Sandra Cisneros People Quotations

Once people are not here physically, the spiritual remains. We still connect, we can communicate, we can give and receive love and forgiveness. There is love after someone dies.

I think people should read fairy tales, because were hungry for a mythology that will speak to our fears.

Well, I'm Buddhist, Ray, and so part of my Buddhism has allowed me to look a little more deeply at people and the events in my life that created me. And I think a lot of that Buddhism comes out in the world view in this novel.

I'm thrilled. It's gratifying to me, because I love this literature. And if we can do something to stimulate people to love literature as passionately as I do, that can only be good for the quality of life here.

People like to blame Mexican food, but look at what's happening globally, look at all the fast foods and products filled with trans fat. Before the Mexican Revolution, a hundred years ago, people were eating what now macrobiotics tells us to eat, corn, black beans, rice. That's what people were eating - and chile peppers. That's a healthy diet.

It's so good for your health to take those naps. I don't know why people brag that they sleep five hours. I'd be ashamed. I'm proud that I sleep nine hours.

When I'm starting to feel, "How many more people are there?" I go slower. I ask questions, and that person engaging with me gives me energy.

If you have potato chips, that means, "Who's coming over?"Wealthy people - white people who're wealthy - have a bag of potato chips that's folded over with a clip. "What? There's some left over?" In my house, if there was a bag of potato chips, we'd pour it in a bowl and everybody would just dip in till it was gone.

What do we call our Harlem Renaissance? Maybe in the future, it won't be just Latino, maybe it'll be more multi-multi, because, you know, people are such fusions now, of so many different cultures.

One of the things we learned from that panel is the way poor communities use a library is very different from wealthy communities. But the way the library books are measured are by how many books are taken out. And people in poor communities sometimes won't take the book out because they're afraid to. They're afraid of losing it and not being able to replace it.

I do travel a lot, because I need oxygen, I need to go to places to meet people who aren't upset at me because I'm asking for peace.

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.

You know, if you've got nine people that you've got to get a treat for - because you do have sweet food, even if you're poor - you can't go out and buy a Sara Lee cake. You buy the big bag of cookies, those chocolate and vanilla ones with the icing. That has a lot of trans fat in it, but it goes a long way with a lot of people.

I can't stand it when people say, "If you're writing a novel, you should read this and that." Because it's like giving someone another person's prescription. How do you know that's what they need?

There's a lot of people that need these stories, and they can't come to my book, so I'm going to be the bookmobile and I'm going to come to them.

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.

When we started publishing, you had to be better than good. You had to be excellent. But as long as people are reading, I don't care what they're reading.

I prefer to go to the little towns now, because in little towns people are kind. I like going to Tepotzlán.

For me, a story's a story if people want to hear it; it's very much based on oral storytelling. And for me, a story is a story when people give me the privilege of listening when I'm speaking it out loud.

As people who are women, who are Indigenous and live on Indigenous lands, we know, and this is something I understand the older I get, that they don't visit the same way the postman may visit but they do visit. They visit in ways that our modern society often disregards and considers immaterial or unreal.

God made men by baking them in an oven, but he forgot about the first batch, and that's how Black people were born. And then he was so anxious about the next batch, he took them out of the oven too soon, so that's how White people were made. But the third batch he let cook until they were golden-golden-golden, and, honey, that's you and me.

I was one of those people raised by a woman who was what I call a prisoner of war. She was captured, she didn't want to be there, she was unhappy, she was banging away in the kitchen, the way that a prisoner would bang on her jail cell, you know, really unhappy. She had to cook for nine people with really little money, so she really just got burned out. So I didn't know that you could actually cook and it would be calming, pleasurable.

I don't know what the definition of a short story is, and I don't even care to answer that question. That's something somebody in academia would think about. I just want to tell a story, and if people listen, and if it stays with you, it's a story.

You know, you want to be outrageous when you're young, so all the young people say, "Oooh . . ." Now my tactics are different.

The world we live in is a house on fire and the people we love are burning.

I can get by and chatter and talk and tell funny stories, make people laugh, but I don't have as many words, I don't have the vocabulary. I think if I forced myself to read in Spanish - you know, I always say I'm going to, but I lose my patience reading in Spanish, because I really do read the way a third grader does, mouthing the words. That takes a long time!

The ideal for me is to mix it up. When I have a writing workshop, I like to have people that are anthropologists and people who are poking around in other fields, I like to have them all in the same workshop, and not worry about genre.

Before you speak, get very quiet, do the meditation, say, "Use me as a channel for what needs to get said to this community. This community needs to hear something very important that I'm the only person in the room who can say it. Please help open me so that I'm not frightened and speak through me. Let me be that channel so that I can help heal." You make yourself so humble that you really are like a flute and that music that comes out comes from el corazón. All the people you're connected to from that light that we call love.

Some people need flowers, some people need dandelions. It's medicine, it's what you need at that time in your life.

People know when you're speaking from el corazón. You have that pain. Take that pain and do something with it. That's very powerful.

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.

Even though it's hard to believe, but people who know me really well know I'm shy. I have to go past that fear.

If you just breathe, and go slower, you will have enough energy. It's really important because there are people who wait in line, and your work has changed their lives. You will need to listen to them because they are also going to feed you and give you confirmation of the prayer you asked before you spoke.

You get good at being by yourself and you're condemned to a life sentence of solitude. You think, "Wait a minute! I should have been a tap dancer or something". But in my life, I feel like I take my stories to people orally.

If you live in poor neighborhoods - I know from living in several poor neighborhoods - the worst supermarkets in the city are in the poorest neighborhoods, where people don't have cars.

Why don't we have people like Thich Nhat Hanh or Marshall Rosenberg and Nelson Mandela solving violent situations in a peaceful way?

Afterwards, people come and say, "I felt like you said that just to me. What you said is something I'm going through right now," so you know that spiritual connection is going on.

I live in a town that's two and a half hours from the border. I know people who have lived in San Antonio for generations, sometimes seven generations, their families are from there, and they are of Mexican descent, and they've never gone farther than the border.

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.

One of the things I used to dream of is that if I could just be funny like Red Skelton, if I could be a comedian like Red Skelton - that's what I watched on TV - then maybe I would have friends. I just remember that if I told stories to my friends, they listened. And in my family, with nine people talking at the same time, it's really hard to get people to listen to you. We were all craving attention.

I had to learn quick, because I was performing in Cinco de Mayo festivals with babies crying and people lifting their beers, and you know the feather dancers would come, and they'd say, "What are you, a poet? You're next".

I learned from the Macarturos. I had never been at a table with a labor organizer and a playwright and a performance artist and an anthropologist and a human rights lawyer. Usually at most gatherings, it's all writers. But suddenly I was at a table with all these different people and I learned from each of them, learned from the work they're doing, learned new ways to solve my problems.

I never paid attention when people said, "That's gotta be poetry. That's gotta be fiction," except when I was in a graduate program, and you had to claim your genre.

You know how they say, "Find your voice"? That's your voice, in your pajamas. And it doesn't mean that you're going to publish it or print it or people are going to see you in your pajamas. It just means you are going to construct the foundation in your pajamas, in that voice.

I tell people to write the stories that you're afraid to talk about, the stories you wish you'd forget, because those have the most power. Those are the ones that have the most strength when you give them as a testimony.

People paused to listen to Denise Chávez and she had them - with gum on her shoes, she had them. She said she stepped on gum when she came up to the stage and she couldn't move, so she had to stay in one spot otherwise people would see the Chiclet .

"You're next, after the feather dancers." And you had to get their attention, because otherwise people would go, "Oh, a poet." You really have to learn.