Marjorie Agosín Quotes

I've become fascinated with translation myself because I've begun to do some translations from the English to the Spanish. And I have learned the beauty and the humbleness and the delicacy that it takes to translate one poem from one language to the other. It's really a work of love, translation.

Only while in nature's perfection—where there is no difference between the outside world and myself and, at the same time, my own indifference—have I truly felt that I belonged.

...what is essential to art: They create art despite trauma, no matter how heartbreaking. They constantly question the reality in which their texts were born, but above all, they make more beautiful, through words, the failure and pain of existence.

children are a universal treasure...I believe that the best way to determine if a country is defending its human rights is to see how the children of that country live. (Introduction)

I don't by any ways believe that we are the chosen people—but what is so amazing is how we have blossomed in the diaspora and that we are still here as a people in spite of centuries of discrimination and genocide, even from the expulsion of Spain or even before the destruction of the second temple. And I think what has kept the Jews together is the idea of home and the idea of memory, which is the ideas that I write about: home as an inner center, and memory as giving voice to the invisible and becoming a witness.

My whole view of the world and my sense of language and understanding, it's informed by my understanding of poetic language... It's the poet that informs, describes, feels, and understands.

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.

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)

To write in Spanish is for me a gesture of survival, and because of translation my memory has now become a part of the memory of others. Translators are not traitors, as the proverb says, traductores, traidores--but rather splendid friends in this great human community of language.

Books unite people and books in translation are the thresholds of other cultures, invitations to travel and to know others.

For the majority of readers, Latin American fantastic literature operates under the tutelage of the great masters: Jorge Luis Borges, Adolfo Bioy Casares, Julio Cortázar and Gabriel García Márquez. However, although few are acquainted with their works, many women began experimenting with this genre well before their male counterparts and were the true precursors of the form, though their names remained on the shelves of oblivion, without the recognition that they deserved. María Luisa Bombal, for example, wrote the fantastic nouvelle, House of Mist (1937) before the famous Ficciones (1944) of Borges, and the Mexican, Elena Garro, wrote Remembrance of Things to Come (1962) before the publication of García Márquez' One Hundred Years of Solitude (1967).

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

Human rights were implemented by a group of Western nations in response to the moral crimes that occurred during World War II. Yet the same nations that ratified their declaration remain unable to protect their own citizens. The strength of a literature that denounces and questions, that speaks and implies that its own citizens can decide through the power of their voices and words, becomes effective in denouncing the moral vacuum in which the abuses took place.

antisemitism has always existed in Latin America, as evidenced by the many nations that remained neutral during the Second World War. The barbarism of the Nazis was often praised in military circles, and some Latin American countries only joined the Allies because of pressure from the United States. One of the few Latin American intellectuals who stood up against fascism and spoke about the impending fate of European Jews was Gabriela Mistral...

Women and women artists are looking at a place to belong in the world and to call home in a very particular way. I think that women are looking for a place that will allow them to be visible. I think we live in very conflicted gender times, and most of it is the possibility for visibility: visibility as creators, visibility in the home. If you look at the whole scope of the human rights situation, you see how women are always hidden, even the veil is a form of hiding. So I think that home is to become visible.