Brazil Quotes
Quotes tagged as "brazil"
Showing 1-30 of 96
“The really magical things are the ones that happen right in front of you. A lot of the time you keep looking for beauty, but it is already there. And if you look with a bit more intention, you see it.”
―
―
“Each drop of my blood will be an immortal flame in your conscience and will uphold the sacred will to resist. To hatred I reply with pardon, and to those who think they have defeated me, I reply with my victory. I was a slave to the Brazilian people, and today I am freeing myself for eternal life. But this people, whose slave I was, will no longer be slave to anyone. My sacrifice will remain forever in their souls and my blood will be the price for their ransom. I fought against the exploitation of Brazil. I fought against the exploitation of her people. I have fought with my whole heart. Hatred, infamy and slander have not conquered my spirit.I have given you my life. Now I offer you my death. I fear nothing. Serenely I take my first step towards eternity and leave life to enter history.”
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“In 1891 the Brazilian Minister of Finance decreed the abolition of history; he ordered the destruction of every document which dealt in any way with slavery or the slave trade; a nation-wide burning of the books.”
― Ama: A Story of the Atlantic Slave Trade
― Ama: A Story of the Atlantic Slave Trade
“Não, a vida nunca foi só a vida, nela há sonhos e fantasias que fazem a realidade ser o que é...”
― Cidades Mortas
― Cidades Mortas
“Speechless and very nearly panting, she fell back against the wall with a thump, knowing that if she lived to be ninety, she would still carry the searing mark of that kiss on her soul.
"At last," he murmured. "A way to shut you up." Christovao Santos (Chris), Sanctuary”
―
"At last," he murmured. "A way to shut you up." Christovao Santos (Chris), Sanctuary”
―
“Please. Put the gun down and we'll talk. A beautiful woman holding a small cannon plays hell with my concentration. Christovao (Chris) Santos, Sanctuary”
―
―
“Listen up, Nic," she said firmly, looking straight into his gray-blue eyes. "If you die on me out here, so help me I'll hold seances and pester you. I won't give you a moment's peace in the hereafter," she threatened in a fierce whisper. Gabrielle O'Hara, River of Dreams”
―
―
“Primeiro surgiu o homem nu de cabeça baixa. Deus veio num raio. Então apareceram os bichos que comiam os homens. E se fez o fogo, as especiarias, a roupa, a espada e o dever. Em seguida se criou a filosofia, que explicava como não fazer o que não devia ser feito. Então surgiram os números racionais e a História, organizando os eventos sem sentido. A fome desde sempre, das coisas e das pessoas. Foram inventados o calmante e o estimulante. E alguém apagou a luz. E cada um se vira como pode, arrancando as cascas das feridas que alcança.”
― Passaporte
― Passaporte
“What could I offer the local bad boy except my livelihood? Oh, I know. My body or my planes! Why didn't I think of that? Would you have preferred that I offer him my body, Nic, because I sure as hell wasn't going to sign over either of my planes!”
― River of Dreams
― River of Dreams
“In fact what estranged me most from rock, and from that entire impulse toward Americanization, was that it reached me without carrying any trace of rebellion.”
― Tropical Truth: A Story of Music and Revolution in Brazil
― Tropical Truth: A Story of Music and Revolution in Brazil
“I could not help remembering that I myself had uttered to a journalist in 1967, during the dawn of tropicalismo, a sentence that Tom Zé would soon use in a song resonant with the movement: "I am Bahian and I am a foreigner." In fact, we had understood that in order to do what we believed necessary, we had to rid ourselves of Brazil as we knew it. We had to destroy the Brazil of the nationalists, we had to go deeper and pulverize the image of Brazil as being exclusively identified with Rio.”
