Mcewan Atonement Quotes

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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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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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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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...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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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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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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That love which does not build a foundation on good sense is doomed.
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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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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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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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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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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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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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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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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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Nothing was to be lost by beginning at the beginning...
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Ian McEwan (Atonement)
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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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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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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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Every now and then, quite unintentionally, someone taught you something about yourself.
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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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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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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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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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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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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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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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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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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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Let the guilty bury the innocent, and let no one change the evidence
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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 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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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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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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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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When he replied with her name, it sounded like a new word β€” the syllables remained the same, the meaning was different.
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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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i'm going mad, i told myself. let me not be mad.
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Ian McEwan (Atonement)
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Something has happened, hasn't it? ... It's like being up close to something so large you don't even see it. Even now, I'm not sure I can. But I know it's there.
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Ian McEwan (Atonement)
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Briony began to understand the chasm that lay between an idea and its execution
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Ian McEwan (Atonement)
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Waiting. Simply one person doing nothing, over time, while another approached.
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Ian McEwan (Atonement)
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He was looking at her with amused suspicion. There was something between them, and even she had to acknowledge that a tame remark about the weather sounded perverse.
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Ian McEwan (Atonement)
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I like to think that it isn't weakness or evasion, but a final act of kindness, a stand against oblivion and despair, ...
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Ian McEwan (Atonement)
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...the world she ran through loved her and would give her what she wanted and would let it happen.
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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.
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Ian McEwan (Atonement)
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It was always the view of my parents," Emily said, "that hot weather encouraged loose morals among young people.
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Ian McEwan (Atonement)
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It was the reason he had survived. It was the ordinary way of saying she would refuse all other men. Only you. Come back.
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Ian McEwan (Atonement)
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In Leon's account of his life, no-one was mean-spirited, no-one schemed or lied or betrayed; everyone was celebrated at least in some degree... Leon turned out to be a spineless, grinning idiot.
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Ian McEwan (Atonement)
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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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How quickly the dead faded into each other,
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Ian McEwan (Atonement)
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He had been walking these roads, he thought, all his life.
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Ian McEwan (Atonement)
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The library door was thick and none of the ordinary sounds that might have reminded them, might have held them back, could reach them. They were beyond the present, outside time, with no memories and no future,
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Ian McEwan (Atonement)
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He wanted a father, and for the same reason, he wanted to be a father.
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Ian McEwan (Atonement)
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But of course, it had all been her – by her and about her, 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
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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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The evasions of her little novel were exactly those of her life. Everything she did not wish to confront was also missing from her novella--and was necessary to it.
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Ian McEwan (Atonement)
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...since coming home, her life had stood still and a fine day like this made her impatient, almost desperate.
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Ian McEwan (Atonement)
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It made no sense, she knew, arranging flowers before the water was in β€” but there it was; she couldn't resist moving them around, and 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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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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These memories sustained him, but not so easily. Too often they reminded him of where he was when he last summoned them. They lay on the far side of a great divide in time, as significant as B.C. and A.D. Before prison, before the war, before the sight of a corpse became a banality.
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Ian McEwan (Atonement)
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She was like a bride-to-be who begins to feel her sickening qualms as the day approaches, and dares not speak her mind because so many preparations have been made on her behalf the happiness and convenience of so many good people would be put at risk.
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Ian McEwan (Atonement)
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No one knew about the squirrel’s skull beneath her bed, but no one wanted to know.
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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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She thought of Robbie at dinner when there had been something manic and glazed in his look. Might he be smoking the reefers she had read about in a magazine, these cigarettes that drove young men of bohemian inclination across the borders of insanity?
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Ian McEwan (Atonement)
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Every secret of the body was rendered up--bone risen through flesh, sacrilegious glimpses of an intestine or an optic nerve. From this new and intimate perspective, [Briony] 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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Cecilia knew she could not go on wasting her days in the stews of her untidied room, lying on her bed in a haze of smoke, chin propped on her hand, pins and needles spreading up through her arm as she read her way through Richardson's Clarissa.
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Ian McEwan (Atonement)
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She had lolled about for three years at Girton with the kind of books she could equally have read at home--Jane Austen, Dickens, Conrad, all in the library downstairs, in complete sets. How had that pursuit, reading the novels that others took as their leisure, let her think she was superior to anyone else?
