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Quote by Tamerlan Kuzgov

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Tamerlan Kuzgov

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“Shoving aside fear and self-doubt, I met his eyes, aiming for absolute confidence in both my stance and my voice. “My father taught me to disarm my opponent at all costs—regardless of his choice of weapon,” I said, glancing pointedly at his groin. “Are you threatening me?” “Damn right. Lay one hand on me and you’ll never stand to pee again.” His eyes darkened, and his laugh sounded forced. “You’re very funny, gatita.” “I’m glad you think so. I’ve always considered my sense of humor to be largely under-appreciated, so it’s nice to finally meet a fan.”

“Okay, time to get serious. I let my smile fade slowly and lowered my pitch, as no human woman could have. “I’m not joking this time. If I see it, it’s mine, and you won’t get it back at the end of the school year.” I growled, deep and long, savoring the feel of the vibrations in my throat, as if the sound alone could save me. It wasn’t quite a cat’s growl but it was damn close. And it was his last warning. Miguel dismissed my threat with an easy smile, and my stomach clenched. Oh, yeah, Faythe. You have Puss shaking in his boots, all right.”

“Remember, your wishes are on the ways God created. If you miss the way, you are automatically missing that great treasure! Be on the way of the Lord and your wishes will meet you at a chosen junction!”

“As she writes, she feels a warm assurance; she likes her phrasing, and her conclusions, which are not absolute. On the contrary, they retain an ambiguous hesitant air, a little like done thinking out loud. She rereads her first notes and at times disagrees with herself, and she loves that, she has always liked changing her mind. She thinks about Chaura Paillacar struggling with headaches and about the unnamed poet's jumpy eyes, and Aurelia Bala writing with both hands and Floridor Pérez with his son Chile, whom she imagines as a teenager every bit as skinny and gangly as the country that gave him the name he wanted to change at any cost. She thinks about Hernaldo Bravo just after he was hit by a car, in a hospital, writing poems out of pure boredom, and about the twins scribbling incessantly on the walls of Bernadita Socorro's small, light-filled apartment... that the world of Chilean poets is a little stupid but it is more genuine, less false than the ordinary lives of people who follow the rules and keep their heads down. Of course there is opportunism and cruelty, but also real passion and heroism and allegiance to dreams. She thinks that Chilean poets are stray dogs and stray dogs are Chilean poets and that she herself is a Chilean poet, poking her snout into the trash cans of an unknown city...”

“As she writes, she feels a warm assurance; she likes her phrasing, and her conclusions, which are not absolute. On the contrary, they retain an ambiguous, hesitant air, a little like someone thinking out loud. She rereads her first notes and at times disagrees with herself, and she loves that, she has always liked changing her mind. She thinks about Chaura Paillacar struggling with headaches and about the unnamed poet's jumpy eyes, and Aurelia Bala writing with both hands and Floridor Pérez with his son Chile, whom she imagines as a teenager every bit as skinny and gangly as the country that gave him the name he wanted to change at any cost. She thinks about Hernaldo Bravo just after he was hit by a car, in a hospital, writing poems out of pure boredom, and about the twins scribbling incessantly on the walls of Bernadita Socorro's small, light-filled apartment... that the world of Chilean poets is a little stupid but it is more genuine, less false than the ordinary lives of people who follow the rules and keep their heads down. Of course there is opportunism and cruelty, but also real passion and heroism and allegiance to dreams. She thinks that Chilean poets are stray dogs and stray dogs are Chilean poets and that she herself is a Chilean poet, poking her snout into the trash cans of an unknown city...”