― Tropical Truth: A Story of Music and Revolution in Brazil
― Tropical Truth: A Story of Music and Revolution in Brazil
“My idle dreams of leaving behind what I was already doing professionally in order to study, to direct films, or to write receded with the shock of prison and exile. I simply lacked the strength even to adumbrate an act of will. The bell that had rung as I was falling asleep that morning the police had come to take me away had so deeply left its mark that I was still trembling at the sound of the doorbell in Chelsea. So it was impossible for me to dare do anything I might wish. And insofar as there was growing receptivity to what I did among my fellow professionals in London, a simple instinct for survival bound me to the activity in which I was already installed. I would stay home listening to Gil play, at times playing myself, watching television, reading, and above all conversing with people who came by. I was always chatty, but my happiness did not last even until my head hit the pillow. There was always something to feel ashamed of. And I didn't know how to get out of this.”
― Tropical Truth: A Story of Music and Revolution in Brazil
― Tropical Truth: A Story of Music and Revolution in Brazil
“A sociedade setecentista-oitocentista baiana não se dividia drasticamente entre dois extremos nítidos e polarizados: o dos senhores e o dos escravos. Este dualismo esquemático não encontra correspondência factual naquele mundo. Entre os dois extremos da hierarquia ou escala social, circulava uma população livre consideravelmente numerosa–faixa intermediária formada em grande parte por uma gente mestiça. Mais do que isso: havia escravos e ex-escravos que eram proprietários de escravos. Negros e negras escravistas. A primeira coisa que ex-escravos faziam, depois de ter a sua carta de alforria, era comprar para si um ou mais escravos, usando-os com os mesmos propósitos dos senhores brancos: tê-los a seu serviço pessoal e empregá-los para obter lucros, fosse no comércio ou na prostituição. Mas não só escravos: investiam igualmente em bens móveis e imóveis.”
― As sinhás pretas da Bahia: Suas escravas, suas joias
― As sinhás pretas da Bahia: Suas escravas, suas joias
“Antes do Século XIX–e, mais especialmente, antes da configuração do movimento abolicionista–, nenhum grupo étnico ou social, no Brasil, foi contra a escravidão enquanto sistema. Pessoas e grupos reagiam contra a sua própria e particular escravização, mas não contra o escravismo como um todo.”
― As sinhás pretas da Bahia: Suas escravas, suas joias
― As sinhás pretas da Bahia: Suas escravas, suas joias
“O barroco é a linguagem da abundância, do transbordamento, da prodigalidade. Daí a equação de [Severo] Sarduy: barroco = jogo; arte clássica = trabalho.”
― As sinhás pretas da Bahia: Suas escravas, suas joias
― As sinhás pretas da Bahia: Suas escravas, suas joias
“Em todo o reino português, a arte da ourivesaria estava, em tese, restrita apenas a homens livres, de origem europeia. O contato constante dos artesãos com materiais nobres, amplamente empregados na confecção de obras sacras, era o que justificava, já em Portugal, a proibição da manufatura a pessoas tidas como de sangue impuro–no caso português, especificamente judeus e mouros. Essa linha de pensamento chegou ao Brasil e aqui o ofício foi negado a negros e índios–proibição que, na realidade, nunca foi efetiva, já que a mão de obra escrava era a responsável por grande parte dos trabalhos manuais. [Joias de Crioula, 2011.]”
―
―
“É óbvio que essas mulheres donas de joias e escravos, entre outras coisas, resistiam e reagiam. Mas fizeram muito mais que isso. Sua ação foi maior, mais dinâmica e mais rica do que meramente negadora, paralisante, defensiva. E ainda havia a ambivalência: sinhás pretas incorporavam modelos e copiavam práticas de sinhás brancas; senhores cobriam suas escravas com joias, ao tempo em que autoridades tentavam proibir tanto luxo; etc. Em suma, essas mulheres negras e mulatas foram muito menos vítimas do que agentes vitoriosas.”
― As sinhás pretas da Bahia: Suas escravas, suas joias
― As sinhás pretas da Bahia: Suas escravas, suas joias
“... a tese de Florestan Fernandes, estabelecendo que os escravos foram entregues ao deus-dará e à miséria depois da abolição, pode começar a ser desconstruída desde aqui. Primeiro, por se chocar com a notável e comprovada ascensão social de pretos e mulatos em nosso Século XIX, de Pedro II aos primeiros dias republicanos. Depois, pelo fato de que, no 13 de maio de 1888, escravos praticamente inexistiam no país. Terceiro, porque a ascensão social negromestiça se deu antes, durante e depois da abolição. Quarto, no caso particular da Bahia, as informações indicam que não houve maior alteração na situação dos escravos pós-abolição. Os agora ex-escravos continuaram exercendo ofícios tradicionais, além de avançar em outras direções. A conjuntura não foi diversa no Rio de Janeiro.”