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Ian McEwan (Atonement)
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...[W]riting stories not only involved secrecy, it also gave her all the pleasures of miniaturisation. A world could be made in five pages....The childhood of a spoiled prince could be framed within half a page, a moonlit dash through sleepy villages was one rhythmically empathic sentence, falling in love would be achieved in a single wordβ€”a glance.
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Ian McEwan (Atonement)
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It was thought, perception, sensations that interested her, the conscious mind as a river through time, and how to represent its onward roll, as well as all the tributaries that would swell it, and the obstacles that would divert it. If only she could reproduce the clear light of a summer’s morning,
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Ian McEwan (Atonement)
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Despite his first, the study of English literature seemed in retrospect an absorbing parlor game, and reading books and having opinions about them, the desirable adjunct to a civilized existence. But it was not the core, whatever Dr. Leavis said in his lectures.
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Ian McEwan (Atonement)
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Watching him during the first several minutes of his delivery, Cecilia felt a pleasant sinking sensation in her stomach as she contemplated how deliciously self-destructive it would be, almost erotic, to be married to a man so nearly handsome, so hugely rich, so unfathomably stupid. He would fill her with his big-faced children, all of them loud, boneheaded boys with a passion for guns and football and aeroplanes.
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Ian McEwan (Atonement)
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Initially, a simple phrase chased round and round in Cecilia's thoughts: Of course, of course. How had she not seen it? Everything was explained. The whole day, the weeks before, her childhood. A lifetime. It was clear to her now. Why else take so long to choose a dress, or fight over a vase, or find everything so different, or be unable to leave? What had made her so blind, so obtuse?
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Ian McEwan (Atonement)
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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. 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....Briony had lost her godly power of creation, but it was only at this moment of return that the loss became evident; part of a daydream's enticement was the illusion that she was helpless before its logic....But of course, it had all been her-by her and about her-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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Nothing as singular or as important had happened since the day of his birth. She returned his gaze, struck by the sense of her own transformation, and overwhelmed by the beauty in a face which a lifetime's habit had taught her to ignore. She whispered his name with the deliberation of a child trying out the distinct sounds. When he replied with her name, it sounded like a new word - the syllables remained the same, the meaning was different. Finally he spoke the three simple words that no amount of bad art or bad faith can ever quite cheapen. She repeated them, with exactly the same emphasis on the second word, as if she had been 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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But hidden drawers, lockable diaries and cryptographic systems could not conceal from Briony the simple truth: she had no secrets. Her wish for a harmonious, organised world denied her the reckless possibilities of wrongdoing. Mayhem and destruction were too chaotic for her tastes, and she did not have it in her to be cruel. Her effective status as an only child, as well as the relative isolation of the Tallis house, kept her, at least during the long summer holidays, from girlish intrigues with friends. Nothing in her life was sufficiently interesting or shameful to merit hiding; no one knew about the squirrel's skull beneath her bed, but no one wanted to know.
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Ian McEwan (Atonement)
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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)
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Her efforts received encouragement. In fact, they were welcomed as the Tallises began to understand that the baby of the family possessed a strange mind and a facility with words. The long afternoons she spent browsing through the dictionary and thesaurus made for constructions that were inept, but hauntingly so: the coins a villain concealed in his pocket were 'esoteric,' a hoodlum caught stealing a car wept in 'shameless auto-exculpation,' the heroine on her thoroughbred stallion made a 'cursory' journey through the night, the king's furrowed brow was the 'hieroglyph' of his displeasure.
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Ian McEwan (Atonement)
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Now he reduced his progress to the rhythm of his boots -- he walked across the land until he came to the sea. Everything that impeded him had to be outweighed, even if only by a fraction, by all that drove him on. In one pan of the scales, his wound, thirst, the blister, tiredness, the heat, the aching in his feet and legs, the Stukas, the distance, the Channel; in the other, I'll wait for you, and the memory of when she had said it, which he had come to treat like a sacred site. Also, the fear of capture. His most sensual memories -- their few minutes in the library, the kiss in Whitehall -- was bleached colorless through overuse. He knew by heart certain passages from her letters, he had revisited their tussle with the vase by the fountain, he remembered the warmth from her arm at the dinner when the twins went missing. These memories sustained him, but not so easily. Too often they reminded him of where he was when he last summoned them. They lay on the far side of a great divide in time, as significant as B.C. and A.D. Before prison, before war, before the sight of a corpse became a banality. But these heresies died when he read her last letter. He touched his breast pocket. It was a kind of genuflection. Still there. Here was something new on the scales. That he could be cleared had all the simplicity of love. Merely tasting the possibility reminded him of how much had narrowed and died. His taste for life, no less, all the old ambitions and pleasures. The prospect was of rebirth, a triumphant return.
