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Quote by Jamaica Kincaid

Work

A Small Place

This work delves into the historical and political consequences of colonial rule, offering a critical analysis of the social and psychological effects on the inhabitants of a small island. more

Author

Jamaica Kincaid
Jamaica Kincaid

Jamaica Kincaid is a celebrated novelist known for her distinctive style and poignant storytelling. Born on May 25, 1949, she has made significant contributions to the literary world with her works that often explore themes of identity, colonialism, and the complexities of the human experience. more

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“Memory is a river. Memory is a pebble at the bottom of the river, slippery with the moss of our living hours. Memory is a tributary, a brackish stream returning to the oceam that dreamt it. Memory is the sea. Memory is the house on the sand with a red door I have stepped through, trying to remember the history of the waves.”

“This is what I learned while I walked Hattie home: Palmetto bugs are colossal roaches that thrive in hot climates and smell like Amaretto. They prefer the outdoors, but sometimes get lost and turn up in your house. If, as a five-year-old girl in Gainesville, Florida, you step into a steaming, oddly redolent shower, feel a light tap way up on your thigh, reflexively grab whatever just tapped you, find in your fist a roach with the heft of an operable pencil stub, fling it away, find a sharply bent leg affixed by its barbs to your middle finger’s meaty bottom phalange, repeatedly try to shake the leg off, repeatedly fail to shake the leg off, then sit in the tub and cry and cry, you’ll become a lyric poet, and your stomach will, from that day forward, repeatedly try to empty itself whenever you catch the scent of Amaretto. So, gum or no gum, no kiss good night. We dated nine months.”

“I do not know of anything in modern poetry as violently hostile to contemporary life as was the poetry of T. S. Eliot, which so perfectly fitted the mood of the young people between the two wars. I also find much more benevolence towards humanity in younger historians than there was in Spengler or in Toynbee. Still, it is not difficult to sense the disgust of the intellectuals at the new prosperous working class, 'with their eyes glued to the television screen,' who have become indifferent to radical ideas.”

“Michelangelo alone would tolerate no half-and-half. Clarity he wanted and he would have. The question of form was for him a religious matter; for him and only for him it was all or nothing. And this is the explanation of the lonely fearful wrestlings of this man, surely the unhappiest figure in our art; of the fragmentary, the tortured, the unsatisfied, the terrible in his forms that frightened his contemporaries. No man ever made a more honest effort than he did to find a way with the chisel into a buried world.”