Women Authors

"She went back into the room and carefully locked the door to the balcony, as if she could lock out all the evil events of the night. ("The End")"

"June turned into July; the linden trees perfumed the air; the frogs croaked in the river; the dogs bayed at the moon; the nights were bright and sleepless. The white posters demanded tribute. The Jews gathered gold and silver, coffee and tea, and money, money. The Landrat insisted on silver tableware and valuable china. From nearby towns came news of gold and silver, of coffee and tea and money, money. Gold and silver, coffee and tea, were supposed to buy peace and quiet in the town, peace that was not peace, quiet that was not quiet. "People are naive," Szymon shouted, "whoever believes them is naive. This is only the prelude," he shouted, "only the beginning." He did not say what it was the beginning of. He didn't have to."

"My only real possession was a dream and they can't deprive me of my dreams just like that."

"(What changes have you witnessed in Argentina in your lifetime?) Far too many. This is a roller coaster country, with good moments and very upsetting times like the current one, though the civic-military dictatorship was worse. But we have an incredible, almost miraculous capacity for recovery, which I hope will at some point still save us."

"You cannot make a writer-it is an innate way of seeing the world, and a love of language, and a lifetime commitment."

"Once again it was quiet, too quiet after what had happened. ("The End")"

"Julia emerged from her reverie and repeated: "By then it was too late." She asked whether I remembered Emanuel, who had escaped from Lodz and wound up staying in the ghetto. Because when she said "it was too late," she was thinking of him. Then she said one more sentence (which she didn't finish) about sudden love in the dying ghetto, powerful and tender, torn from life, the love that Eugenia...I didn't ask any more questions. ("Eugenia")"

"Those worlds erroneously called primitive have such rich cosmologies."

"Her subtle and nuanced writing brings memory and imagination to bear on a traumatic past...In all of Fink’s work, the seemingly insignificant detail opens up a profound look at complexities of experience, memory, and motivation. As Fink excavates what she terms “the ruins of memory,” she brings to the forefront the act of memory itself, and the complicated relationship linking memory, imagination, and language. Fragments of the past that resurface in the present, Fink’s writing offers an unflinching and insightful look at wartime experiences and post-war memories. By turns poignant and tender, grim and sardonic, Fink’s lean and unsentimental prose conveys the profound and lasting effects of the Holocaust."

"Ida Fink's haunting stories-brief and unforgettable-lead us gently into the harrowing ordinariness of wartime Jewish Poland. Through the disturbing, painterly quiet of her art we see them live again, all those doomed, preoccupied, idiosyncratic friends, families, and lovers. Traces confirms it: Ida Fink is the Chekhov of the martyred."

"Ida Fink's work seems to me one of the best answers offered to the question of how the artist can confront the Holocaust. The delicate motions of consciousness are traced, in all their glorious subtlety, while the unspeakable forces of massed brutality come bearing down. Only a writer of the first rank could bring this off, and the world is lucky to have her."

"I can think of no other writer on this subject who has domesticated it in quite the way Ida Fink has, conveying the banality of evil through ordinary details the smell of kasha cooking on a stove, mosquitoes buzzing, sunlight playing on water-and then suddenly, quietly, suffusing that banality with the taste of blood."

"Some questions should not even be thought. The facts alone suffice."

"at the time, even eighteen-year-olds were nostalgic for the past."

"Ida Fink...was a master at infusing moments and gestures with the looming violence and death of the Holocaust...Fink worked on a small canvas but managed within the confines of few words to remind us how quickly life can forever move into the abyss."

"She had already begun to resemble her mother, and would surely have relived her mother's life-a fine home in a small town, pretty children, pretty dresses, the annual trip to a health resort-if the sentence of time hadn't made tragic heroes even of those least suited to play the part."

"Each day and night of those weeks could fill a book, if only the pen could take on this burden of despair and helpless loneliness."

"The man made a small chink for himself in the outside wall of the barn; through this chink he could keep an eye on a scrap of the world: the meadow in front of the peasant's fenced-in yard and a strip of road."

"The execution itself did not take long; more time was spent on the preparatory digging of the grave."

