People from Puerto Rico

""Bueno, si mi pueblo perece, por falta de conocimiento. Aqui le va una aspirina"

"I don’t need them to tell me what it feels like to be poor … I already know how this feels, how it smells and how it tastes! When I talk to them … I want them to tell me about their hopes and aspirations, about their dreams… about the road ahead and how they imagine it will shape up out in front of them to make the dreaming and hoping come true. I ask them about assistance, about the health, and about their families near or far."

"I'm more likely to come in after the newspapers and television cameras have long disappeared from the scene post-disaster. The people I gravitate to are neither rich nor popular. They do not have the power to boost or end careers at the flick of a pen; nor do they own fancy things or drive fancy cars. These people live in slums and muddle trough piles of waste and trash on their way home to a little shack, which they share with a throng of other family members. Outside the cacophony of worldwide charitable organizations, their struggles are rarely suitable topic for common everyday talk."

"There can never be too many of us doing this type of work … The work that we do is necessary beyond accolades or honors. In fact, to do it for accolades or honors alone is criminal. I am my brother’s keeper, may I always behave as such!"

"I make images of the living for the living. I try to celebrate life. Iconic photographer Dorothea Lange, once said ‘I too have come to lend my voice to those least able to have a voice of their own.’ I agree."

"When I am in India I gravitate to the poor and forgotten; in the fields I love photographing the workers who eek out a living and a little bit of food from the earth. All of this has everything to do with this area, as Western New York has many people working in the fields as migrant families."

"Life is pretty rough for the nearly 400 million people in India who still live on $2 USD or less a day-they are mostly what this show is about. In America by comparison, the children of the poor may not have access to the latest Dolce & Gabbana or Armani suit, but they at least predominantly have shelter, even though it may not be a castle but it is a warm place to rest and recuperate. So many of the children I come across in such countries as India live and sleep with their families on the street covered by a tarp or a piece of plastic or cardboard. They cry themselves to sleep at night from hunger. We are very lucky to be living in the U.S. and not there under similar conditions in a country like India, even if being poor here means living simply. If we as people can remember this much from seeing one of my shows, then we are already well on the way toward progress in my opinion."

"Showing poverty is such a large part of my work because another thing that I am finding is that for me personally, doing this work helps me in trying to come to grips with my own upbringing and all that occurred during that time. Basically, this work to me is a sort of time for reflection, a pseudo inventory of "this is your life," a way to try to accept the concept of what was so inevitable."

"Maybe by doing this work and putting my name on the front line, like a science project, will also afford me the opportunity to embarked into a very special opportunity to show that growing up poor doesn't have to mean being unworthy or forgettable. This is a very important lesson for those who propagate such narrow minded universally accepted inaccuracies about poverty."

"The amount of time it takes to provide is threefold for families whom have to make due with very little. … Children from poor households learn to have very low expectations of themselves and their future because they believe that the world around them doesn't expect much from them either. In India, children of the lower castes are taught still today that once poor always poor so they don't think to become doctors or lawyers because their last name may not be Gupta or whatever other typically higher caste name there may be in India."

"Even when someone from the lower financial caste in, say America, "makes it," then there is this other barrier of old money vs. new money, social status, respected family names vs. unsavory familial relations or even ethnic background that makes the entire journey of achievement suddenly turn sour and seemingly not have been worth the while. My question here is why do we humans keep doing this to each other or to ourselves? Why do we think so little about the role of humanity and of kindness? In my opinion, if we believe in a higher being, there is only one God and he/she is neither you nor me. The sooner we begin this process of healing as people, all people, the sooner we can begin to live a mutual life free from innuendo, hurt, judgment and need."

"In the US we can buy comfort or clean water as needed. In India they cannot even when they do have the money as the country right now is going through a terrible drought as they are in other places around the world such as Australia as I understand it. We are a bit spoiled here no matter how much money we have or don't have. I really hope people will enjoy seeing "Manuel Rivera-Ortiz: India" there at El Museo. I really hope that those that do feel comfortable and free to contact me and share their stories, ideas or suggestions, do. I too do not ever pretend operate in a vacuum. This work is done on all of our behalf."

"Manuel Rivera-Ortiz's Cuba series, is like a cinema verité journey, through a landscape both accessible and mythic. His panoramas capture a connection to an environment that prods the senses. One feels enveloped by a familiar, primal place. It is this place which will hopefully anchor a vibrant social order, as it braces itself for the tremors gathering momentum on the horizon. The engaging photograph of two little girls holding each other, surrounded by lush vegetation, workers and family members speak to the continuity and bonds of love and vision of one’s own paradise."

"Manuel Rivera-Ortiz’s photographs of people living in poor villages in Turkey and Thailand, Bolivia and India don’t falsely romanticize their subjects’ poverty nor do they explicitly critique the political or economic systems that create such conditions. By focusing purely on the people who populate the poor global villages he visits, he captures the entire range of human emotion: mistrust, fear, curiosity, friendliness, happiness. Social critique may simmer below the surface of his work, but the primary message of Rivera-Ortíz’s images seems to be that hope and creativity are not mutually exclusive to poverty."

"What is palpable and distinctive about Rivera-Ortiz’ photographs is their profound humanity. The heart knows. And Rivera-Ortiz’ heart instructs him to recognize in a street corner of a remote village, the universal within the specific. He sculpts out of the landscape a look, a sky, a river, spices on the roadside, mother and child, a man missing an arm. Manuel Rivera-Ortiz makes it possible for us to journey with him and see what is not always readily apparent to the human eye. He goes beyond recording these simple truths. He has the courage to first experience them as his own, and then the will to bring them home to the rest of us—a compelling invitation to open up our own hearts."

"I used to say the only reason why I didn’t eat meat was to be healthy, but I would be lying if I said that now, knowing the horrible things they do to the animals. Any person who has a heart for animals and knew how they are treated would be vegan."

"I have been a vegetarian since I was born and I just became vegan about 2 years ago. … I hope to make a difference in the world by sharing my diet and lifestyle. I just want to travel the world, surf incredible places, smile a lot, make others smile, be inspired, and inspire."

"I went vegan for the animals. I love them all and I don't want to eat my friends. I know it sounds cheesy but it's true. I started promoting it on my social media and I wasn't expecting people from all different areas of the world reaching out to me, saying how much I inspire them … My whole family is vegan and it's really fun to get creative in the kitchen while staying healthy, and just have fun with it. Veganism can be really healthy, but it can also be really unhealthy if you don't do it right. And it's not like I don't have cheat days with vegan junk food or vegan sweets, but it's important to stay on the program. … It was surprising how easy it is to be vegan. I was vegetarian my whole life prior so the transition was relatively easy for me to cut out dairy. When I cut out the dairy I noticed I had more energy. I also lost some fat and gained muscle!"

"Growing up, my diet was pretty easy and simple — I was raised on a vegetarian diet. … When I was 15, I watched the documentary Glass Walls [by PETA] and read The China Study [by T. Colin Campbell], and then it became quite clear to me why I wanted to be vegetarian and why I wanted to adopt a vegan lifestyle. After doing my research, I chose to go vegan and have been dedicated to a vegan diet for four years now. … I feel healthier on a clean, whole foods diet that is very simple — especially during competition. And since a plant-based diet is less calorically dense than other diets, I need to make sure I’m eating enough food so I up my portions a lot. I think of veggies as nutrition and water, not a food where I can get energy so I don’t even count veggies when I’m counting calories and nutrition. For energy, I go to potatoes, whole grains, and starchy veggies. I’m obsessed with carrots and sweet potatoes."

"I travel all around the world for my surfing, and I’ve always been able to eat vegan. I feel like if you want something you can make it happen. I just don’t make any excuses. I would never not be vegan now that I know all the benefits and now that I know how it feels to be vegan."

"I think without question there’s room for progress. Probably the question you asked was there with Rita Moreno when she did “West Side Story.” I don’t think the question would have been very much different than the questions being asked of Lin-Manuel. The fact that these events happen 40 or 50 years apart and the conversation is a recurring conversation as to being the first, right, in 2016, speaks to the lack of parity, the lack of equity, the lack of access. Every time there is a small breakthrough, it’s seen as, that’s phenomenal, when it should be part of our lives to have equity, to have inclusion, to have diversity in the workplace – and maybe have equal access to resources."

"I think you can’t talk about Puerto Rico without saying the colony of Puerto Rico and the colony of the United States. What is the purpose of having a colony? Historically, you own property or you own a colony because you exploit it. That’s not a benevolent relationship and it has not been a benevolent relationship historically, so that the United States still owning a colony in 2016 is horrific. The exploitation by the United States of Puerto Rico is horrific, and therefore the financial condition that Puerto Rico finds itself in is horrific. It’s a direct result of being a colony of the United States."

"The center has been having cultural exchanges with Cuba since my first trip in 1979. I went when the Russians were still there. (Laughs.) We’ve been having cultural exchanges, bringing musical groups, bringing scholars, writers, exhibitions, so it’s been an ongoing exchange with Cuba, because Cuba has been very influential in the Puerto Rican community, and the Puerto Rican community has been very influential in Cuba."

"I think the biggest challenge for people is to understand still that we are result of 500 years of enslavement. And that the process of education has been one to erase us. And it can erase you intellectually and convince you that you don’t exist. So it doesn’t matter the color you are phenotypically, you don’t see yourself. And the challenge is for us to see ourselves as rooted in one experience…"

"It got me roles. And you know, for a while, that was wonderful — I was in the movies. But after a while I began to understand that it was really very demeaning. And I began to feel more and more and more diminished. I was already very unsure of myself anyway, because when I was a very young girl in New York City I ran into an awful lot of racial bias, and I got called some pretty nasty names, like 'spic' and — all the words you heard in West Side Story came directly from the streets — 'garlic mouth,' 'pierced ear.' So by the time I was doing those kind of roles — for a living, practically, in Hollywood — I was beginning to feel pretty bad about myself."

"If you have been traumatised from the time you were a child to believe you were a ‘spic’, that you were a garlic-mouth, that you are not worthy, it takes a long time to get rid of that. That’s why therapy so often takes so long, because you’re trying to get rid of that trash before you can deal with the you that wants to get better. I went into therapy wanting to get better, knowing that in some way I had a sickness. And the sickness was Rita hates Rita."

"I think that some people are genetically just strong. I really believe that my mom was like that. On the other hand, maybe you're forced to be that way because you realize you're either going to sink or swim, and the choice you make determines the kind of person you become…"

"I was told I was crying all the time I was unconscious…It wasn’t done for drama, that’s for sure. What I really wanted to do was kill the bad Rita who was always getting me in trouble, but it turned out if you’re going to kill the bad Rita, you’re also going to kill the good one."

"What I say to my gente [people] is to hang on, and to remember who they are, be proud of who they are, and keep talking. And keep complaining, and just don't ever — don't give up. That's always been my motto anyway. My motto has always been "persevere" — perseverancia. And that's what we need to do."

"I think part of the reason is because, unlike the black community, we don’t mainly come from America. We come from all kinds of countries and we’ve siloed ourselves rather than supporting each other, as we should have. We still think of ourselves as Argentinian or Puerto Rican or Mexican rather than Hispanic. Until we get over that and become one big wonderful community, we’re still going to have problems."

"You are perceiving that Rita Moreno I presented to the world. What was I gonna do, say: ‘Really, I’m a weak person’? No, that was the persona. I am now that person, but it took me a very, very long time to become her."

"I've always had this image of this strong, sprightly person who is undaunted by anything; on the contrary, I was one of the shyest, most unsure people you ever met in your life. But I have one very specific quality: I'm plucky. I really am. I would say that's a perfect description of my personality. I am able to get up and dust myself off and keep moving forward. I'm very stubborn. I never knew that about myself. But I realize how stubborn I am when I look at all the terrible things that happened to me and how I just get up and keep going."

"It was my choice, because I was being offered such crappy stuff. I was only offered gang movies on a way lesser scale and it was like the same fucking battle again. I couldn’t believe it. And it broke my heart. It. Absolutely. Broke. My. Heart. I thought: ‘I’ll wait for something better,’ and something better kept not coming. It was horrific."

"He didn’t like the raucous side of me and I love that side of me. I think I’m funny as hell and I think I’m cute and I think I’m mischievous. I know I’m mischievous. And that’s the kind of thing he discouraged, and that makes me very sad, because he was missing out on something pretty wonderful about me…You know, I think I owe an enormous debt to psychotherapy. Without that, I wouldn’t be the Rita you know and love."

"I have a great sense of humor about aging, and I think I’m one of the funniest people I know when it comes to aging, because I misplace stuff and I drive everyone crazy looking for the house keys or something. Once, I couldn’t find my purse, and I upended the car, upended the house. I could not find that fucking purse. And then two days ago, I opened the cabinet in the kitchen where all the doggie stuff is, and guess what? I had put it in there. I started laughing so hard, I nearly peed. I couldn’t stop laughing. I thought, You silly bitch."

"The first time I saw myself on a movie screen, I was disappointed because I didn’t look outrageously beautiful. It’s not that I looked ugly. It’s just that I had these funny notions of how you’re supposed to look when you’re in the movies. You’re supposed to look like Elizabeth Taylor, who was my idol. Guess what? I didn’t look like her. And my voice sounded very high, which indeed it was. So I was thrilled and at the same time, I was somewhat disappointed. But I thought, I can work on my voice. I can make that better."

"It never occurred to me when I was 10 years old that I was going to end up representing an entire—not just community, but nationality. That’s not something I ever thought of, because I wasn’t a political person then. But I was forced to become one because of the circumstances. At some point, I discovered that a lot of people were suffering unnecessarily. I really started to understand that everyone has a responsibility to others and to a community, that you are not the only person in the world you simply represent, whether you like it or not."

"People are conditioned to seeing Latinos in a certain light including our own people, and that's a problem. Kids need to see something that they can aspire to…Hollywood doesn't always go to Latinos for heroes and it’s sad because we have them…We don't see our people save the day."

"Latinos are still considered a bit of 'other', Arabs are still 'others,' Africans as American as they can be are still visually 'other' so I would like to say, 'hey we are part of the same family.' We all contribute to this nation. We overindex in the consumption of entertainment but we underindex in the representation and the quality of representation."

"Brooklyn born, Bronx bred… I felt like the dreamer/day tripper of the neighborhood with a vivid imagination and a longing to transcend the mundane through my love of the arts. My mother inspired me a lot. I can remember growing up hearing her voice in the background on the phone urging others to stop putting up with abuse and to stand up for themselves in order to better their lot in life. She was always helping people – mostly other women – liberate themselves from oppressive relationships whether it was at home or work."

"I don’t think about art while I work…I try to think about life."