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Ian McEwan (Atonement)
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They had had half an hour. He walked with her to Whitehall, toward the bus stop. In the precious final minutes he wrote out his address for her, a bleak sequence of acronyms and numbers. β€œthen, at last, he took her hand and squeezed. The gesture had to carry all that had not been said, and she answered it with pressure from her own hand. Her bus came, and she did not let go. They were standing face to face. He kissed her, lightly at first, but they drew closer, and when their tongues touched, a disembodied part of himself was abjectly grateful, for he knew he now had a memory in the bank and would be drawing on it for months to come. He was drawing on it now, in a French barn, They tightened their embrace and went on kissing while people edged past them in the queue. She was crying onto his cheek, and her sorrow stretched her lips against his. Another bus arrived. She pulled away, squeezed his wrist, and got on without a word and didn’t look back. He watched her find her seat, and as the bus began to move realized he should have gone with her, all the way to the hospital. He had thrown away minutes in her company. He must learn again how to think β€œand act for himself. He began to run along hoping to catch up with her at the next stop. But her bus was far ahead
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Ian McEwan (Atonement)
β€œ
When he wrote back, he pretended to be his old self, he lied his way into sanity. For fear of his psychiatrist who was also their censor, they could never be sensual, or even emotional. His was considered a modern, enlightened prison, despite its Victorian chill. He had been diagnosed, with clinical precision, as morbidly oversexed, and in need of help as well as correction. He was not to be stimulated. Some lettersβ€”both his and hersβ€”were confiscated for some timid expression of affection. So they wrote about literature, and used characters as codes. All those books, those happy or tragic couples they had never met to discuss! Tristan and Isolde the Duke Orsino and Olivia (and Malvolio too), Troilus and Criseyde, Once, in despair, he referred to Prometheus, chained to a rock, his liver devoured daily by a vulture. Sometimes she was patient Griselde. Mention of β€œa quiet corner in a library” was a code for sexual ecstasy. They charted the daily round too, in boring, loving detail. He described the prison routine in every aspect, but he never told her of its stupidity. That was plain enough. He never told her that he feared he might go under. That too was clear. She never wrote that she loved him, though she would have if she thought it would get through. But he knew it. She told him she had cut herself off from her family. She would never speak to her parents, brother or sister again. He followed closely all her steps along the way toward her nurse’s qualification. When she wrote, β€œI went to the library today to get the anatomy book I told you about. I found a quiet corner and pretended to read,” he knew she was feeding on the same memories that consumed him β€œThey sat down, looked at each other, smiled and looked away. Robbie and Cecilia had been making love for yearsβ€”by post. In their coded exchanges they had drawn close, but how artificial that closeness seemed now as they embarked on their small talk, their helpless catechism of polite query and response. As the distance opened up between them, they understood how far they had run ahead of themselves in their letters. This moment had been imagined and desired for too long, and could not measure up. He had been out of the world, and lacked the confidence to step back and reach for the larger thought. I love you, and you saved my life. He asked about her lodgings. She told him. β€œAnd do you get along all right with your landlady?” He could think of nothing better, and feared the silence that might come down, and the awkwardness that would be a prelude to her telling him that it had been nice to meet up again. Now she must be getting back to work. Everything they had, rested on a few minutes in a library years ago. Was it too frail? She could easily slip back into being a kind of sister. Was she disappointed? He had lost weight. He had shrunk in every sense. Prison made him despise himself, while she looked as adorable as he remembered her, especially in a nurse’s uniform. But she was miserably nervous too, incapable of stepping around the inanities. Instead, she was trying to be lighthearted about her landlady’s temper. After a few more such exchanges, she really was looking at the little watch that hung above her left breast, and telling him that her lunch break would soon be over.
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Ian McEwan (Atonement)