The English Patient

November 20, 2007 at 11:55 pm (The English Patient, metaphor, stylistic)

“He glares out, each eye a path, down the long bed at the end of which is Hana.  After she has bathed him she breaks the tip off an ampoule and turns to him with the morphine.  An effigy. A bed.  He rides the boat of morphine.  It races in him, imploding time and geography the way maps compress the world onto a two-dimensional sheet of paper.”

from The English Patient by Michael Ondaatje pg. 161

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The English Patient

November 20, 2007 at 11:48 pm (The English Patient, simile, sleep)

“Moments before sleep are when she feels most alive, leaping across fragments of the day, bringing each moment into the bed with her like a child with schoolbooks and pencils.”

from The English Patient by Michael Ondaatje pg. 35

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The Time Traveler’s Wife

October 11, 2007 at 1:19 am (The Time Traveler's Wife, allusion, art)

“The compelling thing about art – or making anything, I suppose – is the moment when the vaporous, insubstantial idea becomes a solid there, a substance in the world of substances. Circe, Nimbue, Artemis, Athena, all the sorceresses: they must have known the feeling as they transformed mere men into fabulous creatures, stole the secrets of the magicians, disposed armies: ah, look, there it is, a new thing. Call it a swine, a war, a laurel tree. Call it art. The magic I can make is small magic now, deferred magic. Every day I work, but nothing ever materializes. I feel like Penelope, weaving and unweaving.”

from The Time Traveler’s Wife by Audrey Niffenegger pg. 284

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The Time Traveler’s Wife

October 11, 2007 at 1:11 am (The Time Traveler's Wife, simile)

“Time passes and the pain begins to roll in and out as though it’s a woman standing at an ironing board, passing the iron back and forth, back and forth across a white tablecloth.”

from The Time Traveler’s Wife by Audrey Niffenegger pg. 402

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The Time Traveler’s Wife

October 11, 2007 at 1:09 am (The Time Traveler's Wife, simile)

“‘She wrote me a poem,”Clare says, again, in wonder. Tears are streaking down her cheeks. I put my arms around her, and she’s back, my wife, Clare, safe and sound on the shore at last after the shipwreck, weeping like a little girl whose mother is waving to her from the deck of the foundering boat.”

from The Time Traveler’s Wife by Audrey Niffenegger pg. 342

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The Time Traveler’s Wife

October 11, 2007 at 1:05 am (The Time Traveler's Wife, hyperbole)

“‘Clare, your hair is full of sand,” says Henry. I stop and lean over and beat my hair like a carpet with my hand.  A whole beach falls out of it.”

from The Time Traveler’s Wife by Audrey Niffenegger pg. 295

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The Time Traveler’s Wife

October 11, 2007 at 1:02 am (The Time Traveler's Wife, imagery, simile)

“I am like a caterpillar in a cocoon of paper; all around me are sketches of sculptures, small drawings that seem like moths fluttering against the windows, beating their wings to escape from this tiny space. “

from The Time Traveler’s Wife by Audrey Niffenegger pg. 284

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The Time Traveler’s Wife

October 11, 2007 at 12:58 am (The Time Traveler's Wife, simile)

“…she smiles in an exhausted but warm sort of way,  as though she is a brilliant sun in some other galaxy.”

from The Time Traveler’s Wife by Audrey Niffenegger pg. 170

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How to Read Literature Like a Professor

October 2, 2007 at 11:48 pm (How to Read Literature Like a Professor)

“The real reason for a quest is always self-knowledge.” pg. 3

“Whenever people eat or drink, it’s communion.” pg. 8

“Ghosts and vampires are never only about ghosts and vampires.” pg. 17

“There’s no such thing as a wholly original work of literature.” pg. 29

“It’s never just rain.” pg. 75

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How to Read Literature Like a Professor

October 2, 2007 at 1:26 am (How to Read Literature Like a Professor, symbols)

“Here’s the problem with symbols: people expect them to mean something. Not just any something, something in particular. Exactly. Maximum. You know what? It doesn’t work like that… so some symbols do have a relatively limited range of meanings, but in general a symbol can’t be reduced to standing for only one thing.”

from How to Read Literature Like a Professor by Thomas C. Foster pgs. 97-98

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