Ewan Quotes

We've searched our database for all the quotes and captions related to Ewan. Here they are! All 100 of them:

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A person is, among all else, a material thing, easily torn and not easily mended.
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Ian McEwan (Atonement)
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When it's gone, you'll know what a gift love was. You'll suffer like this. So go back and fight to keep it.
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Ian McEwan (Enduring Love)
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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.
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Ian McEwan (Atonement)
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It was always the view of my parents...that hot weather encouraged loose morals among young people.
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Ian McEwan
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The cost of oblivious daydreaming was always this moment of return, the realignment with what had been before and now seemed a little worse.
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Ian McEwan (Atonement)
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This is how the entire course of a life can be changed: by doing nothing.
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Ian McEwan (On Chesil Beach)
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...falling in love could be achieved in a single wordβ€”a glance.
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Ian McEwan (Atonement)
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Find you, love you, marry you, and live without shame.
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Ian McEwan (Atonement)
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And though you think the world is at your feet, it can rise up and tread on you.
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Ian McEwan (Atonement)
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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.
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Ian McEwan (Atonement)
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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. One could drown in irrelevance.
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Ian McEwan (Atonement)
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Wasn't writing a kind of soaring, an achievable form of flight, of fancy, of the imagination?
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Ian McEwan (Atonement)
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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
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Ian McEwan (Atonement)
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She lay in the dark and knew everything.
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Ian McEwan (Atonement)
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You can tell a lot from a person's nails. When a life starts to unravel, they're among the first to go.
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Ian McEwan (Saturday)
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Girls can wear jeans and cut their hair short and wear shirts and boots because it's okay to be a boy; for girls it's like promotion. But for a boy to look like a girl is degrading, according to you, because secretly you believe that being a girl is degrading.
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Ian McEwan (The Cement Garden)
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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.
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Ian McEwan (On Chesil Beach)
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It was not generally realized that what children mostly wanted was to be left alone.
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Ian McEwan (Atonement)
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No one knows anything, really. It's all rented, or borrowed.
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Ian McEwan
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come back, come back to me
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Ian McEwan (Atonement)
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In my dreams I kiss your cunt, your sweet wet cunt. In my thoughts I make love to you all day long.
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Ian McEwan (Atonement)
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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.
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Ian McEwan (Atonement)
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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.
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Ian McEwan (Atonement)
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But what really happened? The answer is simple: the lovers survive and flourish.
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Ian McEwan (Atonement)
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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.
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Ian McEwan (Atonement)
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Dearest Cecilia, You’d be forgiven for thinking me mad, the way I acted this afternoon. The truth is I feel rather light headed and foolish in your presence, Cee, and I don’t think I can blame the heat.
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Ian McEwan (Atonement)
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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.
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Ian McEwan (Atonement)
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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.
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Ian McEwan (Atonement)
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That love which does not build a foundation on good sense is doomed.
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Ian McEwan (Atonement)
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At that moment, the urge to be writing was stronger than any notion she had of what she might write.
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Ian McEwan (Atonement)
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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.
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Ian McEwan (Atonement)
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Nothing that can be, can come between me and the full prospect of my hopes.
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Ian McEwan (Atonement)
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Not everything people did could be in a correct, logical order, especially when they were alone.
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Ian McEwan (Atonement)
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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.
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Ian McEwan (Atonement)
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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.
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Ian McEwan (Atonement)
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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.
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Ian McEwan (Saturday)
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It is shaming sometimes, how the body will not, or cannot, lie about emotions.
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Ian McEwan (On Chesil Beach)
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Imagining what it is like to be someone other than yourself is at the core of our humanity. It is the essence of compassion and the beginning of morality
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Ian McEwan
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The world should take note: not everything is getting worse.
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Ian McEwan (Saturday)
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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?
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Ian McEwan (Atonement)
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If life was a dream, then dying must be the moment when you woke up. It was so simple it must be true. You died, the dream was over, you woke up. That's what people meant when they talked about going to heaven. It was like waking up.
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Ian McEwan (The Daydreamer)
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He had never before felt so self-consciously young, nor experienced such appetite, such impatience for the story to begin.
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Ian McEwan (Atonement)
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When anything can happen, everything matters.
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Ian McEwan (Saturday)
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...beauty, she had discovered occupied a narrow band. Ugliness, on the hand, had infinite variation.
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Ian McEwan (Atonement)
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Nothing was to be lost by beginning at the beginning...
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Ian McEwan (Atonement)
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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.
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Ian McEwan
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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.
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Ian McEwan (Black Dogs)
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How can a novelist achieve atonement when with her absolute power of deciding outcomes, she is also god?
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Ian McEwan (Atonement)
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I turned the pages so fast. And I suppose I was, in my mindless way, looking for a something, version of myself, a heroine I could slip inside as one might a pair of favourite shoes.
