Women Authors From France

"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."

"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."

"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."

"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."

"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."

"If Britain were indeed a person, one could add that it suffers from body dysmorphic disorder and mythomania."

"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!"

"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."

"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."

"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."

"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 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."

"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."

"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."

"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 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 hate to spread rumours: but what else can one do with them?"

"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."

"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."