Best 646 quotes in «metaphor quotes» category

Hatred is as easy as slipping on a well-worn woolen cloak. If only it provided the comfort of one.

He didn't really care if they felt that way or not: he just needed them to say it, he needed to feel that something lay beneath their imperturbable calm, that somewhere within them ran a thin stream of quick, cool water, teeming with delicate lives, minnows and grasses and tiny white flowers, all tender and easily wounded and so vulnerable you couldn't see them without aching for them.

He danced with the sky instead, and the sky dropped him like a rotten plum.

He finds himself entering a minefield of dietary choices." My Dark Experiences With Gluten

He holds Willem so close that he can feel muscles from his back to his fingertips come alive, so close that he can feel Willem's heart beating against his, can feel his rib cage against his, and his stomach deflating and inflating with air. 'Harder,' Willem tells him, and he does until his arms grow first fatigued and then numb, until his body is sagging with tiredness, until he feels that he really is falling: first through the mattress, and then the bed frame, and then the floor itself, until he is sinking in slow motion through all the floors of the building, which yield and swallow him like jelly. Down he goes through the fifth floor, where Richard's family is now storing stacks of Moroccan tiles, down through the fourth floor, which is empty, down through Richard and India's apartment, and Richard's studio, and then to the ground floor, and into the pool, and then down and down, farther and farther, past the subway tunnels, past bedrock and silt, through underground lakes and oceans of oil, through layers of fossil and shale, until he is drifting into the fire at the earth's core. And the entire time, Willem is wrapped around him, and as they enter the fire, they aren't burned but melted into one being, their legs and chests and arms and heads fusing into one.

He has a vision of his life as a sliver of soap, worn and used and smoothed into a slender, blunt-edged arrow-head, a little more of it disintegrating with every day.

He realized that when he had been afraid to change he had been holding on to the illusion of Old Cheese that was no longer there

Her voice was a hushed whisper against my ear. An audible smile.

He had been bruised, so to speak, so badly that the eyes of strangers lacerated him like salt.

He is like light and wisdom is his Gabriel.

He sips his drink and it leaves his handlebar mustache dripping like a cattle dog come outta a river.

Her eyes narrowed until they were a faint greenish glitter, like a forest pool far back in the shadow of trees.

He suffers terribly all the time. He lives in fire.

He wanted terribly, to say, Stop, to say Bern’s name, to stroke her soft cheek where it was bitten by the light. But, in the end, he didn’t do anything at all.

He spoke slowly, his voice deeper and louder, every word tacked nine-inches deep into the beams of our minds.

He turned his steel eyes at me. They hurt me, paralysed me, like the advancing lights of a car. I saw that his body was taut, all of it: also made of steel; that it only worked because it was at an intolerable tension, and that it was our sensation of that tension which had exhausted us, which could no longer be borne. He was the wrong spring which had been put into our machine, that had made Claude ill, George foolish, Boris an anxiety.

He wouldn't tell me that I always have two options—You can choose how you feel or you you can let your feelings choose you because maybe it is true that those were the options that my husband had, but I knew I didn't have those options and I hated for someone to tell me that I had options I didn't have because I knew that my mind was a small object for sale and my feelings could pick me up and own me and maybe my husband was too expensive for feelings to choose him, to pick him up and have him rung up and scanned and bagged and taken along with those feelings, feelings of I can't really get out of bed today and Husband, would you please not talk to me for the rest of the year. I, too often, had my face smashed against concrete curbs of Ruby, memories of Ruby, the way her face had looked that afternoon as she curled in that chair by the window and the light streaming in and the dark streaming out and what happened so soon after—I went around hostage to those memories, an invisible person following me with a gun barrel to my back.

He would talk, and I would talk, and he would talk, and each of our words sounded out the deepest secret depths inside us. There are some forms of love that words can do no justice to. There are some scars that can't be seen. Perfection is in itself an imperfection. He had flaws. He was sick. He needed help. Is not everyone sick, at one time or another? That was part of his beauty, his sickness. If he had not been sick, he would not have been beautiful, in the way that consumptives are, burning themselves up in brilliant flashes of light . . . I don't expect you to be able to understand. Love is strong enough to resurrect the dead. I don't like the word scar, because it implies intent and blame. A soul as powerful as his had to burn. I have never known a love like this. You don't know. I would have done anything at all for him. You don't know. It feels so goddamn good to be needed, to have someone tell you that he has a gaping hole in him whose shape is made to fit you . . . I saw that he was burning a piece of art on me, a signature on my psyche because it filled the hole in his own, and he wanted to make me his.

