It's evening, one of those gray water-color washes, like liquid dust.
Interpretation
The quote captures a moment of beauty and nostalgia in an evening scene, illustrating the unique aesthetics of twilight.
In this quote, Margaret Atwood evokes a vivid image of an evening characterized by muted, gray tones reminiscent of watercolor painting. The phrase 'like liquid dust' suggests a sense of softness and ephemeral beauty, inviting readers to appreciate the subtle charm found in nature's transitions. It encourages reflection on the moments that pass quickly, yet leave a lasting impression on our senses and memories.
In practice
This quote could be shared during a nature appreciation event to highlight the beauty of evening scenes.
If I am good enough and quiet enough, perhaps after all they will let me go; but it’s not easy being quiet and good, it’s like hanging on to the edge of a bridge when you’ve already fallen over; you don’t seem to be moving, just dangling there, and yet it is taking all your strength.
I would like to believe this is a story I’m telling. I need to believe it. I must believe it. Those who can believe that such stories are only stories have a better chance. If it’s a story I’m telling, then I have control over the ending. Then there will be an ending, to the story, and real life will come after it. I can pick up where I left off.
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.
We love each other, that’s true whatever it means, but we aren’t good at it; for some it’s a talent, for others only an addiction.
I've learned quite a lot, over the years, by avoiding what I was supposed to be learning.
Knowing too much about other people puts you in their power, they have a claim on you, you are forced to understand their reasons for doing things and then you are weakened.
Throughout his work, Philip Levine's most powerful commitment has been to the failed and lost, the marginal, the unloved, the unwanted.
I've always thought that whether I'm writing or not, I've gotta pick the best songs, whether or not they're mine. I'm not gonna sing them just because I wrote them. I've gotta find the best songs to make the best record I can.
For a long time, I thought when you do a box set, you're giving up; you're saying, 'OK, I don't have anything left.' But now I've listened to some of the old stuff I haven't heard in 20 to 40 years with fresh ears. It's like, 'Oh yeah, I can see where people might want to to hear some of this stuff that didn't make it onto the records.'
Say it, no ideas but in things - nothing but the blank faces of the houses and cylindrical trees bent, forked by preconception and accident - split, furrowed, creased, mottled, stained - secret - into the body of the light!
But beauty must be broken daily to remain beautiful.
You can't improvise without a skeletal structure; you can't just go in and start talking. This is a very misunderstood craft because no one else makes movies like this.
Subscribe for the occasional hand-picked quote. No noise.