"That day he was awakened by the sound of motors. It was gray outside and he couldn't see very much. But he knew it was the sound of trucks driving from T----- to the town. He recognized the big trucks by their heavy rumbling. He dropped onto the floorboards and after a while he could no longer hear the rumbling diesel engines, his heart was beating so loudly. He knew what they signified; he thought about how the last time, when he was still in the town, twenty trucks packed solid had driven out of there. "They're coming back for the rest of the living," he whispered to himself, "for the rest of the living.""

"Standing by the window, she thought: If only a star would fall. She was superstitious; in those days everyone was superstitious, each in a secret, private way. She had a great many personal superstitions, but shooting stars weren't among them--to wish on a shooting star would have seemed too romantic, too impossible. Nevertheless, that evening she thought: If only a star would fall—even though it was already late autumn, and everybody knows that stars fall only in summer. Still, she kept her eyes stubbornly fixed on the heavens and suddenly saw a flash of light on the horizon: some careless person had turned on a lamp without first covering the window. This flash in the darkness was not the star she was waiting for, but it could have been, and she took it as a good omen. (first lines)"

"time brought all of us something quite different than what our childhoods promised."

"he took me in his arms without saying a word, not even holding me too tight but letting all the emotions of our new encounter overflow, telling me so much by merely holding me in his arms and kissing me slowly. I think he never had much faith in words, and there he was, as silent as ever, sending me messages in the form of caresses."

"Once again, after the second action, a postcard turned up. It was written in pencil and almost indecipherable. After this postcard, we said, "They're done for." But rumors told a different story altogether-of soggy earth in the woods by the village of Lubianki, and of a bloodstained handkerchief that had been found. These rumors came from nowhere; no eyewitnesses stepped forward."

"Fiction requires a vertical gaze-delving deeper into the non-facts, the unconscious, the realm of the imaginary. These are two very different ways of seeing the world. Fiction, for me at least, is the best way to say things. I can be much more clear-minded if I allow my imagination to take the lead-never loosing the reins, of course, but at full gallop. I also believe that, if you are fortunate, you can access the unconscious through fiction; in my case, elaborate ideas emerge in a very organized manner."

"In the evening, in my spacious attic room, I wrote, "Will I find peace here? Peace. I yearn for peace." Out of habit, I hid the sheet of paper under the mattress, where it stayed, blank, except for that one line of fine handwriting at the top. (p228)"

"Less and less often we used the word "if"; more and more often we simply said "when," and wondered whether we would ever be like we used to be. Our fear of being found out or recognized had not gone away. It had only dug itself in deeper and was taking a little nap. Sometimes this fear would awaken suddenly and mistake a salesman for a secret policeman-like the cattle merchant who spoke to the baker behind closed doors. It would awaken suddenly and then fall back asleep. The more time passed, the deeper it slept. But even toward the end, after the British occupied the Ruhr Valley, when our fear should have disappeared completely-even then remnants of it still remained within us. They lingered in us until the very end, until that day-still far off-when two armored cars from General de Gaulle's army drove through the village, and Gottfried, the local party leader, climbed onto the roof of his house and jammed a flagpole into a crevice between the roof tiles-a flagpole with a white sheet attached. (p231-2)"

"Later she used to say: The place where everything almost ended. She meant the long, gray stone building on the circular plaza planted with trees. But why that place? After all, there were other places equally, if not more deserving of that description. And yet, thirty years later, it was that place she went to see, only that one place. (p226)"

"Again we thought, let us survive-but now we were talking about the bombs and the rattling guns. (p237)"

"The days were filled with a kind of double waiting: waiting for news of Jadwiga and waiting for the police. I made myself get through the time, as if I were trudging through a snow drift: step by step, hour by hour, not a moment of rest from the hard labor of waiting, except perhaps at night. (p184)"

"I recall one image from those days of difficult waiting: the train in the meadow. It was on a day when a thunderstorm was brewing. Under the black, rain-swollen clouds we were raking hay in the fields. A long, serpentine train slithered through the meadow. Watching it disappear from sight, I felt—very clearly, very palpably--the proximity of danger and the futility of my desperate scrambling, my frantic efforts to break out of this closed circle. It was as if a metal band was suddenly squeezing my ribs. The world went quiet and dark. A thick, heavy silence fell. I dropped my rake on the ground, loosened my blouse. I was gasping for breath. (p185)"

