Ian McEwan > Quotes

“A person is, among all else, a material thing, easily torn and not easily mended.”
― Ian McEwan, Atonement

“It wasn't only wickedness and scheming that made people unhappy, it was confusion and misunderstanding; above all, it was the failure to grasp the simple truth that other people are as real as you.”
― Ian McEwan, Atonement

“This is how the entire course of a life can be changed: by doing nothing.”
― Ian McEwan, On Chesil Beach

“Was everyone else really as alive as she was?...If the answer was yes, then the world, the social world, was unbearably complicated, with two billion voices, and everyone's thoughts striving in equal importance and everyone's claim on life as intense, and everyone thinking they were unique, when no one was.”
― Ian McEwan, Atonement

“The cost of oblivious daydreaming was always this moment of return, the realignment with what had been before and now seemed a little worse. ”
― Ian McEwan, Atonement

“Falling in love could be achieved in a single word--a glance.”
― Ian McEwan, Atonement

“When its gone, you'll know what a gift love was. you'll suffer like this. So go back and fight to keep it.”
― Ian McEwan, Enduring Love

“A story was a form of telepathy. By means of inking symbols onto a page, she was able to send thoughts and feelings from her mind to her reader's. It was a magical process, so commonplace that no one stopped to wonder at it.”
― Ian McEwan, Atonement

“And though you think the world is at your feet, it can rise up and tread on you.”
― Ian McEwan, Atonement

“Wasn't writing a kind of soaring, an achievable form of flight, of fancy, of the imagination?”
― Ian McEwan, Atonement

“I've never had a moment's doubt. I love you. I believe in you completely. You are my dearest one. My reason for life. Cee”
― Ian McEwan, Atonement

“Find you, love you, marry you, and live without shame.”
― Ian McEwan, Atonement

“She lay in the dark and knew everything.”
― Ian McEwan, Atonement

“There did not have to be a moral. She need only show separate minds, as alive as her own, struggling with the idea that other minds were equally alive. It wasn't only wickedness and scheming that made people unhappy, it was confusion and misunderstanding, above all, it was the failure to grasp the simple truth that other people are as real as you. And only in a story could you enter these different minds and show how they had an equal value. That was the only moral a story need have.”
― Ian McEwan, Atonement

“The anticipation and dread he felt at seeing her was also a kind of sensual pleasure, and surrounding it, like an embrace, was a general elation--it might hurt, it was horribly inconvenient, no good might come of it, but he had found out for himself what it was to be in love, and it thrilled him.”
― Ian McEwan, Atonement

“All she had needed was the certainty of his love, and his reassurance that there was no hurry when a lifetime lay ahead of them.”
― Ian McEwan, On Chesil Beach

“Now and then, an inch below the water's surface, the muscles of his stomach tightened involuntarily as he recalled another detail. A drop of water on her upper arm. Wet. An embroidered flower, a simple daisy, sewn between the cups of her bra. Her breasts wide apart and small. On her back, a mole half covered by a strap. When she climbed out of the pond a glimpse of the triangular darkness her knickers were supposed to conceal. Wet. He saw it, he made himself see it again. The way her pelvic bones stretched the material clear of the skin, the deep curve of her waist, her startling whiteness. When she reached for her skirt, a carelessly raised foot revealed a patch of soil on each pad of her sweetly diminished toes. Another mole the size of a farthing on her thigh and something purplish on her calf--a strawberry mark, a scar. Not blemishes. Adornments.”
― Ian McEwan, Atonement

“Finally he spoke the three simple words that no amount of bad art or bad faith can every quite cheapen. She repeated them, with exactly the same slight emphasis on the second word, as though she were the one to say them first. He had no religious belief, but it was impossible not to think of an invisible presence or witness in the room, and that these words spoken aloud were like signatures on an unseen contract.”
― Ian McEwan, Atonement

“No one knows anything, really. It's all rented, or borrowed.”
― Ian McEwan

“It was not generally realized that what children mostly wanted was to be left alone.”
― Ian McEwan, Atonement

“That love which does not build a foundation on good sense is doomed.”
― Ian McEwan, Atonement

“You can tell a lot from a person's nails. When a life starts to unravel, they're among the first to go.”
― Ian McEwan, Saturday

“There are these rare moments when musicians together touch something sweeter than they've ever found before in rehearsals or performance, beyond the merely collaborative or technically proficient, when their expression becomes as easy and graceful as friendship or love. This is when they give us a glimpse of what we might be, of our best selves, and of an impossible world in which you give everything to others, but lose nothing of yourself.”
― Ian McEwan, Saturday

“There's a taste in the air, sweet and vaguely antiseptic, that reminds him of his teenage years in these streets, and of a general state of longing, a hunger for life to begin that from this distance seems like happiness.”
― Ian McEwan, Saturday

“How can a novelist achieve atonement when, with her absolute power of deciding outcomes, she is also God? There is no one, no entity or higher form that she can appeal to, or be reconciled with, or that can forgive her. There is nothing outside her. In her imagination she has set the limits and the terms. No atonement for God, or novelists, even if they are atheists. It was always an impossible task, and that was precisely the point. The attempt was all.”
― Ian McEwan, Atonement

“In my dreams I kiss your cunt, your sweet wet cunt. In my thoughts I make love to you all day long.”
― Ian McEwan, Atonement

