A Quote by Isabel Allende
How can one not speak about war, poverty, and inequality when people who suffer from these afflictions don't have a voice to speak?
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When men talk about war, the stories and terminology vary - it's this battle, these weapons, this terrain. But no matter where you go in the world, women use the same language to speak of war. They speak of fire, they speak of death, and they speak of starvation.
I really knew how to speak - from my female voice, that "different voice" that Carol Gilligan so presciently described many years ago in her groundbreaking book. Because if we try to speak in a voice that isn't ours, we lose our power.
I've always been interested in writing about people, including young children who are not able to speak for themselves. As in my novel 'Black Water,' I provide a voice for someone who has died and can't speak for herself.
People often ask me why I continue to speak out if it's hurting my family. But that's exactly why I speak out. The people Erdogan is targeting are my family, my friends, my neighbors, my classmates. I need to speak out, or my country will suffer in silence.
I suffered first as a child from discrimination, poverty ... So I think it was a natural follow from that that I should use my camera to speak for people who are unable to speak for themselves.
I really like the reggae concepts like the culture vibe. They speak on everything that's going on, they don't have limits. They speak on politics, they speak on life, they speak on the troubles of poverty, everything. The message, the melodies and the concepts of reggae music are unbelievable.
My parents speak with an accent. A lot of people that I know speak with an accent. I have friends who speak with an accent. Accents in a vacuum aren't a problem; it's how you portray those characters and how well they're served in a script.
I am very timid about speaking for the collective. I can say what I see, I can say what I've heard, I can say what I feel, but I can't speak for - no one can speak for - 10 million people, and it takes away something from them if you make yourself their voice.
The people did not elect me. I speak with one voice that may echo other people, but I am part of a group of people. That's not distancing yourself from a community, that's also allowing the space for others to speak for themselves.
If you talk about sin, you don't have to use the first person singular, but speak out of that part of yourself which knows what it means to become estranged from people you love. Speak in your own voice about things that you in your own life have in one way or another experienced.
Does a man speak foolishly?--suffer him gladly, for you are wise. Does he speak erroneously?--stop such a man's mouth with sound words that cannot be gainsaid. Does he speak truly?--rejoice in the truth.
Characters on stage, like people in what we refer to as "real life," do not speak to reveal themselves. They do not speak to conceal themselves. They speak to get whatever it is that they want. It is the only reason they speak.
Gerti didn’t ask for help.” Miri swallowed and tried to calm her quavering voice. “It was my fault.” “So it was. Now you all have learned that those who speak out of turn choose punishment for themselves and anyone they speak to.” “So if I speak to you, Tutor Olana, will you get the lashes?
The things I really cared about - poverty, the Great Society, civil rights - were all being drained away by the Vietnam War. The line that keeps running through my mind is the line I never spoke: "I can't speak for a war that I believe is immoral."
I don't speak with proper grammar. I don't speak with dialogue attribution. I don't speak with quotation. I don't care about any of that stuff. It's about rhythm, and it's about what's in their [the character's] head, and what feels more natural. And it's about speed. I want things to move.
How can you expect God to speak in that gentle and inward voice which melts the soul, when you are making so much noise with your rapid reflections? Be silent and God will speak again.
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