108 quotes found
"The King's colours were white and black, which he always wore in honour of the Duchess of Valentinois, who was a widow. The Duke of Ferrara and his retinue had yellow and red. Monsieur de Guise's carnation and white. It was not known at first for what reason he wore those colours, but it was soon remembered that they were the colours of a beautiful young lady whom he had been in love with, while she was a maid, and whom he yet loved though he durst not show it. The Duke de Nemours had yellow and black; why he had them could not be found out: Madam de Cleves only knew the reason of it; she remembered to have said before him she loved yellow, and that she was sorry her complexion did not suit that colour. As for the Duke, he thought he might take that colour without any indiscretion, since not being worn by Madam de Cleves it could not be suspected to be hers."
"The text is a practice that could be compared to political revolution: the one brings about in the subject what the other introduces into society."
"My two favorite theorists are Kristeva and Bakhtin, both of them because they see writing as infinite possibility, in which one plays with cultural and linguistic conventions rather than being limited by them."
"I don't care when I was born, if I'm 50, 60 or 70. It's important that I am alive."
"I hate to spread rumours: but what else can one do with them?"
"I'd grown up thinking I was ugly, ugly, ugly. I was much too tall, I was much too skinny, I was flat-chested, I had my mother's Asian eyes and cheekbones so I looked foreign compared to all my girlfriends, my mouth was too big and my teeth were too big so I never smiled. And then Françoise Hardy had her breakthrough in France and everything suddenly changed. Before her you were supposed to look like Brigitte Bardot, blonde, curvy and busty. But I was about twenty when people started telling me "You know what, you look a little like Françoise Hardy, you could be a model" and then out of the blue this famous woman, the great Catherine Harlé turns up. By sheer accident she happened to see me in the street in Paris and asked me if I wanted to be a fashion model and I thought she was joking! And she said "No, no, no, you're exactly the type of girl we're looking for" and all of a sudden all of these flaws, all the things I'd been so ashamed of, became my greatest assets. By sheer accident, as most things in my career."
"I knew nothing when I first met him. He taught me to see things through his eyes. Dalí was my teacher. He let me use his brushes, his paint and his canvas, so that I could play around while he was painting for hours and hours in the same studio. Surrealism was a good school for me. Listening to Dalí talk was better than going to any art school."
"In Italy I'm big because they're all so sex-obsessed. In Germany I succeeded because they've been waiting for someone like Marlene Dietrich to come along ever since the war. I played on their need for a drunken, nightclubbing vamp. And I've won the gays, who are crucial because they have all the best discos, entirely because of the extraordinary legends about me."
"The Germans told me "We're going to conquer the world!" and I don't regret working with a German record company at all, because for my career it was great, but they wanted to control me, direct me and restrict me. They wanted absolute discipline and that's not the life for me, so after a few years of that I wanted out."
"People only know me as a celebrity and don't realize how much more important art is to me than makeup and set costumes. Show business pays the rent, but painting is my only true passion, so I define myself as a painter who works in show business. Art is a kind of therapy to me, thanks to which I can interpret my feelings. An empty canvas before my eyes is synonymous with the absolute freedom of expression."
"Compilations, to me, are embarrassing. To bring out a compilation, to me, is to say, "Look. I've got no new material so please buy this. I need money to pay the rent." I think it's very embarrassing. And that is very annoying because the record company owns all those titles and they don't ask me for my advice. They just decide to release "the best of" compilations and they put out a lot of very bad quality music. There are a couple of good titles but the rest are just tracks to fill out the album. And they know very well that they can't rely on me promoting them because I won't promote such records."
"I am the sort of writer who needs another form to tell me who I am and what has happened to me…I think all my novels are self-portraits, but there’s no one character who resolves me, or catalyses me, or is me."
"I began to think about its double nature: on the one hand you have an organ in your body and on the other you have a symbol of love. From that time I started to pursue the image of a heart crossing the night from one body to another. It is a simple narrative structure but it’s open to a lot of things. I had the intuition that this book could give form to my intimate experience of death."
