Best 13 quotes of Giannina Braschi on MyQuotes

A baby is expected. A trip is expected. News is expected. Forgetfulness is expected. An invitation is expected. Hope is expected. But memories are not expected. They just come.

Ambulances always come with clouds of smoke. And then they disappear in a whistle. But what they bring is fear. Not freedom. Feardom is what they bring. And they bring fire and smoke. Oh, my nerves are bad tonight, yes, bad. I fear freedom. I, above all, fear the freedom that is above all feardom.

Banks are the temples of America. This is a holy war. Our economy is our religion.

I have nothing against the smell of rot but something against what hides the smell of rot in the United States of America.

I love hiccups and I love sneezes and I love blinks and I love belches and I love gluttons. I love hair. I love bears. For me, the round. For me, the world.

It's true that things are beautiful when they work. Art is function.

Marketers keep inventing desires, necessities for you and for me. I need this. I need that. I need. I need. It's the need of a smoking fit. If you don't smoke that cigarette now, you'll die - when in reality you die because you succumb to the rage and rattle of the needy greed that keeps you busy needing more and more things. Is this the American Dream - the greedy need?

Metaphors and Similes are the beginning of the democratic system of envy.

Nativity is the enemy of prophecy.

Poetry must find ways of breaking distance.... all languages are dialects that are made to break new grounds.

Questions don't change the truth. But they give it motion.

The president, the secretary of state, the businessman, the preacher, the vendor, the spies, the clients and managers—all walking around Wall Street like chickens with their heads cut off—rushing to escape bankruptcy—plotting to melt down the Statue of Liberty—to press more copper pennies—to breed more headless chickens—to put more feathers in their caps—medals, diplomas, stock certificates, honorary doctorates—eggs and eggs of headless chickens—multitaskers—system hackers—who never know where they’re heading--northward, backward, eastward, forward, and never homeward—(where is home)—home is in the head—(but the head is cut off)—and the nest is full of banking forms and Easter eggs with coins inside. Beheaded chickens, how do you breed chickens with their heads cut off? By teaching them how to bankrupt creativity.

What we have here is a war—the war of matter and spirit. In the classical era, spirit was in harmony with matter. Matter used to condense spirit. What was unseen—the ghost of Hamlet’s father—was seen—in the conscience of the king. The spirit was trapped in the matter of theater. The theater made the unseen, seen. In the Romantic era, spirit overwhelms matter. The glass of champagne can’t contain the bubbles. But never in the history of humanity has spirit been at war with matter. And that is what we have today. The war of banks and religion. It’s what I wrote in Prayers of the Dawn, that in New York City, banks tower over cathedrals. Banks are the temples of America. This is a holy war. Our economy is our religion. When I came back to midtown a week after the attack—I mourned—but not in a personal way—it was a cosmic mourning—something that I could not specify because I didn’t know any of the dead. I felt grief without knowing its origin. Maybe it was the grief of being an immigrant and of not having roots. Not being able to participate in the whole affair as a family member but as a foreigner, as a stranger—estranged in myself and confused—I saw the windows of Bergdorf and Saks—what a theater of the unexpected—my mother would have cried—there were only black curtains, black drapes—showing the mourning of the stores—no mannequins, just veils—black veils. When the mannequins appeared again weeks later—none of them had blond hair. I don’t know if it was because of the mourning rituals or whether the mannequins were afraid to be blond—targets of terrorists. Even they didn’t want to look American. They were out of fashion after the Twin Towers fell. To the point, that even though I had just dyed my hair blond because I was writing Hamlet and Hamlet is blond, I went back to my coiffeur immediately and told him—dye my hair black. It was a matter of life and death, why look like an American. When naturally I look like an Arab and walk like an Egyptian.