Margaret Atwood Quotes

He throws out radiance, it must be reflected sun. Why isn't everyone staring?

...and nostalgia swept through Jimmy like a sudden hunger.

Now I only need to look
out at them through my sky-blue eyes.
They see their own ill will
staring them in the forehead
and turn tail.

Before, I was not a witch.
But now I am one.

This puts him in an instructive mood, and I can see he is going to teach me something, which gentlemen are fond of doing.

And how easily a hand becomes a fist.

Wedlock: it had a dull metallic sound, like an iron door clicking shut.

If your not annoying somebody, you're not alive.

We have begun to slam doors, and to throw things. I throw my purse, an ashtray, a package of chocolate chips, which breaks on impact. We are picking up chocolate chips for days. Jon throws a glass of milk, the milk, not the glass: he knows his own strength, as I do not. He throws a box of Cheerios, unopened.
The things I throw miss, although they are worse things. The things he throws hit, but are harmless.
I begin to see how the line is crossed, between histrionics and murder.

And he couldn't stand to be nothing, to know himself to be nothing. He needs to be listened to, he needs to be heard. He needs at least the illusion of being understood.

I remember walking in art galleries, through the nineteenth century: the obsession they had then with harems. Dozens of paintings of harems, fat women lolling on divans, turbans on their heads or velvet caps, being fanned with peacock tails, a eunuch in the background standing guard. Studies of sedentary flesh, painted by men who'd never been there. These pictures were supposed to be erotic, and I thought they were, at the time; but I see now what they were really about. They were paintings about suspended animation; about waiting, about objects not in use. They were paintings about boredom. But maybe boredom is erotic, when women do it, for men.

You’re clear, Mr. Duke.” Grins from both of them. What could Felix possibly be suspected of smuggling, a harmless old thespian like him? It’s the words that should concern you, he thinks at them. That’s the real danger. Words don’t show up on scanners.

Now I can see how that can happen. You can fall in love with anybody — a fool, a criminal, a nothing. There are no good rules.

Those who live alone slide into the habit of vertical eating: why bother with the niceties when there's no one to share or censure? But laxity in one area may lead to derangement in all.

But in the closeness of the sewing room, Simon can smell her as well as look at her. He tries to pay no attention but her scent is a distracting undercurrent. She smells like smoke; smoke, and laundry soap, and the salt from her skin; and she smells of the skin itself, with its undertone of dampness, fullness, ripeness - what? Ferns and mushrooms; fruits crushed and fermenting.

The picture is of happiness, the story not. Happiness is a garden walled with glass: there's no way in or out. In Paradise there are no stories, because there are no journeys. It's loss and regret and misery and yearning that drive the story forward, along its twisted road.