Margaret Atwood, The Blind Assassin

"You can never see yourself the way you are to someone else - to a man looking at you, from behind, when you don't know - because in a mirror your own head is always cranked around over your shoulder. A coy, inviting pose. You can hold up another mirror to see the back view, but then what you see is what so many painters have loved to paint - Woman Looking In Mirror, said to be an allegory of vanity. Though it is unlikely to be vanity, but the reverse: a search for flaws. What is it about me? can so easily be construed as What is wrong with me?"

"More powerful than God, more evil than the Devil; the poor have it, the rich lack it, and if you eat it you die?"

"God works in mysterious ways his wonders to perform, as Reenie used to say. Could it be that Myra is my designated guardian angel? Or is she instead a foretaste of Purgatory? And how do you tell the difference?"

"You think you can get rid of things, and people too--leave them behind. You don't know yet about the habit they have, of coming back."

"Time in dreams is frozen. You can never get away from where you've been."

"It was Colonel Parkman who upped stakes, crossed the border, and named our town, thus perversely commemorating a battle in which he'd lost. (Though perhaps that's not so unusual: many people take a curatorial interest in their own scars.) He's shown astride his horse, waving a sword and about to gallop into the nearby petunia bed: a craggy man with seasoned eyes and pointed beard, every sculptor's idea of every cavalry leader. No one knows what Colonel Parkman really looked like, since he left no pictorial evidence of himself and the statue wasn't erected until 1885, but he looks like this now. Such is the tyranny of Art. On the left-hand side of the lawn, also with a petunia bed, is an equally mythic figure: the Weary Soldier, his three top shirt buttons undone, his neck bowed as if for the headman's axe, his uniform rumpled, his helmet askew, leaning on his malfunctioning Ross rifle. Forever young, forever exhausted, he tops the War Memorial, his skin burning green in the sun, pigeon droppings running down his face like tears."

"Time rises and rises, and when it reaches the level of your eyes you drown."

"Every war is the war for whoever's lived through it."

"Don’t interfere with false gods, you’ll get the gold paint all over your hands."

"She knows herself to be at the mercy of events, and she knows by now that events have no mercy."

"Nothing is more difficult than to understand the dead, I've found; but nothing is more dangerous than to ignore them."

"But in life, a tragedy is not one long scream. It includes everything that led up to it. Hour after trivial hour, day after day, year after year, and then the sudden moment: the knife stab, the shell burst, the plummet of the car from a bridge."

"He loved her; in some ways he was devoted to her. But he couldn't reach her, and it was the same on her side. It was as if they'd drunk some fatal potion that would keep them forever apart, even though they lived in the same house, ate at the same table, slept in the same bed."

"Lose your temper and you lose the fight."

"The young habitually mistake lust for love, they're infested with idealism of all kinds."

"We'll choose knowledge no matter what, we'll maim ourselves in the process, we'll stick our hands into the flames for it if necessary. Curiosity is not our only motive; love or grief or despair or hatred is what drives us on. We'll spy relentlessly on the dead; we'll open their letters, we'll read their journals, we'll go through their trash, hoping for a hint, a final word, an explanation, from those who have deserted us--who've left us holding the bag, which is often a good deal emptier than we'd supposed."

"But what is a memorial, when you come right down to it, but a commemoration of wounds endured? Endured, and resented. Without memory, there can be no revenge."

"I thought my heart was pure. We do like to have such good opinions of our own motives when we're about to do something harmful, to someone else."

"I shouldn't have taken a vow of silence, I told myself. What did I want? Nothing much. Just a memorial. But what is a memorial, when you come right down to it, but a commemoration of wounds endured? Endured, and resented. Without memory, there can be no revenge."

"After having imposed itself on us like the egomaniac it is, clamouring about its own needs, foisting upon us its own sordid and perilous desires, the body's final trick is simply to absent itself. Just when you need it, just when you could use an arm or a leg, suddenly the body has other things to do. It falters, it buckles under you; it melts away as if made of snow, leaving nothing much. Two lumps of coal, an old hat, a grin made of pebbles. The bones dry sticks, easily broken."