Margaret Atwood, Canadian Novelist: Margaret Atwood, a towering figure in contemporary literature, explores themes of power, oppression, and resilience with unmatched depth and nuance in her iconic works such as "The Handmaid's Tale" and "Alias Grace." With her visionary storytelling and incisive social commentary, Atwood continues to provoke thought and inspire readers around the world.
"The answers you get from literature depend on the questions you pose."
"She was not stunned, the way I was. In some strange way she was gleeful, as if this was what she had been expecting for some time and now she'd been proven right."
"Everyone thinks writers must know more about the inside of the human head, but that's wrong. They know less, that's why they write. Trying to find out what everyone else takes for granted."
"Miranda nods, because she knows that to be true: noble people don't do things for the money, they simply have money, and that's what allows they to be noble. They don't really have to think about it much; they sprout benevolent acts the way trees sprout leaves."
"The possibility of injury or death was a strong attraction: as the online world became more and more pre-edited and slicked up, and as even its so-called reality sites raised questions about authenticity in the minds of the viewers, the rough, unpolished physical world was taking on a mystic allure."
"I know why there is no glass, in front of the watercolor picture of blue irises, and why the window opens only partly and why the glass in it is shatter-proof. It isn't running away they're afraid of. We wouldn't get far. It's those other escapes, the ones you can open in yourself, given a cutting edge."
"Speech to him was a task, a battle, words mustered behind his beard and issued one at a time, heavy and square like tanks."
"I learned about religion the way most children learned about sex, [in the schoolyard]. . . . They terrified me by telling me there was a dead man in the sky watching everything I did and I retaliated by explaining where babies came from. Some of their mothers phoned mine to complain, though I think I was more upset than they were: they didn't believe me but I believed them."
"I'm sad now, the way we're talking is infinitely sad: faded music, faded paper flowers, worn satin, an echo of an echo. All gone away, no longer possible."
"I won't fatten them in cages, though. I won't ply them with poisoned fruit items. I won't change them into clockwork images or talking shadows. I won't drain out their life's blood. They can do all those things for themselves."
"He's lost something, some illusion I used to think was necessary to him. He's come to realize he too is human. Or is this a performance, for my benefit, to show me he's up-to-date? Maybe men shouldn't have been told about their own humanity. It's only made them uncomfortable. It's only made them trickier, slier, more evasive, harder to read."
"What else can I do? Once you've gone this far you aren't fit for anything else. Something happens to your mind. You're overqualified, overspecialized, and everybody knows it. Nobody in any other game would be crazy enough to hire me. I wouldn't even make a good ditch-digger, I'd start tearing apart the sewer-system, trying to pick-axe and unearth all those chthonic symbols - pipes, valves, cloacal conduits... No, no. I'll have to be a slave in the paper-mines for all time."
"Setting fire to the roofs, getting away with the loot, suiting herself. She studied modern philosophy, read Sartre on the side, smoked Gitanes, and cultivated a look of bored contempt. But inwardly, she was seething with unfocused excitement, and looking for someone to worship."
"I feel despised there, for having so little money; also for once having had so much. I never actually had it, of course. Father had it, and then Richard. But money was imputed to me, the same way crimes are imputed to those who've simply been present at them."
"Via the conduit of a wild dog pack, she has now made the ultimate Gift to her fellow Creatures, and has become part of God's great dance of proteins."
"The door of Reverend Verringer's impressive manse is opened by an elderly female with a face like a pine plank; the Reverend is unmarried, and has need of an irreproachable housekeeper. Simon is ushered into the library. It is so self-consciously the right sort of library that he has an urge to set fire to it."
"So that made me happy but the part that really made me happy was that you wanted me to be happy. That's what Thank you means."
"I'm working on my own life story. I don't mean I'm putting it together; no, I'm taking it apart. If you'd wanted the narrative line you should have asked earlier, when I still knew everything and was more than willing to tell. That was before I discovered the virtues of scissors, the virtues of matches."
"Heroes need monsters to establish their heroic credentials. You need something scary to overcome."
"So by the time the morning came, Odysseus and I were indeed friends, as Odysseus had promised we would be. Or let me put it another way: I myself had developed friendly feelings towards him - more than that, loving and passionate ones - and he behaved as if he reciprocated them. Which is not quite the same thing."
"Perhaps I write for no one. Perhaps for the same person children are writing for when they scrawl their names in the snow."
"You all right?" he said again.I didn't love him, I was far away from him, it was as though I was seeing him through a smeared window or glossy paper; he didn't belong here. But he existed, he deserved to be alive. I was wishing I could tell him how to change so he could get there, the place where I was."Yes," I said. I touched him on the arm with my hand. My hand touched his arm. Hand touched arm. Language divides us into fragments, I wanted to be whole."
"Last night I felt the approach of nothing. Not too close but on its way, like a wingbeat, like the cooling of the wind, the slight initial tug of an undertow."
"By now you must have guessed: I come from another planet. But I will never say to you, Take me to your leaders. Even I - unused to your ways though I am - would never make that mistake. We ourselves have such beings among us, made of cogs, pieces of paper, small disks of shiny metal, scraps of coloured cloth. I do not need to encounter more of them.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."
"Nothing is more opaque than absolute transparency. Look-my feet don't hit the marble! Like breath or a balloon, I'm rising, I hover six inches in the air in my blazing swan-egg of light. You think I'm not a goddess? Try me. This is a torch song. Touch me and you'll burn."
"Expand your world. (Stories about wizards and spells) are very frequently about power relationships..."
"I wish I didn't have to think about you. You wanted to impress me; well, I'm not impressed, I'm disgusted...You wanted to make damn good and sure I'd never be able to turn over in bed again without feeling that body beside me, not there but tangible, like a leg that's been cut off. Gone but the place still hurts."
"The Chorus Line:A Rope-Jumping Rhymewe are the maidsthe ones you killedthe ones you failedwe danced in airour bare feet twitchedit was not fairwith every goddess, queen, and bitchfrom there to hereyou scratched your itchwe did much lessthan what you didyou judged us badyou had the spearyou had the wordat your commandwe scrubbed the bloodof our deadparamours from floors, from chairsfrom stairs, from doors,we knelt in waterwhile you staredat our bare feetit was not fairyou licked our fearit gave you pleasureyou raised your handyou watched us fallwe danced on airthe ones you failedthe ones you killed."
"More and more I feel like a letter-deposited here, collected there. But a letter addressed to no one."
"Her metaphors for her children included barnacles encrusting a ship and limpets clinging to a rock."
"She can outstare anyone, and I am almost as good. We're impervious, we scintillate, we are thirteen. We wear long wool coats with tie belts, the collars turned up to look like those of movie stars, and rubber boots with the tops folded down and men's work socks inside. In our pockets are stuffed the kerchiefs our mothers make us wear but that we take off as soon as we're out of their sight. We scorn head coverings. Our mouths are tough, crayon-red, shiny as nails. We think we are friends."