Alice Urchin > Alice's Quotes

“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

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

“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

“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

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

“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

“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

“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

“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

“She raised one hand and flexed its fingers and wondered, as she had sometimes before, how this thing, this machine for gripping, this fleshy spider on the end of her arm, came to be hers, entirely at her command. Or did it have some little life of its own? She bent her finger and 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.”
― 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

“At that moment, the urge to be writing was stronger than any notion she had of what she might write.”
― Ian McEwan, Atonement

“But this first clumsy attempt showed her that the imagination itself was a source of secrets: once she had begun a story, no one could be told. Pretending in words was too tentative, too vulnerable, too embarrassing to let anyone know. Even writing out the she saids, the and thens, made her wince, and she felt foolish, appearing to know about the emotions of an imaginary being. Self-exposure was inevitable the moment she described a character's weakness; the reader was bound to speculate that she was describing herself. What other authority could she have?”
― Ian McEwan, Atonement

“But a mermaid has no tears, and therefore she suffers so much more.”
― Hans Christian Andersen, The Little Mermaid

“If you don't love yourself, how in the hell you gonna love somebody else?”
― RuPaul

“I mean, I don’t know how the world broke. And I don’t know if there’s a God who can help us fix it. But the fact that the world is broken - I absolutely believe that. Just look around us. Every minute - every single second - there are a million things you could be thinking about. A million things you could be worrying about. Our world - don’t you just feel we’re becoming more fragmented? I used to think that when I got older, the world would make so much more sense. But you know what? The older I get, the more confusing it is to me. The more complicated it is. Harder. You’d think we’d be getting better at it. But there’s just more and more chaos. The pieces - they’re everywhere. And nobody knows what to do about it. I find myself grasping, Nick. You know that feeling? That feeling when you just want the right thing to fall into the right place, not only because it’s right, but because it would mean that such a thing is still possible? I want to believe that.”
― Rachel Cohn, Nick & Norah's Infinite Playlist

“She's cinematic and I'm a fucking sitcom.”
― David Levithan, Nick & Norah's Infinite Playlist

“Singing in the rain. I'm singing in the rain. And it's such a fucking glorious feeling. An unexpected downpour and I am just giving myself into it. Because what the fuck else can you do? Run for cover? Shriek and curse? No--when the rain falls you just let it fall and you grin like a madman and you dance with it because if you can make yourself happy in the rain, then you're doing pretty alright in life.”
― David Levithan, Nick & Norah's Infinite Playlist

“We are the ones who take this thing called music and line it up with this thing called time. We are the ticking, we are the pulsing, we are underneath every part of this moment. And by making the moment our own, we are rendering it timeless. There is no audience. There are no instruments. There are only bodies and thoughts and murmurs and looks. It's the concert rush to end all concert rushes, because this is what matters. When the heart races, this is what it's racing towards.”
― Rachel Cohn, Nick & Norah's Infinite Playlist

“Answer all the questions that I'm too afraid to ask”
― Rachel Cohn , Nick & Norah's Infinite Playlist

“And I find myself saying, “It wasn’t really about her.” And finding it’s true.

What do you mean?” Norah asks.

It was about the feeling, you know? She caused it in me, but it wasn’t about her. It was about my reaction, what I wanted to feel and then convinced myself that I felt, because I wanted it that bad. That illusion. It was love because I created it as love.”
― David Levithan, Nick & Norah's Infinite Playlist

“I want to kiss her without counting the seconds. I want to hold her so long that I get to know her skin. I want, I want, I want.”
― David Levithan, Nick & Norah's Infinite Playlist

“When is a night over? Is it the start of sunrise or the end of it? Is it when you finally go to sleep or simply realize that you have to? When the club closes or when you everyone leaves?
"It's over when you decide it's over," she says. "When you call it a night. The rest is just a matter of where the sun is in the sky.”
― David Levithan, Nick & Norah's Infinite Playlist

“To err is human, to forgive, divine.”
― Alexander Pope, An Essay On Criticism

“Odors have a power of persuasion stronger than that of words, appearances, emotions, or will. The persuasive power of an odor cannot be fended off, it enters into us like breath into our lungs, it fills us up, imbues us totally. There is no remedy for it.”
― Patrick Süskind, Perfume: The Story of a Murderer

“He possessed the power. He held it in his hand. A power stronger than the power of money or the power of terror or the power of death: the invincible power to command the love of mankind. There was only one thing that power could not do: it could not make him able to smell himself.”
― Patrick Süskind, Perfume: The Story of a Murderer

“He who ruled scent ruled the hearts of men.”
― Patrick Süskind, Perfume: The Story of a Murderer