A Quote by Sandra Cisneros

When I say what I'm reading, this is what I need. I know the ills that plague me. — © Sandra Cisneros
When I say what I'm reading, this is what I need. I know the ills that plague me.
AIDS was allowed to happen. It is a plague that need not have happened. It is a plague that could have been contained from the very beginning.
I don't have a formula. Every time an actor wants me to hold their hand, I hold their hand. If they say, "Stay," I say "Okay, respect." You know? "I'm right over here." A kid, if I need to give a line-reading, I'll start acting out the part for the kid and just mimic the kid. You know? Whatever it takes.
A word, and all the infinite fluctuations it may possess. Like that moment when you know you have something to say, and you know you're speaking, even, but you still have no idea how you will say it. Or the moment when, as a reader, you're reading, and you are understanding what you are reading, but still have utterly no idea what will come next for you, what precisely the author wants to say. For me, that is the ultimate level of literary depth, of literary density.
If we're trying to excite young people about reading, we need to be experiencingbookjoy ourselves so that we have references to make. It's important to be able to say, "You know, I read the most wonderful poem the other day. Let me tell you about it."
For the last episode [of Downton Abbey], you'll need some handkerchiefs. I needed handkerchiefs reading it. It wasn't because it necessarily moved me while reading it, but it was the experience of reading it when I realized it was the last time I was ever going to be reading one of those scripts. That was quite terminal.
Were I to pray for a taste which should stand me in good stead under every variety of circumstances and be a source of happiness and a cheerfulness to me during life and a shield against its ills, however things might go amiss and the world frown upon me, it would be a taste for reading.
When I know who is speaking, I see that there is a commitment. I need to know there is some commitment. I need to find an author. "I" can also be polyphonic, fictional, inhabited by a multitude of characters, be right or wrong or at fault or corrupted. But that's more "the self" than "me, me, me." It's problematic. There are times to say "we."
In terms of the way people see me, it breaks down into two very clear and distinct groups: those who think they know me from reading the papers and those who really know me by reading my books.
Avoid stock expressions (like the plague, as William Safire used to say) and repetitions. Don't say that as a boy your grandmother used to read to you, unless at that stage of her life she really was a boy, in which case you have probably thrown away a better intro. If something is worth hearing or listening to, it's very probably worth reading. So, this above all: Find your own voice.
I think that what we need to do is say, 'Reading is going to really affect your life.' You take a black man who doesn't have a job, but you say to him, 'Look, you can make a difference in your child's life, just by reading to him for 30 minutes a day.' That's what I would like to do.
Then there was sex, which, for me, was such a need. When I was younger, I had a need to have sex with everyone. I don't know where that was coming from, but there was such a need to connect physically - obviously, for me to connect physically to myself. There were times, like I say in the book, where you lay on top of me, when you push me down, when you're inside me.
Yes, I know," "And I love to hear you say it, Louis. I need to hear you say it. I don't think anyone will ever say it quite like you do. Come on, say it again. I'm a perfect devil. Tell me how bad I am. It makes me feel so good!
I've never understood the need people have to dictate morality to other people. I really don't know what it is. I don't know if it's fear or the belief that they know the only right way. Or maybe they see a lot of social ills and social decline, and they really think they have the elixir for it.
When you're coming up in the business, there are so many people giving you advice and people prepping you for interviews: what to say, what not to say. When you don't know the business, you kind of take all that on and say, 'This is what I need to do, and I need to do what people tell me to do.'
I'd been reading Daniel Defoe's Journal of the Plague Year when the [1992 Los Angeles] riots broke out and I began to see them both - L.A. and the London plague - as the same event. A time of crisis. A time when rich and poor get thrown together - and, suddenly one sees alternatives. I began to think about what happens when the containment of a presumed danger through the regimentation of space breaks down, such as when South-Central L.A. began to invade Beverly Hills.
When Lars Von Trier calls me, I say yes without reading the script because often the script hasn't been written yet, and if Fincher called me again, I'd say yes without reading the script, too.
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