Sandra Cisneros Thinking Quotations

I think people should read fairy tales, because were hungry for a mythology that will speak to our fears.

Revenge only engenders violence, not clarity and true peace. I think liberation must come from within.

I think my family and closest friends are learning about my need to withdraw, and I am learning how to restore and store my energy to both serve the community to the best of my ability and to serve my writer's heart.

You want to be able to say anything when you do your first draft, because some of that goofy stuff that you think has nothing to do with it is probably where the mother lode is.

I think of reading as like a medicine cabinet.

To tell you the truth, I think it's about that we shouldn't get our driver's licenses till real late in life.

I always have to have sweet and salty. I know some of you are going to say, "Oh, I tried dates. I hate them." That's probably because you had the ones that were on the shelf for three years. Go to some healthy place and get the fresh ones, and you will just love them. You'll start eating them and think they're so good.

I think a lot of education has to be involved. If they would have alternative items, so that, say, for a dollar more, you can get breakfast tacos stuffed with egg whites, and olive oil, and avocado; not guacamole, because they put the salt in it. Just ask for fresh avocado slices, and you could have that.

I don't really think our government at heart wants peace. So I urge you, write to Mrs. Laura Bush, because she reads.

Think about the books that you were reading at a certain crisis in your life, what you were reading, and that's because you needed them to nourish your alma.

I like to think about the bestseller list as, "This is the medicine cabinet of a very sick country." Let me look and see what they're reading that isn't nourishing them.

I think I didn't know what I was creating, as much as I knew what I didn't want to do. And I didn't want my mother's life. She was an unhappy, frustrated artist who always dreamed of a life that was never going to be hers.

I think diseases have no eyes. They pick with a dizzy finger anyone, just anyone.

I don't know what the definition of a short story is, and I don't even care to answer that question. That's something somebody in academia would think about. I just want to tell a story, and if people listen, and if it stays with you, it's a story.

I think that we need to measure how we give dollars to libraries by need. And the communities that are poor, in my opinion, should get more because you have to do more outreach.

[Courage] always bigger than what you think you can handle, but you're never going to be given something you can't handle. So you say, "Okay, when you tell me what it is that I'm supposed to do, please give me the courage to do it."

I think that it's not enough to do the little Band-Aid things of having celebrities come and read to children. Not that we don't need to read to children, but we don't need to just do it one time and feel good about it. I think we need to think long range about poor people and their relationship to libraries.

I have to say that the traditional role is kind of a myth. I think the traditional Mexican woman is a fierce woman.

I can get by and chatter and talk and tell funny stories, make people laugh, but I don't have as many words, I don't have the vocabulary. I think if I forced myself to read in Spanish - you know, I always say I'm going to, but I lose my patience reading in Spanish, because I really do read the way a third grader does, mouthing the words. That takes a long time!

There are two things you need to ask for, to open up that channel, so you get the light. One is humility, because our ego is always going to block that guidance, and so you ask for humility.And the second thing you're going to ask for is courage, because what you're going to be asked to do is bigger than what you think you can do.

My weapon has always been language, and I've always used it, but it has changed. Instead of shaping the words like knives now, I think they're flowers, or bridges.

I think there's some great stuff coming. I do feel that. I think we have reached our Harlem Renaissance.

You get good at being by yourself and you're condemned to a life sentence of solitude. You think, "Wait a minute! I should have been a tap dancer or something". But in my life, I feel like I take my stories to people orally.

I look at Thich Nhat Hanh and I look at Marshall Rosenberg, and they're more concerned about the long range. And that long range means that you have to sit down with people who don't think like you. I want to reach people who don't think like me.

I know the American Library Association has models for working with the poor. They do have that, and I think that we really need to put our efforts - if we want to think long-range and invest in the community so that we don't have to, you know, invest in prisons - into making a change, because I know that the library can make a change in a life, because it made a change in mine.

I don't just want to talk to the choir. I want to sit down and be respectful of the people who are most unlike me, to get them to hear me and think. It doesn't mean you're going to change them right there, but just so they can hear you and what you're saying.

There are a few of the authors that I think have made a great big impact on my life. The way I used to do things when I was younger was more about being outrageous, and there was a lot of ego involved in that.

I think that you need to have books that talk about the lives of the poor, and they need to be involved - involved in acquisitions.

So how are you supposed to learn how to drive with this guy yapping at you? My brothers were the ones who got to practice. So when you have to get on the expressway, you're afraid. That's what I think. That's why I take back routes on two-lane highways.

Imagine Americans who go to Paris. Why would you want to go where someone's going to disparage you? Why would you go anywhere where they treat you bad? Well, that's how it is for us to go to Mexico. You have to be on your guard, because I think the Mexicans are harder on the Mexicans, the Mexican-Americans. They don't see us as Mexican. I think part of it's a class issue and a color issue. We're more connected to their servants, so what are we doing staying at a nice hotel? There's a kind of shame.

I would drive on streets that were one-way and think, "Why are they all honking at me?"

I also learned to tell a story. I think I learned from poetry how to time a story. Poetry's timing, beats and pauses. That white space on the page is as important as the black. The bottom of the page is blackout. It's performance.

Mexicans don't think of ghosts as haunting you.