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Isabel Allende
101 quotes
“a novel is patient and daily work, like embroidering a tapestry of many colors. You go slowly, you have a pattern in mind. But all of a sudden you turn it and realize that it’s something else.”
Isabel Allende (born 1942) wikiquote, CC BY-SA 4.0 source
“Happy endings usually don't work for me. I like open endings. I trust the reader’s imagination.”
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“Pain is universal. We all experience pain, loss, and death the same way.”
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“The death of a child is the oldest sorrow of women. Mothers have lost children for millennia. It is only a privileged few who can expect all of their children to live.”
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“I work with emotions; language is the tool, the instrument.”
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“This sounds very corny but my life has been determined by two things that have been extremely important: love and violence. There is sorrow, pain, and death, but there’s another parallel dimension, and that is love. There are many forms of love, but the kind I am talking about is unconditional. For instance, the way we love a tree. We don't expect the tree to move or to do anything or to be beautiful. The tree is just a tree, and we love the tree because it’s a tree. You love an animal that way. We love children that way.”
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“The soul has no age.”
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“It’s strange that my work has been classified as magic realism because I see my novels as just being realistic literature. They say that if Kafka had been born in Mexico he would have been a realistic writer. So much depends on where you were born.”
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“the awareness of how powerful the written word can be: how you can tap into that world that we are talking about and discover things that would have been impossible to know if you didn't have that connection to a collective knowledge that comes through the writing.”
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“Short stories come to you whole. A novel is work—work, work, work—and then one day it’s over; it’s finished. But a short story is something that happens to you—it’s like catching the flu.”
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“Who wants to be in the mainstream?...Being marginal is like being a new immigrant. If you can transform marginality into something positive, instead of dwelling on it as something negative, it’s a wonderful source of strength.”
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“there are more similarities than differences when it comes to gender. Essentially, human beings are very similar, but we are stuck in the differences instead of highlighting the similarities.”
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“I have been a feminist all my life, fighting for feminist issues. When I was young, I fought aggressively. I was a warrior then. And now I am becoming more aware of those essential things we men and women have to explore and that could really bring us together. But don't get me wrong: I am a feminist and a very proud one!”
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“you will find elements of magic realism in literature from all over the world—not just in Latin America. You will find it in Scandinavian sagas, in African poetry, in Indian literature written in English, in American literature written by ethnic minorities. Writers like Salman Rushdie, Toni Morrison, Barbara Kingsolver, and Alice Hoffman all use this style.”
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“For a while, in the U.S. and Europe, a logical and practical approach to literature prevailed, but it didn't last very long. That’s because life is full of mystery. And the goal of literature is to explore those mysteries. It actually enlarges your horizons. When you allow dreams, visions, and premonitions to enter into your everyday life and your work as a writer, reality seems to expand.”
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“I do believe in destiny. I believe that we are dealt a hand of cards and we have to play the game of life as best we can. And often the cards are marked.”
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“I try to write the first sentence in a state of trance, as if somebody else was writing it through me. That first sentence usually determines the whole book. It’s a door that opens to an unknown territory that I have to explore with my characters. And slowly, as I write, the story seems to unfold itself, in spite of me. It just happens.”
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“Writing is like training to be an athlete. There is a lot of training and work that nobody sees in order to compete. The writer needs to write every day, just as the athlete needs to train. Much of the writing will never be used, but it is essential to do it. I always tell my young students to write at least one good page a day. At the end of the year they will have at least 360 good pages. That is a book.”
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“The role of the United States, not only in Latin America, but in many other places in the world, is unknown by many people in the United States. People here don’t know what the CIA and the American government has done abroad. And we know, because we are the ones who suffered it.”
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“We see stuff on TV that doesn’t look real. It looks like a video game. We don’t see the collateral damage.”
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“When I came to this country, I was willing to embrace everything that was good, fight against everything I thought was awful, and not lose what I brought with me, which is my language, my traditions, my way of living, hospitality, and many things that we Latins have.”
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“What shocks me about the issue of immigration is that globally, capital has no borders. Money goes wherever money wants to go. There are no borders, no laws, nothing, for the capitalists. And yet, for labor, for the workers, there are fences, electrified fences and bullets.”
