“She stubs out her cigarette in the brown glass ashtray, then settles herself against him, ear to his chest. She likes to hear his voice this way, as if it begins not in his throat but in his body, like a hum or a growl, or like a voice speaking from deep underground. Like the blood moving through her own heart: a word, a word, a word.”
—Margaret Atwood, The Blind Assassin
“She imagines him imagining her. This is her salvation. In spirit she walks the city, traces its labyrinths, its dingy mazes: each assignation, each rendezvous, each door and stair and bed. What he said, what she said, what they did, what they did then. Even the times they argued, fought, parted, agonized, rejoined. How they'd loved to cut themselves on each other, taste their own blood. We were ruinous together, she thinks. But how else can we live, these days, except in the midst of ruin? Sometimes she wants to put a match to him, have done with him; finish with that endless, useless longing. At the very least, daily time and the entropy of her own body should take care of it -- wear her thread-bare, wear her out, erase that place in her brain. But no exorcism has been enough, nor has she tried very hard at it. Exorcism is not what she wants. She wants that terrified bliss, like falling out of an airplane by mistake. She wants his famished look.”
—Margaret Atwood, The Blind Assassin
“The only way you can write the truth is to assume that what you set down will never be read. Not by any other person, and not even by yourself at some later date. Otherwise you begin excusing yourself. You must see the writing as emerging like a long scroll of ink from the index finger of your right hand; you must see your left hand erasing it.”
—Margaret Atwood, The Blind Assassin
“The only way you can write the truth is to assume that what you set down will never be read. Not by any other person, and not even by yourself at some later date. Otherwise you begin excusing yourself. You must see the writing as emerging like a long scroll of ink from the index finger of your right hand; you must see your left hand erasing it.”
—Margaret Atwood, The Blind Assassin“The only way you can write the truth is to assume that what you set down will never be read. Not by any other person, and not even by yourself at some later date. Otherwise you begin excusing yourself. You must see the writing as emerging like a long scroll of ink from the index finger of your right hand; you must see your left hand erasing it.”
—Margaret Atwood, The Blind Assassin“But I like my stories to be true to life, which means there have to be wolves in them. Wolves in one form or another. Why is that so true to life? She turns away from him onto her back, stares up at the ceiling. She’s miffed because her own version has been trumped. All stories are about wolves. All worth repeating, that is. Anything else is sentimental drivel. All of them? Sure, he says. Think about it. There’s escaping from the wolves, fighting the wolves, capturing the wolves, taming the wolves. Being thrown to the wolves, or throwing others to the wolves so the wolves will eat them instead of you. Running with the wolf pack. Turning into a wolf. Best of all, turning into the head wolf. No other decent stories exist. I think they do, she says. I think the story about you telling me the story about wolves isn’t about wolves. Don’t bet on it, he says, I have a wolf side to me. Come over here.”
—Margaret Atwood, The Blind Assassin
I have posted this before, but I’m posting it again simply because in re-reading the book this consistently stands out as one of the best paragraphs I’ve ever read about stories, and one of the most telling and strangely sexy lines about the relationship between these two characters. I just love it, everything about it. One of those sections that thrill me to be able to read it, and makes me despair that I’ll ever be able to write like that. As good books should.