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Ian McEwan (Sweet Tooth)
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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.
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Ian McEwan (On Chesil Beach)
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Is there any meaning in my life that the inevitable death awaiting me does not destory?
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Ian McEwan (Atonement)
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one could drown in irrelevance.
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Ian McEwan (Atonement)
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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.
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Ian McEwan (Atonement)
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Every now and then, quite unintentionally, someone taught you something about yourself.
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Ian McEwan (Atonement)
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We go on our hands and knees and crawl our way towards the truth
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Ian McEwan (Atonement)
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I fight cynicism. It`s too easy. It`s really boring. It`s much harder to be positive and see the wonder of everything. Cynicism is a bunch of people who aren`t as talented as other people, knocking them because they make them feel even more untalented.
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Ewan McGregor
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A story lives transformed by a gesture not made or a word not spoken
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Ian McEwan (On Chesil Beach)
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It is shaming sometimes how the body will not, or cannot, lie about emotions. Who, for decorum’s sake, has ever slowed his heart, or muted a blush?
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Ian McEwan
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He would work through the night and sleep until lunch. There wasn't really much else to do. Make something, and die.
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Ian McEwan (Amsterdam)
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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.
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Ian McEwan (Atonement)
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Who you get, and how it works out- there's so much luck involved, as well as the million branching consequences of your conscious choice of a mate, that no one and no amount of talking can untangle it if it turns out unhappily.
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Ian McEwan (Enduring Love)
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The luxury of being half-asleep, exploring the fringes of psychosis in safety.
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Ian McEwan (Saturday)
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When there are no consequences, being wrong is simply a diversion.
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Ian McEwan (Saturday)
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The worst mistake a writer can make is to assume everyone has an imagination.
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Andrew McEwan
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For children, childhood is timeless. It is always the present. Everything is in the present tense. Of course, they have memories. Of course, time shifts a little for them and Christmas comes round in the end. But they don’t feel it. Today is what they feel, and when they say β€˜When I grow up,’ there is always an edge of disbeliefβ€”how could they ever be other than what they are?
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Ian McEwan (The Child in Time)
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She returned his gaze, struck by the sense of her own transformation, and overwhelmed by the beauty which a lifetime havit had taught her to ignore.
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Ian McEwan (Atonement)
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When they kissed she immediately felt his tongue, tensed and strong, pushing past her teeth, like some bully shouldering his way into a room. Entering her.
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Ian McEwan (On Chesil Beach)
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She would simply wait on the bridge, calm and obstinate, until events, real events, not her own fantasies, roe to her challenge, and dispelled her insignificance.
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Ian McEwan (Atonement)
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I'm holding back, delaying the information. I'm lingering in the prior moment because it was a time when other outcomes were still possible.
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Ian McEwan (Enduring Love)
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Love doesn't grow at a steady rate, but advances in surges, bolts, wild leaps, and this was one of those.
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Ian McEwan (Sweet Tooth)
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Above all, she wanted to look as though she had not given the matter a moment's thought, and that would take time.
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Ian McEwan (Atonement)
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I’ll wait for you. Come back. The words were not meaningless, but they didn’t touch him now. It was clear enough - one person waiting for another was like an arithmetical sum, and just as empty of emotion. Waiting. Simply one person doing nothing, over time, while another approached. Waiting was a heavy word.
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Ian McEwan (Atonement)
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However, withered, I still feel myself to be exactly the same person I've always been. Hard to explain that to the young. we may look truly reptilian, but we're not a separate tribe.
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Ian McEwan (Atonement)
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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.
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Ian McEwan (Atonement)
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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.
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Ian McEwan (Atonement)
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Let the guilty bury the innocent, and let no one change the evidence
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Ian McEwan (Atonement)
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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.
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Ian McEwan (Atonement)
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It is quite impossible these days to assume anything about people's educational level from the way they talk or dress or from their taste in music. Safest to treat everyone you meet as a distinguished intellectual.
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Ian McEwan (Atonement)
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It's already clear to me how much of life is forgotten even as it happens. Most of it. The unregarded present spooling away from us, the soft tumble of unremarkable thoughts, the long-neglected miracle of existence.
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Ian McEwan (Nutshell)
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Cecilia wondered, as she sometimes did when she met a man for the first time, if this was the one she was going to marry, and whether it was this particular moment she would remember for the rest of her life - with gratitude, or profound and particular regret.
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Ian McEwan (Atonement)
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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.
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Ian McEwan (Saturday)
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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.
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Ian McEwan (Atonement)
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Blind luck, to arrive in the world with your properly formed parts in the right place, to be born to parents who were loving, not cruel, or to escape, by geographical or social accident, war or poverty. And therefore to find it so much easier to be virtuous.
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Ian McEwan (The Children Act)
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How easily this unthinking family love was forgotten.
