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Quote by Barbara Kingsolver

Work

The Poisonwood Bible

Barbara Kingsolver's 'The Poisonwood Bible' is a narrative that unfolds in the Congo during the 1960s, focusing on the Price family and their experiences under the guidance of their father, a missionary. The story delves into the complexities of colonialism, the impact of religious beliefs on personal and societal levels, and the intricate dynamics within the family unit. The novel is told from the perspectives of the Price daughters, each offering a unique and emotionally charged account of their time in Africa. more

Author

Barbara Kingsolver
Barbara Kingsolver

Barbara Kingsolver is an American novelist known for her insightful social commentary and rich literary imagination. Her works often explore themes of environmental protection, social justice, and women's issues, and have gained widespread popularity. Born on April 8, 1955, in Arkansas, USA, Kingsolver grew up in Arkansas and Mexico, and later earned a BA in literature from Amherst College and an MA in comparative literature from Columbia University. more

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“Desde chicas nos enseñaban que no debíamos hablar con extraños y que debíamos cuidarnos del Sátiro. El Sátiro era una entidad tan mágica como, en los primeros años de la infancia, la Solapa o el Viejo de la Bolsa. Era el que podía violarte si andabas sola a deshora o si te aventurabas por sitios desolados. El que podía aparecer de golpe y arrastrarte hasta alguna obra en construcción. Nunca nos dijeron que podía violarte tu marido, tu papá, tu hermano, tu primo, tu vecino, tu abuelo, tu maestro. Un varón en el que depositaras toda tu confianza.”

“Las niñas se educan en el universo mágico de los cuentos de hadas. El príncipe encantador debe abrirse camino entre la maleza para llegar al castillo dela bella durmiente del bosque. La besa. Ella despierta por fin. El cuento ha terminado y hemos aprendido que la felicidad consiste en permanecer encerrada junto al amado.La sirenita dona su inmortalidad y su magnifica cola de pez para tener piernas. Andar es un suplicio, pero ella puede reunirse así con su príncipe encantador ... Que se casa con otra. El cuento ha terminado y hemos aprendido que nada es más hermoso que el sacrificio propio, incluso por un amado que no ama. Tu asesino te quería sólo para él. Se pegó a ti. Creíste que era amor. Era sólo instinto de posesión. Lo contrario del Amor.”

“I had never examined this fear of Trinidad. I had never wished to. In my novels I had only expressed this fear; and it is only now, at the moment of writing, that I am able to attempt to examine it. I knew Trinidad to be unimportant, uncreative, cynical. The only professions were those of law and medicine, because there was no need for any other; and the most successful people were commission agents, bank managers and members of the distributive trades. Power was recognized, but dignity was allowed to no one. Every person of eminence was held to be crooked and contemptible. We lived in a society which denied itself heroes.”

“The Trinidad Carnival and the calypso are both theatres in and metaphors through which the drama of Trinidad’s social history is encoded and enacted, historically a celebratory mass/mas theatre of contested social space: the domain of the stick fighter, the Wild Indian, the Pierrot Grenade, the Midnight Robber, the chantwel and his descendant, the calypsonian, and the pan man of the emerging steelband movement into the 1960s.”