― As sinhás pretas da Bahia: Suas escravas, suas joias
― As sinhás pretas da Bahia: Suas escravas, suas joias
“The stucco façade is painted a pale mint green with the words CHARM HOTEL in bold black letters. A leaking gutter pipe has washed away the letter C, so that it now reads...”
― The Songlines
― The Songlines
“A terra não se reparte./Se abrange. Subjetiva-se./A terra é como a Arte:/na liberdade é que se cultiva.”
― Vivenda : 1959-1989
― Vivenda : 1959-1989
“When lunchtime comes, as always, I run to Library 1.2. I run my fingers along the edges of the books and follow the path to the romance section, looking for the seventeenth book in the ninth row of the third shelf. This is my routine and I adore every moment of it. One of the pages of the book is different from the rest; it was glued in to replace the original page, which had been torn out. On the patched page, I find my favorite passage from the story. I sit on the floor and read.
“How’s the patient?” he asked Derby.
“Dead to the world.”
“But not actually dead.”
“No.”
“How nice—to feel nothing, and still get full credit for being alive.”
I close the book and think of my best friend. How I wish he were here to see everything we achieved together. So he could see how our mission changed the lives of hundreds of thousands of people. I wanted to see the look of joy in his eyes as we admired together the demolition of the Wall. Of all the wishes, I wanted to talk to him about rhymes and metrics, sonnets and quatrains, about all the things I’ve been learning at school.
Sometimes, the longing hits so hard that I feel as if part of me died with him. As if part of my soul went with Mário, because I’ve never felt complete, whole, again.
I feel broken, old scrap.
I know Mário wanted to bring change to Redentor, but there are times when I feel it wasn’t worth it. I know it’s selfish, but I would trade all this sea of smiles on strangers’ faces to have a life by my friend’s side. I know he sacrificed himself for the good of all, but I allow myself to be a little selfish. Just a little.
Two of the few things I asked for after my participation in the revolution were Firstborn's box and Mário’s chip. At first, many came to me, trying to convince me to engage in political struggle, to be a poster boy, but my mother didn’t allow it.
He’s going to school, she said. His mission is over. Now, he’s going to be a child.
I like that my mother protects me from the adult world. And all I want is to be a normal boy and live my days peacefully. I no longer want to be involved in shootouts, explosions, and revolutions, of that I’m sure.
But she’s wrong about one thing: my mission is not over yet. It all began with Mário by my side, and it will only end with him by my side again.
Every night, before sleeping, I fiddle and tinker with the insides of that computer, just waiting to see that red light turn on and the sides of the lenses spin in processing. So far, all I’ve gotten are some light shocks. Even old Jeremias has already said the chip is completely broken, beyond repair.
I refuse to give up.
– Today’s the day – I say to myself as I unscrew the computer.
I replace the old wiring with new ones, clean the processor and run the chip through an advanced recovery system. I work for two hours hunched over the table. I plug the machine in and press the button.
Nothing.
Zero.
Absolutely nothing.
I sigh.
I don’t let discouragement or despair take hold of me. Tomorrow, I will continue. And if tomorrow the red light doesn’t turn on, I’ll try the day after tomorrow. And after that, and after that, and after that. I will work until there’s no more tomorrow.
“Everything works out in the end. If it’s not right, it’s because it’s not the end yet.”
It was a robot who liked poetry who taught me:
That's how life works.”
―
“How’s the patient?” he asked Derby.
“Dead to the world.”
“But not actually dead.”
“No.”
“How nice—to feel nothing, and still get full credit for being alive.”