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Ian McEwan (Atonement)
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In that shrinking moment he discovered that he had never hated anyone until now. It was a feeling as pure as love, but dispassionate and icily rational.
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Ian McEwan (Atonement)
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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.
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Ian McEwan (Atonement)
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It was common enough, to see so much death and want a child. Common, therefore human, and he wanted it all the more. When the wounded were screaming, you dreamed of sharing a little house somewhere, of an ordinary life, a family line, connection.
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Ian McEwan (Atonement)
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When he thought of her, it rather amazed him, that he had let that girl with her violin go. Now, of course, he saw that her self-effacing proposal was quite irrelevant. 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. Love and patience- if only he had had them both at once- would surely have seen them both through.
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Ian McEwan (On Chesil Beach)
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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.
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Ian McEwan (On Chesil Beach)
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I was with a friend of mine recently who was dying and while he was lying there with his family around his bed, I just knew that was it, that was the best you can hope for in life - to have your family and the people who love you around you at the end.
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Ewan McGregor
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He never believed in fate or providence, or the future being made by someone in the sky. Instead, at every instant, a trillion trillion possible futures; the pickiness of pure chance and physical laws seemed like freedom from the scheming of a gloomy god.
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Ian McEwan (Saturday)
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We knew so little about eachother. We lay mostly submerged, like ice floes with our visible social selves projecting only cool and white. Here was a rare sight below the waves, of a man's privacy and turmoil, of his dignity upended by the overpowering necessity of pure fantasy, pure thought, by the irreducible human element - Mind.
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Ian McEwan (Amsterdam)
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Dearest Cecilia, the story can resume. The one I had been planning on that evening walk. I can become again the man who once crossed the surrey park at dusk, in my best suit, swaggering on the promise of life. The man who, with the clarity of passion, made love to you in the library. The story can resume. I will return. Find you, love you, marry you and live without shame.
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Ian McEwan (Atonement)
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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.
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Ian McEwan (Atonement)
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When we go on about the big things, the political situation, global warming, world poverty, it all looks really terrible, with nothing getting better, nothing to look forward to. But when I think small, closer in-you know, a girl I've just met, or this song we'regoing to do with Chas, or snowboarding next month, then it looks great. So this is going to be my motto - think small.
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Ian McEwan (Saturday)
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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?
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Ian McEwan (Atonement)
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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.
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Ian McEwan (Atonement)
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They were beyond the present, outside time, with no memories and no future. There was nothing but obliterating sensation, thrilling and swelling, and the sound of fabric on fabric and skin on fabric as their limbs slid across each other in this restless, sensuous wrestling. ... They moved closer, deeper and then, for seconds on end, everything stopped. Instead of an ecstatic frenzy, there was stillness. They were stilled not by the astonishing fact of arrival, but by an awed sense of return - they were face to face in the gloom, staring into what little they could see of each other's eyes, and now it was the impersonal that dropped away.
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Ian McEwan (Atonement)
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A strange mood has seized the almost-educated young. They're on the march, angry at times, but mostly needful, longing for authority's blessing, its validation of their chosen identities. The decline of the West in new guise perhaps. Or the exaltation and liberation of the self. A social-media site famously proposes seventy-one gender options – neutrois, two spirit, bigender…any colour you like, Mr Ford. Biology is not destiny after all, and there's cause for celebration. A shrimp is neither limiting nor stable. I declare my undeniable feeling for who I am. If I turn out to be white, I may identify as black. And vice versa. I may announce myself as disabled, or disabled in context. If my identity is that of a believer, I'm easily wounded, my flesh torn to bleeding by any questioning of my faith. Offended, I enter a state of grace. Should inconvenient opinions hover near me like fallen angels or evil djinn (a mile being too near), I'll be in need of the special campus safe room equipped with Play-Doh and looped footage of gambolling puppies. Ah, the intellectual life! I may need advance warning if upsetting books or ideas threaten my very being by coming too close, breathing on my face, my brain, like unwholesome drugs.
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Ian McEwan (Nutshell)
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These thoughts were as familiar to her, and as comforting, as the precise configuration of her knees, their matching but competing, symmetrical and reversible, look. A second thought always followed the first, one mystery bred another: Was everyone else really as alive as she was? For example, did her sister really matter to herself, was she as valuable to herself as Briony was? Was being Cecilia just as vivid an affair as being Briony? Did her sister also have a real self concealed behind a breaking wave, and did she spend time thinking about it, with a finger held up to her face? Did everybody, including her father, Betty, Hardman? 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. One could drown in irrelevance. But if the answer was no, then Briony was surrounded by machines, intelligent and pleasant enough on the outside, but lacking the bright and private inside feeling she had. This was sinister and lonely, as well as unlikely. For, though it offended her sense of order, she knew it was overwhelmingly probably that everyone else had thoughts like hers. She knew this, but only in a rather arid way; she didn’t really feel it.
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Ian McEwan (Atonement)