"So the novel is a race, and I can see the finish line from the first sentence: it’s an intuition that magnetizes the entire text. The closer I get to the goal, the faster I want to go. There’s even a sense of urgency, of hurrying, as though I was out of breath and had to, at all costs, finish before I ran out of strength. So I find that my endings are often too quick, not unfolded enough, not majestic enough…"
"I love when a crucial novel leaves a trace in my memory. In this, its ending plays a significant part—creating a wake effect that is never erased."
"Booing the Marseillaise is a very symbolic gesture, especially when it comes from French nationals. France was built on an unwritten national contract, that of a community sharing not only the same geography but also a sense of a common destiny. The Republican model is that of integration and togetherness, not of peaceful cohabitation between separate communities, as with multiculturalism. Integration supposes a will to integrate and a desire to live together. Since the 1960s, the French left has shied away from any debates brushing on anything linked with, in its eyes, the awful word of "nationalism", forgetting that the political concept born in the 1840s was a progressive one."
"I was 12 when I first saw Les Enfants du Paradis, at the Ranelagh theatre in Paris, a stone's throw from Balzac's house. The neo-Renaissance theatre screened this story of mimes, actors, impresarios and swindlers every week-end for more than 20 years until the 35mm print became too fragile. Two generations of cinephiles did as we did, going up the little street like pilgrims on a quest. If God was a film director, he would have made this film, thought the child that I was. Later in my teens, I would go back to the Ranelagh, dragging school friends along. If they didn't get it, I'd never speak to them again."
"Prévert wrote the part of Garance for Arletty, France's biggest star before Bardot. Garance and Arletty are the same and one woman, the epitome of the Parisian, according to Prévert: strong, independent, witty, impudent, mysterious, the kind who casts spells, whose laugh ricochets, the kind who loves life and whom life loves."
"I was called Agnès after a character in a Molière play. When I looked at names for my daughter, I wasn't sure until Garance was uttered, and that was it."
"During the war, some publishers chose to close down rather than collaborate with the Nazi occupation, while others—like Gallimard—decided to remain open and negotiate with the German authorities. Appointing an outspoken fascist writer like Drieu La Rochelle to a crucial position at Gallimard pleased the Nazi overseers and created a clever smokescreen—for the résistants, too, were operating from the offices of Gallimard. One was the long-time editor of the literary journal La Nouvelle Revue Française, Jean Paulhan. The two writers' tiny offices stood next to each other. How could they cohabitate? Easily enough, it turned out: such was Paris during the Occupation, a place of moral ambiguity, of cowardice, treason, and courage living side by side. Drieu the collaborator and Paulhan the résistant coexisted without rancor, their love of literature cementing their mutual respect. For four years, they published both rightist and leftist authors under the noses of the Nazis. For them, as for Gaston Gallimard, one thing only counted above all else: the talent of the writer."
"The uncanny thing about spinal surgery, or at least the kind I had, is that I’m not allowed to sit down for three months. I can lie down or stand up, or at most perch on the edge of a bar stool for no more than 15 minutes at a time. This means reading and writing standing up, changing positions often and lying down to recuperate in between. My horizontal life has thus been rich and allowed for hours of listening: radio documentaries about Victor Hugo, radio dramas such as the Charles Paris mysteries, and mindfulness meditation podcasts during which I have discovered the art or rather science of proprioception; in other words the awareness of one's body position in space through nerves, muscle and joints."
"Eve Gilles' win at this year's Miss France is cause for celebration – it is a continuation of a longstanding French tradition of championing unique beauty and saying merde to conventions. Vive la différence!"
"If Britain were indeed a person, one could add that it suffers from body dysmorphic disorder and mythomania."
"We women treasure faces; in fact at any given moment life becomes a single face that we can touch with our lips."
"According to the El Paso Morning Times, in 1914 there were seventeen thousand men and four thousand women in Pancho Villa's army, but there are many other statistics that show that, without the soldaderas, there would have been no Mexican Revolution."
"The locomotive was the main protagonist of the Mexican Revolution, but the Adelitas and Valentinas came a close second."
