Mery

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Nada es verdad
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La pequeña Eve
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Papá nos quiere
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Svetlana Alexievich
“No conocíamos el mundo sin guerra, el mundo de la guerra era el único cercano, y la gente de la guerra era la única gente que conocíamos. Hasta ahora no conozco otro mundo, ni a otra gente. ¿Acaso existieron alguna vez?”
Svetlana Alexievich, War's Unwomanly Face

Guillermo Arriaga
“dime ¿dónde está el cementerio de aquello que vivimos? ¿Dónde están las caricias de mi madre, los abrazos de mi padre, los besos de mi abuela, las palabras de mi hermano? Gainisg, no pueden simplemente desaparecer. No puede morirse toda la vida al morir. Algo debe quedar en esa bruma impenetrable que es la muerte. Así sean migajas de todo aquello que alguna vez existió.”
Guillermo Arriaga, El salvaje

Juan Gabriel Vásquez
“A person is from wherever they feel best, and roots are for plants. Everyone knows that, don't they?”
Juan Gabriel Vásquez, The Informers

Svetlana Alexievich
“Salgo del metro y enseguida me encuentro en un tranquilo parque moscovita. Con un columpio y un arenero para los niños. Mientras camino, repaso la conversación telefónica, la voz ha sonado sorprendida: ¿ya ha llegado? ¿y viene a vere enseguida? ¿no quiere pasar antes por la asociación de los veteranos de guerra? Allí tienen toda la información sobre mí, ¿ya la ha consultado?. Me he quedado algo perpleja... Antes pensaba que el sufrimiento libera, que, tras superar las penas, el individuo ya solo se pertenece a sí mismo. Que su propia memoria le protege. Pero estoy descubriendo que no, no es una regla general. A menudo este saber e incluso el saber superior (inexistente en la vida normal) existen como un ente oculto, como una especie de reserba intangible y secreta, como las pepitas de oro en una mina. Hay que separa minuciosamente el lastre y rebuscar bien entre los sedimentos del ajetreo diario para finalmente hacerlo brillar. ¡Para que nos regale su preciada luz!”
Svetlana Alexievich, War's Unwomanly Face

“Chimamanda Ngozi Adichie recalls that the stories she wrote as a seven year old in Nigeria were based on the kinds of stories she read, featuring characters who were white and blue eyed, they played in the snow, the ate apples. According to Adichie, this wasn´t just about experimentation or an active imagination, because all I had read were books in which characters were foreign, I had become convinced that books by their very nature had to have foreigners in them and had to be about things with which I could not personally identify.
We learn so many things from reading stories, including the conventions of stories such as good versus evil, confronting our fears and that danger often lurks in the woods. The problem is that, when one of these conventions is that children in stories are white, english and middle class, than you may come to learn that your own life does not qualify as subject material.
Adichie describes this as "The danger of a single story" a danger that extends to stories which, whilst appearing to be diverse, rely on stereotypes and thus limit the imagination”
Darren Chetty, The Good Immigrant

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