Ann-Marie MacDonald Quotes

Afterwards, in bed with a book, the spell of television feels remote compared to the journey into the page. To be in a book. To slip into the crease where two pages meet, to live in the place where your eyes alight upon the words to ignite a world of smoke and peril, colour and serene delight. That is a journey no one can end with the change of a channel. Enduring magic.

Hope is a gift. You can't choose to have it. To believe and yet to have no hope is to thirst beside a fountain.

It's important to attend funerals. It is important to view the body, they say, and to see it committed to earth or fire because unless you do that, the loved one dies for you again and again.

Memory plays tricks. Memory is another word for story, and nothing is more unreliable.

Depression is anger slowed down; panic is grief speeded up.

Tell the story, gather the events, repeat them. Pattern is a matter of upkeep. Otherwise the weave relaxes back to threads picked up by birds to make their nests. Repeat, or the story will fall and all the king's horses and all the king's men. . . . Repeat, and cradle the pieces carefully, or events will scatter like marbles on a wooden floor.

The world should not be organized to require heroines, and when one is required but fails to appear, we should not judge.

Writing is a hellish task, best snuck up on, whacked on the head, robbed and left for dead.

She's no lady. Her songs are all unbelievably unhappy or lewd. It's called Blues. She sings about sore feet, sexual relations, baked goods, killing your lover, being broke, men called Daddy, women who dress like men, working, praying for rain. Jail and trains. Whiskey and morphine. She tells stories between verses and everyone in the place shouts out how true it all is.

The thief you must fear the most is not the one who steals mere things.

Piece by piece living is hard to do. It may even feel like the hardest thing. But it has this going for it: you never need to know what it is you're carrying on your shoulders.

There are some stories you can't hear enough. They are the same every time you hear them. But you are not. That's one reliable way of understanding time.

Materia had been just six when they docked in Sydney Harbour and her father said, 'Look. This is the New World. Anything is possible here.' She's been too young to realize that he was talking to her brother.

Lies like that are not a sin, they are a sacrifice.

Do you think there's such a thing as a ghost who masquerades as a person? Do you believe that there are people whose bodies are still alive here on earth but whose souls are already in hell?

They are so young, they forget that the world is not as in love with them as they are.

You think you're safe. Until you see a picture like that. And then you know you'll always be a slave to the present because the present is more powerful than the past, no matter how long ago the present happened.

In terms of the secrets that imbue and underlie Fall on Your Knees, they were as much of a mystery to me as I was creating the story as they are to the readers.