Frases célebres de Toni Morrison
Toni Morrison Frases y Citas
“Yo escribo para los negros, no tengo porqué pedir disculpas por eso.”
Fuente, "Toni Morrison: ‘I’m writing for black people … I don’t have to apologise".
Fuente: Toni Morrison: ‘I’m writing for black people … I don’t have to apologise https://www.theguardian.com/books/2015/apr/25/toni-morrison-books-interview-god-help-the-child The Guardian
Fuente, Toni Morrison: Conversations.
Original: «I used to get very annoyed at people who said there were poetic things in my writing. Godd prose is poetic.[...] My notion of prose is that it has to have this underground life».
Fuente: Toni Morrison: Conversations https://books.google.com.ar/books?id=eV9_8v4pTzsC&printsec=frontcover&dq=toni+morrison&hl=es-419&sa=X&redir_esc=y#v=onepage&q=toni%20morrison&f=false
Toni Morrison: Frases en inglés
Nobel Prize Lecture (1993)
Contexto: Tongue-suicide is not only the choice of children. It is common among the infantile heads of state and power merchants whose evacuated language leaves them with no access to what is left of their human instincts for they speak only to those who obey, or in order to force obedience. The systematic looting of language can be recognized by the tendency of its users to forgo its nuanced, complex, mid-wifery properties for menace and subjugation. Oppressive language does more than represent violence; it is violence; does more than represent the limits of knowledge; it limits knowledge. Whether it is obscuring state language or the faux-language of mindless media; whether it is the proud but calcified language of the academy or the commodity driven language of science; whether it is the malign language of law-without-ethics, or language designed for the estrangement of minorities, hiding its racist plunder in its literary cheek — it must be rejected, altered and exposed. It is the language that drinks blood, laps vulnerabilities, tucks its fascist boots under crinolines of respectability and patriotism as it moves relentlessly toward the bottom line and the bottomed-out mind. Sexist language, racist language, theistic language — all are typical of the policing languages of mastery, and cannot, do not permit new knowledge or encourage the mutual exchange of ideas.
"Unspeakable Things Unspoken: The Afro-American Presence in American Literature" in Michigan Quarterly Review 28, no. 1 (Winter 1989)
Contexto: Beginning Beloved with numerals rather than spelled out numbers, it was my intention to give the house an identity separate from the street or even the city... Numbers here constitute an address, a thrilling enough prospect for slaves who had owned nothing, least of all an address. And although the numbers, unlike words, can have no modifiers, I give these an adjective — spiteful… A few words have to be read before it is clear that 124 refers to a house … and a few more have to be read to discover why it is spiteful, or rather the source of the spite. By then it is clear, if not at once, that something is beyond control, but is not beyond understanding since it is not beyond accommodation by both the "women" and the "children." The fully realized presence of the haunting is both a major incumbent of the narrative and sleight of hand. One of its purposes is to keep the reader preoccupied with the nature of the incredible spirit world while being supplied a controlled diet of the incredible political world. … Here I wanted the compelling confusion of being there as they (the characters) are; suddenly, without comfort or succor from the "author," with only imagination, intelligence, and necessity available for the journey. …. No compound of houses, no neighborhood, no sculpture, no paint, no time, especially no time because memory, pre-historic memory, has no time. There is just a little music, each other and the urgency of what is at stake. Which is all they had. For that work, the work of language is to get out of the way.
Burn This Book, p. 2 (2009)
Contexto: We all know nations that can be identified by the flight of writers from their shores. These are regimes whose fear of unmonitored writing is justified because truth is trouble. It is trouble for the warmonger, the torturer, the corporate thief, the political hack, the corrupt justice system, and for a comatose public. Unpersecuted, unjailed, unharrassed writers are trouble for the ignorant bully, the sly racist, and the predators feeding off the world’s resources. The alarm, the disquiet, writers raise is instructive because it is open and vulnerable, because if unpoliced it is threatening. Therefore the historical suppression of writers is the earliest harbinger of the steady peeling away of additional rights and liberties that will follow.
Nobel Prize Lecture (1993)
Contexto: A dead language is not only one no longer spoken or written, it is unyielding language content to admire its own paralysis. Like statist language, censored and censoring. Ruthless in its policing duties, it has no desire or purpose other than maintaining the free range of its own narcotic narcissism, its own exclusivity and dominance. However moribund, it is not without effect for it actively thwarts the intellect, stalls conscience, suppresses human potential. Unreceptive to interrogation, it cannot form or tolerate new ideas, shape other thoughts, tell another story, fill baffling silences.
O, The Oprah Magazine (November 2003) http://www.oprah.com/omagazine/200311/omag_200311_toni_b.jhtml
Contexto: The idea of a wanton woman is something I have inserted into almost all of my books. An outlaw figure who is disallowed in the community because of her imagination or activity or status — that kind of anarchic figure has always fascinated me. And the benefits they bring with them, in spite of the fact that they are either dismissed or upbraided — something about their presence is constructive in the long run.
"Unspeakable Things Unspoken: The Afro-American Presence in American Literature" in Michigan Quarterly Review 28, no. 1 (Winter 1989)
Contexto: Beginning Beloved with numerals rather than spelled out numbers, it was my intention to give the house an identity separate from the street or even the city... Numbers here constitute an address, a thrilling enough prospect for slaves who had owned nothing, least of all an address. And although the numbers, unlike words, can have no modifiers, I give these an adjective — spiteful… A few words have to be read before it is clear that 124 refers to a house … and a few more have to be read to discover why it is spiteful, or rather the source of the spite. By then it is clear, if not at once, that something is beyond control, but is not beyond understanding since it is not beyond accommodation by both the "women" and the "children." The fully realized presence of the haunting is both a major incumbent of the narrative and sleight of hand. One of its purposes is to keep the reader preoccupied with the nature of the incredible spirit world while being supplied a controlled diet of the incredible political world. … Here I wanted the compelling confusion of being there as they (the characters) are; suddenly, without comfort or succor from the "author," with only imagination, intelligence, and necessity available for the journey. …. No compound of houses, no neighborhood, no sculpture, no paint, no time, especially no time because memory, pre-historic memory, has no time. There is just a little music, each other and the urgency of what is at stake. Which is all they had. For that work, the work of language is to get out of the way.
Nobel Prize Lecture (1993)
Contexto: The vitality of language lies in its ability to limn the actual, imagined and possible lives of its speakers, readers, writers. Although its poise is sometimes in displacing experience it is not a substitute for it. It arcs toward the place where meaning may lie. When a President of the United States thought about the graveyard his country had become, and said, "The world will little note nor long remember what we say here. But it will never forget what they did here," his simple words are exhilarating in their life-sustaining properties because they refused to encapsulate the reality of 600, 000 dead men in a cataclysmic race war. Refusing to monumentalize, disdaining the "final word", the precise "summing up", acknowledging their "poor power to add or detract", his words signal deference to the uncapturability of the life it mourns.
“In this country American means white. Everybody else has to hyphenate.”
The Guardian (29 January 1992)
“Love is never any better than the lover.”
Fuente: The Bluest Eye
“If you surrendered to the air, you could ride it.”
Variante: If you surrender to the wind you can ride it.
Fuente: Song of Solomon (1977)
“Me and you, we got more yesterday than anybody. We need some kind of tomorrow.”
Fuente: Beloved
“if they put an iron circle around your neck I will bite it away”
Fuente: Beloved
Variante: She is a friend of my mind. She gather me, man. The pieces I am, she gather them and give them back to me in all the right order. It's good, you know, when you got a woman who is a friend of your mind.
Fuente: Beloved