"Like an ape? A primate?...You said it, you said it."

"I’m just an autodidact who would like to be part of the family of artists."

"…I don't think it's good to be honest in interviews, I think it's better to lie."

"My grandmother always insisted that when people fall in love they should look closely at what the family of the betrothed is like, because one never marries the bridegroom alone but also his parents, grandparents, great-grandparents, and the whole damned tangle of the ancestral line. I refused to believe her even after what happened when Quintín and I were still engaged. (beginning of QUINTÍN AND ISABEL'S PLEDGE)"

"When they ran down the street, their souls barely clung to their bones, like fragile kites made of tissue paper. (chapter 4, p31)"

"He created the house on the lagoon as one would create a poem or a statue, breathing life into its every stone. (chapter 6, p49)"

"[about being at college] It was there I learned that Ponce, which seemed as large as the universe itself when I lived on Aurora Street, was really a very small town. (chapter 18, p185)"

"She seldom smiled, but when she did, I felt as if she were pouring oil on my wounds. (chapter 19, p204)"

"Abby used to say adaptability was the secret of survival-one's soul should bend and then it wouldn't break. (chapter 29, p295)"

"Coral explained to Manuel that political ideals were very important. Believing in something made you think; it kept your spirit alive. (chapter 34, p340)"

"I know publishing it may have dire results, but a tale, like life itself, isn't finished until it is heard by someone with an understanding heart. (Isabel, p380)"

"Literature is prophetic-life often lives up to fiction ("Preface: Memoir of Diamond Dust")"

"The events we are about to tell took place when the Metropolis began to rinse the blood of Saint John the Baptist's lamb off its hands, as it sat gentle and tame on our country's flag. Its senators and representatives were at peace with their consciences and never tried to justify their decision to leave: in recent sessions they had voted unanimously to cede the island its independence. In any case, deep down we had always wanted to be free without daring to be so, and now they were going to help us reach our goal. As the biblical lamb of the Psalms had lain calmly beside the still waters, so had we slept for more than a century under the Metropolis's flag, and it was understandable that now we should be terrified to swim out by ourselves onto the wild, roaring seas. (beginning of "Captain Candelario's Heroic Last Stand")"

"Every country that aspires to become a nation needs its heroes, its eminent civic and moral leaders, and if it doesn't have them, it's our duty to invent them. ("Sweet Diamond Dust")"

""Sometimes it's necessary to believe in love, even if it doesn't exist," he said with a suave smile. ("Isolda's Mirror")"

"[He] worshiped her; her merest whim was a matter of dogma to him. If he lived in a world of fantasy in which art had taken the place of religion, that was all right with her. After all, I can help him be happy in life as well as in death, she thought. Our needs cancel each other out, and that's as solid a base for love as any. ("Isolda's Mirror")"

"…Feminine literature is much more subversive than the literature of the men because women often dare to delve into prohibited areas bordering the irrational and the mad, areas dealing with love and death, areas which in our rational, productive, and utilitarian society become dangerous when one acknowledges their existence."

"…there should be an absolute identification between the individual's experience and the writer's so that [experience] serves as the starting point for being able to write a short story or a novel later on…"

"These times made me search for guidance within myself, for a reason to live. This is where my literature comes from."

"I think that accepting biculturalism is smarter than perpetuating the unyielding Nazi, fascist idea that we can only speak Spanish in Puerto Rico and that we can only think in nationalist terms."

"the most revolutionary aspect of my books resides in their participation in the feminist struggle—in the search for individual freedom."

"being Puerto Rican is more than speaking and writing a language, and more than a language. It is a culture and a way of thinking; an environment; customs; food; a very complex context."

"(On how her writing allows readers to imagine themselves) The fundamental truth of my life, the principle that governs it, is that nobody has a monopoly over the truth. Every person is a lens that focuses reality in a different way and everybody has the right to do so. This, in fact, is an anarchist principle, for I am indeed, an anarchist. From the moment I position myself at a certain standpoint, I immediately see things from that perspective and from its opposing perspective…"

"I have had many opinions in my life because I have lived many lives. Ultimately, I can say that in all of my many lives, I have tried to do one fundamental thing: I have attempted to bring self-respect back to Puerto Ricans. That has been my purpose and I have been consistent in this. I believe that if readers can see themselves in what I write, if they realize that they share something with those characters, then they can understand themselves better and they can accept themselves. And when you accept yourself, you gain self-respect. If I have provided that space for two or three people in the world, I am more than satisfied."

"(On featuring Black and mulatto characters in her works) …I grew up in Ponce where all our domestic service was black. I always had a lot of contact with them, and to a degree they gave me the kind of love that my family denied me. And so I have that sympathy—or empathy—for la gente de color (people of color), and I cannot help it. However, I do not like to create archetypes. If it is possible to break down a novel into archetypes, it is not a good novel…"

"All writing is, in essence, a translation of reality into imagination. Writing implies a passage, a transformation that brings echoes of death and rebirth."

"We live in much more flexible societies, but we have to keep testing them, pushing against the lid of the system so it doesn't crush us again. And one of the best ways to do this is to be frank about one's own experiences."

"I don't translate my work; I write versions of it. I couldn't let anybody do it for me. We're a different self in each language, since language makes you think in different ways. I feel if I let someone else translate my work, the translator would stamp his personality on it. The translator speaks with your voice, but the soul behind the voice is someone else's."

"Writing is about touching people's hearts-in Spanish we say "conmover," which literally means to move with the reader, to make the other feel. We move our bodies when we're making love, and I've always thought about writing as a way to make love: you give and receive understanding, compassion, support, advice, knowledge, and pleasure. Without communication there is no love. This is the commitment a writer has to literature."

"I think Latina writers today, even more than Latino writers, are trying to integrate both cultures, the Hispanic and the Anglo. There is a conscious effort to include both visions, like V. S. Naipaul does in his novels: the native and the foreign, the colonizers and the colonized. There's an effort to underline the importance of the "side view" in them, of the border town. From the border you have access to more roads, and the perspective-front and back-can be 180 degrees. Spanish and English, those two opposing paths that have kept the New World divided for centuries, are beginning to merge at last into a third path. That's what these new novels are really about: a new United States, where half of the population will be Latino in the next century."

"Writing is a lot like sewing: You bring pieces together and make a quilt."

"A story is like building a chapel; a novel is a cathedral: That's the difference."

"There's still a fraternity of men. They admire themselves, and they admire each other's works. I think they are a little bit scared of women, too."

"(Many of your stories use dolls as symbols of women's restricted lives. Were you sort of a doll in your marriage?) Yes, I was. Definitely. But in Puerto Rico most of the women of my generation were in the same situation. I was no exception. Women who wanted to change that or go against that stereotype would be considered odd or slightly crazy. The only reason they couldn't say the same about me was because I made it in the world of literature."

"(Q: In "When Women Love Men" every woman who is sexually repressed would like to break those taboos and simply be sexually free.) If you read Freud or a little psychoanalysis, you know that society has to control that or there would be total anarchy. But everybody has the same desires. The important thing was that when this story came out no Puerto Rican woman had ever written about sex. My story is just a little story, and it's not Henry Miller's Tropic of Cancer, but I think I was trying to go in that direction."

"I have the idea that people who are very repressed tend to be inner-oriented; they talk to themselves more than other people. People who have difficulties making themselves heard have usually been brought up in stifling environments. Maybe that's why I felt as I did-because I was very timid. Maybe that's why my writing is so violent, in a way."

"Literature is made of many pieces, of a reinterpretation of similar themes, of a recycling of materials. Only the mask exists, and the writer wears it to interpret the manifold possibilities of humanity that exist around him. He learns to be a writer when he can take someone else's mask and make it a part of himself and talk from that mask."

"If the writer is trying to interpret the meaning of life, all of what he writes is autobiographical…When you write fiction, you are wearing a mask, you are dealing with magic. The novelist is like the shaman; he reinterprets the life of the tribe in terms of his fictitious characters, in order to bring out the devils. And that's what literature does."

"All writers are unhappy with reality and so they want to build a world where things are open to change. They have created a different space where they would like to be. All writing is, in that sense, a meeting of reality but also an escaping of it."

"I do believe in inspiration, but more so in dedication."

"Books grow and become something else"

"I have always wanted to understand certain things about myself and my life, but in order to know what I think, I have to write it down first."

"The word is extremely important. As a writer, it is my means for self-definition, the tool to express my idiosyncracies, my personality. It is also like a painter's brush which I use to depict the reality of my people."

"I very much believe in the influence of magic and the subconscious on the literary process...I think that magic has to do with the subconscious, much as the ancient sorcerers believed. The identification of man with his material surroundings and his active participation in that world are detailed in the books of Carlos Castañeda, for example, as well as, on a different level, with the books of sociologists like Lévy-Bruhl and Ernest Cassirer, or Lévi-Strauss. The magical identification has a lot to do with literature, this alternate way of viewing the world."

"("What is your reaction when you have finished a work?") I almost always like it immediately after finishing it. I continue to think that I wrote something quite good for a period of maybe six months or a year. But after a year and a half I begin to see some flaws in it, after two years it begins to look pretty bad, after three years it is horrendous, and by the fourth year I want to burn the book."

"Puerto Rico, like all the countries of the Caribbean, is a nation where fantastic reality, the world of magic, is ever present. There are various sects of white magic, such as Santeria. It is a reality that is very palpable in our environment, and this is why there are no great differences between fantasy and reality...All Caribbean writers have this in common."

"It's not that I want to victimize men, but I think that women have been the victims throughout the centuries, a fact which has been incorporated into mythology and which I thought it was high time to change."

"I certainly don't think that the discovery and colonization of America by Spain is anything that should be glorified. The first Indians who came into contact with the Spaniards were the Taínos, the native Puerto Rican Indians, who were a very peaceful people. The relationship which developed at first was very interesting because the Indians had no idea what the Spaniards would eventually do, and they trusted them and befriended them. The Indian leader Agüeybana even offered his daughter in marriage to Juan Ponce de León. But then they realized that what the Spaniards were doing was taking them as slaves, and this is when they began to rebel, without any success. When one thinks of what happened, it is truly an extermination of a people, comparable only to what happened with the Jews in World War II."

"What a delight to discover that Ferré is as good a storyteller in English as in her native Spanish!"

"She become one of Latin America's most powerful writers. Still controversial, her works critique Puerto Rican society with detachment and precision: a cultural sexism that makes middle- and upper-class wives and daughters into dolls; the moral bankruptcy of a corrupt aristocracy; class conflicts that erupt into random violence; the desperation of women and men who are marginalized by poverty and racism."

"Like I said, it was 1957 when I started in oral tradition by memorizing all the poems I wrote…And I’d sit in parties, and bars—they were just poems to make people feel good…"

"I was introduced to Langston Hughes, who became one of my favorite poets…I mean, he was a poet; he wasn’t about words, he was a poet, he had rhythm."

"…It goes back to 1945; when my parents, right, they left paradise looking for paradise…During the adventure of Operation Bootstrap, a lot of people were brainwashed to believe that if they leave there you can have a better life over here."

"During this period, Latino artists did not shy away from taking on issues of racial and economic inequality many artists displayed a newly politicized style of expression. The music, murals, literature, and theater of the movement period most often explored racial identity, cultural pride, and social inequality. Pedro Pietri's oft-cited poem "Puerto Rican Obituary" is representative of this developing aesthetic… Poetry such as "Puerto Rican Obituary" highlights another significant aspect of movement thought: the shift from cultural shame to ethnic pride. Unlike earlier critiques of prejudice and discrimination, movement rhetoric and writings often focused on the emotional and psychic damage of racism, exploring the need to overcome internalized shame and self-hate."

"Little attention has been paid to the fact that the most significant Chicano and Puerto Rican organizations turned to poetry to mark their entry into the public realm...A great deal of "classic" movement poetry has a strong civic impulse-it seeks to be both educative and socializing. Poets such as Gonzales, Alurista, and Pedro Pietri saw their poetry as an organizing tool that served an "agitprop function.""

"When I started writing, there were only two women writers that I knew: Lorraine Sutton and Margie Simmons. There were very few Latinas writing in English... So when I started, I was mainly surrounded by men-Pedro Pietri, Jesus Papoleto Melendez, Lucky Cienfuegos, Miguel Algarín, Miguel Piñero, Tato Laviera. Many of them had books already published. I was like a sponge, absorbing different things from these male contemporaries."

"…I have discovered that plays are easier to write than novels if the writer has a certain verbal facility, a certain capacity for the colloquial, an ear for the secret cadences of the spoken word. A play can be written with more ease than a novel…"

"…every day I’m convinced that if one is firmly planted in his own world, the work necessarily appeals to a greater number of people. In that sense, I want to profit from my Caribbean self and incorporate it into my literature, hoping to give testimony to who and what I am…"

"…The resistance to English, the fear of English, has made us bad readers of English literature, because of our fear of contaminating the Spanish language, of losing it in the avalanche of North American influence…"

"Remember that Puerto Rican literature always experienced a kind of shortcoming because there was a moral obligation to write realistically, to dramatize our struggle for independence—our colonial drama. If this was ignored, it became a faulty literature which should be punished with oblivion. Imaginative literature was practically disqualified…"

"The truth is that our men writers get a lot more attention than our women writers. There are some very good female writers, like Magali Garcia Ramis, who has a beautiful novel, Felices dias, Tio Sergio, translated as "Happy Days, Uncle Sergio." Her novel is as good as Luis Rafael Sánchez's La guaracha del Macho Comacho, published in the United States as Macho Comacho's Beat, but it hasn't been admired as much."

"I don’t ever see any character as 100 percent good or 100 percent evil…"

"Some people like ‘happily ever after,’ but I don’t think that’s me. I’m always writing from some difficult place and seeing how the character survives … or doesn’t. When I really want to be comforted myself what I look for is a story about how somebody could survive something really difficult. There are happy stories out there but I think some of them may raise false expectations for teens…"

"All stories that are centring queer kids and their experiences are all valid whether it’s dealing with the trials of having parents who aren’t as welcoming about it or parents who are totally chill about it, which is obviously the hope for all teenagers. I think there are some things that could be said too, especially culturally, like there’s a lot of stigma in the Puerto Rican community that fathers especially are so hyper masculine that they will always be uncomfortable with their children being gay…"

"I succeeded in making you care. If you feel nothing, I failed you as a storyteller. I love happy endings, but some readers need the darker stories, too. The stories that don’t make them feel disturbed by their own reality because it doesn’t reflect what they’re used to seeing in fiction. There’s some comfort in harsher stories, and witnessing how one character rebuilds after tragedy can provide hope for the reader."