"Nellie Campobello, a great writer, published Cartucho (Cartridge) in 1931. Her explosive book was more like a grenade that laid bare the tragedy of the Mexican Revolution. In a succession of brief chapters, Nellie sketches a cruel, stark picture of the uprising as seen through the eyes of a little girl who was born before original sin. There are dead men-killed in battle or executed by firing squad-on every page. The girl eagerly watches from her window as men are shot down, and their corpses become her toys. When her favorite one is finally taken away, she misses it because it has entertained her for five days…If Nellie Campobello had not recorded her experiences, we would have been deprived of the most creative view of the Mexican Revolution ever written. Yes, I know, we have the writers Mariano Azuela, Martín Luis Guzmán, Rafael F. Muñoz, and the boring Francisco L. Urquizo, but there is no one as authentic as Nellie, no one who could say, as she did…Nellie Campobello-who wrote two novels, Cartucho and Las manos de mamá (A Mother's Hands)-was never granted the legendary status she deserves despite the fact that she is the only woman to have authored works about the Mexican Revolution. Her colleagues never acknowledged her nor paid her tribute of any kind, so much so that we are unsure exactly when and how she died."
"I write in order to belong."
"Widows used to go around the way the poet Jaime Sabines would like them to: "There is one way, my love, that you could make me completely happy: die." Now widows are not even merry."
"I absorbed Mexico through the maids. A system still persists in Latin America which consists of privileged people having at their beck and call the poorest of the poor."
"Without realizing it the maids provided me with a version of Benito Juárez; they were all like Benito Juárez. Like him they vindicated themselves: "Dirty foreigners." Like him they defended Mexico, as stubborn as mules. Like him they had no roof of their own and had eaten only poor people's food, and for me, a girl raised on French mashed potatoes, discovering them meant entering into "the other.""
"To this day, if I ask so many questions, it is because I don't have a single answer. I believe I will die like this, still searching, with a question mark engraved on my eyelids."
"in Latin America reality surpasses fiction."
"Life is very resistant. People-the same cannon fodder that nourishes great universal misfortunes, "the wretched of the earth," as Frantz Fanon called them. Suddenly, during an earthquake, one of them saves a life."
"I would like to return to earth because I love life."
"Carefully I asked them questions, visited them in their crowded neighborhoods, watched their kites cross the sky in February, treated them like kites, because that's how testimonial literature is. It fills one with anxiety, with insecurity. One handles very fragile material, people's hearts; their names, which are their honor; their work; and their time. And one tries to turn it into memorable material."
"I have always responded to challenges, followed apocalyptical personalities, apostles, Rasputins, Joan of Arcs who hear voices that come from Heaven, illuminated guides of humanity, holders of truth, priests."
"I live to the rhythm of my country and I cannot remain on the sidelines. I want to be here. I want to be part of it. I want to be a witness. I want to walk arm in arm with it. I want to hear it more and more, to cradle it, to carry it like a medal on my chest. Activism is a constant element in my life, even though afterwards I anguish over not having written "my own things." Testimonial literature provides evidence of events that people would like to hide, denounces and therefore is political and part of a country in which everything remains to be done and documented."
"I have always had questions, and to this day, I don't have a single answer."
"I have always been drawn to characters like Jesusa Palancares. María Sabina, the one who performed the ceremony of the sacred mushrooms (LSD in Oaxaca), Juan Perez Jolote (the Chamula peasant from Chiapas), Demetrio Vallejo (the railroad leader), all popular heroes, even if they are not recognized. I admire them because of their wisdom and the way they impart it, with great patience, great prudence, with respect for the ignorance of the person who asks the questions."
"That the poorest Mexicans don't deserve their ruling class is a truth that leaps out at once."
"We have all been made bad, we are all needy, all unwanted guests around the feast, invited at the last minute. In recognizing this lies our creativity."
"I learned, as they say, by doing. I began as an interviewer for the society pages of Excélsior—the only sort of thing a young woman could expect in those days...Since Excélsior is a daily paper, I had to produce these pieces every day with almost no time for review. Then I would read them in print and see that I had spent too much time on things of little importance and failed to ask about what mattered most. And so,with frequent embarrassment, that is how I learned. One also learns humility doing interviews, because people may not want to give you much time and so keep you waiting in an anteroom or are dismissive or in a bad mood, and all this has to be accepted."
