Sandra Cisneros Quotes
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If you're going to write about the river, you've got to get in.
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What you're going to be asked to do is bigger than what you think you can do. It's always bigger than what you think you can handle, but you're never going to be given something you can't handle.
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I remember when they started publishing Latino fiction years ago. You had to be really good to get published. Now you don't have to be that good.
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We are told by media - books, television, reality shows - that heartbreak is this terrible thing and yet we should seek it. We're told that heartbreak is all about love and we should just go after that high over and over again. We are told it is healthy to be addicted to this kind of behavior and the highs associated with love. But, that's not all what heartbreak is.
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If you start thinking about who's going to read it [you're writing], or what grade will you get, or is it going to win that award, or are you going to get into this graduate program, you're blocking the light, and the light is that guidance and love we get when we open up our hearts and are guided by our higher selves, or God, or the Buddha Lupe Buddha and the Virgin of Guadalupe fused together, as they are in the tattoo on Sandra's right arm, or whatever you believe in, or love.
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When your writing is unselfconscious, when it comes from your heart, that's when it's powerful.
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You have to remember that writing itself is so solitary. You start writing because you're lonely.
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I don't just want to talk to the choir. I want to sit down and be respectful of the people who are most unlike me, to get them to hear me and think. It doesn't mean you're going to change them right there, but just so they can hear you and what you're saying.
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The border between the dead and the living, if you're Mexican, doesn't exist. The dead are part of your life.
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You'll change. You'll see. Wait till you meet Mr. Right.
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I don't see any kind of mirror of power, male power, that is, as a form of liberation. I don't believe in an eye for an eye. I don't believe this is truly freedom.
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Perhaps the community you mentioned might not come to the story. Sometimes you have to take the story to them, and perform it, and that's another way that I get an alternate point of view that isn't the official version of history out to a community. I feel that's what I've been doing since Caramelo.
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I am not in touch with other writers. I don't have very much contact with other writers. I don't get invited to these things or I don't go to them. I hate panels. I speak to librarians and to conferences of English teachers. That's what I do: teachers and librarians. And high school kids.
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Mexico is only a memory of childhood safety.
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I think a lot of education has to be involved. If they would have alternative items, so that, say, for a dollar more, you can get breakfast tacos stuffed with egg whites, and olive oil, and avocado; not guacamole, because they put the salt in it. Just ask for fresh avocado slices, and you could have that.
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When you have a flourishing of the economy you have a flourishing of the arts.
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We started an organization that's the only sub-organization of the MacArthur Foundation and we are called the Macarturos. Usually when I win something, I'm the only one of my ethnicity to get it, but this time I met all these Latinos, and I was so excited. I'd meet someone and I'd go, "Can you come to San Antonio?" And they'd go, "Oh yeah." And suddenly I had twelve people that said they would come. And I didn't know how it was going to be. And that's how the Macarturos became a reality, where these very generous geniuses come to San Antonio and work together.
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A lot of people mistake the persona that I create in poetry and fiction with me. A lot of people claim to know me who don't really know me. They know the work, or they know the persona in the work, and they confuse that with me, the writer. They don't realize that the persona is also a creation and a fabrication, a composite of my friends and myself all pasted together.
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I usually meditate and I call my spirit allies - anyone in the spirit world that I've got connections with. Even in the spirit world you need connections!
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The experience taught me to be present in the real Buddhist sense of paying attention to the moment.
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If we got an educational program going, we could tell people, "Instead of butter, use avocado." That's something we eat, it has the good fat, and it has a good texture, and it tastes better. Just imagine if you substituted that. Or if we switched to olive oil, the extra virgin olive oil, we could still have our taquitos, but put a little oil on them and put them in the oven and bake them.
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I'm most tired after I read, after I've just done a performance, but what I try to do is to fuel and eat a really healthy meal before I perform. I want to have enough energy to talk to that last person.
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The devil knows more from experience than from being the devil
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I know the American Library Association has models for working with the poor. They do have that, and I think that we really need to put our efforts - if we want to think long-range and invest in the community so that we don't have to, you know, invest in prisons - into making a change, because I know that the library can make a change in a life, because it made a change in mine.