingers; take me to your deaths." These are worth it. These are what I have come for.”

“In his student days, he used to argue that if a woman has no other course open to her but starvation, prostitution, or throwing herself from a bridge, then surely the prostitute, who has shown the most tenacious instinct for self-preservation, should be considered stronger and saner than her frailer and no longer living sisters. One couldn't have it both ways, he'd pointed out: if women are seduced and abandoned they're supposed to go mad, but if they survive, and seduce in their turn, then they were mad to begin with.”

“They meet in church basements and offer bandages to those wounded by the shrapnel of exploding families.”

“I’m not used to girls, or familiar with their customs. I feel awkward around them, I don’t know what to say. I know the unspoken rules of boys, but with girls I sense that I am always on the verge of some unforeseen, calamitous blunder.”

“There I am, in the Grade Six class picture, smiling broadly. Happy as a clam, is what my mother says for happy. I am happy as a clam: hardshelled, firmly closed.”

“But maybe he was destructive by nature since he messed up every girl he touched”

“Screw poetry, it's you I want,your taste, rainon you, mouth on your skin.”

“The body is pure energy, solidifed light.”

“According to Adam One, the Fall of Man was multidimensional. The ancestral primates fell out of the trees; then they fell from vegetarianism into meat-eating. Then they fell from instinct into reason, and thus into technology; from simple signals into complex grammar, and thus into humanity; from firelessness into fire, and thence into weaponry; and from seasonal mating into an incessant sexual twitching. Then they fell from a joyous life in the moment into the anxious contemplation of the vanished past and the distant future.”

“Books are frozen voices, in the same way that musical scores are frozen music. The score is a way of transmitting the music to someone who can play it, releasing it into the air where it can once more be heard. And the black alphabet marks on the page represent words that were once spoken, if only in the writer’s head. They lie there inert until a reader comes along and transforms the letters into living sounds. The reader is the musician of the book: each reader may read the same text, just as each violinist plays the same piece, but each interpretation is different.”

“She believed in public service; she felt she had to roll up her sleeves and do something useful for the war effort. She organized a Comfort Circle, which collected money through rummage sales. This was spent on small boxes containing tobacco and candies, which were sent off to the trenches. She threw open Avilion for these functions, which (said Reenie) was hard on the floors. In addition to the rummage sales, every Tuesday afternoon her group knitted for the troops, in the drawing room -- washcloths for the beginners, scarves for the intermediates, balaclavas and gloves for the experts. Soon another battalion of recruits was added, on Thursdays -- older, less literate women from south of the Jogues who could knit in their sleep. These made baby garments for the Armenians, said to be starving, and for something called Overseas Refugees. After two hours of knitting, a frugal tea was served in the dining room, with Tristan and Iseult looking wanly down.”

“Some of the best things are done by those with nowhere to turn, by those who don't have time, by those who truly understand the word helpless. They dispense no thought with the calculation of risk and profit, they take no thought for the future, they're forced to spearpoint into the present tense." - Margaret Atwood (The Blind Assassin)”

“It must have been an endless breathing in: between the wish to know and the wish to praise there was no seam.”

“From nowhere, a word appears: Mesozoic. He can see the word, he can hear the word, but he can't reach the word. He can't attach anything to it. This is happening too much lately, this dissolution of meaning, the entries on his cherished wordlists drifting off into space.”

“You need to give money when someone gives you a knife. So the bad luck won't cut you. I wouldn't like it for you to be cut by the bad luck, Jimmy.”

“I remember the rules, rules that were never spelled out but every woman knew: Don't open your door to a stranger, even if he says he is the police. Make him slide his ID under the door. Don't stop on the road to help a motorist pretending to be in trouble. Keep the locks on and keep going. If anyone whistles, don't turn to look. Don't go into a laundromat, by yourself, at night.I think about laundromats. What I wore to them: shorts, jeans, jogging pants. What I put into them: my own clothes, my own soap, my own money, money I had earned myself. I think about having such control.Now we walk along the same street, in red pairs, and not man shouts obscenities at us, speaks to us, touches us. No one whistles.There is more than one kind of freedom, said Aunt Lydia. Freedom to and freedom from.”

“He's heard Unitarianism called a featherbed for falling Christians, but his mother doesn't seem like a woman who has fallen anywhere. (Where is the featherbed for falling Unitarians, he wonders? Such as himself.) [From "Life Before Man," 1979)”

“It’s a good excuse, though, orphanhood. It explains everything—every mistake and wrong turn. As Sherlock Holmes declared. She had no mother to advise her. How we long for it, that lack of advice! Imprudence could have been ours. Passionate affairs. Reckless adventures. Of course we’re grateful for our stable upbringings, our hordes of informative relatives, our fleece-lined advantages, our lack of dramatic plots. But there’s a corner of envy in us all the same. Why doesn’t anything of interest happen to us, coddled as we are? Why do the orphans get all the good lines?”

“Can I be blamed for wanting a real body, to put my arms around? Without it I too am disembodied. I can listen to my own heartbeat against the bedsprings...but there’s something dead about it, something deserted.”

“When I was younger, imagining age, I would think, Maybe you appreciate things more when you don't have much time left. I forgot to include the loss of energy. Some days I do appreciate things more, eggs, flowers, but then I decide I'm only having an attack of sentimentality, my brain going pastel Technicolor, like a beautiful-sunset greeting cards they used to make so many of in California. High-gloss hearts. The danger is grayout.”

“No mother is ever, completely, a child's idea of what a mother should be, and I suppose it works the other way around as well. But despite everything, we didn't do too badly by one another, we did as well as most.”

“The male frog, in mating season," said Crake, "makes as much noise as it can. The females are attracted to the male frog with the biggest, deepest voice because it suggests a more powerful frog, one with superior genes. Small male frogs - it's been documented - discover that if they position themselves in empty drainpipes, the pipe acts as a voice amplifier, and the small frog appears much larger than it really is.""So?""So that's what art is, for the artist," said Crake. "An empty drainpipe. An amplifier. A stab at getting laid.""Your analogy falls down when it comes to female artists," said Jimmy. "They're not in it to get laid. They'd gain no biological advantage from amplifying themselves, since potential mates would be deterred rather than attracted by this sort of amplification. Men aren't frogs, they don't want women who are ten times bigger than them.""Female artists are biologically confused," said Crake.”

“Feathers," he says.They ask this question at least once a week. He gives the same answer. Even over such a short time — two months, three? He's lost count — they've accumulated a stock of lore, of conjecture about him: Snowman was once a bird but he's forgotten how to fly and the rest of his feathers fell out, and so he is cold and he needs a second skin, and he has to wrap himself up. No: he's cold because he eats fish, and fish are cold. No: he wraps himself up because he's missing his man thing, and he doesn't want us to see. That's why he won't go swimming. Snowman has wrinkles because he once lived underwater and it wrinkled up his skin. Snowman is sad because the others like him flew away over the sea, and now he is all alone.”

“Today she wears her habitual expression of strained anxiety; she smells of violets.”