"Of course, imaginative writing always contains elements of the writer’s lived experience, but there is a different sort of freedom in it than there is in reporting or in novels based on interviews."
"style, as I see it, is not an adornment added to a work. It is more, as Buffon said, that “le style c’est l’homme même”—style is the man himself...That famous line is actually the conclusion of a longer thought—“Writing well consists of thinking, feeling and expressing well, of clarity of mind, soul and taste.” In my own words, I would say that style is a manifestation of the writer’s being, which, of course, changes over time but retains something essential of who he is...One does not develop a style. One develops oneself. Or, perhaps more accurately, one is born with a certain character and life shapes it. And then, if you write or paint or sculpt, you do those things with the person you have become. And that is style."
"if I had been, say, a French writer, I would have been free to write whatever I wished, which would have been writing of an imaginative sort. But in Mexico, because of the suffering that is the result of centuries of corruption, there is a moral obligation to write of this. I could not ignore it, and, because I have become known for it and have refined my ability to write this way through practice, it became my principal work."
"Boundaries, after all—of custom, of language, of what is and is not permitted—not only function to keep others out but also keep those inside from expanding."
"It is one thing to identify oneself as a citizen of a country and to love its landscape, its people, its arts and culture. It is quite another thing to assess the workings of its social and political structure—the degree of freedom and opportunity enjoyed by its people, its standard of education and quality of life. A Mexican peasant has virtually no chance of becoming anything else. The standard of education was low fifty years ago and, if anything, is even lower today."
"There is an immense abyss between the very few who have money and the vast number who are poor—and there is scarce concern on the part of those who have for those who do not. The politicians can be numbered among those who have. So my being a Mexican writer and loving my country has come to find its expression in opening up this reality to other Mexicans and to the larger world, expressed through the voices of the least empowered—women, especially, and poor people of both genders."
"The question of being encouraged or discouraged by this or that event cannot be asked if one is to go on with a certain moral conviction."
"The ultimate outcome of our actions cannot be known. But despite our limited awareness, I believe we must always act with compassion."
"Like the Mexican writer Elena Poniatowska, I have tried to tell the stories my characters would tell if they were writers"
"(What moves you most in a work of literature?) I’m not yet the writer I aspire to be, but at my age, great books written by women over 60 give me hope. Diana Athill, Colette, Harriett Doerr, Marguerite Duras, Grace Paley, Elena Poniatowska, Jean Rhys, Mercé Rodoreda, to name but a few."
"(What Mexican books deserve greater attention in the United States?) I read Spanish too slowly to have any expertise here. But I do love and admire the works of Elena Garro, Elena Poniatowska and Rosario Castellanos, and, most recently, Fernanda Melchor and Cristina Rivera Garza."
"Working-class women's literature, women of color, specifically Latina women's writing like my friend Ana Castillo's, or my friend Cherrie Moraga's, Helena Viramontes's, Elena Poniatowska's, and Marguerite Duval's sends me all the way to my typewriter as much as Manuel Puig's stories."
"In light of her later books, we tend to read irony into Elena Poniatowska's claim of meek docility, but the lesson of her early interviews predicts Audre Lorde's eloquent and cautionary charge that "the master's tools will never dismantle the master's house. They may allow us temporarily to beat him at his own game, but they will never enable us to bring about genuine change. And this fact is only threatening to those women who still define the master's house as their only source of support.""
"I would suggest that in its depiction of Mariana and Luz, La "Flor de Lis" offers a concrete and particularized version of what Adrienne Rich describes as the terrible ambivalence-love, anger, rivalry, desire, rejection-that the daughter feels for the mother in patriarchy."
"For a long time it was supposed that Semites, Aryans and Mongols may have shared a common birthplace somewhere on top of a mountain, from whence the three races then dispersed and quickly turned their backs on each other, in accordance with the story of the “tri-color” descendants of Noah’s three sons; this is simply the invention of a myth which, unlike its ancient counterparts, does not even have the merit of symbolizing history. It amounts to a retelling and a renewing of the tale of the Earthly Paradise, with less poeticism and even less common sense."
