Extended Metaphor Quotes

“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.”
― Hanya Yanagihara, A Little Life

“She has never been in the presence, before, of two people who are in love with each other. She feels like a stray child, ragged and cold, with her nose pressed to a lighted window. A toy-store window, a bakery window, with fancy cakes and decorated cookies. Poverty prevents her entrance. These things are for other people; nothing for her.”
― Margaret Atwood, The Robber Bride

“I now warn the reader not to mock me and my mental daze. It is easy for him and me to decipher now a past destiny; but a destiny in the making is, believe me, not one of those honest mystery stories where all you have to do is keep an eye on the clues. In my youth I once read a French detective tale where the clues were actually in italics; but that is not McFate's way—even if one does learn to recognize certain obscure indications.”
― Vladimir Nabokov, Lolita

“I was a vase.
The thought struck her as she gazed at the wall of them. She had been a vessel; it was true. She'd stepped into this shop, introduced herself, asked for a job, hoped it would fill her.
And then, sitting with Jacob at the community table, she'd been a flower. Snipped from the root, quick to wilt, temporary. She'd existed to be lovely and to be chosen. No one had expected her to last.
But she hadn't been a flower when she'd gone to live with Claire, had she?
Emilie traveled deeper into the shop. She was in the addition now, its ceiling higher, its rows of tables laden with houseplants. Water, she decided. That's what she'd been with Claire. Shapeless, colorless, but necessary. She'd done what she had to. She had been there for her grandmother. She'd kept her family afloat.
But what was she now?”
― Nina LaCour, Yerba Buena

“Between land and sea the mist was like a veil
This is a simile. Such links as "like" or "as" are typical of the simile: one object is like another object.
If you go on to say the mist was like the veil of a bride, this is a sustained simile with elements of mild poetry; but if you say, the mist was like the veil of a fat bride whose father was even fatter and wore a wig, this is a rambling simile, marred by an illogical continuation, of the kind Homer used for purposes of epic narration and Gogol used for grotesque dream-effects.”
― Vladimir Nabokov, Lectures on Russian Literature

“If she herself had had any picture of the future, it had been of a society of animals... all equal... the strong protecting the weak... Instead- She did not know why- they had come to a time when no one dared speak his mind, when fierce, growling dogs roamed everywhere, and when you had to watch your comrades torn to pieces after confessing to shocking crimes.”
― George Orwell, Animal Farm