Writing, like a game that defies its own rules, is an ongoing practice that may be said to be concerned, not with inserting a “me” into language, but… - Trinh T. Minh-ha

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Writing, like a game that defies its own rules, is an ongoing practice that may be said to be concerned, not with inserting a “me” into language, but with creating an opening where the “me” disappears while “I” endlessly come and go, as the nature of language requires. To confer an Author on a text is to close the writing. Eureka! It makes sense! This is it! I hold the key to the puzzle! Fear and seek. Fear and seek. The danger we fear most is forgetting to fear. Seek and lose. Lose, freely. When you are silent, it speaks; when you speak, it is silent. Writing is born when the writer is no longer.

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About Trinh T. Minh-ha

(born 1952 in ; Vietnamese: Trịnh Thị Minh Hà) is a Vietnamese , writer, , composer, and professor. She has been making films for over thirty years and may be best known for her films Reassemblage, made in 1982, and Surname Viet Given Name Nam, made in 1985. She has received several awards and grants, including the 's National Independent Filmmaker , and Fellowships from the , the and the . Her films have been the subject of twenty retrospectives.

Also Known As

Alternative Names: Trinh Thi Minh-Ha Thi Minh-Ha Thi Minh-Ha Trinh Trinh T. Minh-Ha T. Minh-Ha Trinh Trịnh Thị Minh Hà Trinh T. Minh Ha
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Additional quotes by Trinh T. Minh-ha

Language is one of the most complex forms of subjugation, being at the same time the locus of power and unconscious servility. With each sign that gives language its shape lies a stereotype of which I/i am both the manipulator and the manipulated.

A story is not just a story. Once the forces have been aroused and set into motion, they can’t simply be stopped at someone’s request. Once told, the story is bound to circulate; humanized, it may have a temporary end, but its effects linger on and its end is never truly an end.

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The vanity of Metaphysics has the merit of marking time: it leads one straight back to the positivist dream of pure truth and pure presence. Naked, but not naked enough, I would say. The language of Buddhism sometimes speaks of the eighty-four thousand entrances to reality, and thinking reality versus non-reality may also lead to one of them as long as this chatter of the soul doesn’t take the finger pointing at the moon for the moon itself. He who represents his own discourse on myths as a myth is acutely aware of the illusion of all reference to a subject as absolute center. The packaging of myths must somehow bear the form of that which it attempts to enclose, if it wishes to come closest to its object. One cannot seize without smothering, for the will to freeze (capture) brings about a frozen (emptied) object.

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