Dionne Brand > Quotes

“Books leave gestures in the body; a certain way of moving, of turning, a certain closing of the eyes, a way of leaving, hesitations. Books leave certain sounds, a certain pacing; mostly they leave the elusive, which is all the story. They leave much more than the words.”
― Dionne Brand, A Map to the Door of No Return

“I am not nostalgic. Belonging does not interest me. I had once thought that it did. Until I examined the underpinnings. One is mislead when one looks at the sails and majesty of tall ships instead of their cargo.”
― Dionne Brand, A Map to the Door of No Return

“They were born in the city from people born elsewhere.”
― Dionne Brand, What We All Long For

“The Door of No Return - real and metaphoric as some places are, mythic to those of us who are scattered in the Americas today. To have one’s belonging lodged in a metaphor is voluptuous intrigue; to inhabit a trope; to be a kind of fiction. To live in the Black Diaspora I think is to live in a fiction - a creation of empires, and also self-creation. It is to be being living inside and outside herself. It is to apprehend the the sign one makes yet to be unable to escape it except in radiant moments of ordinariness made like art. To be a fiction in search of its most resonant metaphor then is even more intriguing.”
― Dionne Brand, A Map to the Door of No Return

“a boat, even a wrecked and wretched boat
still has all the possibilities of moving”
― Dionne Brand, Inventory: Poems

“If I am peaceful…is not peace,/is getting used to harm.”
― Dionne Brand

“There were Italian neighbourhood and Vietnamese neighbourhoods in this city; there are Chinese ones and Ukrainian ones and Pakistani ones and Korean ones and African ones. Name a region on the planet and there's someone from there, here. All of them sit on Ojibway land, but hardly any of them know it or care because that genealogy is wilfully untraceable except in the name of the city itself. They'd only have to look, though, but it could be that what they know hurts them already, and what if they found out something even more damaging? These are people who are used to the earth beneath them shifting, and they all want it to stop-and if that means they must pretend to know nothing, well, that's the sacrifice they make.”
― Dionne Brand, What We All Long For

“so don’t tell me how love will rescue me, I was carnivorous about love, I ate love to the ankles, my thighs are gnawed with love still and yet I cannot have loved, since living was all I could do and for that, I was caged in bone spur endlessly”
― Dionne Brand, Ossuaries

“Cities collect people, stray and lost and deliberate arrivants.”
― Dionne Brand, A Map to the Door of No Return

“And on the sidewalks, after they've emerged from the stations, after being sandpapered by the jostling and scraping that a city like this does, all the lives they've hoarded, all the ghosts they've carried, all the inversions they've made for protection, all the scars and marks and records for recognition - the whole heterogeneous baggage falls out with each step on the pavement. There's so much spillage.”
― Dionne Brand, What We All Long For

“He believed in nothing. Which is why his departures and his pursuit of the most intense feelings and acts were so radical, so deep and honest. The truth of life was perfectly clear to him. Nothing was made, every new morning was clear. His only challenge was inward. He had not been disillusioned or had some bad experience that he could put it all down to. He had simply seen the world and that was that. And he understood how slippery every moment was and he liked the thrill of it. Slipping from the knowable to the unknown, walking from one street to the next, being different all the time. In one afternoon he could slip from one personality to another. Why not?”
― Dionne Brand, At the Full and Change of the Moon

“The sea sounded like a thousand secrets, all whispered at the same time.”
― Dionne Brand, A Map to the Door of No Return

“I was someone who lived in anxiety. I felt anxiety was part of being conscious in the world; it was a prerequisite of a moral and ethical life. I don't mean the anxieties of Capital, I mean the anxieties of an unfinished world, the unfinished projects of the imagination, as Wilson Harris would put it.”
― Dionne Brand, Theory

“People here believe in uncontrollable passion, in mad rages, and in the brusque inevitability of death.”
― Dionne Brand, A Map to the Door of No Return

“It is not the job of writers to life our spirits. Books simply do what they do. They sometimes confirm the capricious drama of a childhood living room. When you think that you are in the grace of a dance you come upon something hard.”
― Dionne Brand

“..would I have had a different life
failing this embrace with broken things,
iridescent veins, ecstatic bullets, small cracks
in the brain, would I know these particular facts,
how a phrase scars a cheek, how water
dries love out, this, a thought as casual
as any second eviscerates a breath.”
― Dionne Brand, thirsty

“If I see someone I see the ghost of them, the air around them, and where they’ve been. If I see a city I see it’s living ghostliness—the stray looks, the dying hands. I see it’s needs and its discomforts locked in apartments.”
― Dionne Brand, A Map to the Door of No Return

