Top 343 Quotes & Sayings by Sandra Cisneros - Page 6

Every book takes you to the terror, that terrible place of possible failure.

When you have a flourishing of the economy you have a flourishing of the arts.

The house was immaculate, as always, not a stray hair anywhere, not a flake of dandruff or a crumpled towel. Even the roses on the dining-room table held their breath. A kind of airless cleanliness that always made me want to sneeze.

I never paid attention when people said, "That's gotta be poetry. That's gotta be fiction," except when I was in a graduate program, and you had to claim your genre.

I want to write an essay called "Fear of Mexico," because I always feel like Mexico's this lover that never writes to me.

Writing poetry helps me to write my fiction; each thing helps the other.

I was interested in cross-pollinating the two. I thought there was something lovely in the little vignette forms. I wanted to explore that.

Bricks are crumbling in places, and the front door is so swollen you have to push hard to get in

When you have your heart broken wide, you are also open to things of beauty as well as things of sadness. Once people are not here physically, the spiritual remains, we still connect, we can communicate, we can give and receive love and forgiveness. There is love after someone dies.

We can have our hearts broken over so much more. It is important to recognize the full spectrum of heartbreak. We can be heartbroken by lost and by disappointment. But heartbreak is not just this negative image we see, it's not this terrible experience that brings no benefits.

We are told by media - books, television, reality shows - that heartbreak is this terrible thing and yet we should seek it. We're told that heartbreak is all about love and we should just go after that high over and over again. We are told it is healthy to be addicted to this kind of behavior and the highs associated with love. But, that's not all what heartbreak is.

Now I feel life is really short and I have to take care of things.

If you can't fall asleep, learn how to meditate. I would recommend you listen to a beautiful tape called Spiritual Power, Spiritual Practice [Energy Evaluation Meditations For Morning and Evening, 1998]. It was the one that got me out of my writer's block when I was writing Caramelo. It's by Carolyn Myss.

I think that we need to measure how we give dollars to libraries by need. And the communities that are poor, in my opinion, should get more because you have to do more outreach.

The TSA tears through your bags at the airport and the NSA watches what books you buy and what you say over the telephone and online. It doesn't feel like anything is private anymore.

I wanted to write something in a voice that was unique to who I was. And I wanted something that was accessible to the person who works at Dunkin Donuts or who drives a bus, someone who comes home with their feet hurting like my father, someone whos busy and has too many children, like my mother.

Even though it's hard to believe, but people who know me really well know I'm shy. I have to go past that fear.

One of the things we learned from that panel is the way poor communities use a library is very different from wealthy communities. But the way the library books are measured are by how many books are taken out. And people in poor communities sometimes won't take the book out because they're afraid to. They're afraid of losing it and not being able to replace it.

When your writing is unselfconscious, when it comes from your heart, that's when it's powerful.

People like to blame Mexican food, but look at what's happening globally, look at all the fast foods and products filled with trans fat. Before the Mexican Revolution, a hundred years ago, people were eating what now macrobiotics tells us to eat, corn, black beans, rice. That's what people were eating - and chile peppers. That's a healthy diet.

I know the American Library Association has models for working with the poor. They do have that, and I think that we really need to put our efforts - if we want to think long-range and invest in the community so that we don't have to, you know, invest in prisons - into making a change, because I know that the library can make a change in a life, because it made a change in mine.

The thoughts of letting go of everything I love overwhelms like a tsunami of sorrow.

I am not in touch with other writers. I don't have very much contact with other writers. I don't get invited to these things or I don't go to them. I hate panels. I speak to librarians and to conferences of English teachers. That's what I do: teachers and librarians. And high school kids.

As people who are women, who are Indigenous and live on Indigenous lands, we know, and this is something I understand the older I get, that they don't visit the same way the postman may visit but they do visit. They visit in ways that our modern society often disregards and considers immaterial or unreal.

I have this great fear of Mexico City. I won't go to Mexico City unless someone meets me at the airport and is with me. I just feel very vulnerable there.

I think the erotic is very spiritual, and I never see that spiritual dimension when you look at collections of erotica. That's always missing for me.

The ideal for me is to mix it up. When I have a writing workshop, I like to have people that are anthropologists and people who are poking around in other fields, I like to have them all in the same workshop, and not worry about genre.

It's difficult for me to have a large story, a very large story - a novel is a large story. I'm used to writing and doing these little miniature paintings.

I didn't intend to be writing - the writer's life. I was just writing what came to me at the time, but it is a map of how this writer had to break many barriers to find, not a room of her own, but a house of her own.

A lot of people mistake the persona that I create in poetry and fiction with me. A lot of people claim to know me who don't really know me. They know the work, or they know the persona in the work, and they confuse that with me, the writer. They don't realize that the persona is also a creation and a fabrication, a composite of my friends and myself all pasted together.

Sometimes hearing the stories is going to change people's lives much more than if they read it.

What do we call our Harlem Renaissance? Maybe in the future, it won't be just Latino, maybe it'll be more multi-multi, because, you know, people are such fusions now, of so many different cultures.

My Spanish is a daughter's Spanish. I write, but my Spanish really is very limited.

I remember when they started publishing Latino fiction years ago. You had to be really good to get published. Now you don't have to be that good.

Afterwards, people come and say, "I felt like you said that just to me. What you said is something I'm going through right now," so you know that spiritual connection is going on.

Many books that you read, they have those disclaimers that say that, "None of the events and none of the people are based on real life" and so on... Well, I don't believe that. I think that as human beings many people touch us, especially people we love the most and we can't help but do character sketches when we go to our art.

The comments you'll get from a filmmaker about your performance are going to be very different. My writing workshop is about mixing it up, cross-pollinating, not only in genres but in occupations.

I think people are much more concerned about money now. There aren't the big advances of the past. You feel the sense of nervousness about the book industry. It's not like before. Not that I knew very much about what it was like because I was a newcomer to it, but I get that feeling that people are more conservative in their book choices and what they are going to publish and what's a sure sell. As opposed to - just like in the economy - a sense of luxury and sense of risk taking ten years ago.

There [DreamTigers by Jorge Luis Borges] were these little fablesque things, you know, dream tigers, beautiful, beautiful pieces that when you read them had the power of a long piece, but they were prose, and they had the power of poetry, in that the last line wasn't the end, it was a reverberation, like when you tap on a glass made of crystal, and it goes ping.

To tell you the truth, I think it's about that we shouldn't get our driver's licenses till real late in life.

I had a mother who walked to the library with me, and you can't walk to a lot of libraries in San Antonio because - guess what? - there are no sidewalks, except in the neighborhoods. And they're across big boulevards, and it's so hot, you can't even walk to the corner. So things like that affect how children can get to libraries. So there are a lot of things involved.

I think that it's not enough to do the little Band-Aid things of having celebrities come and read to children. Not that we don't need to read to children, but we don't need to just do it one time and feel good about it. I think we need to think long range about poor people and their relationship to libraries.

I think I didn't know what I was creating, as much as I knew what I didn't want to do. And I didn't want my mother's life. She was an unhappy, frustrated artist who always dreamed of a life that was never going to be hers.