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1 " Who can say how many lives have been saved by books? "
― Michelle Cliff , Everything Is Now: New and Collected Stories
2 " Freedom without the means to be self-supporting is a one-armed triumph. "
― Michelle Cliff
3 " She picked up the book beside her. Jane Eyre. Used, bought recently in a bookshop in Camden Passage, shabby nineteenth-century binding, pages bearing vague stains, fingered, smoothed. She opened the book to the place she left it when the taxicab pulled up.“My daughter, flee temptation.”“Mother, I will,” Jane responded, as the moon turned to woman.The fiction had tricked her. Drawn her in so that she became Jane. Yes. The parallels were there. Was she not heroic Jane? Betrayed. Left to wander. Solitary. Motherless. Yes, and with no relations to speak of except an uncle across the water. She occupied her mind.Comforted for a time, she came to. Then, with a sharpness, reprimanded herself. No, she told herself. No, she could not be Jane. Small and pale. English. No, she paused. No, my girl, try Bertha. Wild-maned Bertha. Clare thought of her father. Forever after her to train her hair. His visions of orderly pageboy. Coming home from work with something called Tame. She refused it; he called her Medusa. Do you intend to turn men to stone, daughter? She held to her curls, which turned kinks in the damp of London. Beloved racial characteristic. Her only sign, except for dark spaces here and there where melanin touched her. Yes, Bertha was closer to the mark. Captive. Ragôut. Mixture. Confused. Jamaican. Caliban. Carib. Cannibal. Cimarron. All Bertha. All Clare. "
― Michelle Cliff , No Telephone to Heaven
4 " One of the effects of indoctrination, of passing into the anglo-centrism of British West Indian culture, is that you believe absolutely in the hegemony of the King's English and in the proper forms of expression. Or else your writing is not literature; it is folklore, or worse. And folklore can never be art. Read some poetry by West Indian writers--some, not all--and you will see what I mean. The reader has to dissect anglican stanza after anglican stanza for Caribbean truth, and may never find it. The anglican ideal -- Milton, Wordsworth, Keats -- was held before us with an assurance that we were unable, and would never be able, to achieve such excellence. We crouched outside the cave. "
― Michelle Cliff , If I Could Write This in Fire
5 " It was never a question of passing. It was a question of hiding. Behind Black and white perceptions of who we were -- who they thought we were. Tropics. Plantations. Calypso. Cricket. We were the people with the musical voices and the coronation mugs on our parlor tables. I would be whatever figurine these foreign imaginations cared for me to be. It would be so simple to let others fill in for me. So easy to startle them with a flash of anger when their visions got out of hand -- but never to sustain the anger for myself. It would be a life lived within myself. A life cut off. I know who I am but you will never know who I am. I may in fact lose touch with who I am. "
6 " To cope with hurt and control my fears, I grew a thick skin. Oh, the many names of power - pride, arrogance, control. I am not the frozen snow queen but a flesh and blood woman with perhaps too loving a heart, one easily hurt. "
― Michelle Cliff , Claiming An Identity They Taught Me To Despise
7 " I was fortunate I knew her here." She heard her voice, clipped, distant—suddenly—as if she were describing a third-form teacher who had taught her Linnaean classification. No, she said to herself. I was blessed to have her here. Her passion of place. Her sense of the people. Here is her; leave it at that. "
8 " A theory in the flesh means one where the physical realities of our lives- our skin color, the land or concrete we grew up on, our sexual longings- all fuse to create a politic born out of necessity. Here, we attempt to bridge the contradictions in our experience: We are the colored in a white feminist movement. We are the feminists among the people of our culture. We are often the lesbians among the straight. We do this bridging by naming our selves and by telling our stories in our own words. "
9 " In America: each year the day before school after summer vacation I sat on my bed touching my notebooks, pencils, ruler-holding the stern and sweet smelling brown oxfords in my lap and spreading my skirt and blouse and underwear and socks before me. My mother would come in and always say the same thing: “Free paper burn now.” Such words conspire to make a past. Such words conjure a knowledge. Such words make assimilation impossible. They stay with you for years. They puzzle but you sense a significance. I need these words. "
10 " Do you mind if I kiss you?" Morag asks, her Calvinist pallor giving way to high color, getting higher."Why?" I ask."I thought it might be fun," she says. "There's nobody about; our boys are away."Has she made a presumption of unbridled sensuality as some do when they contemplate my tropical aspect? OneAmerican boy, holding me too close, his body a monument to sweat, actually said, "Gee, I guess that means you can get into all those neat positions." Spoken with the logic of Cuvier contemplating the Venus Hottentot. "
― Michelle Cliff , Into the Interior