"The Death-Cast universe is my favorite universe that I've created. It was born out of my fear of unexpected death and has ultimately changed my perspective on life. I make bolder choices in my life, almost like I have nohing to lose, but I could definitely take more risks. One of the worst parts about creating this universe, though, is that I spend so much time in it, and it's not real! I truly wish Death-Cast existed, and I often have to remind myself that it doesn't."

"Robbie Couch: After meeting Paz and Alano as children in The First to Die at the End, readers got to follow their journey as teens in this book. What was the most exciting- or agonizing- aspect of writing each character? Adam Silvera: Okay, well, Paz Dario is the most Adam Silvera character I've written since Aaron Soto in More Happy Than Not. That was my debut novel, and it's not uncommon for a writer's first protagonist to be modeled after them and their life, but I definitely didn't expect to feel this connected to a character in my tenth novel. I haven't written a suicidal protagonist since Aaron, so to be doing it again a decade later with Paz definitely came with a lot of baggage, especially since my mental health was at a terrible low. This novel was so painful to write because it kept me locked in that headspace. Sometimes I'd write a scene and then I couldn't go back to the manuscript for days or, in a couple cases, weeks. This novel was ultimately therapeutic but, wow, so, so, so hard to write."

"The other element was Paz's borderline personality disorder, which I modeled after my own experiences. I received my diagnosis in 2020, as if that year wasn't hard enough, and while I was strangely grateful to discover that my worldviews and behaviors were linked to a disorder instead of all my negative impulses and reactions being me and nothing but me, it was still really suffocating and made me feel powerless. What was extra hard about writing Paz's BPD is that while I have the perspective of someone who went through dialectical behavior therapy, Paz doesn't, so I had to keep forcing him to make the wrong choices since he's yet to learn how to self-regulate. It broke my heart and made me feel so cruel as the author, but it was important to make sure BPD was reflected accurately to help others better understand how the headspace of someone with the disorder might think. I love Paz so much and I feel so protective of him, which, in retrospect, became a big lesson for me because if I can love this fictional character so much, I needed to show my very real self that same love."

"Robbie Couch: A lot has changed since They Both Die at the End was published in 2017. How have the last eight years of real-world changes affected how you've written the series? Adam Silvera: I never thought I would get super political in this series, but as I was expending the world and creating the Death Guard and pro-natural ideologies, I couldn't help but draw from the information wars this country has been facing. I truly hated how easily it was to create a cult that hates the truth."

"It's storming outside right now. I stare out the window. I can't tell you if it rained yesterday or even what day it is. It always feels like I'm waking up, minute after minute, like I'm in my own little time zone. But as I trace my smiling scar- unable to do so without remembering the time Thomas poked two eyes onto my wrist with dirt- I still have hope in what Evangeline and Leteo hope for, too. And while I wait, happiness exists where I can get it. In these notebooks, where worlds of memories greet me, almost like a childhood friend who moved away for years and finally came back home. I'm more happy than not. Don't forget me."

"You've made a name for yourself. And no one remembers the old one."

"Hiding doesn't bother you. If believers never see God's face, why should they see yours?"

"You smile and return to Franklin's body. Maybe he's not exactly a dragon. Maybe you're not the angel your client believed you to be. But this life is still one of your own design, and that's the way you like it. You roll the Trance seed around your fist, imagining what life you'll design for him next. Every name he's worn so far will remain good and buried, but he's in excellent hands with you. The world knows this. You'll make a new name for him. And no one will remember the old ones."

"You're still alive in alternate universes, Theo, but I live in the real world, where this morning you're having an open-casket funeral. I know you're out there, listening. And you should know I'm really pissed because you swore you would never die and yet here we are. It hurts even more because this isn't the first promise you've broken."

"And if bringing up the past annoys you now- as I know it did when you left New York for California- know that I'm sorry, but please don't be mad at me for reliving all of it. History is all you left me."

"To live is the rarest thing in the world. Most people exist, that's all."

"I hear police sirens and keep pedaling. I hope something else is happening. I give it a few more minutes before I take a break, stopping between a McDonald's and a gas station. It's mad bright, maybe kneeling over here is stupid, but staying in plain sight might be a good hiding spot. I don't know, I'm not James Bond, I don't have some guidebook on how to hide from the bad guys. Shit, I'm the bad guy."

"I want more time, more lives, and this Rufus Emeterio has already accepted his fate. Maybe he's suicidal. Suicide can't be predicted specifically, but the death itself is still foreseen. If he is self-destructive, I shouldn't be around him- he might actually be the reason I'm about to clock out. But his photo clashes with that theory: he's smiling and he has welcoming eyes. I'll chat with him and, if I get a good vibe, he might be the kind of guy whose honesty will make me face myself. I'm going to reach out. There's nothing risky about saying hello."

"I am a little concerned about spending my End Day with someone who's accepted dying, someone who's made mistakes. I don't know him, obviously, and he might turn out to be insanely destructive- he is outside in the middle of the night on a day he's slated for death after all. But no matter what choices we make- solo or together- our finish line remains the same. It doesn't matter how many times we look both ways. It doesn't matter if we don't go skydiving to play it safe, even though it means we'll never get to fly like our favorite superheros do. It doesn't matter if we keep our heads low when passing a gang in a bad neighborhood. No matter how we choose to live, we both die at the end."

"A ship in harbor is safe, but that is not what ships are built for."

""This is pointless," Tagoe says in the back of the cop car. He's no longer sucking his teeth or shouting about how he did nothing, the way he did when the handcuffs first went on, even though Malcolm and Aimee urged him to shut up. "They're not gonna find Rufus. He'll dust them on his-" "Shut up." This time Malcolm isn't worried about extra charges coming Tagoe's way. Malcolm already knows Rufus managed to get away on his bike. The bike wasn't there when they were being escorted out of the house. And he knows Rufus can dust the police on his bike, but he doesn't want them keeping an eye out for boys on bikes and find him. If they want him, they're gonna have to work for it."

"It's possible Mateo not being a daredevil will keep us alive longer, but I'm not banking on it being a memorable End Day."

"Thank you for everything, Dad. I'll be brave, and I'll be okay. I love you from here to there. Mateo"

"It is not death that a man should fear, but he should fear never beginning to live."

"Twelve hours ago I received a phone call telling me I'm going to die today. In my own Mateo way, I've said tons of goodbyes already, to my dad, best friend, and goddaughter, but the most important goodbye is the one I said to Past Mateo, who I left behind at home when my Last Friend accompanied me into a world that has it out for us. Rufus has done so much for me and I'm here to help him confront any demons following him- except we can't whip out any flaming swords or crosses that double as throwing stars like in fantasy books. His company has helped me and maybe mine will help him through any heartache too. Twelve hours ago I received the phone call telling me I'm going to die today, and I'm more alive than I've ever been."

"If you're close enough to a Decker when they die, you won't be able to put words to anything for the longest time. But few regret spending every possible minute with them while they were still alive."

"No one wants to die. Even people who want to go to heaven don't want to die to get there. And yet death is the destination we all share. No one has ever escaped it. And that is as it should be, because Death is very likely the single best invention of Life. It is Life's change agent. It clears out the old to make way for the new."

"That's not our story." Mateo squeezes my hands. "We're not dying because of love. We were going to die today, no matter what. You didn't just keep me alive, you made me live." He climbs into my lap, bringing us closer. He hugs me so hard his heart is beating against my chest. I bet he feels mine. "Two dudes met. They fell in love. They lived. That's our story." "That's a better story. Ending still needs some work." "Forget about the ending," Mateo says in my ear. He pushes his chest away from mine so he can look me in the eye. "I doubt the world is in the mood for a miracle, so we know not to expect a happily-ever-after. I only care about the endings we lived through today. Like how I stopped being someone afraid of the world and the people in it." "And I stopped being someone I don't like," I say. "You wouldn't have liked me." He's tearing up and smiling. "And you wouldn't have waited for me to be brave. Maybe it's better to have gotten it right and been happy for one day instead of living a lifetime of wrongs."

"I wake up feeling invincible. I don't check the time because I don't want anything to shatter my survivor spirit. In my head, I'm already in another day. I have beat Death-Cast's prediction, the first person in history to do so. I put my glasses back on, kiss Rufus' forehead, and watch him resting. Nervous, I reach for his heart, and I'm relieved it is still beating: he's invincible too. I climb over Rufus and I bet he would kill me himself if he caught me leaving our safe island, but I want to introduce him to Dad. I leave the room and go to the kitchen to prepare tea for us. I set the pot over the stove's burner and check the cabinets for tea selections and decide on peppermint. When I switch on the burner, my chest sinks with regret. Even when you know death is coming, the blaze of it all is still sudden."

"Mateo is dead. That was no way for him to go out. Mateo should've gone out saving someone, because he was such a selfless person. No, even if he didn't die a hero's death, he died a hero. Mateo Torrez definitely saved me."

"Mr. Torrez, I'm Rufus Emeterio. I was Mateo's last friend. He was mad brave on his End Day. I took photos all day on Instagram. You gotta see how he lived. My username is @RufusonPluto. I'm really happy your son reached out to me on what could've been the worst day ever. Sorry for your loss, Rufus (9/5/17)"

"The hourglass is almost out of sand. It's getting creepy. I'm picturing Death stalking me, hiding behind cars and bushes, ready to swing his damn scythe. I'm mad tired, not just physically, but straight emotionally drained. This is how I felt after losing my family. Full-force grief I have no chance pulling myself out of without time, which we know I don't have. I'm making my way back to Althea Park to wait this night out. No matter how normal that is for me, I can't get myself to stop shaking 'cause I can be alert as all hell right now and it won't change what's going down mad soon. I also miss my family and that Mateo kid so much. And yo, there better be an afterlife and Mateo better make it easy to find him like he promised. I wonder if Mateo found his mother yet. I wonder if he told her about me. If I find my family first, we'll have our hug-it-out moment, and then I'll recruit them in my Mateo manhunt. Then who knows what comes next. I throw on my headphones and watch the video of Mateo singing to me. I see Althea Park in the distance, my place of great change. I return my attention to the video, his voice blasting in my ears. I cross the street without an arm to hold me back."

""Why are your books so sad? You seem so happy!" I've gotten variations of this question ever since publishing my first book. The people who are confused about how I can write about so much sadness when I appear to be leading a happy and charmed life are the same people who are confused about how a comedian could be so depressed that they've died by suicide. The happiness someone wears and puts out into the universe should never be trusted to be the same amount of joy one has within."

"My dream was turning on me. I wanted to be better than my failures and I wanted to be two times better than my successes. One of my favorite people recognized I was becoming too defined by my career and told me to take a step back, to return to being "Adam Silvera, human who writes, not writer who humans." That was exactly what I wanted but I couldn't get there instantly. My warped perspective on my career and expectations for it, both internal and external, were preventing me from appreciating the true victories of being a writer- like someone telling me they enjoyed my work. Like someone else telling me my work saved their life."

"It's not uncommon for me to sink when good things are happening in my life, something I'm positive others experience, as well. That rewarding high can leave you wanting more and when "more" doesn't show up, you're left disappointed. After the book's publication, dozens of these moments eventually avalanched and left me feeling worthless and hopeless and crushed and alone despite having some of the greatest friends ever."

"It took me hours to finally work up the nerve to call. I didn't feel justified because I wasn't an immediate danger to myself. But as my mentor told me: I was indeed at risk during these very charged days, and it was important that I build relationships with professionals instead of carrying all this unchecked weight by myself. I also hesitated to call because I felt as if some of my reasons- which I'm keeping to myself- were stupid and weren't worth their time. I really hope anyone reading this understands that if your "stupid" reason is eating you alive, then it's far from stupid. I hope we can all be smarter about this in the future."

"Writing has always been my outlet. Whether I was exploring an idea or seeking therapy it's what I have always done, and will likely continue to do, whenever I need to relieve myself of whatever is weighing me down."

"I write sad stories for teenagers because young adults need to see that there is no such thing as a happy ending when you're that age. Because your life is more than your teenage years. And that when we say "It Gets Better" it doesn't mean "Everything Gets Solved." It means you will still carry the weight from when things weren't good, but you will be stronger for it the next time you're unhappy- and that time will come. I want to show the battles that people go through. And I can't think of a better way to show young people that you can be strong enough to survive and survive and survive and survive than to write a character who overcomes their darkness. I write sad stories so I can be a living, breathing example that someone who looks happy on the outside isn't always happy on the inside. I write sad stories because my own life is a story that's still going on."

"I'm dead set on living my one life right, but I can't say the same for my brother. No one's expecting Brighton to be full-grown when we turn eighteen at midnight, but he needs to step it up."

"I drink every last drop of Reaper's Blood while looking up at the Crowned Dreamer. The elixir smells like burning bodies and tastes like iron and charcoal. The blood from the century phoenix, the golden-strand hydra, and the dead ghosts is heavy on my tongue like mud. My throat is burning and I'm this close to spitting out the rest, but I force myself to swallow it because this Reaper's Blood is game changing. I wasn't lucky enough to be born with powers- to be born a celestial. But now that I've absorbed these creature's abilities, the world will get to welcome me as their new champion- a one-of-a-kind, unkillable specter."

"That night, I signed up for Death-Cast. Now I'm just hoping I won't be one of the first to get an inaugural End Day call. If I am, at least I'll know it's game over, I guess. Until then, I'm going to live it up."

""You can chill with us if you want," I offer. "Some company would be nice. You sure you don't mind?" "Hell no. It's not like you know anyone else in the city." "I'm actually very popular. My landlord is pretty much my best friend." "I can't wait to meet him," I say, which is just so damn bold. "He's actually the worst, but I'll have to have you over soon anyway," Valentino says with that damn smile. All right, all right, all right- if this isn't a thing, then I'm giving up on ever making the first move again. I'm going to need a guy to swear on my parents' grave that he loves me, and I won't even tell him that those plots are empty so that he doesn't get funny and lie. But because Valentino's got me weak, I wouldn't need all that. His smile alone has got me cashing in."

"Death-Cast isn't calling Orion because he's not going to die today, and I think I know why. This night is unfolding like a photo shoot coming together. For once, I'm not the subject. I'm the photographer, and everything is zooming into focus, like I'm switching out lenses until I land on the best one. The background is still blurry, but if I adjust the aperture just enough, light enters and exposes the true model of this photo shoot. The boy with the constellation name. I've only seen some of his stars at work, but I understand the beauty. Orion is the focal point, so I stare at him and the sharpness of his hazel eyes and the hunched framing of his body, and once everything is aligned, just like stars in a constellation, everything becomes clear. "You're going to live," I say. "Until tomorrow, I guess." "You're going to have much longer than you think." "So you got some psychic Death-Cast powers or something?" "No, but I think destiny brought us together so I can change your future." "I don't get it." "You don't need the waitlist anymore, Orion. I'll give you my heart.""