“I want to say something else about desire. I really do not know what it is. I experience something which, sometimes, if I pull it apart, I cannot make reason of. The word seems to me to fall apart under the pull and drag of its commodified shapes, under the weight of our artifice and our conceit. It is sometimes impossible to tell what is real from what is manufactured. We live in a world filled with commodified images of desire. Desire clings to widgets, chairs, fridges, cars, perfumes, shoes, jackets, golf clubs, basketballs, telephones, water, soap powder, houses, neighbourhoods. Even god. It clings to an endless list of objects. It clings to the face of television sets and movie screens. It is glaciered in assigned objects, it is petrified in repetitive cliched gestures. Their repetition is tedious, the look and sound of them tedious. We become the repetition despite our best efforts. We become numb. And though against the impressive strength of this I can't hope to say all that desire might be, I wanted to talk about it not as it is sold to us but as one collects it, piece by piece, proceeding through a life. I wanted to say that life, if we are lucky, is a collection of aesthetic experiences as it is a collection of pratical experiences, which may be one and the same sometimes, and which if we are lucky we make a sense of. Making sense may be what desire is. Or, putting the senses back together.”
― Dionne Brand, A Map to the Door of No Return

“Fashions are not fashions at all but refashioning; language is not communication but reinvention. They are never in place but on display.”
― Dionne Brand, A Map to the Door of No Return

“It's like this with this city -- you can stand on a simple corner and get taken away in all directions. Depending on the weather, it can be easy or hard. If it's pleasant, and the pleasant is so relative, then the other languages making their way to your ears, plus the language of the air itself, which can be cold and humid or wet and hot, this all sums up into a kind of new vocabulary. No matter who you are, no matter how certain you are of it, you can't help but feel the thrill of being someone else.”
― Dionne Brand, What We All Long For

“You come to this, here's the marrow of it, not moving, not standing, it's too much to hold up, what I really want to say is, I don't want no fucking country, here or there and all the way back, I don't like it, none of it, easy as that. I'm giving up on land to light on, and why not, I can't perfect my own shadow, my violent sorrow, my individual wrists”
― Dionne Brand, Land to Light On

“And truly, when I think about it, no one owes me a proper and truthful account of their life. And I don't owe anyone veracity when it comes to mine.”
― Dionne Brand, Theory

“It is not the job of writers to lift our spirits. Books simply do what they do. They sometimes confirm the capricious drama of a childhood living room. When you think that you are in the grace of a dance you come upon something hard. �—"A Map to the Door of No Return" - Dionne Brand”
― Dionne Brand

“She could assassinate streets with her eyes”
― Dionne Brand, thirsty

“We'd appraise each other, in the provisional way that lovers do, by attaching great depth and significance to the provisional. How, after all, do you "know" anyone? You take in certain physical and emotional characteristics that you've aestheticized, ignoring the facts. You listen to what a lover has to say, taking in the erotic music of their sound, their timbre, while dismissing the lyrics.”
― Dionne Brand, Theory

“One gleeful headline drives me to the floor, kneeling,
and all paint turns to gazette paper and all memory
collides into photographs we could not say happened,
that is us, that’s what we did. When you lose you become
ancient but this time no one will rake over these bodies
gently collecting their valuables, their pots, their hearts
and intestines, their papers and what they could bury.
This civilisation will be dug up to burn all its manifestos.
No tender archaeologist will mend our furious writings
concluding, “They wanted sweat to taste sweet, that is all,
some of them played music for nothing, some of them
wrote poems to tractors, rough hands, and rough roads,
some sang for no reason at all to judge by their condition.”
― Dionne Brand, Land to Light On

“I am not nostalgic for a country which doesn’t yet exist on a map.” [...] I am not nostalgic. Belonging does not interest me. I had once thought that it did. Until I examined the underpinnings. One is mislead when on looks at the sails and majesty of tall ships instead of their cargo.”
― Dionne Brand, A Map to the Door of No Return

“People use these arguments as reasons for not doing what is right or just. It never occurs to them that they live on the cumulative hurt of others. They want to start the clock of social justice only when they arrived. But one is born into history, one isn’t born into a void.”
― Dionne Brand, A Map to the Door of No Return

“Angie was a border crosser, a wetback, a worker in the immigrant sweatshop they call this city. On days like this I understand her like a woman instead of a child. Everybody thought she was a whore. She wasn’t. She tried to step across the border of who she was and who she might be. They wouldn’t let her. She didn’t believe it herself so she stepped across into a whole other country.”
― Dionne Brand, What We All Long For

“Having no name to call on was having no past; having no past pointed to the fissure between the past and the present. That fissure is represented in the Door of No Return: that place where our ancestors departed one world for another; the Old World for the New. The place where all names were forgotten and all beginnings recast.”
― Dionne Brand, A Map to the Door of No Return