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Quote by Lídia Jorge

“A escrita é redentora. A escrita faz com que o autor, independentemente do reconhecimento, tenha uma história de vida magnífica. A ortografia não é uma pele artificial da expressão verbal, é uma estrutura profunda que se revela na imagem grafada.”

Quote by Lídia Jorge

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Lídia Jorge

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“The conviction reigns that it is only through the sacrifices and accomplishments of the ancestors that the tribe exists--and that one has to pay them back with sacrifices and accomplishments; one thus recognizes a debt that constantly grows greater, since these forebears never cease, in their continued existence as powerful spirits, to accord the tribe new advantages and new strength.”

“- Mas você não consegue escrever coisas compridas! Isso que faz é uma miséria. - Coisas compridas como? _ Bem, romances, crónicas autênticas, ensaios sólidos. - Não, isso não sou capaz. - Então vocês não é um escritor. - Pois não. Quem se atreveu a chamar-me tal coisa? - aí é que me ia encanzinando. - Não é ofensa, desculpa. Mas uma coisa comprida, por favor, não arranja? - Olhe, o mais comprido que tenho é isto. E já foi difícil. Quando as coisas vão a ficar maiores, deito logo fora. Compreende, não é?”

“If you are writing for an educated audience and, to take an example, you use the phrase mutatis mutandis, you are not showing off—you are communicating. You are using words to do what words are supposed to do. It reminds me of the time that someone complained to William F. Buckley about all the unusual words that he would employ. His reply was that the words were not unusual to him. Words are there for a reason, and foreign phrases can often do the trick that more homey phrases cannot. But if you are blogging about your adventures as a shopping mom, and you write about your purchase of a 48-pack of corn dogs at Costco, and you describe them as de provenance étrangère, it had better be a joke. Unusual words or phrases (foreign and domestic) are a barrier to understanding, unless the point is to communicate to the reader that you know something they don't. Then they understand what you are doing quite well.”

“I revere a kind of sanctity in language and that reverence stands in place of an aesthetic. I wouldn't even make the case that I'm a writer; it's just what I put in the field if someone asks. It's easier than saying what I actually am, which is best expressed as what I actually do, which functionally a kind of worship. I think there are configurations of words that have power. I think they can be arranged in such a way as to modify the operation of the mind. I'm not even saying I succeed at this. I'm saying that seeking these configurations is the only thing I know how to do.”