"There's a knock at the door, and Valentino and Dr. Emeterio enter. This is it. Suspense really isn't good for someone with my condition, and every second of silence is brutal. "What's up?" I ask, wanting to get this over with, one way or the other. "It's nice that something good will come out of this," Valentino says, pressing his hand to his chest. My heart skips a beat, two, ten, a hundred, a thousand, a million, and somehow, I don't die on the spot. In fact, I'm going to live. I'm going to live, live, liv, live, live, live, live, live, live, live, live, live. But first, he has to die."

"I came out as gay to Scarlett first moment alone when she was recovering at the hospital. "I love you, Val" was all Scarlett said out loud, and her knowing gaze said everything else. I'd wanted to come out to my parents that afternoon too, but they spent so much time praying at my sister's bedside that I knew I should wait. A couple days after Scarlett was home, I knew I had to make my move so I could get everyone to adjust to our new normal instead of returning to our old normal, where I had to be closeted. I sat my parents down in the living room and came right out with false confidence. It was tricky to tell if they already knew. I had thought about all the times my father would say "He's a queer" as an insult or how my mother suspected any single older man must be gay if they weren't married with kids. There weren't any knowing gazes from my parents like there were with my sister. But there were lectures- lots and lots of lectures with the headline being that I'm doomed to damnation if I choose sinning over Christ. Will my parents still tell me I'm going to Hell once they discover it's my End Day? I'll get my answer soon."

"I'm going to live a first- the first time I talk openly about my life."

"They both to the screen like they can't control themselves, like magnetism. "You're probably wondering why this is news to you since I've known since midnight. It's because I was willing to die without telling you because I don't believe you care about my life. I am your only son. Your firstborn. The reason you became parents, and you have never even tried to love me once I told you I'm gay." "They both wince, like I've said a bad word. Like I'm bad. "There will come a time when you have to reckon with how you made me so unwelcome that I moved away. But I want to thank you for being so unloving because it pushed me out of your house and into the arms of a boy with the biggest heart. He's made sure my last day on this planet is filled with the love and kindness I deserve, and I'm going to spend what's left of my life with him even if that means I'm going to hell when it's all done.""

"Teo tries standing, but he can't get himself to rise. He won't walk away from his wife and son. He wants to sink six feet under. Teo looks at his son's inscription again, and remembers how he lived. If Teo had been awake on Mateo's End Day, then Mateo wouldn't have met Rufus. Then Mateo wouldn't have discovered a happiness that hadn't crossed his path before. Mateo's life wouldn't have changed before he died."

"If there's any comfort that Teo feels about missing out on one last chance to say goodbye to his son, it's this. He would have loved the opportunity to express how proud he was of Mateo, how incomplete he would feel without him. But Mateo knew all of this. Teo finds pride in knowing that in the time he got to father Mateo, his son didn't die wondering how he felt about him. This would have been true without Death-Cast's existence, reminding everyone to be authentic in their lives, to let people know how they feel about each other, and to not wait until the last possible moment to speak their heart's truths."

"Teo is coming to terms with the fact that not being able to father Mateo doesn't mean he can't be a paternal father figure to others. Such as Lidia whose parents still aren't involved in her life. Or Penny whose father and godfather have passed too soon. Maybe even these Plutos that Teo has been hearing about in honor of Rufus. He knows this is what Mateo would have wanted. Mateo lived for everyone, and now, Teo will live for Mateo. Teo kisses his wife's and son's headstones. He points at the space between their headstones and then up at the sky. "I love you from here to there.""

"For those who feel like liars when they talk about the future. Take one day at a time."

"If you're suffering and need help, reach out to the Suicide and Crisis Lifeline at 988. If you still don't feel good after the first call, then hang up and call again. And again and again and again until you're safe from harmful thoughts. I have made those calls myself in the past, and I'm here to tell you that today. Let's go to tomorrow together."

"Death-Cast never calls me to tell me I'm gonna die. I wish they would."

"If I'm so young, why does life feel so long?"

"This is a beautiful view of Los Angeles. The City of Dreams. Everyone has a dream, even those of us who've given up on them. I look up at all the glittering stars, wishing they could've made my dreams come true, but I'm the only one in this world who can give me what I want. I unzip my backpack and grab my gun."

"I don't have a good feeling about this. I should turn around, but I creep toward the gate, watching as the boy climbs a ladder up the Hollywood Sign. It's unlikely he's only planning on sightseeing this close to midnight. Then there's a gunshot, and for a moment I believe the boy has already killed himself when I realize it's only the powerful memory of Harry Hope's suicide. I wasn't able to save him, but I can try to save this boy. I will save this boy."

"Everyone wants something to live for, there is not a soul that does not; even those who wish to kill themselves would stay alive for the right reasons."

""Tell me, mi hijo. What does your dream End Day look like?" It's been a while since Joaquin asked Alano this question, the last time during his seventeenth or eighteenth birthday, if memory serves him right, and while Joaquin's own vision of his dream End Day has not changed since Death-Cast began, that does not mean his son wouldn't grow up to want more. "I want a life worth remembering." Alano's eyes light up like he's picturing his End Day now. "I don't want highlights to be all the cool things I did. I would trade skydiving anywhere in the world in a heartbeat for a walk in the park with my soulmate. I want to grow up and grow old with someone who will hold my hand as I die on my End Day." Like father, like son."

"I like how thoughtful he is. I really need someone like him in my life. And then I remember him taking off his shirt, and I think about how I really, really, really need someone like him in my life."

"As I learn to love myself, I can't help but freak out over if I'll fall in love with him too, and whether that will be heart-healing or heartbreaking."

"How to be a friend to someone with borderline personality disorder. This was one of the most important questions I sought answers for today. It can be difficult sifting through the range of opinions found across medical journals, blogs, and podcasts, but everything I've explored so far seems to be in agreement that the best ways to serve a friend with borderline personality disorder are to validate their emotions, identify their triggers, and encourage professional help both for their benefit and as a boundary to protect yourself. It turns out the best way to be a friend to someone with borderline personality disorder is to simply be a good friend."

"Paz rocks back and forth as the tears start spilling. "Maybe if my dad had made me feel safer then I wouldn't have shot... I would've thought twice... I, I-" I pull Paz into a hug, and he cries into my neck. "You deserved better." "Or I got what I deserved," Paz wails. Holding Paz as he grieves the life he truly deserved is making me die inside."

""No," Alano says firmly. "Your disorder isn't your fault." "Okay, but come on, let's do something fun-" Alano grabs my hands. "Tell me your disorder isn't your fault." "It kinda is, right? BPD is created by trauma, and I shot my dad, that was a choice I made-" "Your disorder isn't your fault," he interrupts. "I gotta take some blame-" "Your disorder isn't your fault." I stare into Alano's beautiful eyes, promising myself to try to see myself as he does. To always be honest and show him who I am so he forgives me whenever my disorder takes over like some demonic possession. "My disorder isn't my fault," I say, voice cracking. "No, it's not," Alano says, wrapping his arm around my shoulders again, proving that he sin't trying to get rid of me. He only wants to hold me close."

"Alano laughs. "Were you checking me out online? Maybe because you think I'm cute?" I stare at his Gotcha smile. "I don't know what you're talking about. Alano stands, and the cabin rocks. I tell him to sit down, but he's still smiling. "Do you really want me dying without knowing the truth?" "Okay, fine, I think you're cute, Alano." My heart is pounding so damn hard as Alano howls triumphantly. It definitely doesn't calm down when he finally sits, because now he's sitting next to me, the balance shifting. "I can now die happy," Alano says. "You should know that your face is cheating." "My face is cheating?" "Yeah, you got two different color eyes. That makes anyone hot." "Now I'm hot?" Alano asks. How high is too high before a person is not getting enough oxygen? I'm gonna guess it's as high as we are now."

"Dane comes over, going through his protocol of what his supervising will look like through the park. Basically, where Alano goes, Dane goes, which we figured, but he'll allow for some exceptions, like select roller coasters and dining. If we go our own way, that's on us. "If you see anyone suspicious, alert me." "How do we know if someone is suspicious?" Rio asks. "We didn't go to spy school." "Weren't you an aspiring detective?" Dane asks. "Key word is 'aspiring.'" Dane swallows a sigh. "Suspects will have tells. It can be anything from a disingenuous smile to lure you into a false sense of security, saying too much to distract you from a threat, excessive fidgeting or sweating, avoiding eye contact or downright staring-" "What if they're staring because we're all beautiful?" Rio interrupts. Dane glares at him. "You're included in that!" Dane keeps glaring."

""I'm just nervous about getting recognized," I say. "Does that happen often?" Rio asks. "It's happened a lot, especially since that shitty docuseries." "Maybe someone will recognize you as your character and not your-" Rio stops himself. "Myself?" "That's not what I meant. I'm sorry," Rio says. "Alano's gaze is hidden behind his sunglasses, but I'm pretty damn sure he's glaring at Rio, who apologizes again. "Here are the facts, Paz. If anyone knows you from Grim Missed Calls, they're unlikely to detect you because you dyed your hair. The chances of you being recognized by casual movie viewers is also slim since you're, you now, older than when you starred in my favorite scene in the entire franchise." I doubt that part is really a fact, but it's sweet. "You're safe with us." I take a deep breath. That perspective does help a lot. "Okay, I got this." "You got this," Alano says. "And if you don't, Dane will make your harasser disappear," Rio says. Dane doesn't deny that."

"Fortunately or unfortunately, no matter your view, Death-Cast does exist. This is something I've wrestled with too for more than half my life. I've seen firsthand the good that Death-Cast has done as well as the bad, but to pin every death on the company would be like blaming the Wright brothers for every plane crash. I know better than to challenge Rio on his choice knowing it was born out of grief."

""It was too late for Antonio and Lucio to get close, but we're spending more time together now that my fate is up in the air. We're stronger brothers today than we could ever become on an End Day." There's no arguing with those results. There have been studies that show people will wait until the last minute before they act on their personal relationships, believing they have all the time in the world until they discover they don't. Rio is actually living as we all should."

"There is no telling someone that the death of a loved one isn't enough of a reason to undo the world, but my heart is breaking that Rio has fallen into these conspiracy holes. I want to reach in and pull him out. To save him."

"Death-Cast didn't call me, but if Rio doesn't stop fucking with a suicidal killer, he might find out that living pro-naturally means dying pro-naturally too."

"I wanted harmony when bringing my worlds together, not this collision."

""It's for the best," Rio says, watching Paz vanish into the crowd. "Are you going to say that if he dies?" I ask. "I'm more scared of him being the death of you." He steps toward me, and I not only back up, I turn the other way, running after Paz to save him and our own future."

"How can you be so brilliant, Alano, and so clueless?"

"I'm blinded by lights. It's not the police coming to arrest me. It's the media here to destroy me. If I'd known surviving would lead me here, I would've pulled the trigger."

""You're the one who got so moved over the fear of losing me and now you're walking away?" I ask, following Rio as he walks past the fountain and down toward the gate. "Is this how you feel? If you can't have all of me then you want none of me?" Rio stops in his tracks and whips around to face me. "Do you really expect me to stand around and watch you fall in love with another boy?" That's the knockout blow that takes me out for so long that I don't notice Rio is gone until the gate door slams shut. First Ariana, now Rio. I no longer have best friends. Or Paz. This is the most alone I've been in years. The poet Alfred Tennyson wrote about how it was better to have loved and lost than to never have loved at all, but I could really use a poem about losing everything because of love."

"Self-harming isn't helping. What I really wanna do is hurt someone else, and that thought is so fucking scary. I wanna punch Bodie; I wanna punch the producers; I wanna punch Orion. Sometimes a thought is just a thought, but sometimes I don't think, I just act, and if my actions are about hurting other people, then I gotta put an end to this before I truly become Dad. My life has always been hard, but I believe more than ever that ever that I was supposed to die before Alano interfered because everything has only gotten worse. It's like time travelers are trying to right that wrong, so they've organized a shitstorm to wash out any hope for living, including getting dragged on social media, news vans violating my privacy, Make-A-Moment rejecting me, and my dream of being Death in Orion's movie officially killed. Message received. I gotta return to the Hollywood Sign to finish what I started."

"It will all work out, mi hijo," Pa says. "That's what you said about Ariana," I say. Word for word, I should add. "Life's pains do not heal overnight," Pa says, stealing glances at my bandaged arm. "But they will all heal."

"I wai for Ma to threaten that she won't ive in this world without me like Ms. Gloria did to Paz, but I'm relieved that it never comes. No matter how hard life would be if I died, I want my mother to keep going. Paz feels the same way about his mother. "I'm coming back to you, Ma." "I believe your intention, but I don't know your fate. If you go to Paz, do you trust him with your life?" After hearing my mother's story about the Death-Cast secret, it's only made me feel more confident in taking this leap of faith to be there for a boy who I fully trust isn't a Death Guarder. "I trust Paz with my life," I say. "Then go get peace of mind that he isn't harming himself and wishes no harm on you.""

"I've gotta be hallucinating because I'm seeing the guy I was never supposed to see again. His green eye and brown eye are staring at me in shock too. He's wearing a gray hoodie and baggy blue jeans with a brown leather satchel hanging from his shoulder. One hand is balled into a fist like he's about to get his revenge hit- or like he was about to knock on the door. Every rapid thought about the guy coming for revenge flies out of my head when I see something in his other hand thats as unbelievable as him being here. Alano holds up the star rug from the market. "I figured you needed this now more than ever," he says sympathetically- no, lovingly. I unfreeze, but instead of taking the star rug, I break down crying, and even though I don't deserve to ever touch him again, I ask, no, I beg, "Can I hug you?" "Yes," Alano says. I step into his arms, ignoring all the pain that is supposed to be warning me away from guys like him, and I sob as he pulls me even closer against his body, like we're one person. I will lie and lie and lie to anyone, but I can't lie to myself about how much holding Alano feels like hanging on for dear life so I don't fall off the Hollywood Sign."

"I'm on edge, scared of learning more, but if there's a world where I can have a future with Alano, even just as a friend, I can't be haunted by his past with Rio. And if I'm ever gonna confront this, it's now, when Alano is still in LA to ground me."

"I cry about wanting to die, about wanting to be reincarnated as my mom's new baby, and about wanting the fresh start that winning my trial compromised. I wanna self-harm so bad, I don't even care how. Cutting. Burning. Smashing Orion's big-ass book into my head over and over. Anything can be a weapn, which is frightening. "I'm so scared of myself," I cry out, hating my brain for making me my own greatest enemy. "You don't have to be," Alano says, locking his arms around me. I'm a sword, and he's my shield, protecting me from myself."