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“I think that the reason to live is to learn. We come here to experience through the body things that the spirit could not experience otherwise. So we need this body, and we have to transform this body into a temple of learning. (1997)”
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“I was influenced by all of them-by García Márquez, by Carlos Fuentes, Jorge Luis Borges, Julio Cortázar, José Donoso, so many of them-some of my own generation, like Eduardo Galeano. It's easy for me to write because I don't have to invent anything. They already found a voice, a way of telling us to ourselves, so it's easy. (1994)”
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“when you look for the motivations you always go to the basic instincts, to the basic emotions, the basic things that have moved humankind always. That's what all writers write about, ultimately. What did Shakespeare write about? Jealousy, love, sex, power, greed, the same stuff that soap operas and the Bible are made of. It's always the same. (1994)”
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“There is a wonderful sentence, a statement, by one of Bertolt Brecht's characters, he says: "I am that man that goes around with a brick in his hand, to show the world how his house was." And that's the way I feel about my books in a way, that they are my bricks. I can show people what I believe my world was, so I've not lost it. (1990)”
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“The best literature in this country now is being written by minorities, black women first, Chinese Americans, Chicanos, Japanese-Americans. These people are writing wonderful literature that totally defies the standards of WASP literature that is always in the New York Times, and I love it. (1990)”
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“I acknowledge that One Hundred Years, like the works of Borges, Cortázar, Donoso, Neruda, Amado, among others, opened the road for me.”
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“The written word is an act of human solidarity. I write so that people will love each other more.”
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“The political future of Chile is a democracy, without a doubt.”
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“I don't pretend to be anyone's voice. I have been very lucky to be published in Europe, and I say lucky because there are women who have been writing in Latin America since the seventeenth century, like Sor Juana Inés de la Cruz. The problem is that few people ever talk about them. Their work is rarely taught at the universities, there is no literary criticism on them, and they are not published, translated or distributed.”
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“When I write, I fly to another dimension. Like Eva Luna, I try to live life as I would like it to be, as in a novel. I am always half flying, like Marc Chagall's violinists.”
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“Daily life is brimful of fantasy and at the same time books are saturated with reality. I feel that all things float within the realm of the possible. As a reader I let myself be carried away by the enchantment of a story, without worrying too much about its authenticity. As a writer I abandon myself in the same way to the necessity of telling, convinced that if something is not exactly true at this moment, it may be so tomorrow. That's the way I have found it to be in my work.”
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“I visualized the book as a string of beads. Each anecdote, each character, was a separate bead strung on one string. That is why I wanted to close the book where it began, as if one had fastened the clasp of a necklace. I also wanted to show that life goes in a circle, that events are intertwined, and that history repeats itself. There is no beginning and no end.”
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“(About The House of Spirits) All the women in my book are feminists in their fashion; that is, they ask to be free and complete human beings, to be able to fulfill themselves, not to be dependent on men.”
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“I do realize that human beings are the same everywhere; the differences are not so great. This story of the Trueba family could have happened anywhere.”
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“When I left Chile, after the military coup, I lost in one instant my family, my past, my home. I felt like a tree without roots, destined to dry up and die. For many years I was paralyzed by a kind of stupor and by nostalgia, but one day in January of 1981, I decided to recover what I had lost. I sat down to write the story of a family similar to mine, the story of a country that could be mine, a continent resembling Latin America... It was almost the act of a conjurer.”
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“Democratic values have never disappeared from Chile. We must not confuse the Chilean nation with the dictatorship that is ruling it now. Chile is its people, its land, its past, its present, and its future. Pinochet and the evil ones who are with him are an accident in the long life of my country. They will go into history as a misfortune that darkened the sky, but they will go.”
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“My work as a journalist has been fundamental in my literary creations. Journalism taught me to know and love words, the tools of my trade, the material of my craft. Journalism taught me to search for truth and to try to be objective, how to capture the reader and to hold him firmly and not let him escape. It taught me to synthesize ideas and to be precise about events. And above all, it rid me of any fear of the blank page.”
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“I never expected that the weird craft of writing would be of any interest to the general public, nor that a writer could become a sort of celebrity and be expected to behave like one. Writing is a very private matter that happens in silence and solitude-an introverted temperament is an asset in this job. Writing takes up an incredible amount of energy and time; there is very little left for anything else. But more and more the publishing industry forces the authors to become public figures and go around talking, reading, signing, and even selling their books. How can one be in the limelight and still write? Books deserve compassion. They are delicate creatures born to be accepted or rejected as a whole; they can't endure dissection under the microscope of the pathologist. Most writers are as vulnerable as their work. If you pin them against the wall and force them to explain the unexplainable, you might break them. I am afraid it's happening to me.”
