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Quote by Cornelia Funke

“After all, that was what you wanted from books: great emotions you'd never felt yourself, pain you could leave behind by closing the book if it got too bad. Death and destruction felt deliciously real conjured up with the right words, and you could leave them behind between the pages as you pleased, at no cost or risk to yourself.”

Quote by Cornelia Funke

Book:Inkdeath
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Work

Inkdeath

In 'Inkdeath,' readers are transported to a world where ink is not just a medium for writing but a fundamental force. The story delves into the lives of characters who must navigate a society where magic and ink are intertwined, facing challenges that test their abilities and resilience. more

Author

Cornelia Funke
Cornelia Funke

Cornelia Funke, born on December 10, 1958, is a renowned German children's literature author. Her works are highly praised for their rich imagination, unique narrative style, and profound humanistic concerns. Funke's writing covers a variety of themes including fantasy, adventure, and growth, and has won the hearts of readers worldwide. more

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“Suppose that we agree that the two atrocities can or may be mentioned in the same breath. Why should we do so? I wrote at the time (The Nation, October 5, 1998) that Osama bin Laden 'hopes to bring a "judgmental" monotheism of his own to bear on these United States.' Chomsky's recent version of this is 'considering the grievances expressed by people of the Middle East region.' In my version, then as now, one confronts an enemy who wishes ill to our society, and also to his own (if impermeable religious despotism is considered an 'ill'). In Chomsky's reading, one must learn to sift through the inevitable propaganda and emotion resulting from the September 11 attacks, and lend an ear to the suppressed and distorted cry for help that comes, not from the victims, but from the perpetrators. I have already said how distasteful I find this attitude. I wonder if even Chomsky would now like to have some of his own words back? Why else should he take such care to quote himself deploring the atrocity? Nobody accused him of not doing so. It's often a bad sign when people defend themselves against charges which haven't been made.”

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“I feel to that the gap between my new life in New York and the situation at home in Africa is stretching into a gulf, as Zimbabwe spirals downwards into a violent dictatorship. My head bulges with the effort to contain both worlds. When I am back in New York, Africa immediately seems fantastical – a wildly plumaged bird, as exotic as it is unlikely. Most of us struggle in life to maintain the illusion of control, but in Africa that illusion is almost impossible to maintain. I always have the sense there that there is no equilibrium, that everything perpetually teeters on the brink of some dramatic change, that society constantly stands poised for some spasm, some tsunami in which you can do nothing but hope to bob up to the surface and not be sucked out into a dark and hungry sea. The origin of my permanent sense of unease, my general foreboding, is probably the fact that I have lived through just such change, such a sudden and violent upending of value systems. In my part of Africa, death is never far away. With more Zimbabweans dying in their early thirties now, mortality has a seat at every table. The urgent, tugging winds themselves seem to whisper the message, memento mori, you too shall die. In Africa, you do not view death from the auditorium of life, as a spectator, but from the edge of the stage, waiting only for your cue. You feel perishable, temporary, transient. You feel mortal. Maybe that is why you seem to live more vividly in Africa. The drama of life there is amplified by its constant proximity to death. That’s what infuses it with tension. It is the essence of its tragedy too. People love harder there. Love is the way that life forgets that it is terminal. Love is life’s alibi in the face of death. For me, the illusion of control is much easier to maintain in England or America. In this temperate world, I feel more secure, as if change will only happen incrementally, in manageable, finely calibrated, bite-sized portions. There is a sense of continuity threaded through it all: the anchor of history, the tangible presence of antiquity, of buildings, of institutions. You live in the expectation of reaching old age. At least you used to. But on Tuesday, September 11, 2001, those two states of mind converge. Suddenly it feels like I am back in Africa, where things can be taken away from you at random, in a single violent stroke, as quick as the whip of a snake’s head. Where tumult is raised with an abruptness that is as breathtaking as the violence itself.”

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“The ideology of white supremacy, based on the subjugation of the black man in Rhodesia, denied the black man his full fundamental human rights and freedoms in his own native land and built a wall between black and white. The blacks decided, as the last resort, tha they were going to shoot down this wall; but the whites decided that this wall was to be maintained at any cost in spite of the glaring injustices inherent in it.”

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“A person is a person through others. This truth extends across time and space. We are through those who have come before us, those who have come with us and those who will come after us. Spirit possession, at the heart of Chimurenga, is an exercise in timelessness. It is those in the present communing with those in the past about the future concerning those who will come. Chimurenga has always been the intergenerational spirit of African self-liberation. It is not linear, it is bones that go into the earth and rise again and again.”

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