"Unfortunately, scars don't just appear out of nowhere. They are all wounds first. Some painful, others not. The loud cries of her son let Gloria know that Pazito's wound has been ripped open again before it can heal; she's grateful that his wound is metaphorical, not physical, but pain is pain. A body needs a survivor's spirit to keep it alive. Only then will it heal, only then will it close all wounds, only then will it scar, and only with time can a scar fade. one day, Gloria and Pazito will be survivors with faded scars, but today is not that day."

"My End Day is coming up," Paz whispers. "No one knows their End Day in advance," I say. I never have, and I definitely don't now. "This Friday, July thirty-first. The day I killed Dad is when I'm destined to kill myself." "You're not destined to take your own life, Paz." "I am. That's why Death-Cast hasn't called. It wasn't my time yet." "Now isn't your time either. We're living to one hundred, remember?" "I'm not strong enough to keep surviving, Alano." "We're building your strength. You'll be starting DBT and-" "No, I..." Paz sobs, his body caving in. "I feel like a liar when I talk about the future."

"I refuse to let the only future Paz believes in be the one where he kills himself."

"Death-Cast didn't call last night, but if I had to die, I'd love for it to be in Alano's arms. It took forever to fall asleep, but Alano soldiered through the night with me. And now he's staying in LA. I roll over in bed, wanting to wrap my arms around him, but he's gone. My chest tightens. Did he break his promise and abandon me? I check my phone, and there's no missed call, no text explaining himself. I gotta ground myself. Alano wouldn't ghost. Ghosts don't hold you all night and beg for you to live."

"If I'm gonna have any chance of surviving past Friday, I'll need to finally embrace all the people working to keep me alive: my mom and stepdad, who need me around to be a big brother to their baby; my therapist, who can guide me through my borderline brain; my psychiatrist, who can up meds or prescribe something better; and now the boy who has become my life coach and the shield to my sword."

"Andrea is not delusional. She knows she is guilty of many crimes, more than Joaquin is aware of himself, and his investigation will discover some, ensuring her incarceration, and the remaining crimes Andrea shall take to her grave. She doesn't fear death, but she does fear for her daughter's future. That is why Andrea Donahue is at a campaign rally, ready to tell the world her truth (even if her truth is built on many lies) so she can not only exact revenge against Joaquin Rosa, but use her voice to help elect Carson Dunst as the next president, all so he can pardon her if she is to be convicted."

"As the audience cheers for Andrea, she heads toward the stage's exit, snaking around Carson Dunst. "Pardon me," she says, trading winks with the next president of the United States. Then she basks in the chants for the death of Death-Cast, knowing she has played her role in destroying their reputation, but the true destruction is yet to come."

"Past alarming thoughts are getting stronger and stronger, like a Death-Cast alert ringing through my head. I'm the only one who knows my full story no matter what my father believes."

"I'm up against a world that doesn't know me but hates me anyway, but I'm gonna keep fighting until my life looks like my dream obituary. But if I fail at getting cast in a mega-hit franchise or winning an Oscar or receiving a star on the Hollywood Walk of Fame, this life is still worth living because of Alano Rosa. And one day- one day really fucking soon- I can't wait to tell Alano how much I love him."

"If Joaquin thought he was losing power over Alano before, he now knows he is completely powerless as Alano and Paz stare into each other's eyes like Deckers who have fallen in love on their End Day. He can only hope these boys will not be the cause of each other's deaths."

"The best apology isn't words. The best apology is action taken to make things right."

"Paz is quiet. I should have discussed this with him privately. I definitely don't want to pressure him into doing promotions for a company that upended his life, I only want his wounds to heal. Everyone around the world will see this campaign. Maybe that's a bad thing. The last thing I want is to invite more chaos into Paz's life. Now I'm scared I'm doing just that. Paz walks up to my father. For a moment I'm nervous he's going to hit him, but he shakes his hand instead. "Thank you," he says before hugging Ms. Gloria as Mr. Rolando cheers."

"My father comes over and shakes my hand too. "Excellent negotiating, mi hijo," he says. "I have taken your words to heart, and I hope you see that I can be receptive to your needs. I cannot help but be overprotective as your father, but I will work harder to find a balance that allows you more freedoms. It would mean the world if you will reconsider giving Death-Cast your full commitment, both in its service and in one day serving." If I'm granted the life I want, I can see myself leading in the future. "Maybe," I say. "I will do what I can to regain your confidence," my father says. That is a long road, but it's as if we've walked miles of it tonight."

"There are some Deckers who manage to live perfect End Days, but not everyone's got a life where you can get a happy End Day. Some of us got wounds and brains and hearts that need more than twenty-four hours to heal. Days, weeks, months, even years. That time can be suffocating, and planning those futures can feel like telling lies, but love saved us tonight, and as long as we stay together, love will keep us alive."

"The thing is, I can remember my entire life. This includes before I was technically born. This might not seem significant to anyone that I can remember being in the womb except for the fact that while it's true that my father has never told me the secret to Death-Cast, he did tell my mother while she was pregnant. I've known the secret since before I was born, before I could absorb the words, before I could make sense of what was said. My parents stopped talking about the secret around me when I was four because they were scared of me learning it, which only made me keep my own secret from them. On the first End Day, I went into the Vast Vault at Death-Cast to see the secret for myself. I shouldn't have gone in. If I hadn't, the Death's Dozen might be alive today. I don't know. All I know is that love will not survive once Paz discovers I ruined his life."

"For all the booksellers and librarians who've supported me this past decade, I'm so grateful that you've kept this dream of mine alive and well. And lastly, for all my readers, but especially the ones who have struggled with life. You know who you are. I know who you are. There are so many more pages in our stories, so please don't close the book. Keep turning and turning and turning."

"I went to an acting school while I was a cop still…The moment I was involved in that world, it electrified me and I realized that it was something that I wanted to do"

"He looked at me like I was thinking outside of the reality of where we were at…And I respected my father. He was a good man, he was a good father, so I kind of like, really just put it in the back of my head. I really didn't pursue it much."

"I don’t have a dream role. Every role I get is my dream role. Whatever the role… I have to commit to every time."

"The thing is that there aren’t many stories told that are being shown to everybody from this, so any opportunity that I have to see a project that we could just release that to people that they could see a slice of life that they may not recognize or they may not know. It’s about family, it’s about being good people, it’s about culture, whether it’s music, theater, arts. And the opportunity to show that in a neighborhood and in a culture that I grew up in is very important to me."

"…What’s different on TV and film is that you get to grow into it even in the scene. Because you do various takes and you start with one idea, and you work on it – but the one thing that you never know is how it’s going to affect that other person’s energy. It’s been very organic for the both of us in terms of how the dynamic between the two characters has developed."

"…Everything comes in waves and sometimes I do feel like there’s a lot more coming than there used to be, but the business itself has changed. In some ways the cult of celebrity has taken over rather than looking for really talented actors. And that’s a completely different trend that completely impacts who you watch and what types of show you’re seeing…"

"If I take my origin story as a first generation Latina straddling between 'La Isla' [the island, referring to Puerto Rico] and New York, 'Spider-Verse' shows me the connective tissue that makes me proud of my culture and roots in both places."

"I think your origin is important, not only because it defines who you are, but also because it shows what you have in common with others."

"Today, companies in the Climate Leadership Council—BP, ExxonMobil, ConocoPhillips—are going into the Global South to provide resources to these communities so that they can engage in sequestration. To me, that's green colonialism. You basically have these companies that are responsible for creating the conditions the Global South is enduring now benefiting from this."

"Another example of green colonialism is what happens to a community when you have invested in environmental amenities, like doubling the amount of open space, expanding the median on Fourth Avenue, reducing emissions—doing all the things to make the community more environmentally sound. All of a sudden the community can't afford to live here anymore. The people that benefit are not [from] our community."

"Women's History Month, for me, is like Black History Month in the sense that it's every day. It's not just a month, but it's a life. And it makes me think about my maternal ancestors. It makes me think about all the women who mentored me on my journey to the work that I'm doing and played such a major part in my development, my political understanding, and my cultural grounding. It makes me think about all of them, and I hope that everything that I do honors them."

"We're the descendants of enslavement and colonization, we are people who come from people who've always honored Mother Earth. This climate justice work is just an extension of us honoring those traditions."

"We try really hard to not only make sure that we're centered on the matriarchal, but that we are willing to engage in self-transformation. To be introspective and to challenge each other and ourselves; to be not only accountable to each other but to be tender and kind. That may sound like the soft stuff, but that's hard stuff when you think about how colonized we've been and what our education has prepared us to be."

"When I first came into the environmental justice movement, it felt very patriarchal. And it felt patriarchal coming from women, too, where it was competitive and everybody was sort of jousting to be at the front of the room and get all the shine. It doesn't feel the same in the climate justice space. Everyone shares shine. Everybody shares leadership."

"New York City is like the bastion of capitalism and patriarchy."

"It's really important that the movement be intergenerational."

"The conventional, dated, old ways of thinking will not be able to address the challenges of climate change."

"When I was little, my hero was Lolita Lebrón. And then growing up, Antonia Pantoja, Iris Morales, Esmeralda Simmons, Marta Moreno Vega, Esperanza Martell… These are all women who, from the time I was in my late teens through now, mentored me and guided me—who would pull my coat, who would give me a different perspective. I try to be to another generation of women what they were to me. Through storytelling, they would sit down with me and walk me through all kinds of scenarios so that I would be able to anchor myself culturally and politically. And I will always be in deep gratitude for them because they were my education. They were so necessary for my political development—and also for my fearlessness. I would add my mom to that. They did that for me as a young woman. Lolita Lebron was a fighter for independence of Puerto Rico. I, as a little girl, wanted to be able to lead a revolution for freedom in Puerto Rico. Little kids have different dreams, but when I was eight-years old, I'm watching the Young Lords on TV, and I'm hearing about Lolita Lebrón, and I was like That's who I want to be. Antonia Pantoja passed away. She was the creator of a lot of our institutions. Marta Moreno Vega founded a bunch of institutions. Iris Morales was a Young Lord. Esperanza Martell is a healer and a shaman in our community."

"I think that people sometimes think of mentoring as something that older women do for younger women. They don't realize that we really do learn from each other across generations. There are times when I'm in a space with someone who's 19 years old or much younger than me, and I'm listening and learning and changing. I've changed the way that I communicate. I've changed the way that I think about gender. I've changed the way that I think about so many things because younger people have taught me."

"Young people come with hope and with a renewed vision of a future that transforms."

"We won't have power if we don't have intergenerational power. That's not just rhetoric. We can solve problems when we're together."

"AOC embodies the kind of leadership we dream of: brilliant, courageous, and gifted, with a quick mind and an understanding of our history and the political moment from which she emerged. And most importantly to me, she believes in environmental justice."

"I didn't come to this work with a degree in environmental policy. It happened organically: as a child, my family was displaced so often that I went to eight schools in five years. I remember walking past the burning embers on Simpson Street in the South Bronx. I had no idea then that we were living in the midst of brownfields, contaminated lots with lead, asbestos, PCBs, arsenic, and other toxics and toxicants that seeped through our walls as fugitive dust and landed in our developing lungs. Families like mine all over New York City were the targets of government and developer-driven-planned shrinkage public policies created to deny our communities basic services in order to encourage our departure. The New York City environmental justice movement was born and raised in the midst of this rubble."

"Climate change is unlike any other threat in our history. It will test us in unimaginable ways. It demands leadership that celebrates difference, sees the frontline as partners in decision-making, and is willing to exercise courage for all of us."

"Elizabeth Yeampierre helped welcome and support many of her fellow Puerto Ricans when they arrived in the United States. But when I spoke with her on the island, she said that her "biggest fear" is that the evacuation will be a prelude to a massive land grab. "What they want is our land, and they just don't want our people in it.""

"Elizabeth Yeampierre, who attended the Mariana summit, believes that despite all the devastation being visited on Puerto Rico, her people have the fortitude for the battles ahead. "I see a level of resistance and support that I didn't imagine was going to be possible," she said. "And it reminds me that these are the descendants of colonization and slavery, and they are strong.""

"My advice is get good grades, follow your passions, and try to volunteer with aquariums or museums that allow you to interact with the animals."

"My role models are Eugenie Clark (RIP) and David Attenborough, still to this day! They both brought the natural world to life for me and I cannot thank them enough for how they have shaped my views of wildlife and nature."

"To have a healthy planet you need a healthy ocean environment. Conserving our oceans is of vital interest not only to the diverse life that calls that ecosystem home, but to humankind. If you think about it, our economy, our food sources - heck, really our very survival - all require a healthy ocean."

"To protect anything, you need to care about it, and to care, you need to know that it's there. But, not everybody has had the luxury to visit the ocean, or experience what is happening in the ocean. I hope that through my initiatives I can show large audiences the great natural beauty and astonishing wildlife that our marine habitats have. The goal of my conservation career is to have people come away with an appreciation of how important our oceans are, a better understanding of how all habitats are linked, what problems the ocean faces and what we can do to help."

"Seeing great whites in their natural habitat, so different from the monsters many paint them to be, really opened my eyes to how villainized they were and made me wonder how people came to that conclusion."

"I grew up wondering where the female marine biologists were, especially the Latinas, and really doubted whether I could break into a field that seemed not too welcoming for minorities. I hope by seeing me, and my work, that anyone of any background thinks, "Huh. If this girl from a tiny Caribbean island can do it, so can I.""

"Historically and even today, women contribute a lot to the STEM industry and don't really get the credit they deserve."

"Imagine a boy living in the city of his birth and not knowing who was the most noted native painter! It is true the fact was recorded on a marble tablet duly inscribed and placed on the wall of a building where it could easily be read. However, the inhabitants of San Juan knew but little of the man thus honored. The white Spaniards who knew, spoke not of the man's antecedents. A conspiracy of silence had been handed down through many decades and like a veil covered the canvases of this talented Puerto Rican. Today we understand the silence and know the meaning of it all.thumb|Arturo Alfonso Schomburg"

"Imagine a boy living in the city of his birth and not knowing who was the most noted native painter! It is true the fact was recorded on a marble tablet duly inscribed and placed on the wall of a building where it could easily be read. However, the inhabitants of San Juan knew but little of the man thus honored. The white Spaniards who knew, spoke not of the man's antecedents. A conspiracy of silence had been handed down through many decades and like a veil covered the canvases of this talented Puerto Rican. Today we understand the silence and know the meaning of it all."

