JiixBooks

“My oral tradition has gradually been overlaid and is in danger of vanishing: at the age of eleven or twelve I was abruptly ejected from this theatre of feminine confidences - was I thereby spared from having to silence my humbled pride? In writing of my childhood memories I am taken back to those bodies bereft of voices. To attempt an autobiography using French words alone is to lend oneself to the vivisector's scalpel, revealing what lies beneath the skin. The flesh flakes off and with it, seemingly, the last shreds of the unwritten language of my childhood. Wounds arc reopened, veins weep, one's own blood flows and that of others, which has never dried. As the words pour out, inexhaustible, maybe distorting, our ancestral night lengthens. Conceal the body and its ephemeral grace. Prohibit gestures - they arc too specific. Only let sounds remain.

Speaking of oneself in a language other than that of the elders is indeed to unveil oneself, not only to emerge from childhood but to leave it, never to return. Such incidental unveiling is tantamount to stripping oneself naked, as the demotic Arabic dialect emphasizes. But this stripping naked, when expressed in the language of the former conquerer (who for more than a century could lay his hands on everything save women's bodies), this stripping naked takes us back oddly enough to the plundering of the preceding century. When the body is not embalmed by ritual lamentations, it is like a scarecrow decked in rags and tatters. The battle-cries of our ancestors, unhorsed in long-forgotten combats, re-echo across the years; accompanied by the dirges of the mourning-women who watched them die.”
― Assia Djebar, Fantasia: An Algerian Cavalcade

“How terrible, to navigate the world without a story to comfort you.”
― Ava Reid, A Study in Drowning

“I was a woman when it was convenient to blame me, and a girl when they wanted to use me.”
― Ava Reid, A Study in Drowning

“My sweet nemesis , how glad I am that you returned”
― Holly Black, The Queen of Nothing