His body had almost no hair and his naked little circumcised johnson was nearly as pale as the rest of him, white as a boy's - perhaps over time one's genitals emerge from the pots and bubbling vats of love permanently stained, like the hands of a wool dyer.

His love for me seemed to overflow my limits by its flood of wealth and service. But my necessity was more for giving than foe receiving; for love is a vagabond, who can make his flowers bloom in the wayside dust, better than in the crystal jars kept in the drawing-room.

Holly steps back. Being warned about a ghost and seeing him are not the same. 'What did they do to you?' Some of the Anchorites laugh. Hugo looks back at his long-ago lover. 'They'-he looks about the Chapel-'cured me. They cured me of a terrible wasting disease called mortality. There's a lot of it about. The young hold out for a time, but eventually even the hardiest patient gets reduced to a desiccated embryo, a Strudlebug...a veined, scrawny, dribbling...bone clock, whose face betrays how very, very little time they have left.

His studies were always second to Beatrice. He would've said everything was second to Beatrice but the flowery metaphors and literary devices can only stretch so far and for so many characters.

He was a priest now, pagan, half-naked in the night, performing obscure rites of interment. Or he was the lead player in his own novel, or in one of those new arcade games William loved, compelled to repeat some totemic motion until he got it right. Only once did he feel, as he had on New Year's Eve, that someone was standing among the trees, watching. Well, let him watch, damn it. Something was being enacted here, as if it had been this deeper mission calling Mercer home all along. And now that he'd completed it, maybe he would be allowed to advance through to the next level, to a world where no one got shot.

How can I help?” I asked, as Anglicans have been taught to do—and in spite of the fact that our family have been Roman Catholics since St. Peter was a sailor.

I allowed myself the supernatural, the transcendent, because, I told myself, our love of metaphor is pre-religious, born of our need to express what is inexpressible, our dreams of otherness, of more.

Hope is a door left unlatched in a high wind banging and banging itself to pieces.

I always thought of it like you said, that all the strings inside him broke. But there are a thousand ways to look at it: maybe the strings break, or maybe our ships sink, or maybe we’re grass—our roots so interdependent that no one is dead as long as someone is alive. We don’t suffer from a shortage of metaphors, is what I mean. But you have to be careful which metaphor you choose, because it matters. If you choose the strings, then you’re imagining a world in which you can become irreparably broken. If you choose the grass, you’re saying that we are all infinitely interconnected, that we can use these root systems not only to understand one another but to become one another. The metaphors have implications. Do you know what I mean?

I am a shark. A shark who dreamed he was a man.

Human life is short, we don't exist all that much. A pale brief flicker in the dark.

(aside) Oh, you are well tuned now, But I’ll set down the pegs that make this music, As honest as I am.

I cannot hope to make you understand how the world is truly made,' he told her. 'Metaphor, then: the world is a weave, like threads woven into cloth.' His hand came out of his sleeve with a strip of his red ribbon. 'If you say so.' 'Everything, stone, trees, beasts, the sky, the waters, all are a weave of fabric,' he said patiently. 'But when you think, it is different. Your thinking snarls the fabric, knots it. If you were a magician, you could use the knot of your mind to pull on other threads. That is magic, and now you see how every simple it is. I wonder everyone does not become an enchanter.

I couldn't decide what kind of person she was, whether she was one of those insects that look exactly like wasps but aren't . . . I just wanted to know if she would sting.

I didn't know what to say. I knew I had a big choice to make. I could let it all go and try to love him, try to trust him, try to make something lasting and good. He obviously had strong feelings for me or about me. And he wasn't being so bad right now. We could build something sturdy, beautiful. Or I could try to make a dash for the door by crawling under the dining room table. There was a good chance that he would kill me later either way.