"The works of José Julián Acosta and Salvador Brau have been my first inspiration to a further and intense study of the Negro in America."

"José Martí always stated that the republic would have been impossible without the brawn and muscle of all races."

"What of it if the darker races are getting consciousness, isn't the world large enough for the people of all bloods to dwell therein?"

"There is a sad and tragic chapter in the history of Cuba under Spanish rule, that seems to circle with pathetic recollections the dreadful wrongs done to innocent men....A calm generally precedes these conditions and I will attempt to carry you through the events as they were ushered into existence by the break of day."

"Many Cuban Negroes curse the dawn of the Republic. Negroes were welcomed in the time of oppression, in the time of hardship, during the days of revolution, but in the days of peace and of white immigration they are deprived of positions, ostracized and made political outcasts. The Negro has done much for Cuba; Cuba has done nothing for the Negro."

"We have been instructed to look at the Negro as "idle, worthless, indolent and disloyal," but a careful examination of the West Indies and South America does not show this to be true. Many instances of advancement by hard industry can be noted in any of the many spots of the New World. There is not a single field of industrial activity in which the descendants of the African have not contributed their mite toward an improvement of conditions which the gold seekers and pleasure hunters were wont to overlook."

"The African brought to America among his patrimony musical instruments...The African fetiches with their religious dancing has had its counterpart in the Voodoo ceremonies in Haiti and the Nanigoz societies of Cuba, known to exist in those islands as late as 1890. It is quite true that the Church, not knowing the true interpretation of music and dancing carried on by the African has dubbed it with the term savagery."

"The American Negro must remake his past in order to make his future."

"Though it is orthodox to think of America as the one country where it is unnecessary to have a past, what is a luxury for the nation as a whole becomes a prime social necessity for the Negro. For him, a group tradition must supply compensation for persecution, and pride of race the antidote for prejudice. History must restore what slavery took away, for it is the social damage of slavery that the present generations must repair and offset. So among the rising democratic millions we find the Negro thinking more collectively, more retrospectively than the rest, and apt out of the very pressure of the present to become the most enthusiastic antiquarian of them all."

"Vindicating evidences of individual achievement have as a matter of fact been gathered and treasured for over a century: Abbé Gregoire's liberal-minded book on Negro notables in 1808 was the pioneer effort"

"The Negro has been throughout the centuries of controversy an active collaborator, and often a pioneer, in the struggle for his own freedom and advancement."

"By virtue of their being regarded as something "exceptional," even by friends and well-wishers, Negroes of attainment and genius have been unfairly disassociated from the group and group credit lost accordingly."

"With such crucial truths to document and establish, an ounce of fact is worth a pound of controversy"

"Here among the rarities of early Negro Americana was Jupiter Hammon's Address to the Negroes of the State of New York, edition of 1787, with the first American Negro poet's famous "If we should ever get to Heaven, we shall find nobody to reproach us for being black, or for being slaves." Here was Phyllis Wheatley's Mss. poem of 1767 addressed to the students of Harvard, her spirited encomiums upon George Washington and the Revolutionary Cause, and John Marrant's St. John's Day eulogy to the "Brothers of African Lodge No. 459" delivered at Boston in 1789. Here too were Lemuel Haynes' Vermont commentaries on the American Revolution and his learned sermons to his white congregation in Rutland, Vermont, and the sermons of the year 1808 by the Rev. Absalom Jones of St. Thomas Church, Philadelphia, and Peter Williams of St. Philip's, New York, pioneer Episcopal rectors who spoke out in daring and influential ways on the Abolition of the Slave Trade. Such things and many others are more than mere items of curiosity: they educate any receptive mind."

"Reinforcing these were still rarer items of Africana and foreign Negro interest, the volumes of Juan Latino,7 the best Latinist of Spain in the reign of Philip V, incumbent of the chair of Poetry at the University of Granada, and author of Poems printed there in 1573 and a book on the Escorials published 1576; the Latin and Dutch treatises of Jacobus Eliza Capitein, a native of West Coast Africa and graduate of the University of Leyden, Gustavus Vassa's celebrated autobiography that supplied so much of the evidence in 1796 for Granville Sharpe's attack on slavery in the British colonies, Julien Raymond's Paris exposé of the disabilities of the free people of color in the then (1791) French colony of Hayti, and Baron de Vastey's Cry of the Fatherland, the famous polemic by the secretary of Christophe that precipitated the Haytian struggle for independence. The cumulative effect of such evidences of scholarship and moral prowess is too weighty to be dismissed as exceptional."

"Already the Negro sees himself against a reclaimed background, in a perspective that will give pride and self-respect ample scope, and make history yield for him the same values that the treasured past of any people affords."

"But weightier surely than any evidence of individual talent and scholarship could ever be, is the evidence of important collaboration and significant pioneer initiative in social service and reform, in the efforts toward race emancipation, colonization and race betterment. From neglected and rust-spotted pages comes testimony to the black men and women who stood shoulder to shoulder in courage and zeal, and often on a parity of intelligence and talent, with their notable white benefactors. There was the already cited work of Vassa that aided so materially the efforts of Granville Sharpe, the record of Paul Cuffee,' the Negro colonization pioneer, associated so importantly with the establishment of Sierra Leone as a British colony for the occupancy of free people of color in West Africa; the dramatic and history-making exposé of John Baptist Phillips,2 African graduate of Edinburgh, who compelled through Lord Bathhurst in 1824 the enforcement of the articles of capitulation guaranteeing freedom to the blacks of Trinidad. There is the record of the pioneer colonization project of Rev. Daniel Coker in conducting a voyage of ninety expatriates to West Africa in 1820, of the missionary efforts of Samuel Crowther in Sierra Leone, first Anglican bishop of his diocese, and that of the work of John Russwurm, a leader in the work and foundation of the American Colonization Society."

"When we consider the facts, certain chapters of American history will have to be reopened. Just as black men were influential factors in the campaign against the slave trade, so they were among the earliest instigators of the abolition movement. Indeed there was a dangerous calm between the agitation for the suppression of the slave trade and the beginning of the campaign for emancipation. During that interval colored men were very influential in arousing the attention of public men who in turn aroused the conscience of the country. Continuously between 1808 and 1845, men like Prince Saunders, Peter Williams, Absalom Jones, Nathaniel Paul, and Bishops Varick and Richard Allen,³ the founders of the two wings of African Methodism, spoke out with force and initiative, and men like Denmark Vesey (1822), David Walker (1828) and Nat Turner (1831) advocated and organized schemes for direct action. This culminated in the generally ignored but important conventions of Free People of Color in New York, Philadelphia and other centers, whose platforms and efforts are to the Negro of as great significance as the nationally cherished memories of Faneuil and Independence Halls.' Then with Abolition comes the better documented and more recognized collaboration of Samuel R. Ward, William Wells Brown, Henry Highland Garnett, Martin Delany, Harriet Tubman, Sojourner Truth,and Frederick Douglass with their great colleagues, Tappan, Phillips, Sumner, Mott, Stowe and Garrison."

"But even this latter groups who came within the limelight of national and international notice, and thus into open comparison with the best minds of their generation, the public too often regards as a group of inspired illiterates, eloquent echoes of their Abolitionist sponsors. For a true estimate of their ability and scholarship, however, one must go with the antiquarian to the files of the Anglo-African Magazine, where page by page comparisons be made. Their writings show Douglass, McCune Smith, Wells Brown, Delany, Wilmot Blyden and Alexander Crummell to have been as scholarly and versatile as any of the noted publicists with whom they were associated. All of them labored internationally in the cause of their fellows; to Scotland, England, France, Germany and Africa, they carried their brilliant offensive of debate and propaganda, and with this came instance upon instance of signal foreign recognition, from academic, scientific, public and official sources."

"After this great era of public interest and discussion, it was Alexander Crummell, who, with the reaction already setting in, first organized Negro brains defensively through the founding of the American Negro Academy in 1897 at Washington. A New York boy whose zeal for education had suffered a rude shock when refused admission to the Episcopal Seminary by Bishop Onderdonk, he had been befriended by John Jay and sent to Cambridge University, England, for his education and ordination. On his return, he was beset with the idea of promoting race scholarship, and the Academy was the final result. It has continued ever since to be one of the bulwarks of our intellectual life, though unfortunately its members have had to spend too much of their energy and effort answering detractors and disproving popular fallacies. Only gradually have the men of this group been able to work toward pure scholarship."

"Almost keeping pace with the work of scholarship has been the effort to popularize the results, and to place before Negro youth in the schools the true story of race vicissitude, struggle and accomplishment. So that quite largely now the ambition of Negro youth can be nourished on its own milk."

"The blatant Caucasian racialist with his theories and assumptions of race superiority and dominance has in turn bred his Ethiopian counterpart-the rash and rabid amateur who has glibly tried to prove half of the world's geniuses to have been Negroes and to trace the pedigree of nineteenth century Americans from the Queen of Sheba. But fortunately to-day there is on both sides of a really common cause less of the sand of controversy and more of the dust of digging."

"The bigotry of civilization which is the taproot of intellectual prejudice begins far back and must be corrected at its source. Fundamentally it has come about from that depreciation of Africa which has sprung up from ignorance of her true rôle and position in human history and the early development of culture. The Negro has been a man without a history because he has been considered a man without a worthy culture."

"The modern school with its many books, but without systematic lectures, turns out many graduates who are lacking in retentiveness and no sooner than the sound of the words has left their teachers' lips, the subject been forgotten; and if they are called upon to explain the theme, it is reduced to an incomprehensible mass of meaningless words."

"We have chairs of almost everything, and believe we lack nothing, but we sadly need a chair of Negro history. The white institutions have their chair of history; it is the history of their people, and whenever the Negro is mentioned in the text-books it dwindles down to a footnote. The white scholar's mind and heart are fired because in the temple of learning he is told how on March 5, 1770, the Americans were able to beat the English; but to find Crispus Attucks it is necessary to go deep into special books. In the orations delivered at Bunker's Hill, Daniel Webster never mentioned the Negroes having done anything, and is silent about Peter Salem. In the account of the battle of Long Island City and around New York under Major-General Nathaniel Greene, no mention is made of the eight hundred Negro soldiers who imperiled their lives in the Revolutionary War. Cases can be shown right and left of such palpable omissions."

"Where is our historian to give us our side view and our chair of Negro history, to teach our people our own history? We are at the mercy of the "flotsam and jetsam" of the white writers. The very learned Rev. Alexander Crummell, before the American Negro Academy, stated that he heard J. C. Calhoun say that the inferiority of the Negro was so self-evident that he would not believe him human unless he could conjugate Greek verbs; and yet it must have been evident to Calhoun that in North Carolina there were many Negroes held as slaves who could read and write Arabic.¹ In those days men like Juan Latino, Amo, Capitein, Francis Williams, Rev. J. Pennington, and others could not only conjugate the Greek and Hebrew verbs, but had shown unmistakable evidences of learning, for they had received degrees from the universities of world-famed reputation. Yet in those days there were many whites unrestrained, enjoying the opportunities of education, who could not conjugate Greek roots nor verbs of the spoken language of the land. Yet this barrier was set up to persons restrained by force from the enjoyment of the most ordinary rights."

"We need in the coming dawn the man who will give us the background for our future; it matters not whether he comes from the cloisters of the university or from the rank and file of the fields. The Anglo-Saxon is effusive in his praises to the Saxon shepherds who lived on the banks of the river Elbe, to whom he pays blind allegiance. We need the historian and philosopher to give us with trenchant pen the story of our forefathers and let our soul and body, with phosphorescent light, brighten the chasm that separates us. When the fact has been put down in the scroll of time, that the Negroes of Africa smelted iron and tempered bronzes at the time Europe was wielding stone implements, that the use of letters was introduced among the savages of Europe about 1500 BC and the European carried them to America about the fifteenth century after the Christian era, that Phoenicia and Palestine will live forever in the memory of mankind since America as well as Europe has received letters from the one and religion from the other, we will feel prouder of the achievements of our sires. We must research diligently the annals of time and bring back from obscurity the dormant example of agriculture, industry, and commerce, upon these the arts and sciences and make common the battleground of our heritage."

"The remark attributed to John C. Calhoun,' "that the Negro race was so inferior it could not produce a single individual who could conjugate a Greek verb," was accepted half a century ago in this country as the last word on the subject of the inferiority of the Negro. Thomas Jefferson, one of the fathers of the revolution, and a friend of the Negro race, who was not so dogmatic as Calhoun, said: "I think one (Negro) could scarcely be found capable of tracing and comprehending the investigations of Euclid: and that in imagination they are dull, tasteless and anomalous.... Never yet could I find that a black had uttered a thought above the level of plain narration; never saw even an elementary trait of painting or sculpture. ... Religion indeed, has produced a Phyllis Wheatley, but it could not produce a poet." So much for the American statesmen."

"In Europe we have had the historian Hume who said in one of his essays that "there are Negro slaves dispersed all over Europe, of whom none ever discovered any symptoms of ingenuity.... In Jamaica, indeed, they talk of one Negro as a man of parts and learning; but it is likely he is admired for slender accomplishments, like a parrot who speaks a few words plainly.""

"Within the still incipient study of Afro-Latin@ literature, where the Afro-Latin@ is somewhat known in prose through insightful accounts such as Black Cuban, Black American (Evelio Grillo 2000) and Down These Mean Streets (Piri Thomas 1967), as well as through the figure of Arturo Schomburg, the creativity and diversity that results from the multiple dimensions of the Afro-Latin@ poet can only be found in the present ¡Manteca! Inspired by Grillo, Thomas and Schomburg, then, at the foundation of this anthology is also a recognition of the close relationships between African Americans and Afro-Latin@s (who are also African Americans); these relationships have been significant for both groups from collaborating in politics to working together in the arts for the past one hundred years."

"On the one hand, such figures as Arturo Schomburg, who intentionally integrate themselves into Africa-America, point to the intellectual possibilities as well as conversations among Latin@s and African Americans. On the other hand, the example of Schomburg also highlights the complexities of such allegiances within the context of New York City's African-American and Puerto Rican communities (Dzidzienyo 164). Schomburg would not give up his Afro-Latin@ identity, even though his blackness was often contested because of his Puerto Rican origin and light skin color. His project of black cosmopolitanism, then, was based on a recognition of diversity and complexity in the multiple racial regimes and cultural practices that composed the global African diaspora. He was a "transamerican intellectual" who promoted a diasporic project in which identity and community were conceived through and across difference (Laós-Montes 8). As such, it is not without thought that ¡Manteca! ends with a collaboration between Afro-Mexican poet Joaquín Zihuatanejo and Antwaun "Twain" Davis, who attribute the oppressions of people of color to larger histories and structures of violence."