I close the book and think of my best friend. How I wish he were here to see everything we achieved together. So he could see how our mission changed the lives of hundreds of thousands of people. I wanted to see the look of joy in his eyes as we admired together the demolition of the Wall. Of all the wishes, I wanted to talk to him about rhymes and metrics, sonnets and quatrains, about all the things I’ve been learning at school.
Sometimes, the longing hits so hard that I feel as if part of me died with him. As if part of my soul went with Mário, because I’ve never felt complete, whole, again.
I feel broken, old scrap.
I know Mário wanted to bring change to Redentor, but there are times when I feel it wasn’t worth it. I know it’s selfish, but I would trade all this sea of smiles on strangers’ faces to have a life by my friend’s side. I know he sacrificed himself for the good of all, but I allow myself to be a little selfish. Just a little.
Two of the few things I asked for after my participation in the revolution were Firstborn's box and Mário’s chip. At first, many came to me, trying to convince me to engage in political struggle, to be a poster boy, but my mother didn’t allow it.
He’s going to school, she said. His mission is over. Now, he’s going to be a child.
I like that my mother protects me from the adult world. And all I want is to be a normal boy and live my days peacefully. I no longer want to be involved in shootouts, explosions, and revolutions, of that I’m sure.
But she’s wrong about one thing: my mission is not over yet. It all began with Mário by my side, and it will only end with him by my side again.
Every night, before sleeping, I fiddle and tinker with the insides of that computer, just waiting to see that red light turn on and the sides of the lenses spin in processing. So far, all I’ve gotten are some light shocks. Even old Jeremias has already said the chip is completely broken, beyond repair.
I refuse to give up.
– Today’s the day – I say to myself as I unscrew the computer.
I replace the old wiring with new ones, clean the processor and run the chip through an advanced recovery system. I work for two hours hunched over the table. I plug the machine in and press the button.
Nothing.
Zero.
Absolutely nothing.
I sigh.
I don’t let discouragement or despair take hold of me. Tomorrow, I will continue. And if tomorrow the red light doesn’t turn on, I’ll try the day after tomorrow. And after that, and after that, and after that. I will work until there’s no more tomorrow.
“Everything works out in the end. If it’s not right, it’s because it’s not the end yet.”
It was a robot who liked poetry who taught me:
That's how life works.”
―
“Forest losses from clearing land for farming and ranching, usually by burning, are concentrated in the Brazilian Amazon, the Congo Basin, and Borneo.”
― Plan B 3.0: Mobilizing to Save Civilization
― Plan B 3.0: Mobilizing to Save Civilization
“The fact that MPB (Brazilian Popular Music) would come to concentrate the energy of this generation only confirms the power of the tradition that made bossa nova possible: in fact, MPB has been, for Brazilians as well as for foreigners, the sound of the discovery of a dreamt-of Brazil. [...] MPB proves to be the most efficient weapon for the affirmation of the Portuguese language in the world, when one considers how many unsuspected lovers it has won through the magic of the word sung in the Brazilian way.”
― Tropical Truth: A Story of Music and Revolution in Brazil
― Tropical Truth: A Story of Music and Revolution in Brazil
“All Brazilians have the impression that the country simply has no practical sense. It is like a father with a good heart and an honest reputation whom we respect but who can't make money or hold a steady job, who wastes great opportunities, gets drunk, and lands in trouble.”
― Tropical Truth: A Story of Music and Revolution in Brazil
― Tropical Truth: A Story of Music and Revolution in Brazil
“Almost everyone was visibly of mixed race. That the country might be poor was no reason for shame (although I rooted for it to get rich). We considered ourselves to be peaceful, affectionate, clean. It was unimaginable that anyone born here would want to live in another country.”
― Tropical Truth: A Story of Music and Revolution in Brazil
― Tropical Truth: A Story of Music and Revolution in Brazil
“At times, through the years, I have heard Gil say, and been deeply moved by it, that when he met me he felt as though he were leaving behind a great loneliness: when he saw me he was sure that he had found a true companion.”
― Tropical Truth: A Story of Music and Revolution in Brazil
― Tropical Truth: A Story of Music and Revolution in Brazil
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