"This controversial scholar, the first translator of Darwin and by extension the first promoter of “social Darwinism” in France, stated in her preface to the Origine des espèces that the most courageous “races” had overcome the others since “man, having become the stronger, could impose himself on the mate that pleased him most; and hence woman, who had nothing to do but please and submit, became more and more beautiful, in accordance with man’s ideal, man who himself became even stronger, having only to fight, command, and protect.” Thus we see the “reckless and blind” error of Christianity and democracy which scorned natural selection: “while all care, all devotions of love and pity are considered to be owed to the deposed and degenerate representatives of the species, there is nothing to encourage the development of the emerging force or to propagate merit, talent and virtue.”"
"There is a degree of coherence when, in the context of the Indo-European question, such robust biological racism is associated with a thesis that is both Euro-centrist and migrationist; this is in contrast to Broca’s “entrenched” anti-linguistic autochtonism. In the opinion of Clémence Royer, “a race that is powerful enough to overrun all of Europe and all of western Asia cannot have had its origins in a Pamirian valley; mountain peoples are peoples who have retreated and defend themselves; they are never conquering peoples.” Yet “the blond European race, as a whole, appears to have always been a race of travelers, a race that is essentially war-like and conquering.” “In the end, these high plateaus of Asia can be discounted; once we wanted to believe that these plateaus were the birthplace of everything but all they have ever given rise to are avalanches.”"
"Love is a capricious creature which desires everything and can be contented with almost nothing."
"Love makes mutes of those who habitually speak most fluently."
"How many people assume boldly the mask of virtue!"
"Women should despise slander, and fear to provoke it."
"The head, however strong it may be, can accomplish nothing against the heart."
"Love is — I know not what; which comes — I know not whence; which is formed — I know not how; which enchants — I know not by what; and which ends — I know not when or why."
"You only have to travel around the world, especially in Africa for example or in the Maghreb, to see how much of an appetite there is for French."
"My first mission will be to de-age the very notion of Francophonie, to restore its luster, its youth, its dynamism."
"I speak French, English and an Arabic dialect. This is something that is very natural for me and that I don’t think about."
"Abroad, French often has the reputation of being a difficult, highly literary language. A rarified language that belongs to intellectuals. However, it is important to show young people that it is also a language of modernity, a language of rap and slam poetry, for thinking about the world of tomorrow and inventing. And also that French is also a useful language through which you can find work."
"It is a fascinating and very rewarding job on a human level. French is a global language, which lives and flourishes on all the continents, with accents, turns of phrase and metaphors which belong to each landscape. It is quite extraordinary to see the flexibility of this language and to understand its constant creolisation and transformation."
"( Emmanuel Macron)The President of the Republic has decided to entrust, as of today, the function of Personal Representative of the Head of State for the Francophonie to Ms. Leïla Slimani. According to the mission letter she received from the President of the Republic, Ms. Slimani will represent France on the Permanent Council of the Francophonie"
"On the one hand, then, in the reproductive functions proper—menstruation, defloration, pregnancy, and parturition—woman is biologically doomed to suffer. Nature seems to have no hesitation in administering to her strong doses of pain, and she can do nothing but submit passively to the regimen prescribed. On the other hand, as regards sexual attraction, which is necessary for the act of impregnation, and as regards the erotic pleasure experienced during the act itself, the woman may be on equal footing with the man."