"For Arthur Schomburg, the Harlem Renaissance proved to be an excellent environment for conducting his bibliophilic research and an ideal opportunity to promote interest in black history and culture. Responding to the urgent desire of black writers and artists to use "black themes, Schomburg supplied information both from his encyclopedic knowledge and from his private collection. The Harlem Renaissance also stimulated Schomburg himself to write more for publication, and this proved to be his most prolific period."

"We also missed in the branch library news for February dedicated to Puerto Rico any mention of the Schomburg Collection, at 135th Street and Lenox Avenue. Though the collection itself is dedicated to the Negro people and their history, there is a great deal of material on prominent Negro Puerto Ricans in its files. Besides, Arturo Schomburg, a great figure in the life of the 19th century Puerto Rican in New York was himself a Puerto Rican, born in San Juan, the capital of Puerto Rico. Its seems to be that one of the main divisions in the New York Public Library system-bearing the name of a great Negro Puerto Rican should at least have been mentioned in a library publication purporting to compile the most important books dealing with the cultural developments and contributions of Puerto Rico and Puerto Ricans in New York."

"more research needs to be done on Schomburg, who claimed his Black identity very publicly, but who also simultaneously claimed his Puerto Rican identity, a combination he did not consider inconsonant. In forging my biographical perspective introducing both Belpré and Schomburg, I have found it necessary to emphasize what they accomplished, rather than speculate on their inner racial consciousness, in order to further research and discussion of their legacies. Both were bibliophiles, both were successful professionals, both were brilliant and quite public cultural intellectuals, both were writers, both hid details about their lives in Puerto Rico before moving to the states, and those secrets-and their reasons for keeping those secrets-may never be known for certain."

"By building and popularizing a counter-archive of Afrodiasporic history, Schomburg made a radical intervention in the production of historiographic knowledge. His collection and his essays effectively refuted the dominant ideology of white supremacy and the popular and official forms of historiographic knowledge in which this discourse was embedded."

"Afro-Latinos serve as bridges. The most obvious example would be Arturo Alfonso Schomburg. The Schomburg Center for Black Culture [Harlem, New York, USA] is probably the premiere institution for any type of serious scholarship and research on Africans and their descendants. Schomburg was a Black Puerto Rican who came to the United States from Puerto Rico in 1891 at 17. He became an integral part of the Black community – African American and Caribbean; most definitely he served as a bridge. Most of his writings were about Black Latinos, whether in Spain, the Caribbean or South America."

"His goals in this archival project are to identify and celebrate Black contributions to transamerican civilization, and he was particularly (though not exclusively) prone to research concerning men of African descent. In these lifelong pursuits, Schomburg was extremely successful; the papers and artifacts he gathered became the world's first major collection of transamerican and transatlantic Africana, which is today the African diaspora's largest combined archives."

"He grew up on the island, moved to New York when he was 17 years old, and became one of the most important bibliophiles and researchers on Africana Studies. His international views on race and the history of people of African descent is heavily influenced on the fact that he spoke Spanish, French, and English, and grew up outside of the U.S. Our program is inspired by the legacy of Arturo Schomburg"

"Schomburg belonged to a circle of "race men" who were also book fiends, sharing and trading recent acquisitions. Before there was such a thing as the New Negro movement, he had cofounded the Negro Society for Historical Research, was a member of the Negro Book Collectors Exchange, and had served as president of the American Negro Academy.... The desire of these men to uncover the forgotten history of black people was matched by a desire to protect and steward that knowledge."

"I wasn't the kid who got involved in the streets. I liked to be at home with my family."

"I don't want to be fake. I'm just being me. And I have the power to break stereotypes and whatever useless rules that society puts on us."

"Puerto Rico has limited influence over US national policy. Island residents cannot vote in presidential elections, and their congressional representative has no voting power. Without sovereignty, bilateral relations, or participation in international bodies, culture remains our primary doorway to the world, and Bad Bunny has opened it wider than ever."

"Quítate la ropa, que hace calor Días de playa, noches de terror En la gaveta dejo el temor Pa las envidiosas paz y amor"

"Any time they needed any help, I was always there for the Young Lords. It was just the respect they gave us as human beings. They gave us a lot of respect."

"The women have tried to fight for their sex changes or to become women.... they do not write women, they do not write men, they write 'STAR' because we're trying to do something for them."

"Some people say that the riots started because of Judy Garland's death. That's a myth. We were all involved in different struggles, including myself and many other transgender people. But in these struggles, in the Civil Rights movement, in the war movement, in the women's movement, we were still outcasts. The only reason they tolerated the transgender community in some of these movements was because we were gung-ho, we were front liners. We didn't take no sh-- from nobody. We had nothing to lose. You all had rights. We had nothing to lose. I'll be the first one to step on any organization, any politician's toes if I have to, to get the rights for my community."

"Routine was, "Faggots over here, dykes over here, and freaks over there," referring to my side of the community. If you did not have three pieces of male attire on you, you were going to jail."

"Part of history forgets, that as the cops are inside the bar, the confrontation started outside by throwing change at the police. We started with the pennies, the nickels, the quarters, and the dimes. "Here's your payoff, you pigs! You f---ing pigs! Get out of our faces. " This was started by the street queens of that era, which I was part of, Marsha P. Johnson, and many others that are not here."

"People have also asked me, "Was it a pre-planned riot?," because out of nowhere, Molotov cocktails showed up. I have been given the credit for throwing the first Molotov cocktail by many historians but I always like to correct it; I threw the second one, I did not throw the first one!"

"we have to remember one thing: that it was not just the gay community and the street queens that really escalated this riot; it was also the help of the many radical straight men and women that lived in the Village at that time, that knew the struggle of the gay community and the trans community."

"it was a long night of riots. It was actually very exciting cuz I remember howling all through the streets, "The revolution is here!""

"When the cops did finally get there, the reinforcements, forty five minutes later, you had the chorus line of street queens kicking up their heels, singing their famous little anthem that up to today still lives on, "We are the Stonewall girls/ we wear our hair in curls/ we wear our dungarees/ above our nelly knees/ we show our pubic hairs," and so on and so forth."

"I am tired of seeing homeless transgender children; young, gay, youth children. I am tired of seeing the lack of interest that this rich community has."

"That night, I remember singing "We Shall Overcome," many a times, on different demonstrations, on the steps of Albany, when we had our first march, where I spoke to the crowds in Albany. I remember singing but I haven't over-come a damn thing. I'm not even in the back of the bus. My community is being pulled by a rope around our neck by the bumper of the damn bus that stays in the front. Gay liberation but transgender nothing! Yes, I hold a lot of anger. But I have that right. I have that right to have that anger. I have fought too damn and too hard for this community to put up with the disrespect that I have received and my community has received for the last thirty-two years."

"Stonewall is a great, great foundation. It began the modern day liberation movement, like we spoke before about the Daughters of Bilitis and the Mattachine Society."

"One of my best friends now, who has employed me for the last seven years before I changed jobs, is Randy Wicker. Randy Wicker was a very well-known gay male activist in 1963. He was the first gay male—before any real movement was there—to get on a talk show and state to the world that he was a normal homosexual. I give him credit for that. He has done a lot of different things, but he also in 1969 and for many years trashed the transgender community. It took him a lot of years to wake up and realize that we are no different than anybody else; that we bleed, that we cry, and that we suffer."

"on the fourth anniversary of the Stonewall movement, of the Stonewall riot, the transgender community was silenced because of a radical lesbian named Jean O'Leary, who felt that the transgender community was offensive to women because we liked to wear makeup and we liked to wear miniskirts...Jean O'Leary started the big commotion at this rally [Christopher Street Liberation Day, 1973]. It was the year that Bette Midler performed for us. I was supposed to be a featured speaker that day. But being that the women felt that we were offensive, the drag queens Tiffany and Billy were not allowed to perform. I had to fight my way up on that stage and literally, people that I called my comrades in the movement, literally beat the sh-- out of me. That's where it all began, to really silence us. They beat me, I kicked their a--es. I did get to speak. I got my points across."

"the laws do not give us the right to go and get a job the way we feel comfortable. I do not want to go to work looking like a man when I know I am not a man. I have been this way since before I left home and I have been on my own since the age of ten."

"I don't pull no punches, I'm not afraid to call out no names. You screw with the transgender community and the organization StreetTransgender Action Revolutionaries[STAR] will be on your doorstep."

"The trans community has allowed, we have allowed the gay and lesbian community to speak for us. Times are changing. Our armies are rising and we are getting stronger."

"it used to be a wonderful thing to be avant-garde, to be different from the world. I see us reverting into a so-called liberated closet because we, not we, yous of this mainstream community, wish to be married, wish for this status. That's all fine. But you are forgetting your grassroots, you are forgetting your own individual identity. I mean, you can never be like them. Yes we can adopt children, all well and good, that's fine. I would love to have children. I would love to marry my lover over there [Julia Murray], but for political reasons, I will not do it because I don't feel that I have to fit in that closet of normal, straight society which the gay mainstream is going towards."

"This is a month that's very important. I may have a lot of anger but it means a lot to me because after being at World Pride last year in Italy, to see 500,000 beautiful, liberated gay men, women, and trans people and being called the mother of the world's transgender movement and the gay liberation movement, it gives me great pride to see my children celebrating."

"it seemed like everybody and their mother came out for Matthew Shepard. A white, middle class gay boy that was effeminate! Amanda Milan got killed last year, five days before Gay Pride. We waited a month to have a vigil for her. Three hundred people showed up. What kind of a—doesn't the community have feelings? We are part of the gay and lesbian community! That really hurt me, to see that only three hundred people showed up."

"I wish yous all a very happy gay pride day but also think about us"

"Before gay rights, before the Stonewall I was involved in the Black liberation movement, the peace movement. I felt I had the time and I knew that I had to do something. My revolutionary blood was going back then."

"People were very angry for so long. How long can you live in the closet? I listen to my brothers and sisters who are older than I am and I listen to their stories. I would never have made it. They would have killed me. Somebody would have killed me. I could never have survived the lives that my brothers and sisters from the forties and fifties did. Because I have a mouth."

"Marsha and I fought for the liberation of our people. We did a lot back then. We did sleep in the streets. Marsha and I had a building on Second Street, which we called STAR House. When we asked the community to help us [tears coming down face] there was nobody to help us. We were nothing. We were nothing! We were taking care of kids that were younger than us. Marsha and I were young and we were taking care of them. And GAA had teachers and lawyers and all we asked was to help us teach our own so we could all become a little bit better. There was nobody there to help us. They left us hanging. There was only one person that that came and help us. Bob Kohler was there. He helped paint. He helped us put wires together. We didn't know what the fuck we were doing. We took a slum building. We tried. We really did. We tried. Marsha and I and a few of the other older drag queens. We kept it going for about a year or two. We went out and made that money off the streets to keep these kids off the streets. We already went through it. We wanted to protect them. To show them that there was a better life. You can't throw people out on the street."

"We fed people and clothed people," Rivera explained in a 1998 interview. "We kept the building going. We went out and hustled the streets. We paid the rent." The work was of course treacherous, as Marsha P Johnson, proudly brandishing a can of Mace, once said: "It's very dangerous being a transvestite going out on dates because it's so easy to get killed." She and her sisters had to protect themselves and each other, because they knew no one else would...Johnson and her comrades innately understood the intersectional nature of their struggle, even if those who should have been their natural allies did not. Sex workers like them provided crucial material and organizational support to the early trans rights movement as well as the broader gay liberation movement, yet due to the stigma attached to their labor, even the most pivotal activists were scrubbed from the narrative. In 1973, only a few years after the Stonewall uprising, Rivera was excluded from the speakers' list at a gay pride rally organized to celebrate its anniversary because the crowd was uncomfortable with her profession. Furious, Rivera got onstage anyway and castigated the crowd for abandoning their queer sex worker brothers and sisters who had been arrested and jailed for their means of survival. "I will not put up with this shit," she shouted. "The people are trying to do something for all of us, and not men and women that belong to a middle-class white club. And that's what you all belong to!"

"Rivera was involved in protests against homophobia within the Black Panther Party, after which Huey Newton writing a letter opposing homophobia and supporting gay liberation...Rivera faced transphobia and discrimination as Pride events gained larger mainstream momentum. This boiled down in an impassioned speech by Rivera known as the “Y’all Better Quiet Down” speech...Following her death, the impact of Rivera's activism has been much more widely acknowledged, including by the queer community but also that of homeless, trans, and gender-nonconforming sex workers."

"Today Puerto Rico is suffering the most monstruous intervention as our territory is surrounded with land bases and submarine bases with powerful atomic weapons that, because of the smallness of the island, can cause the destruction of all the Puerto Ricans and the total disappearance of the island from the map of the world. And as if this horrible menace were not enough, genocide is being perpetrated in the most shameless way with a massive house to house campaign to force the women to use a u.s. form of birth control. The plan is to prevent the birth of more Puerto Ricans. At the same time, they stop the advancement of our youth when they recruit them to take them to their deaths in the fields of Vietnam. On the other hand, they have no qualms in firing over the heads of the Puerto Ricans who live on the island of Culebra and the u.s marines have the audacity to ask that the people of Culebra abandon their island because the almighty marine of the biggest empire in the world has decided to use this island as a target for their military practices."

"The schools I went to only taught yanqui history. You know stuff like George "I never told a lie" Washington, Bunker Hill, Lincoln freed the slaves. The schools were run by yanquis and discouraged the teaching of Puerto Rican history. But I had a teacher once, Carmen Maria Torres, who used to smuggle into the schools books on Puerto Rican history and she would spend time telling us about Puerto Rican heroes like Betances, and the revolution in Lares on September 23, 1968-I felt re-born."

"I was in jail for 16 years and 10 months, almost 17 years. The empire does not give recognition to the political prisoner."

"There was racial separation in jail. In one section the white prisoners, in another section the Black prisoners; I was placed with the whites. After a few years they passed an integration law in the jail. The white prisoners refused to abide by that law. I and a group of white communist prisoners decided to struggle against this racism and show those people some decency and the reality that we are all the same. We were the first to integrate. From then on, united with my Black companeras, I enjoyed the best years I had to do in that prison."

"I believe that all of today's movements are important. What is needed is unity to achieve the independence of our nation. Some times posters, other times fires, strikes, votes, all that is necessary. My hopes lie with the youth, because you have the ability to carry the word onward."

"The Puerto Rican Nation must continue. We must open our eyes to the oppressor's tricknology and refuse to be killed anymore. We must, in the tradition of Puerto Rican women like Lolita Lebrón, Blanca Canales, Carmen Pérez, and Antonia Martínez, join with our brothers and, together, as a nation of warriors, fight the genocide that is threatening to make us the last generation of Puerto Ricans."

