I don't think the world will destroy itself in a nuclear cataclysm. On the contrary, we have the capacity to save ourselves and save the planet, and we will use it.
Isabel AllendeRead
I'm a writer. In Latin America, they say I'm a Latin-American writer because I also write in Spanish and my books are translated, but I am an American citizen and my books are published here, so I'm also an American writer.
Interpretation
Isabel Allende expresses her dual identity as both a Latin-American and American writer, bridging cultures through her work.
In this quote, Isabel Allende articulates the complex nature of identity in a globalized world, where cultural categorizations can coexist. She highlights her role as a writer who transcends geographical and linguistic boundaries, embracing both her Latin-American heritage and her American citizenship, ultimately reflecting the rich tapestry of her literary contributions.
In practice
In a speech about multiculturalism at a literary festival.
I don't think the world will destroy itself in a nuclear cataclysm. On the contrary, we have the capacity to save ourselves and save the planet, and we will use it.
My mother is a great artist, but she always treated her paintings like minor postcards. Had she pursued it, she would have been a great artist. Instead, she looked down on her art.
I never try to convey a message, I just want to tell a story. Why that story in particular? I have no idea, but I have learned to surrender to the muse. I become obsessed with a theme or with certain stories; they haunt me for years, and finally, I write them.
My life is about ups and downs, great joys and great losses.
I'm interested in people who have to overcome obstacles, people who are not sheltered by the umbrella of the establishment, marginals.
All summer, I read fiction because you must read for the pleasure and beauty of it, and not only for research. I don't read thrillers, romance or mystery, and I don't read self-help books because I don't believe in shortcuts and loopholes.
The person whose work introduced me to the craft was Lorraine Hansberry. The person who taught me to love the craft was Tennessee Williams. The person who really taught me the power of the craft was August Wilson, and the person who taught me the political heft of the craft was Arthur Miller.
He believed that life, true life, was something that was stored in music. True life was kept safe in the lines of Tchaikovsky's Eugene Onegin while you went out in the world and met the obligations required of you. Certainly he knew (though did not completely understand) that opera wasn't for everyone, but for everyone he hoped there was something. The records he cherished, the rare opportunities to see a live performance, those were the marks by which he gauged his ability to love.
The faster the word sticks to the thought, the more beautiful is the effect.
Dancing is a very living art. It is essentially of the moment, although a very old art. A dancer's art is lived while he is dancing. Nothing is left of his art except the pictures and the memories--when his dancing days are over.
Wherefore the mere practical architect is not able to assign sufficient reasons for the forms he adopts; and the theoretic architect also fails, grasping the shadow instead of the substance.
The martini: the only American invention as perfect as the sonnet.
Subscribe for the occasional hand-picked quote. No noise.