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“Why do I write? This is a question that I often ask myself, although it is like trying to explain why I breathe. Writing is a matter of survival: if I don't write I forget, and if I forget it is as if I had not lived. That is one of the main reasons for my writing: to prevent the erosion of time, so that memories will not be blown by the wind. I write to record events and name each thing. I write for those who want to share the obligation of building a world in which love for our fellowmen and love for this beautiful but vulnerable planet will prevail. I write for those who are not pessimists and believe in their own strength, for those who have the certainty that their struggle for life will defeat all bad omens and preserve hope on earth. But maybe this is too ambitious... When I was younger, I thought I wrote only for the sake of those I cared for: the poor, the repressed, the abused, for the growing majority of the afflicted and the distressed of this earth, for those who don't have a voice or those who have been silenced. But now I am more modest. I think of my writing as a humble offering that I put out there with an open heart and a sense of wonder. With some luck, maybe someone will accept the offering and give me a few hours of his or her time so that we can share a story. And that story doesn't have to always be about the most solemn and transcendent human experiences. I find myself often writing for the same reason I read: just for the fun of it! Storytelling is an organic experience, like motherhood or love with the perfect lover; it is a passion that determines my existence. I am a story junkie. I want to know what happened and to whom, why and where it happened. Writing has been very healing for me because it allows me to exorcise some of my demons and transform most of my pain and losses into strength. Certainly I write because I love it, because if I didn't my soul would dry up and die.”
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“You think in words, for you, language is an inexhaustible thread you weave as if life were created as you tell it. I think in the frozen images of a photograph. Not an image on a plate, but one traced by a fine pen, a small and perfect memory with the soft volumes and warm colors of a Renaissance painting, like an intention captured on grainy paper or cloth. It is a prophetic moment; it is our entire existence, all we have lived and have yet to live, all times in one time, without beginning or end. From an indefinite distance I am looking at that picture, which includes me. I am spectator and protagonist. I am in shadow, veiled by the fog of a translucent curtain. I know I am myself, but I am also this person observing from outside. (from Prologue)”
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“There are all kinds of stories. Some are born with the telling, their substance is language, and before someone puts them into words they are but a hint of an emotion, a caprice of mind, an image, or an intangible recollection. Others are manifest whole, like an apple, and can be repeated infinitely without risk of altering their meaning. Some are taken from reality and processed through inspiration, while others rise up from an instant of inspiration and become real after being told. And then there are secret stories that remain hidden in the shadows of the mind, they are like living organisms, they grow roots and tentacles, they become covered with excrescences and parasites, and with time are transformed into the matter of nightmares. To exorcise the demons of memory, it is sometimes necessary to tell them as a story. (beginning of "Interminable Life")”
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“Simple María believed in love. That was what made her a living legend. All her neighbors came to her funeral, even the police and the blind man from the kiosk who almost never abandoned his business. Calle República was vacated and, as a sign of mourning, black ribbons hung from balconies and the red lights turned off in the houses. Every person has his or her story, and in this barrio they were almost always sad, stories of poverty and accumulated injustice, of every form of violence, of children dead before term and lovers who had run away, but María's story was different; it had a glow of elegance that gave wing to the imagination. (beginning of "Simple María")”
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“The first lie of fiction is that the author gives some order to the chaos of life: chronological order, or whatever order the author chooses. As a writer, you select some part of a whole. You decide that those things are important and the rest is not. And you write about those things from your perspective. Life is not that way. Everything happens simultaneously, in a chaotic way, and you don't make choices. You are not the boss; life is the boss. So when you accept as a writer that fiction is lying, then you become free. You can do anything. Then you start walking in circles. The larger the circle, the more truth you can get. The wider the horizon—the more you walk, the more you linger over everything—the better chance you have of finding particles of truth.”