"We identified as revolutionary nationalists' committed to ending exploitation and colonialism. We were inspired by the herstories of women activists in Puerto Rico. We learned about Lola Rodríguez de Tió and Mariana Bracetti, early fighters for the abolition of slavery and the island's independence from Spain; Luisa Capetillo and Juana Colón, working class organizers and women's rights advocates; and Lolita Lebrón and Blanca Canales, Nationalist Party militants imprisoned for their actions to free Puerto Rico. We studied the lives of African American women such as Sojourner Truth, an abolitionist and women's rights activist, and Harriet Tubman, who freed slaves through the Underground Railroad. Our sisters in the Black Panther Party were diversifying the image of the revolutionary, and we joined the protests to demand the release of Angela Davis from a California prison, and of Afeni Shakur and Joan Bird in New York. The long line of women activists, from contemporary social justice movements, became our role models and mentors."

"The machismo is so strong that there are almost no sisters in the leadership of the independence movement. Where are the Lolita Lebrons, the Canalas, the Viscals?"

"So many things were changing in our world. We looked, and we searched in revolutionary literature. Maybe we found a few pieces, but there really wasn't much because the world had never really dealt with this. We did take as heroines of our struggle Lolita Lebrón and Blanca Canales because they had been in the Nationalist Party struggle in Puerto Rico. We looked to women like Angela Davis. There were two women in the Panther 21 case at the time, Afeni Shakur and Joan Bird, who had been arrested with the brothers. We were proud that women were going on posters. That was real important because this was new. The face of the civil rights movement had been male."

"While religious men and religious women represent on our continent "a primordial evangelical and apostolic force," in Puerto Rico the laity have produced the fruits of missionary service for evangelization."

"I couldn't write my stories without the constant presence of my ancestors who await me in my dreams and my meditations, whispering their stories and reminding me of what I have forgotten. This book is dedicated to them because their stories have lived for too long under the waters of the Caribbean, unrecognized and in imposed silence. Let there be light to illuminate as-yet-to-be-told truths."

"This new woman is a mystery. To be black and a slave is to live wounded. To be black and a slave and be born in this place is to know nothing but darkness. To be a bozal, black, and a slave, who remembers the time before, is to carry a double wound, living in the darkness while constantly remembering the light. This warrior woman is wounded, lost, and still struggling against the dark. The light, not yet gone, flickers in her eyes. Interesting... (p28)"

"Working the knots has taught me something: to wait is not to waste time; to wait is to take time to see, to listen, to unfold and untangle what has come before. (chapter 10 p120)"

"She moved by rote, dragging her grief into the fields with her. (chapter 12 p149)"

"They take her in, questions hanging from their eyes. (chapter 16, p211)"

"From the time she walked away from the tortured captives, she never has a moment that is not recorded in the book of their collective memory. Their wrath lives in the atmosphere like the charged air before a hurricane. (chapter 17, p230)"

"She knows for certain that the poisonous barb of humiliation has done much more damage than the lash ever did. (p277)"

"“When are you going to see that the only way we can carry our burdens is to share them?” (p310)"

"Remember to open your heart. Learn to recognize gifts offered on your journey. (chapter 25 p325)"

"Your body is only a vessel. Your essence is inviolate. It is only when you give up your soul that you are lost."

"“We all carry our nightmares in unspoken places. The details are different, but the outcome is the same. They want to steal our humanity, to ease the weight into their own souls. Don’t you let them. Don’t give them one piece of you they can’t take. Don’t you become the empty vessel they want to believe you are.”"

"“Remember the time before the hurting, for that’s where the healing lives. Find the joy of the before and know you can find it again. You have a big heart and there are many paths to healing.”"

"Pola closed her eyes. She thought about all that had already been taken from her; her lovely fingers, her teeth, her body, her untouched womanhood, her laughter. But they hadn't taken everything. She clung to her faith, her soul, and her secret-the seed she knew was growing deep within her."

"The babble that rose around them as they stood on the pier was deafening. It sounded like no speech Pola had ever heard, the words, jagged, grating sounds that attacked the ear."

"These are the stories. My stories, their stories—just as they were told to my mother and her mother and hers. They were given to me for safekeeping, and now I give them to you. (first lines, Prologue)"

"Like a primeval wave, these stories have carried me, and deposited me on the morning of today. They are the stories of how I came to be who I am, where I am. (p14)"

"“...We all have stories. Sometimes the pain lies so heavily inside us that it can only be whispered. Sometimes it can't be spoken out loud at all. So you think you're different? There are many silences. You've got one kind but each of us has her own. Listen and you will hear them all around you...You're not alone in your pain, never have been. We're all part of each other's pain and can be a part of each other's healing too. But when you clutch on to the first, you'll miss out on the second.” (p19)"

""Nightmares are for people who refuse to listen to their hearts. People who have lost their way, who are hollow. Fear slips into those hollow places. It is the very emptiness that draws the fear." (p164)"

"“What you’ll be left with in the end will sustain you much more than any illusion you may have brought with you. Because here in addition to all the problems of poverty, political intrigue, corruption, jealousy, and sociological and historical denial, you’ll also find familia, respeto, dignidad, amor, trabajo, cariño. And yes, you will find racism, alive and well, just like you left it up north.” (p297)"

"Don’t forget that the artist still has to be a woman. Nourish them both. (p317)"

"I want you to soar. I want you to go out and find your path and create your own story. (p321)"

"(How did Daughters of the Stone come to being?) It evolved over a long period of time for many reasons. One important reason was the absence of authentic stories about Afro-Puerto Ricans in American literature. I wanted to tell our stories, our way. When I started, I thought I was going to write memoir. Very soon it became evident that I would need the freedom of fiction to include the many stories that had not been told. It wasn't about me. It was about a whole group of people who had been erased from our national dialogue."

"I don't map out my novels. I go where my characters take me. In Daughters of the Stone, I wanted to explore how the past acts as a foundation for supporting the present and building towards the future. I also wanted to explore art, and especially storytelling, as healing and guiding mechanisms in our society."

"Being a daughter of very strong Afro-Puerto Rican rural women, I could never understand the stereotype of the submissive, defeated woman who had no options and no power. I was surrounded by monumentally powerful and talented women who never got a chance to showcase their potential outside their homes and their communities. I got a good taste of it as a child in my South Bronx community. When I was sent to Puerto Rico during my formative years, ties to the past were solidified and I had a better understanding of where I came from and what gifts had been bequeathed to me. Those women who came before me didn't have the option of sharing their stories in public, but thanks to their sacrifices, I could, and I do share the stories with a much broader audience. Writing gave me a vehicle for bringing readers into the world I grew up in."

"In a world where families are suddenly and inexplicably separated, where life and death can come at any time, the community holds continuity and safety."

"The enslaved community has no material wealth, not even having ownership of their own bodies. They can lose their children, their homes, their very lives. They often lose their physical abilities which is the measure of their only value in their masters' eyes. But their spiritual beliefs and inherent gifts sustain them. They cling to that which cannot be taken away and that gives them the strength to overcome all that they have lost. Spirituality and memory are the bedrock of their existence. Storytelling is the conduit for passing on those qualities that will allow them to endure."

"When physical reality becomes unbearable, then an alternative is needed. My characters don't escape from objective reality, they simply exist in a more complex worldview than is the norm in the world they are forced to inhabit. Their perception of the world goes beyond that of the Western imaginary. Whether you call it magic or mysticism or religion or spirituality, it is that which binds the characters and allows for their survival in spite of the violence of their lives."

"My writing begins with dreaming, journaling and meditation."

"(What advice do you have to give to budding writers?) Read, read, read. Read everything and pay attention. What works for you? What doesn't? Decide which writers you love and learn from what they put on paper. Equally important, find those you don't love and learn what not to do."

"I love the African proverb “you’ll never know what happened on the hunt until you speak to the lion.” I think many readers realize that, for the most part, the story we have gotten has been from the perspective of the conquerors. That is why is it so important for us to tell our own stories. What we have been taught has been distorted, one-sided, self-serving, and incomplete, at best. I think readers are thirsty for another narrative, one that feels more authentic and truthful."

"I trust my readers to make the connections that interest them. I am a fiction writer and therefore, I have a lot of latitude. I can bend time, moving historical events like natural disasters from one decade to another, in the service of my narrative. Some interpret my work as being grounded in the Latin American school of magical realism. That’s fine. Practitioners of traditional African religions recognize themselves in the symbology of my work. That’s fine too."

"We need to keep telling this story, and many others, because they explain who and how and why we are here today. The problematic part of these stories is not that we have had centuries of suffering and trauma. The problem is that the storytellers, usually not us, have told only half of the tale. Yes, we have been enslaved, abused, and violated. But, more importantly, we have, not just survived, not just endured, but thrived. We found a way where there was no way."

"In my experience, Piri Thomas’s Down These Mean Streets was the first novel that addressed the existence of the Afro-Boricua in the U.S., and it was an incredible achievement at that time. But even with all its merits, that novel represented one version of our reality. The totality of the Afro-Puerto Rican life experience and community, like any other cultural group, went much further and was a much more complicated construct than could be addressed in one novel. I found that, in general, the black characters created by the media were treated as addendum rather than central figures. Theirs was a world of supplementary existence rather than one of primary agency or universal humanity. The media images of Latinos were olive-skinned, stereotypical, and absent of any of the dignity and humanity of the world I saw around me. I wanted to break that stereotype and start from the beginning, in Africa, because I wanted to write about the entire journey of my people from West Africa to colonial Puerto Rico to urban America."

"My intent was, and continues to be, giving face and voice to a community that has been, at worst, silenced or, at best, ignored. Recent episodes in our history make that erasure crystal clear."

"My characters’ strength, whether in private or public spaces, comes from community and from the overriding faith and inner fortitude that comes from African religion and traditions. This belief system informs their daily lives and is the core of the endurance that has helped them survive through the brutality of enslavement. For instance, the presence and guidance of the ancestors is integral to their faith. This system of belief supersedes their daily reality of violence and limited agency. They share their belief with their black communities, and in this way, the private belief system becomes public. But beyond that, white characters begin to gravitate towards that system when their own fails them."

"(Writing motto:) "You'll never know what happened in the hunt until the lion's story.""

"I came from an Afro-Puerto Rican middle class family that was hard-working and very proud of its heritage and personal accomplishments. So the images of Puerto Rican gangsters, loose women and heroin addicts that were paraded in the media had nothing to do with my reality. Some of our people did lead those lives, but they weren't the majority in my community. The negative images that were ascribed to us all incensed the adults in my life who were too busy providing for their families to raise a potent political voice. As I grew older, I realized that the stereotypes were not just offensive but dangerous as well. Regardless of my experience, those images persisted, shaping the cultural perceptions of my community. I still meet people who can't believe I'm Puerto Rican because I speak English so well or, as I was told lately, insist that I couldn't possibly be Puerto Rican because Puerto Ricans are white. Those stereotypes and racist caricatures are out there still. It's my job to keep creating new and authentic images for our community."

"Coming from a traditional Puerto Rican family, I wasn't allowed to express my displeasure at or disagreement with my parents' point of view in any meaningful way. Since I couldn't 'talk back', I started writing."

"Eventually, I came to understand how liberating fiction would be. I would be free to let my imagination soar. I could include the stories of my family and add to the many stories I was given by friends and students who shared their lives with me as well. Fiction gave me the freedom to adjust, invent, build bridges, raise my figurative voice and superimpose a structure on the images I had been collecting all along. It gave me permission to omit the extraneous and sharpen the essential. I could inhabit my characters' thoughts, explore their innermost feelings and tell their stories from various perspectives. I could experiment with language, both English and Spanish, using the rich vernacular of my youth, in both the Bronx and rural Puerto Rico, creating a bilingual, bicultural, biracial world. I had a whole set of tools at my disposal that would allow me to tell many stories my way. In fact, I could write metaphorical narrative of the Afro-Puerto Rican journey from 19th century Africa to colonial Puerto Rico to contemporary urban America, something I knew had never been done in American letters. In a sense, I could become the storyteller for all of them, a modern day griot of Afro-Puerto Rican tradition. For years, I had been a receptor, collecting stories and holding them in trust. Now I knew why. Seeing my work within the framework of narrative fiction, was like pushing aside a curtain and seeing the world for the first time. Writing this novel became my primary goal."

"If fiction gave me the freedom to create on a grand scale, meditation gave me a compass to navigate my story."

"If you can put your ego aside, rejection can help you grow a very thick skin, which you will need to defend your creative universe. Chances are that no publisher is holding his breath waiting for your work to make him immensely rich. There are too many variants in the publishing world and most of us don't have the juice to command instant literary stardom. If you do, that's fabulous. Congratulations. But for the rest of us, we'll need to be strong and believe in our vision enough to withstand the naysayers."

"Like most of us, emerging writers will only succeed through hard work and the humility to accept that they don't have all the answers. My advice is this: read, read, read. The artists who came before you worked really hard, paid their dues and solved problems as they went along. Some of them died never having received the honors they so merited. You have the benefit of their work. Study them. How did they create believable and compelling characters? How can you tell a story when your narrator is unreliable? How can the setting enhance the lives of the characters you have created? How do you choose which details to include and which to omit? How can you find fresh and evocative language? These are all important questions when writing your story. Don't try to reinvent the wheel when there is so much help out there if you only learn from those who took this journey before you. Instead, study them carefully, decide what you like and don't about every novel you read. And keep writing and keep reading. In the process you will find your own voice and, perhaps, become the next new literary genius."

"If you aren't willing to fight for your work, no one else will either. If you feel you have an important story to tell, you have to be willing to go to the wall for it. That said, no one is perfect or infallible. All writers, no matter how successful, have much to learn. The day we believe we have nothing more to learn is the day we start stagnating. It's important to find people who understand your universe and support your vision. It's important to keep honing your craft, keep growing with the changing times. It is as important to listen as it is to raise your voice."

"I really believe there are no coincidences. I have learned to trust intuition and watch for the paths that open in my journey."

"Dahlma Llanos-Figueroa’s novels are as necessary to Puerto Rican literature as rice and beans are to the Puerto Rican diet. A Woman of Endurance should be taught as both history and literature of las Americas; it cements Llanos-Figueroa as an urgent and critical voice for our times. Her rigorous and compassionate attention to the human experience of the horrific legacy of enslaved Black people in Puerto Rico is a triumph for literature, Puerto Rican and otherwise, and a testament to the enduring spirit of human beings."

"Let us speak out not as experts, but rather as Pastors of the American continent."