A Quote by Margaret Atwood
Love was like a steamroller. There was no avoiding it; it went over you and you came out flat.
Related Quotes
Hiroshima does not look like a bombed city. It looks as if a monster steamroller had passed over it and squashed it out of existence.
I don't see black people as victims even though we are exploited. Victims are flat, one- dimensional characters, someone rolled over by a steamroller so you have a cardboard person. We are far more resilient and more rounded than that. I will go on showing there's more to us than our being victimized. Victims are dead.
Life was like a batch of biscuits without the baking powder: flat, flat, flat.
We do not require company. In varying degrees, it bores us, drains us, makes our eyes glaze over. Overcomes us like a steamroller. Of course, the rest of the world doesn't understand.
And when he came to, he was flat on his back on the beach in the freezing sand, and it was raining out of a low sky, and the tide was way out.
So whenever Marnus Labuschagne steps out, he hits the ball over cow corner for an offspinner, or he hits it over mid-off. It's very rare through long-on. And he doesn't have a flat sweep, he has a lap sweep, like a paddle.
Words like passion and ecstasy, we learn them but they stay flat on the page. Sometimes we try to turn them over, find out what's on the other side, and everyone has a story to tell os a woman or a brothel or an opium night or a war. We fear it. We fear passion and laugh at too much love and those who love too much.
I go back to [the idea] that we are avoiding all of these unknowns, we're avoiding the night - most of us - we're avoiding the encounters, but we're also afraid to deal with something unknown, unseen.
There's nothing simpler than avoiding people you don't like. Avoiding one's friends, that's the real test.
Once a new technology rolls over you, if you're not part of the steamroller, you're part of the road.
Kessa ran her fingers over her stomach. Flat. But was it flat enough? Not quite. She still had some way to go. Just to be safe, she told herself. Still, it was nice the way her pelvic bones rose like sharp hills on either side of her stomach. I love bones. Bones are beautiful.
Homesickness is a great teacher. It taught me, during an endless rainy fall, that I came from the arid lands, and like where I came from. I was used to dry clarity and sharpness in the air. I was used to horizons that either lifted into jagged ranges or rimmed the geometrical circle of the flat world. I was used to seeing a long way. I was used to earth colors--tan, rusty red, toned white--and the endless green of Iowa offended me. I was used to a sun that came up over mountains and went down behind other mountains. I missed the color and smell of sagebrush, and the sight of bare ground.
Garrison Keillor's 'Lake Wobegon' books create a world I can immerse myself in over and over. I love the deadpan humour, the warmth, and the wonderful characters in The Sidetrack Tap. I discovered them when I was about 30, starting with 'Leaving Home' and 'We Are Still Married,' and fell in love with the place and those flat Midwestern vowels.
Having a background in doing printmaking and letterpress, I think that I became very interested in images that were flat and graphic. And my painting still today is very flat...American craft is like that too - the painting is very flat. And also the painting that you see on the storefronts, handmade signs, tend to be very flat. That's probably my biggest influence.
The road passed through a curtain of pine forest and came out on a flat, rolling snow field. In this field the sprawled or bunched bodies of Germans lay thick, like some dark shapeless vegetable.
Pain, loss and separation are inevitable on the path of love, and the only way of avoiding them is by deciding not to take that path at all. In order not to suffer, you have to renounce love.It was like putting out your own eyes in order not to see the bad things in life.
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