"Unclassifiable, defying any definition, they (the beguines) rejected both marriage and the cloister. They prayed, worked, studied, moved around the city without restrictions, travelled and received friends, owned property, and could pass it on to their sisters. Independent and free. A freedom that no woman had ever enjoyed before, nor would enjoy for centuries to come. Not all of them were aware of this. But some fought to preserve that freedom. (introduction)"
"There are many ways to live one's faith outside the Church. Not all beguines are fortunate enough – or have the opportunity – to be welcomed into large institutions such as the one in Paris. Many live in large groups in small houses in the city centre and work. Others prefer to live alone. Some, the so-called wandering beguines, beg and preach in the streets. (chapter 10)"
"She had prayed and made offerings to Mary, who had given birth to Jesus; to Saint Anne, Mary's mother, who, having been barren for twenty years, had been told by an angel that she would give birth to a daughter; to Saint Cunegonda who, despite having taken a vow of chastity with her husband, Emperor Henry, prepared miraculous potions to help women conceive. (chap. 19)"
"Her husband had slipped a gold ring set with a fine ruby onto her finger, and her mother-in-law had given her a birthing bag which, in her time, she herself had tied to her thigh for the duration of her pregnancy. “It contains a parchment recounting the birth of Margaret of Antioch. It will protect you from a brutal death, as it protected me.” Swallowed by a dragon, Margaret of Antioch had escaped from the beast's belly by piercing its spine with her cross. My son, Hades had thought, will not have to resort to violence to come into the world. When the time is right, I will open myself wide and he will slide out without pain. He will be born with rosy skin and a healthy complexion. (chap. 19)"
"The energies of the soul slumber in the vague reveries of hope."
"Very few people know what love is, and very few of those that do, tell of it."
"Men call physicians only when they suffer; women, when they are merely afflicted with ennui."
"To weep is not always to suffer."
"If you would succeed in the world, it is necessary that, when entering a salon, your vanity should bow to that of others."
"Homeliness is the best guardian of a young girl's virtue."
"Jealousy is the homage that inferiority pays to merit."
"In retailing slander, we name the originator, in order to enjoy a pleasure without danger."
"One seeks new friends only when too well known by old ones."
"Men are so unjust that to be unhappy is to be wrong."
"A great name without merit is like an epitaph on a coffin."
"Would you know how to give? Put yourself in the place of him who receives."
"It is the merit of those who praise that makes the value of the commendation."
"To envy anybody is to confess ourselves his inferior."
"To love is to make a compact with sorrow."
"In love, great pleasures come very near great sorrows."
"Benevolence rejuvenates the heart, exercise, the memory, and remembrance, life."
"Calumny spreads like an oil-spot: we endeavor to cleanse it, but the mark remains."
"A woman would be in despair if nature had formed her as fashion makes her appear."
"In a tête-à-tête we are never more interrupted than when we say nothing."
"Virtue and Love are two ogres: one must eat the other."
"I have seen more than one woman drown her honor in the clear water of diamonds."
"For my part, I remained a close prisoner, without a visit from a single person, none of my most intimate friends daring to come near me, through the apprehension that such a step might prove injurious to their interests. Thus it is ever in Courts. Adversity is solitary, while prosperity dwells in a crowd; the object of persecution being sure to be shunned by his nearest friends and dearest connections."
"Besides, I had found a secret pleasure, during my confinement, from the perusal of good books, to which I had given myself up with a delight I never before experienced. I consider this as an obligation I owe to fortune, or, rather, to Divine Providence, in order to prepare me, by such efficacious means, to bear up against the misfortunes and calamities that awaited me. By tracing nature in the universal book which is opened to all mankind, I was led to the knowledge of the Divine Author. Science conducts us, step by step, through the whole range of creation, until we arrive, at length, at God. Misfortune prompts us to summon our utmost strength to oppose grief and recover tranquillity, until at length we find a powerful aid in the knowledge and love of God, whilst prosperity hurries us away until we are overwhelmed by our passions. My captivity and its consequent solitude afforded me the double advantage of exciting a passion for study, and an inclination for devotion, advantages I had never experienced during the vanities and splendour of my prosperity."
"The theorist should not let us forget the poet."