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“I spend ten, twelve hours a day alone in a room writing. I don't talk to anybody. I don't answer the telephone. I'm just a medium or an instrument of something that is happening beyond me, voices that talk through me. I'm creating a world that is fiction but that doesn't belong to me. I'm not God; I'm just an instrument. And in that long, very patient daily exercise of writing I have discovered a lot about myself and about life. I have learned. I'm not conscious of what I'm writing. It’s a strange process—as if by this lying-in-fiction you discover little things that are true about yourself, about life, about people, about how the world works.”
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“I belong to the first generation of Latin American writers brought up reading other Latin American writers. Before my time the work of Latin American writers was not well distributed, even on our continent. In Chile it was very hard to read other writers from Latin America. My greatest influences have been all the great writers of the Latin American Boom in literature: García Márquez, Vargas Llosa, Cortázar, Borges, Paz, Rulfo, Amado, etc. Many Russian novelists influenced me as well: Dostoyevsky, Tolstoy, Chekhov, Nabokov, Gogol, and Bulgarov. The English writers who had a big influence on me during my adolescence were Sir Walter Scott, Jane Austen, the Brontë sisters, Charles Dickens, Bernard Shaw, Oscar Wilde, James Joyce, D.H. Lawrence, and Virginia Woolf. I loved mysteries and read all of Agatha Christie and Conan Doyle. Also some American authors who were very popular in Spanish, like Mark Twain, Jack London, F. Scott Fitzgerald, and many others. I remember the lasting impression that Harper Lee’s To Kill a Mockingbird had on me. I read that book again every decade or so. From these books I got a sense of plot and strong characters. I discovered fantasy and eroticism in One Thousand and One Nights, which I read in Lebanon at age fourteen. At that time and in that place, girls didn't have much social life aside from school and family; we didn't even go to the movies. My only escape from a troublesome family life was reading. My stepfather had four mysterious leather volumes in his locked closet, forbidden books that I was not supposed to see because they were “erotic.” Of course I found a way to copy the key and get in the closet when he was not around. I used a flashlight, could not mark the pages, and read quickly, skipping pages and looking for the dirty parts. My hormones were raging and my imagination went wild with those fantastic tales. When critics call me a Latin America Sheherazade I feel very flattered! The American and European feminists that I read in my twenties gave me an articulate language to express the anger I felt against the patriarchy in which we all live. I started working at Paula, a Chilean feminist magazine, sharpening my ideas and my pen to defy the male establishment. It was the best time of my life. I have always liked movies, and sometimes an image or a scene or a character stays with me for years and inspires me when I write. For example: the magic in Fanny and Alexander or the story within a story of Shakespeare in Love.”
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“Right now I am reading a group of women writers that belong to ethnic minorities in this country. They are great writers, Chicanas, Japanese, Latinas. They are writing extraordinary works, and they are taking over the world of literature that the white men in New York monopolized. Minimalist literature is dying. And it was about time. We are seeing a return to great narrations, to the baroque narrative. We are seeing a return to artistry in words, in sentences, in the extravagance of the story itself. I am very attracted by that...Toni Morrison heads that movement. (1993, translated from Spanish by Virginia Invernizzi)”
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“silence can also enrich you very much. Maya Angelou talks about a long period in her childhood when she was silent, and during those years she turned evil into action. All the evil that had happened to her she was raped-was turned into a positive strength, into energy, because of those years of silence. She reinterpreted the world, recreated reality. In a way, I think, that happened to me, too. Not as dramatically as it happened to her, but those years of silence were very necessary. Now that I've been talking and talking and talking in these lectures and in these seminars and courses and teaching, I have the feeling that all my energy is gone out, so I've decided that I will stop all interviews, all lectures. I will only do those I've already agreed to do. I will finish these obligations on October 1. And then it's my time of silence, because I need silence. Without silence I can't write. (1991)”
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“The first person to name that movement "Magical Realism," to give a label to that, was Alejo Carpentier...he abandoned the surrealists and searched in our roots, in our history, in our legends, in our folklore. He was the first one to label it. And it was wonderful because it was like giving permission to other writers to finally use their own voices. Because before that our writers were always trying to imitate Europeans, or North Americans, and were denying all our Indian background, our African influence, our own languages, and legends, and myths. This was just an open door for all that. I think that was the beginning of the Boom. That really gave a lot of people permission to do anything. But it's not a literary device, it's part of our life. The magic is still there. Because magic, in my case, stands for emotions...Maybe we deal with them in different forms, but we all feel them in the same way (1990)”
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