Margaret Atwood

But I have already told the beginning, so right now it's the middle. And Zeb is in the middle of the story about Zeb. He is in the middle of his own story.I am not in this part of the story; it hasn't come to the part with me. But I'm waiting, far off in the future. I'm waiting for the story of Zeb to join up with mine. The story of Toby. The story I am in right now, with you.

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.

Lilies used to be a movie theatre, before. Students went there a lot; every spring they had a Humphrey Bogart festival, with Lauren Bacall or Katherine Hepburn, women on their own, making up their minds. They wore blouses with buttons down the front that suggested the possibilities of the word 'undone'. These women could not be undone; or not. They seemed to be able to choose.

The Three of them were beautiful, in the way all girls of that age are beautiful. It can't be helped, that sort of beauty, nor can it be conserved; it's a freshness, a plumpness of the cells, that's unearned and temporary, and that nothing can replicate. None of them was satisfied with it, however; already they were making attempts to alter themselves into some impossible, imaginary mould, plucking and pencilling away at their faces. I didn't blame them, having done the same once myself.

I was tired of her getting away with being so young.

Reading and writing, like everything else, improve with practice. And, of course, if there are no young readers and writers, there will shortly be no older ones. Literacy will be dead, and democracy - which many believe goes hand in hand with it - will be dead as well.

I remember my mean mouth, I remember how wise I thought I was. But I was not wise then. Now I am wise.

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.

One of the gravestones in the cemetery near the earliest church has an anchor on it and an hourglass, and the words In Hope.In Hope. Why did they put that above a dead person? Was it the corpse hoping, or those still alive?

The house, and all the objects in it, crackled with static electricity; undertows washed through it, the air was heavy with things that were known but not spoken. Like a hollow log, a drum, a church, it was amplified, so that conversations whispered in it sixty years ago can be half-heard today.

(...) everything I'd been longing to get away from, true, but not through destruction. I'd wanted to leave home, but have it stay in place, waiting for me, unchanged, so I could step back into it at will.

We yearned for the future. How did we learn it, that talent for insatiability?

Home, I think. But it's nowhere I can go back to.

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.

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

...otherwise, one of you, most likely the man, would go wandering off on a trajectory of his own, taking his addictive body with him and leaving you with bad withdrawal, which you could counteract by exercise. If you didn't work it out it was because one of you had the wrong attitude. Everything that went on in your life was thought to be due to some positive or negative power emanating from inside your head.

And then she began to cry, and when I asked her why she was doing that, she said it was because I was to have a happy ending, and it was just like a book; and I wondered what books she'd been reading.

What I need is perspective. The illusion of depth, created by a frame, the arrangement of shapes on a flat surface. Perspective is necessary. Otherwise there are only two dimensions. Otherwise you live with your face squashed up against a wall, everything a huge foreground, of details, close-ups, hairs, the weave of the bedsheet, the molecules of the face. Your own skin like a map, a diagram of futility, criscrossed with tiny roads that lead nowhere. Otherwise you live in the moment. Which is not where I want to be.