I am going to tell a story now, and though I've made a life out of writing words, this is the first time I have told a story. There are no new stories in the world anymore, and no more storytellers. There is nothing left but the fragments of phrases that signalled their telling: once upon a time; why; and then; the end. But these phrases have lost their meanings through endless repetition, like everything else in this modern, mechanical age. And this machine age has no room for stories. These days we seek our pleasures out in single moments cast in amber, as if we have no desire to connect the future to the past. Stories? We have no time for them; we have no patience.

i do not give a sh*t, the toilet miss me now

Idols of the injury, dug in behind the least understood motor plan information. The vile abomination temporal lobes and The four loathsome memory walls and The four reasoning, arithmetic beasts are found for all behind pain and planes. Portrayed as a house, Go in, function, cause blindness from The house's hearing spirit, judgment and The court's four bronze woes and The functioning brain lobe wings, Go in, hearing and perception, I dig under door fronts, pain and plans.

I don't pay much attention to the distinction between fantasy and science fiction–or between “genre” and “mainstream” for that matter. For me, all fiction is about prizing the logic of metaphors-which is the logic of narratives in general–over reality, which is irreducibly random and senseless. We spend our entire lives trying to tell stories about ourselves–they’re the essence of memory. It is how we make living in this unfeeling accidental universe tolerable. That we call such a tendency “the narrative fallacy” doesn’t mean it doesn’t also touch upon some aspect of the truth. Some stories simply literalize their metaphors a bit more explicitly.

I believe in a metaphorical reality, but not in a metaphysical one.

If a car can represent something, this one represents contradiction. For most of his life, my dad has been able to have any woman he wants. In response, he’s gone through as many as possible, betraying each for someone younger and more absurd. Conversely, for most of his life he’s been able to have any car he wants, too. In response, he’s remained married to this, a 1982 Porsche with a tricky clutch.

If a tree is bent, every goat will jump on it.

I feel I'm at the end of something — everything is going to be different — and terrible." "That doesn't sound like you, you ride every wave." "There is one that will drown me.

I forgot who I was before the (space) suit, before gravity was ripped from my vocabulary and I mastered the art of drifting

I don't think I can marry, I'm not fit for it, I'm not real enough. That's the trouble. I'm a puppet that's realised what's wrong with itself and it's horrible. I'm propped up somewhere all alone, watching the real people go past. I'm propped up crying in a corner.

...I found my eyes repelled by hers as if they were the like poles of a pair of magnets.

If there is anything in writing that comes easy for me it's making up metaphors. They just appear. I can't move two lines without all kinds of images. Then the problem is how to make the best of them. In its geological character, language is almost invariably metaphorical. That's how meanings tend to change. Words become metaphors for other things, then slowly disappear into the new image. I have a hunch, too, that the core of creativity is located in metaphor, in model making, really. A novel is a large metaphor for the world.

If you're good at this job, and I am, then every step in a murder case moves you in one direction: towards order. We get thrown shards of senseless wreckage, and we piece them together until we can lift the picture out of the darkness and hold it up to the white light of day, solid, complete, clear. Under all the paperwork and the politics, this is the job; this is its cool shining heart that I love with every fiber of mine. This case was different. It was running backwards, dragging us with it on some ferocious ebb tide. Every step washed us deeper in black chaos, wrapped us tighter in tendrils of crazy and pulled us downwards.

I gave her as much as I had, but it's like the difference between a movie and a book: A book lets you choose how much of the blood you want to see. A book gives you the permission to see the story as you want, as your mind directs. You interpret. Your Alexander Portnoy doesn't look like mine because we all have our unique view. When you finish a movie you leave the theater with your friend and talk about the movie right away. When you finish a book you think. Love grew up on movies and I have just read her a book. I give her time to digest.

I got up to go back to the kitchen and put the cake in the oven. Probably it would not go well for the cake, or for whoever tried to eat the cake. It did not look as though the cake was going to turn out particularly nice, having been made for confusing reasons and lacking certain essential ingredients. But what else was there to do? Wasn't a terrible cake better than some terrible cake batter?

I have been struck down before my life begins. I have already died in the war.

I have drafts about your neck on my lips like a library has shelves. It was all in vain and you were all in my veins.