Alicia Steimberg

"I learned to distrust the smiles that abounded at those social events. As soon as Grandma returned home from the party and put on her housecoat, her true colors emerged. Her face reflected an existence full of suffering, yoked to the side of a silent husband and daughters who fought like wild beasts, feeding on their insatiable bitterness."

"She would laugh until she choked, never noticing if anyone else shared her mirth."

"My mind is full of holes where knowledge ought to be."

"they’ve forgotten me, just as you forget a fly that you’ve just shooed away a few seconds before."

"This year our classroom faces the street. The window’s very high, so from our desks we can’t manage to see the people passing by. You might say this is a kind of jail, and we can only guess at the faces of the free people walking around out there. But it’s not true. This isn’t my prison: it’s my freedom. In here, I’m not who I am, but who I want to be, or rather, I’m the most presentable part of myself. I’ve left at home the Jew, the sinner, the girl who replaces the missing fastener on her garter belt with a safety pin, the one who prepares her thermos of café con leche to face the icy mornings, the one who thinks about penises, vaginas, and coituses. To school I bring the nice, lively girl, the one who knows how to make the others split their sides laughing, the one who says she’s Catholic, although nobody believes her, the one who invents lies about her ancestors, but who, on the whole, is acceptable and even envied, because now that the clouds of her earliest years have parted, she understands everything and can even explain it. I’m sixteen years old, seventeen. I’m split in two pieces that are, nonetheless, irreconcilable, and for a long period of my life I’ll go on that way: split in two."

"Steimberg was the first woman writer in Argentina to write with subversion and tenderness about the immigrant condition in Buenos Aires. Like Margo Glantz's Genealogías, Steimberg's is a fundamental autobiography in the Latin American canon."

"Alicia Steimberg...recovers the almost hidden magic of objects that appear and that are transformed in her stories of life as occurs in "Viennese Waltz" or "Segismundo's Better World.""

"She was a teacher to her marrow, as evinced by two recent publications of which she was very proud, Aprender a escribir (Learning to Write), Volumes I and II."

"Like most great souls, Alicia didn’t take herself too seriously."

"it was in Buenos Aires, her native city, where Alicia was most at ease, most relaxed. I’ve had the privilege of wandering along the streets of that great city in her company, while Alicia pointed out the churches, cafés, and parks that occupy the pages of her books. There, the allusions that had previously been just verbal icons for me suddenly became sounds, smells, vital experiences. Of course every three or four blocks we had to stop for an espresso, that potent Argentine libation that seemed to fuel her unflagging energy and which she described in The Rainforest as “one of life’s great pleasures.” Alicia never distinguished between the minutia of everyday life – the aroma of coffee, a recipe for pastel de papas, the intimate language of eroticism and the erotic intimacy of language – and her constant preoccupation with the “big,” transcendental questions. Cecilia, for example, the protagonist of The Rainforest, compares the incessant comings and goings of ants with the human condition: “I don’t admire or torture [ants] anymore, as I did when I was a kid, but sometimes, since I have nothing else to do with my time, I get the urge. To pick up an ant and place it way back at the end of the line, ever so carefully. How would I feel if an enormous hand were to lift me up and deposit me at the end of the line at the bank or the post office?” That enormous hand belongs, of course, to the Deity in whom Alicia sometimes believed and sometimes didn’t. It’s the elusive figure whose presence, called for or not, can be felt behind all her existential speculation, linguistic games, frank humor, and anguished, hopeful characters. It’s the stentorian voice that addresses the protagonist of Call Me Magdalena, asking: “Would you like to see my enormous Countenance outlined in the sky?” and to which she candidly replies, “I’d be scared shitless, immense God.” Moments later, when, despite Magdalena’s fears, the image of the Divine Face appears before her, they engage in a pleasant dialogue about the destiny of the Jews in the Hereafter, concluding that, although it’s “not mandatory” for Jews to go to Heaven, if they choose to go they’ll find no anti-Semitism there. In fact, adds the Lord reassuringly, “We’ve all learned a little Yiddish.” This perfect confluence of irreverence and seriousness is what I believe best synthesizes the essence of Alicia Steimberg’s work and characterizes the irrepressible ebullience of the woman."