Margaret Atwood

This has been her problem all her life: picturing other people's responses. She's too good at it. She can picture the response of anyone--other people's reactions, their emotions, their criticisms, their demands--but somehow they don't reciprocate. Maybe they can't. Maybe they lack the gift, if it is one.

Glenn used to say the reason you can't really imagine yourself being dead was that as soon as you say, 'I'll be dead,' you've said the word I, and so you're still alive inside the sentence. And that's how people got the idea of the immortality of the soul - it was a consequence of grammar.

All it takes,” said Crake, “is the elimination of one generation. One generation of anything. Beetles, trees, microbes, scientists, speakers of French, whatever. Break the link in time between one generation and the next, and it’s game over forever.

But we still find the world astounding, we can't get enough of it; even as it shrivels, even as its many lights flicker and are extinguished (the tigers, the leopard frogs, the plunging dolphin flukes), flicker and are extinguished, by us, by us, we gaze and gaze. Where do you draw the line, between love and greed? We never did know, we always wanted more. We want to take it all in, for one last time, we want to eat the world with our eyes.

Paper isn’t important. It’s the words on them that are important.

I am not your justification for existence.

That is what you have to do before you kill, I thought. You have to create an it, where none was before.

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.

Maybe I don't really want to know what's going on. Maybe I'd rather not know. Maybe I couldn't bear to know. The Fall was a fall from innocence to knowledge.

I want to be held and told my name. I want to be valued, in ways that I am not; I want to be more than valuable. I repeat my former name; remind myself of what I once could do, how others saw me. I want to steal something.

Now that I am dead, I know everything.

Men are afraid that women will laugh at them. Women are afraid that men will kill them.

I was unfair to him, of course, but where would I have been without unfairness? In thrall, in harness. Young women need unfairness, it's one of their few defenses. They need their callousness, they need their ignorance. They walk in the dark, along the edges of high cliffs, humming to themselves, thinking themselves invulnerable.

Writing of the narrative kind, and perhaps all writing, is motivated deep down, by a fear or and fascination with mortality - by a desire to make the risky trip to the underworld and to bring something or someone back from the dead.

People cry at weddings for the same reason they cry at happy endings: because they so desperately want to believe in something they know is not credible.

His father was self-made, but his mother was constructed by others, and such edifices are notoriously fragile.

When you are in the middle of a story it isn't a story at all, but only a confusion; a dark roaring, a blindness, a wreckage of shattered glass and splintered wood; like a house in a whirlwind, or else a boat crushed by the icebergs or swept over the rapids, and all aboard powerless to stop it. It's only afterwards that it becomes anything like a story at all. When you are telling it, to yourself or to someone else.

Farewells can be shattering, but returns are surely worse. Solid flesh can never live up to the bright shadow cast by its absence. Time and distance blur the edges; then suddenly the beloved has arrived, and it's noon with its merciless light, and every spot and pore and wrinkle and bristle stands clear.

Walking along past the store windows, into which she peers with her usual eagerness, her usual sense that maybe, today, she will discover behind them something that will truly be worth seeing, she feels as if her feet are not on cement at all but on ice. The blade of the skate floats, she knows, on a thin film of water, which it melts by pressure and which freezes behind it. This is the freedom of the present tense, this sliding edge.

In theory I can do almost anything; certainly I have been told how. In practice I do as little as possible. I pretend to myself that I would be quite happy in a hermit's cave, living on gruel, if someone else would make the gruel. Gruel, like so many other things, is beyond me.

Ah men, why do you want all this attention? I can write poems for myself, make love to a doorknob if absolutely necessary. What do you have to offer me I can't find otherwise except humiliation? Which I no longer need.