Elena Poniatowska Quotes

Carefully I asked them questions, visited them in their crowded neighborhoods, watched their kites cross the sky in February, treated them like kites, because that's how testimonial literature is. It fills one with anxiety, with insecurity. One handles very fragile material, people's hearts; their names, which are their honor; their work; and their time. And one tries to turn it into memorable material.

I write in order to belong.

I live to the rhythm of my country and I cannot remain on the sidelines. I want to be here. I want to be part of it. I want to be a witness. I want to walk arm in arm with it. I want to hear it more and more, to cradle it, to carry it like a medal on my chest. Activism is a constant element in my life, even though afterwards I anguish over not having written "my own things." Testimonial literature provides evidence of events that people would like to hide, denounces and therefore is political and part of a country in which everything remains to be done and documented.

Life is very resistant. People-the same cannon fodder that nourishes great universal misfortunes, "the wretched of the earth," as Frantz Fanon called them. Suddenly, during an earthquake, one of them saves a life.

The question of being encouraged or discouraged by this or that event cannot be asked if one is to go on with a certain moral conviction.

According to the El Paso Morning Times, in 1914 there were seventeen thousand men and four thousand women in Pancho Villa's army, but there are many other statistics that show that, without the soldaderas, there would have been no Mexican Revolution.

I learned, as they say, by doing. I began as an interviewer for the society pages of Excélsior—the only sort of thing a young woman could expect in those days...Since Excélsior is a daily paper, I had to produce these pieces every day with almost no time for review. Then I would read them in print and see that I had spent too much time on things of little importance and failed to ask about what mattered most. And so,with frequent embarrassment, that is how I learned. One also learns ­humility doing interviews, because people may not want to give you much time and so keep you waiting in an anteroom or are dismissive or in a bad mood, and all this has to be accepted.

style, as I see it, is not an adornment added to a work. It is more, as Buffon said, that “le style c’est l’homme même”—style is the man himself...That famous line is actually the conclusion of a longer thought—“Writing well consists of thinking, feeling and expressing well, of clarity of mind, soul and taste.” In my own words, I would say that style is a manifestation of the writer’s being, which, of course, changes over time but retains something essential of who he is...One does not develop a style. One develops oneself. Or, perhaps more accurately, one is born with a certain character and life shapes it. And then, if you write or paint or sculpt, you do those things with the person you have ­become. And that is style.

I would like to return to earth because I love life.

The locomotive was the main protagonist of the Mexican Revolution, but the Adelitas and Valentinas came a close second.

I have always responded to challenges, followed apocalyptical personalities, apostles, Rasputins, Joan of Arcs who hear voices that come from Heaven, illuminated guides of humanity, holders of truth, priests.

if I had been, say, a French writer, I would have been free to write whatever I wished, which would have been writing of an imaginative sort. But in Mexico, because of the suffering that is the result of centuries of corruption, there is a moral obligation to write of this. I could not ignore it, and, because I have become known for it and have refined my ability to write this way through practice, it became my principal work.

I have always had questions, and to this day, I don't have a single answer.