"No longer is it a matter of the narrow roads where traditional beauty is offered in its clarity and obviousness to the admiration of the crowds. The crowds were taught the victory of intelligence over the world and the submission of the forces of nature to man. Now it is a question of seizing and admiring a new art which leaves humankind in its true condition, fragile and dependent, and which nevertheless, in the very spectacle of things ignored or silenced, opens unsuspected possibilities to the artist. And this is the domain of the strange, the Marvelous, and the fantastic, a domain scorned by people of certain inclinations. Here is the freed image, dazzling and beautiful, with a beauty that could not be more unexpected and overwhelming. Here are the poet, the painter, and the artist, presiding over the metamorphoses and the inversions of the world under the sign of hallucination and madness....Here at last the world of nature and things makes direct contact with the human being who is again in the fullest sense spontaneous and natural. Here at last is the true communion and the true knowledge, chance mastered and recognized, the mystery now a friend and helpful."
"Our problem now is to determine whether the Ethiopian attitude that we discovered was the very essence of our whole way of living can be the point of departure for a viable cultural style, however grandiose this may seem. It is exalting to imagine on these tropical islands, restored finally to their inner truth, a lasting and fertile harmony between humankind and the earth--under the sign of the plant. We are at last called on to know who we are. Splendors and hopes await us. Surrealism has restored to us some of our chances. Now it is up to us to find others. In its light. Understand me well: It is not at all a question of going back, to resurrect an African past which we have learned to know and respect. It is rather a question of mobilizing all the mingled living forces on this soil where race is the result of an endless mixing, of becoming conscious of the formidable mass of diverse energies that we have heretofore locked up within ourselves. We must now put them to use in all their fullness, unswervingly, and without falsification. So much for those who think we are mere dreamers! The most troubling reality is ours. We shall act. This land of ours can only become what we want it to be."
"Surrealism lives! And it is young, ardent, and revolutionary. In 1943 surrealism surely remains, as always, an activity whose aim is to explore and express systematically--and thus, neutralize--the forbidden zones of the human mind, an activity which desperately tries to give humankind the means of reducing the old antinomies, those "true alembics of suffering," and the only force enabling us to recover "this unique, original faculty, traces of which are retained by the primitive and the child, and which lifts the curse of the insurmountable barrier between inner and outer worlds." But surrealism, further proving its vitality, has evolved-or, rather, blossomed. When Breton created surrealism, the most urgent task was to free the mind from the shackles of absurd logic and of so-called reason. But in 1943, when freedom herself is threatened throughout the world, surrealism, which has never for one instant ceased to remain in the service of the largest and most thoroughgoing human emancipation, can now be summed up completely in one single, magic word: freedom."
"Such is surrealist activity, a total activity: the only one capable of liberating humankind by revealing the unconscious, an activity that will help free the peoples of the world as it illuminates the blind myths that have led them up till now...far from contradicting, diluting, or diverting our revolutionary attitude toward life, surrealism strengthens it. It nourishes an impatient strength within us, endlessly reinforcing the massive army of refusals. And I am also thinking of tomorrow. Millions of black hands will hoist their terror across the furious skies of world war. Freed from a long benumbing slumber, the most disinherited of all peoples will rise up from plains of ashes. Our surrealism will supply this rising people with a punch from its very depths. Our surrealism will enable us to finally transcend the sordid antinomies of the present: whites/Blacks, Europeans/Africans, civilized/savages-at last rediscovering the magic power of the mahoulis, drawn directly from living sources. Colonial idiocy will be purified in the welder's blue flame. We shall recover our value as metal, our cutting edge of steel, our unprecedented communions... Surrealism, tightrope of our hope."
"No important figure in the history of surrealism has been so overshadowed by a spouse as Suzanne Césaire, wife of poet/playwright Aimé Césaire. In view of her undeniably crucial role in the development of surrealism as well as of Négritude, it is astonishing how rarely she is mentioned in the voluminous critical literature on these movements."
"surrealists had questioned technology, "progress," and the dominant Euro-American attitude toward nature long before 1940. However, it was this young Black woman, Suzanne Césaire, and her surrealist friends on a tiny island in the Caribbean during a time of imperialist world war who, more than anyone else, made these issues paramount concerns of surrealists everywhere. In Tropiques the need for radical change in the relations between humankind and nature was presented with special urgency, as an inseparable component of poetic activity and revolutionary struggle. Interestingly, the first appearance of the word ecology in a surrealist publication turns up in this journal."