"Our fate suddenly came to a halt and hung there for a moment, suspended over the abyss it had been racing toward, hung there for a few minutes (five? six?) and then, just as suddenly, turned...This was why I had come here, just for that moment at the crossroads, that sudden turn, that circus trick performed by our fate. (p248-9)"

"Ruhe? The city whose name promised serenity greeted us with ominous banners: countless swastikas fluttered above the station square. This treacherous city was celebrating some sinister holiday. We should have left immediately, but we walked defiantly through the square, the black twisted crosses above our heads. (p222)"

"The only things we didn't discuss were the things that mattered most. Those we circled around, avoided, pushed away. (p135)"

"That was the Sunday when, as Anna and I parted at the train station, Walenty said the words I never forgot: "Why is she hugging and kissing you as if you two were never going to see each other again?" (p166)"

"After he left, no one laughed out loud anymore. Quiet snickering, muffled by blankets, rippled through the room. And those laughing whispers frightened us more than the hysterical screams. (p93)"

"For the first time, I decided to break our most sacred rules, to let someone in on our secret. Perhaps I was too weak to bear one more blow alone. (p173)"

"How can I explain what happened in the weeks that followed? At the time, we blamed it on the stupidity of the girls who were involved. Possibly they didn't realize that they were passing sentence on us-sealing our doom. Their behavior on the final day would seem to suggest as much. Possibly they weren't evil. But a blind hatred was deeply rooted in all of them, and neither words nor kindness could penetrate that dark jungle of primitive instinct. (p84-5)"

"If the police didn't show up before then. Always that little word: if. (p178)"

"They were saying that we had eaten up all our fruit while it was still green, and that we were right to do so, because who knows what would happen to us by winter. What they were saying was absolutely true. ("The Garden that Floated Away")"

"the seemingly quiet days were in fact full of anxiety and insecurity. We were walking on shaky ground, mined with guesses and speculations. We dissected every fragment of every sentence, every look, every smile; we studied them, as if under a magnifying glass-and we waited. In those early days we felt a growing sense of siege. We wondered: What next? (p87)"

"There are no short cuts to success. Do your best in all things, and trust God to do what only He can do. Never stop believing. Keep investing in yourself, and invest in others. Never walk alone."

"Sometimes even I would return from work, open the door, and feel as if I were seeing a stage on which the last act of a play was about to begin at any moment. (p18)"

"I heard the gentle click of Aunt Julia's knitting needles. No one knew what she was knitting, but we all knew why. (p18)"

"Impact your world right where you find yourself and in whatever you find yourself doing. Dream big, and create the future you desire through hard work, integrity, and a positive attitude."

"(Do you regret anything you've published?) A: There are so many writers who have burned or disclaimed their first books. Borges, for example. What a nuisance. I am very irreverent; I know no shame in that sense. It would mean some kind of censorship, wouldn't it? Of course, there are some books I like better than others-some books still surprise me now, as if someone else had written them. On the other hand, I often regret what I haven't written because I was too lazy or too cowardly. Writing takes real courage and commitment."

"For Luisa Valenzuela, it is erroneous to associate Latin American fiction with the French surrealist movement and with oneiric representations of reality. According to her, Latin American surrealist literature does not exist. "...although this fiction we are here concerned with is described as surrealistic or surrealist as usually happens with non-Latin American readers, it is absolutely realistic literature as you well know, but from another point of view, which could be semantic; for is this thing called reality always scoping explicable limitations or could it be philosophical or metaphysical even pataphysical? In the supplementary reality to the one we were taught to perceive, there is a cosmoginy, a world vision shared with native Americans; nothing must escape your notice but you must also learn to look again with your eyes at the very edge of what is visible. You must learn to look at the world twice." (Note in book: "From an unpublished text by Luisa Valenzuela")"

"None of us had actually been thinking about a journey at the moment when it really began; and yet that moment was accompanied by the hollow rumbling of wheels and the whistle of a locomotive piercing the silence of the night. (p5)"

"The car was silent. But just as we reached the door, came the first whispers: "Jews. They caught some Jews." (p29)"

"When I was recently on a panel with Louisa Valenezuela in Seattle, she said something very wise: "Everything you write has its own time of day and its own appropriate length.""