camila gonzalez simon > camila's Quotes

“we are volcanoes. we declare ourselves. we are the solstice, the new moon. we are not silent, brown girl. i hear you but i don’t weep.”
― Fariha Roisin, How to Cure a Ghost

“and, oh, don’t even get me started on “male novelists.”
― Fariha Roisin, How to Cure a Ghost

“bad men do what bad men did for centuries because that’s what bad men like bad men do.”
― Fariha Roisin, How to Cure a Ghost

“La cuestión es que cada página de la obra debe probarle al lector (Barthes dixit) que el texto «lo desea», y, si hay que saltarse alguna cosa, grande o pequeña, debe hacerse completamente a sabiendas: ya quienes lean dirán qué les parece el resultado.”
― Fernando Esteves Fros, La edición de libros en tiempos de cambio

“El papel del editor se entiende mejor hoy como uno de mediación entre un producto y el consumidor, entre el contenido y el lector. El valor de los editores, apunta Bhaskar, «reside en ser constructores de comunidades».30”
― Fernando Esteves Fros, La edición de libros en tiempos de cambio

“El aprendizaje fundamental de los nuevos editores radica en la capacidad para interactuar y para aprender y en su comprensión crítica del papel de los nuevos medios en la sociedad,”
― Fernando Esteves Fros, La edición de libros en tiempos de cambio

“El cielo de las travestis debe ser hermoso como los paisajes deslumbrantes del recuerdo, un lugar donde pasar la eternidad sin aburrirse.”
― Camila Sosa Villada, Las malas

“«Tenés derecho a ser feliz», nos decía La Tía Encarna desde su sillón en el patio. «La posibilidad de ser feliz también existe».”
― Camila Sosa Villada, Las malas

“the revolution exists in the choice to see, that seeing is indeed believing and entrusting in a better future, for all.”
― Fariha Roisin, How to Cure a Ghost

“The stopped time of a painting, say, or the drawn-out minutes and compressed years of a novel, in which it is possible to see patterns and consequences that are otherwise invisible.”
― Olivia Laing, Funny Weather: Art in an Emergency

“What art does is provide material with which to think: new registers, new spaces. After that, friend, it’s up to you.”
― Olivia Laing, Funny Weather: Art in an Emergency

“A useful analogy for what she calls ‘reparative reading’ is to be fundamentally more invested in finding nourishment than identifying poison.”
― Olivia Laing, Funny Weather: Art in an Emergency

“What drives all these essays is a long-standing interest in how a person can be free, and especially in how to find a freedom that is shareable, and not dependent upon the oppression or exclusion of other people.”
― Olivia Laing, Funny Weather: Art in an Emergency

“Los ejemplos que recuerdo, como se verá, remiten (o re-tornan) a la casa, a la cuchara y a la olla; remiten a lo casero, aunque las lenguas del sujeto bilingüe nunca lo son. La mezcla, el ir y venir, el switching pertenece al dominio de lo unheimliche que es, precisamente, lo que sacude la fundación de la casa.”
― Sylvia Molloy, Vivir entre lenguas

“Quiérase o no, siempre se es bilingüe desde una lengua, aquella en la que uno se aposenta primero, siquiera provisoriamente, aquella en la que uno se reconoce.”
― Sylvia Molloy, Vivir entre lenguas

“A pesar de que tiene dos lenguas, el bilingüe habla como si siempre le faltara algo, en permanente estado de necesidad.”
― Sylvia Molloy, Vivir entre lenguas

“Siempre se escribe desde una ausencia: la elección de un idioma automáticamente significa el afantasmamiento del otro pero nunca su desaparición.”
― Sylvia Molloy, Vivir entre lenguas

“I come like a woman who I am spreading out through nights laughter and promise and dark heat warming whatever I touch that is living consuming only what is already dead.”
― Audre Lorde, The Black Unicorn: Poems

“In the menu, there should be a climax and a culmination. Come to it gently. One will suffice.”
― Alice B. Toklas

“Ya hace dos semanas que hacemos esto y nuestra vida anterior va siendo sepultada por esta repetición callada. Sé que uno se puede habituar a todo, de pronto creo que la repetición inyecta vida, lentamente, nada explosivo, a lo mejor podemos ser felices.”
― Varias Autoras, Vindictas: Cuentistas latinoamericanas

“The shadow of their former oppressor is still cast over them.”
― Paulo Freire, Pedagogy of the Oppressed: 50th Anniversary Edition

“a great deal of learning even now seems to happen casually and as a by-product of some other activity defined as work or leisure does not mean that planned learning does not benefit from planned instruction and that both do not stand in need of improvement.”
― Ivan Illich, Deschooling Society

“Creative, exploratory learning requires peers currently puzzled about the same terms or problems.”
― Ivan Illich, Deschooling Society

“I want to be the hero,” she announced.”
― Maria Tatar, The Heroine with 1001 Faces

“Writing, and creativity in general, had been the domain of “great men” and would stay there until women stormed the arena, using words as their weapons.4”
― Maria Tatar, The Heroine with 1001 Faces

“If we want to make the antisocial turn in queer theory we must be willing to turn away from the comfort zone of polite exchange in order to embrace a truly political negativity, one that promises, this time, to fail, to make a mess, to fuck shit up, to be loud, unruly, impolite, to breed resentment, to bash back, to speak up and out, to disrupt, assassinate, shock, and annihilate.”
― J. Jack Halberstam, The Queer Art of Failure

“the organization of daily life is an important site for social transformation.”
― Jennifer Ponce de León, Another Aesthetics Is Possible: Arts of Rebellion in the Fourth World War

“I am what time, circumstance, history, have made of me, certainly, but I am, also, much more than that. So are we all.”
― James Baldwin, Notes of a Native Son

“But it is part of the business of the writer—as I see it—to examine attitudes, to go beneath the surface, to tap the source.”
― James Baldwin, Notes of a Native Son

“One writes out of one thing only--one's own experience. Everything depends on how relentlessly one forces from this experience the last drop, sweet or bitter, it can possibly give. This is the only real concern of the artist, to recreate out of the disorder of life that order which is art.”
― James Baldwin, Notes of a Native Son