“It was the thumbprints of human imperfection that used to move him, the flaws in the design: the lopsided smile, the wart next to the navel, the mole, the bruise. Was it consolation he’d had in mind, kissing the wound to make it better?”
In this quote from Margaret Atwood, the speaker reflects on the imperfections of the human body that used to fascinate and move them. The use of tactile imagery, such as thumbprints and kissing wounds, evokes a sense of intimacy and connection to these imperfections. Through the speaker's contemplation on the flaws in human design, Atwood prompts readers to consider the complexity and beauty found in imperfection. The act of seeking consolation in imperfections highlights the speaker's deep empathy and understanding of the human condition.
In this quote by Margaret Atwood, the idea of finding beauty in imperfection is explored through the description of physical flaws. Despite our human imperfections, there is a certain comfort in embracing our flaws and imperfections. This concept holds modern relevance as society often puts pressure on individuals to strive for perfection in all aspects of their lives. Embracing imperfections can lead to self-acceptance and a greater appreciation for the uniqueness of each individual.
"It was the thumbprints of human imperfection that used to move him, the flaws in the design: the lopsided smile, the wart next to the navel, the mole, the bruise. Was it consolation he’d had in mind, kissing the wound to make it better?" - Margaret Atwood
As we reflect on this quote by Margaret Atwood, we are led to ponder on the complexities of human imperfection and the ways in which we try to find solace or consolation in them. Here are some questions to consider:
“Every time the women appear, Snowman is astonished all over again. They're every known colour from the deepest black to whitest white, they're various heights, but each one of them is admirably proportioned. Each is sound of tooth, smooth of skin. No ripples of fat around their waists, no bulges, no dimpled orange-skin cellulite on their thighs. No body hair, no bushiness. They look like retouched fashion photos, or ads for a high priced workout program.Maybe this is the reason that these women arouse in Snowman not even the faintest stirrings of lust. It was the thumbprints of human imperfection that used to move him, the flaws in the design: the lopsided smile, the wart next to the navel, the mole, the bruise. These were the places he'd single out, putting his mouth on them. Was it consolation he'd had in mind, kissing the wound to make it better? There was always an element of melancholy involved in sex. After his indiscriminate adolescence he'd preferred sad women, delicate and breakable, women who'd been messed up and who needed him. He'd liked to comfort them, stroke them gently at first, reassure them. Make them happier, if only for a moment. Himself too, of course; that was the payoff. A grateful woman would go the extra mile. But these new women are neither lopsided nor sad: they're placid, like animated statues. They leave him chilled.”
“...the argument for the perfectibility of humankind rests on a logical fallacy. Thus: man is by definition imperfect, say those who would perfect him. But those who would perfect him are themselves, by their own definition, imperfect.”
“But if Crake wanted her to stay longer on any given night, do it again maybe, she'd make some excuse—jet lag, a headache, something plausible. Her inventions were seamless, she was the best poker-faced liar in the world, so there would be a kiss goodbye for stupid Crake, a smile, a wave, a closed door, and the next minute there she would be, with Jimmy.”
“Jimmy had been full of himself back then, thinks Snowman with indulgence and a little envy. He’d been unhappy too, of course. It went without saying, his unhappiness. He’d put a lot of energy into it.”
“I was taking something away from her, although she didn't know it. I was filching. Never mind that it was something she apparently didn't want or had no use for, had rejected even; still, it was hers, and if I took it away, this mysterious "it" I couldn't quite define.”
“I want to see what can be seen, of him, take him in, memorize him, save him up so I can live on the image, later: the lines of his body, the texture of his flesh, the glisten of sweat on his pelt, his long sardonic unrevealing face. I ought to have done that with Luke, paid more attention, to the details, the moles and scares, the singular creases; I didn't and he's fading. Day by day, night by night he recedes, and I become more faithless.”