I think we all have our own personality, unique and distinctive, and at the same time, I think that our own unique and distinctive personality blends with the wind, with the footsteps in the street, with the noises around the corner, and with the silence of memory, which is the great producer of ghosts.
Octavio Paz
Deserve your dream.
To read a poem is to hear it with our eyes; to hear it is to see it with our ears.
When hypocrisy is a character trait, it also affects one's thinking, because it consists in the negation of all the aspects of reality that one finds disagreeable, irrational or repugnant.
Wisdom lies neither in fixity nor in change, but in the dialectic between the two.
The characteristic feature of modernity is criticism: what is new is set over and against what is old, and it is this constant contrast that constitutes the continuity of tradition.
Solitude is the profoundest fact of the human condition. Man is the only being who knows he is alone.
The relations between rhetoric and ethics are disturbing: the ease with which language can be twisted is worrisome, and the fact that our minds accept these perverse games so docilely is no less cause for concern.
The sound of water is worth more than all the poets' words.
All of us, at some moment, have had a vision of our existence as something unique, untransferable and very precious. This revelation almost always takes place during adolescence.
Man does not speak because he thinks; he thinks because he speaks. Or rather, speaking is no different than thinking: to speak is to think.
Self-discovery is above all the realization that we are alone: it is the opening of an impalpable, transparent wall - that of our consciousness - between the world and ourselves.
Love is an attempt at penetrating another being, but it can only succeed if the surrender is mutual.
What distinguishes modern art from the art of other ages is criticism.
Social criticism begins with grammar and the re-establishing of meanings.
If we are a metaphor of the universe, the human couple is the metaphor par excellence, the point of intersection of all forces and the seed of all forms. The couple is time recaptured, the return to the time before time.
Art is an invention of aesthetics, which in turn is an invention of philosophers... What we call art is a game.
Wit invents; inspiration reveals. The inventions of wit are conceits - metaphors and paradoxes - that discover the secret correspondences that unite beings and things among and with themselves; inspiration is condemned to dissipate its revelations - unless a form can be found to contain them.
Literature is the expression of a feeling of deprivation, a recourse against a sense of something missing. But the contrary is also true: language is what makes us human. It is a recourse against the meaningless noise and silence of nature and history.
Wisdom lies neither in fixity nor in change, but in the dialectic between the two. A constant coming and going: wisdom lies in the momentary.
Abstract painting seeks to be a pure pictorial language, and thus attempts to escape the essential impurity of all languages: the recourse to signs or forms that have meanings shared by everyone.
In antiquity, a woman might be an object of worship or desire, but never of love.
Man, it seems to me, is not in history: he is history.
Surrealism is not a poetry but a poetics, and even more, and more decisively, a world vision.
Technology is neutral and sterile. Now, technology is the nature of modern man; it is our environment and our horizon. Of course, every work of man is a negation of nature, but at the same time, it is a bridge between nature and us. Technology changes nature in a more radical and decisive manner: it throws it out.
Man is alone everywhere. But the solitude of the Mexican, under the great stone night of the high plateau that is still inhabited by insatiable gods, is very different from that of the North American, who wanders in an abstract world of machines, fellow citizens and moral precepts.
The idea of modernity is beginning to lose its vitality. It is losing it because modernity is no longer a critical attitude but an accepted, codified convention.
Literatures, like trees and plants, are born of a land and in it flourish and die. But literatures, also like plants, may be carried abroad to take root in a foreign soil.
Walt Whitman is the only great modern poet who does not seem to experience discord when he faces his world. Not even solitude - his monologue is a universal chorus.
For the Chinese, the Greeks, the Mayans, or the Egyptians, nature was a living totality, a creative being. For this reason, art, according to Aristotle, is imitation; the poet imitates the creative gesture of nature.
The truth is that the history of Mexico is a history in the image of its geography: abrupt and tortuous. Each historical period is like a plateau surrounded by tall mountains and separated from the other plateaus by precipices and divides.
We are condemned to kill time, thus we die bit by bit.
In the United States, man does not feel that he has been torn from the center of creation and suspended between hostile forces. He has built his own world, and it is built in his own image: it is his mirror. But now he cannot recognize himself in his inhuman objects, nor in his fellows.
The object of poetic activity is essentially language: whatever his beliefs and convictions, the poet is more concerned with words than with what these words designate.
Words are things, but things which mean. We cannot do away with meaning without doing away with signs, that is, with language itself. Moreover, we would have to do away with the universe. All the things man touches are impregnated with meaning.
Poetry, whatever the manifest content of the poem, is always a violation of the rationalism and morality of bourgeois society.
It is not proper to project our feelings onto things or to attribute our own sensations and passions to them. Can it also be improper to see in them a guide, a way of life?
No one is alone, and each change here brings about another change there.
Poetry is not a genre in harmony with the modern world; its innermost nature is hostile or indifferent to the dogmas of modern times, progress and the cult of the future.
To us, the value of a work lies in its newness: the invention of new forms, or a novel combination of old forms, the discovery of unknown worlds or the exploration of unfamiliar areas in worlds already discovered - revelations, surprises.
Yes, I am well aware that nature - or what we call nature: that totality of objects and processes that surrounds us and that alternately creates us and devours us - is neither our accomplice nor our confidant.
Little by little, not without astonishment, I rediscovered the great names of the eighteenth and nineteenth centuries, who had been the master thinkers of my grandfather and other Mexican liberals. They did no offer me a doctrine or a catechism: they were and they are a source, an inspiration.
It has always surprised me that in a world of relations as hard as that of the United States, cordiality constantly springs out like water from an unstanchable fountain.
A society is defined as much by how it comes to terms with its past as by its attitude toward the future: its memories are no less revealing than its aims.
An understanding of Sor Juana's work must include an understanding of the prohibitions her work confronts. Her speech leads us to what cannot be said, what cannot be said to an orthodoxy, the orthodoxy to a tribunal, and the tribunal to a sentence.
In order for sensation to accede to the objectivity of things, it must itself be changed into a thing. The agent of change is language: the sensations are turned into verbal objects.
One of the most notable traits of the Mexican's character is his willingness to contemplate horror: he is even familiar and complacent in his dealings with it.
Human writing reflects that of the universe; it is its translation, but also its metaphor: it says something totally different, and it says the same thing.
Changes in our aesthetic tastes have no value or meaning in and of themselves; what has value and meaning is the idea of change itself. Or, better stated: not change in and of itself, but change as an agent or inspiration of modern creations.
If contemporary artists sincerely seek to be original, unique, and new, they should begin by disregarding the notions of originality, individuality, and innovation: they are the cliches of our time.
