Marjorie Agosín Quotes

Silence is special when you are reflecting inwardly about who you are, but silence as a tool for political behavior—I think that’s always wrong. There are many kinds of silences. (2015)

The translation of art, the translation of poetry, however, is the translation of the spirit. A good translator translates what is not said.

“I have been so busy asking for faith that I forgot to ask for patience. (p330)

In literature I found the caress, the unguarded pleasure, and the voice that had eluded me in this new country. I turned to books with a passion, almost in desperation, because they consoled me. I saw myself criss-crossing the hallways of the library, ransacking in particular the Spanish section and shelves. I discovered the warmth of words, words that belonged to me alone. I paused along their hills, invented the destinies of those exiled like myself. Above all I loved dictionaries, faithful guardians of my language. Through books I crossed borders. Wasn't Latin America an immense shawl united by a free and beautiful language?

Writing and culture are very much related to the possibilities of the human imagination. The capacity of language allows the imagination to flow and to transform and mend the world.

Sometimes I imagine the Torah as the great book of the world handed from person to person and generation to generation so that we may remember what unites us and to help us imagine that in all lands there is the possibility of creating a history and participating in it. Books have the strength to create a mutual complicity between writer and reader and they allow the great human family to celebrate through words the memories of other times and places.

We are what we remember and we understand heritage and belonging through our own passion to remember. Home is a living scrap-book of memory that we carry as we move about, as we remember the vanquished and their respective passions and sorrows. Memory can never reside in abstraction. Memory must be cemented into concrete, must be worn like a dress, must be lived in like a home of differing levels, textures, and colors.

when 9/11 was taking place in the U.S., few journalists, except people like Ariel Dorfman, few of them mentioned that there was another 9/11 that took place in Chile created by the terrorism that the United States government, in a way, was supporting through the CIA...this country is having very similar patterns of dictatorial regimes, and I feel somehow I am like in a little dictatorship here under disguise of this democracy. And George Bush is creating, has created, the ideology of fear, and saying, "If you do not vote for me, you will not be protected." And I think there is paranoia, the levels of alert, and that's exactly what General Pinochet did...The Patriot Act is just a disgrace to American faith in the world, and I am very frightened for this country. I have been through a dictatorship, and I think we've all complied to so many things, and what is really scaring me is this whole defeatist attitude that there's nothing that can be done, and I think that's wrong. There's much that can be done.

you can be a Jew so rooted in your history and in your values that in a way God becomes secondary. And I think that's an amazing thing that Jews have been able to say. But what has linked my Judaism to my experience as a writer are two fundamental things. I think that Judaism has always understood the world from an ethical point of view, and I'm not talking about contemporary Israel or politics, but I'm talking about the Ten Commandments and the necessity, this old Talmudic concept where the title of the book comes from, "to mend to world": to create justice, if you save one life you save the world, is basically saying if you are a decent human being, you are really doing decent things in the world. So the ethics of Judaism and the struggles for social justice have been what I have wanted to take from that Judaism.

I want literature to be a means for creating humility. (Introduction)

Writing is a body of human expression, in which the daily conventions of our lives join with the ambiguities and subtleties of literature. But we must add in the bodies of the disappeared without identity, without memory-and this becomes the existential body of this literature that is not quieted by the dominant ideology or its power to deny what is happening. In the context of the early 1970s, it is impossible to deny the bodies floating by the banks of the Mapocho River in Santiago. It is impossible to look at the streets of El Salvador and not see the mutilated bodies strewn throughout. The literature of this period gathers the victimized bodies and arms them with words; it restores them and offers them dignity.

That night the voice on the radio calls what is happening to Chile "the restoration of order to the country." I write the words down in my notebook and wonder what was out of order before? (p91)

translators are the messengers of the spirit. You bring a message to someone who does not understand the original.

I think the decoding of things, the passionate intellectual need to understand, is part of Jewish sensibility. (2016)

And we prepared quickly for sleep. The mist crackled in the deep heart of the travelling night. We, too, were of a cross-roads, wounded by the pleasure of watching. We were in Austria and I thought of the wounds of my grandfather and of the music of Mozart, like a stream, like a litany, like a fragrance. Then I learned perhaps to be happy in those hospitable, desolate meadows, because the war had erased every trace of scars and only in certain looks were hollow aches and the calamity of dead children still preserved. (beginning of "The Eiderdown")