“Finally, you had to measure yourself by other people - there really was nothing else. every now and then, quite unintentionally, someone taught you something about yourself.”
― Ian McEwan

“But what really happened? The answer is simple: the lovers survive and flourish.”
― Ian McEwan, Atonement

“Nothing that can be, can come between me and the full prospect of my hopes.”
― Ian McEwan, Atonement

“And now she was back in the world, not one she could make, but the one that had made her, and she felt herself shrinking under the early evening sky. She was weary of being outdoors, but she was not ready to go in. Was that really all there was in life, indoors or out? Wasn't there somewhere else for people to go?”
― Ian McEwan, Atonement

“From this new and intimate perspective, she learned a simple, obvious thing she had always known, and everyone knew; that a person is, among all else, a material thing, easily torn, not easily mended.”
― Ian McEwan, Atonement

“It is photography itself that creates the illusion of innocence. Its ironies of frozen narrative lend to its subjects an apparent unawareness that they will change or die. It is the future they are innocent of. Fifty years on we look at them with the godly knowledge of how they turne dout after all - who they married, the date of their death - with no thought for who will one day be holding photographs of us.”
― Ian McEwan, Black Dogs

“How guilt refined the methods of self-torture, threading the beads of detail into an eternal loop, a rosary to be fingered for a lifetime.”
― Ian McEwan, Atonement

“The world should take note: not everything is getting worse.”
― Ian McEwan, Saturday

“These were everyday sounds magnified by darkness. And darkness was nothing - it was not a substance, it was not a presence, it was no more than an absence of light.”
― Ian McEwan, Atonement

“come back, come back to me”
― Ian McEwan, Atonement

“Not everything people did could be in a correct, logical order, especially when they were alone.”
― Ian McEwan, Atonement

“She wanted to leave, she wanted to lie alone face down on her bed and savor the vile piquancy of the moment, and go back down the lines of branching consequences to the point before the destruction began. She needed to contemplate with eyes closed the full richness of what she had lost, what she had given away, and to anticipate the new regime.”
― Ian McEwan, Atonement

“But how to do feelings? All very well to write "She felt sad", or describe what a sad person might do, but what of sadness itself, how was that put across so it could be felt in all its lowering immediacy? Even harder was the threat, or the confusion of feeling contradictory things.”
― Ian McEwan, Atonement

“This is how the entire course of life can be changed – by doing nothing. On Chesil beach he could have called out to Florence, he could have gone after her. He did not know, or would not have cared to know, that as she ran away from him, certain in her distress that she was about to lose him, she had never loved him more, or more hopelessly, and that the sound of his voice would have been a deliverance, and she would have turned back. Instead, he stood in cold and righteous silence in the summer’s dusk, watching her hurry along the shore, the sound of her difficult progress lost to the breaking of small waves, until she was blurred, receding against the immense straight road of shingle gleaming in the pallid light.”
― Ian McEwan, On Chesil Beach

“The cost of oblivius daydreaming was always this moment of return, the realigment with what had been before and now seemed a little worse.
Her reverie, once rich in plausible details, had become a passing silliness before the hard mass of the actual.
It was difficult to come back.”
― Ian McEwan, Atonement

“How easily this unthinking family love was forgotten.”
― Ian McEwan, Atonement

“Let his name be cleared and everyone else adjust their thinking. He had put in time, now they must do the work. His business was simple. Find Cecilia and love her, marry her and live without shame.”
― Ian McEwan, Atonement

“And she did not miss his presence so much as his voice on the phone. Even being lied to constantly, though hardly like love, was sustained attention; he must care about her to fabricate so elaborately and over such a long stretch of time. His deceit was a form of tribute to the importance of their marriage.”
― Ian McEwan, Atonement

“It wasn't torpor that kept her - she was often restless to the point of irritability. She simply liked to feel that she was prevented from leaving, that she was needed.”
― Ian McEwan, Atonement

“Nothing was to be lost by beginning at the beginning...”
― Ian McEwan, Atonement

“But it was too interesting, too new, too flattering, too deeply comforting to resist, it was a liberation to be in love and say so, and she could only let herself go deeper.”
― Ian McEwan, On Chesil Beach

“In a story you only had to wish, you only had to write it down and you could have the world...It seemed so obvious now that it was too late: a story was a form of telepathy. By means of inking symbols onto a page, she was able to send thoughts and feelings from her mind to her reader's. It was a magical process, so commonplace that no one stopped to wonder at it. Reading a sentence and understanding it were the same thing; as with the crooking of a finger, nothing lay between them. There was no gap during which the symbols were unraveled.”
― Ian McEwan, Atonement

“He knew these last lines by heart and mouthed them now in the darkness. My reason for life. Not living, but life. That was the touch. And she was his reason for life, and why he must survive.”
― Ian McEwan, Atonement

“She bent her finger and then straightened it. The mystery was in the instant before it moved, the dividing moment between not moving and moving, when her intention took effect. It was like a wave breaking. If she could only find herself at the crest, she thought, she might find the secret of herself, that part of her that was really in charge. She brought her forefinger closer to her face and stared at it, urging it to move. It remained still because she was pretending... . And when she did crook it finally, the action seemed to start in the finger itself, not in some part of her mind.”
― Ian McEwan, Atonement