Black Dogs Quotes

“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

“So June´s idea was that if one dog was a personal depression, two dogs were a kind of cultural depression, civilisation´s worst moods.”
― Ian McEwan, Black Dogs

“These were the months that shaped us.behind all our frustrations over all these years has been the wish to get back to those happy days.Once we began to see the world differently we could feel time running out on us and we were impatient with each other.Every disagreement was an interruption of what we knew was possible-and soon there was only interruption.And in the end time did run out,but memories are still there,accusing us,and we still can't let each other alone.”
― Ian McEwan, Black Dogs

“Now time, afternoon time, which in the Midi is as elemental as air and light, expanded and rolled billowingly outwards across the rest of the day, and upwards to the vaults of the cobalt sky, freeing everyone in its delicious sprawl from their obligations.”
― Ian McEwan, Black Dogs

“Bernard was to remember this moment for the rest of his life. As they drank from their water bottles he was struck by the recently concluded war not as a historical, geopolitical fact but as a multiplicity, a near-infinity of private sorrows, as a boundless grief minutely subdivided without diminishment among individuals who covered the continent like dust, like spores whose separate identities would remain unknown, and whose totality showed more sadness than anyone could ever begin to comprehend; a weight borne in silence by hundreds of thousands, millions, like the woman in black for a husband and two brothers, each grief a particular, intricate, keening love story that might have been otherwise. It seemed as though he had never thought about the war before, not about its cost. He had been so busy with the details of his work, of doing it well, and his widest view had been of war aims, of winning, of statistical deaths, statistical destruction, and of post-war reconstruction. For the first time he sensed the scale of the catastrophe in terms of feeling; all those unique and solitary deaths, all that consequent sorrow, unique and solitary too, which had no place in conferences, headlines, history, and which had quietly retired to houses, kitchens, unshared beds, and anguished memories. This came upon Bernard by a pine tree in the Languedoc in 1946 not as an observation he could share with June but as a deep apprehension, a recognition of a truth that dismayed him into silence and, later, a question: what possible good could come of a Europe covered in this dust, these spores, when forgetting would be inhuman and dangerous, and remembering a constant torture?”
― Ian McEwan, Black Dogs

“The Anglican service today was more familiar to me from movies. Like one of the great Shakespeare speeches, the graveside oration, studded in fragments in the memory, was a succession of brilliant phrases, book titles, dying cadences that breathed life, pure alertness, along the spine.”
― Ian McEwan, Black Dogs