Representation Quotes

“The oppressed are allowed once every few years to decide which particular representatives of the oppressing class are to represent and repress them.”
― Karl Marx

“We deserve to have our wrongdoing represented as much as our heroism, because when we refuse wrongdoing as a possibility for a group of people, we refuse their humanity.”
― Carmen Maria Machado, In the Dream House

“But it is a pipe."
"No, it's not," I said. It's a drawing of a pipe. Get it? All representations of a thing are inherently abstract. It's very clever.”
― John Green, The Fault in Our Stars

“Since we live in the heads of those who remember us, we lose control of our lives and become who they want us to be.”
― David M. Eagleman, Sum: Forty Tales from the Afterlives

“If we can't write diversity into sci-fi, then what's the point? You don't create new worlds to give them all the same limits of the old ones.”
― Jane Espenson

“Our mind is the canvas on which the artists lay their colour; their pigments are our emotions; their chiaroscuro the light of joy, the shadow of sadness. The masterpiece is of ourselves, as we are of the masterpiece.”
― Kakuzō Okakura, The Book of Tea

“The more I write stories for young people, and the more young readers I meet, the more I'm struck by how much kids long to see themselves in stories. To see their identities and perspectives—their avatars—on the page. Not as issues to be addressed or as icons for social commentary, but simply as people who get to do cool things in amazing worlds. Yes, all the “issue” books are great and have a place in literature, but it's a different and wildly joyous gift to find yourself on the pages of an entertainment, experiencing the thrills and chills of a world more adventurous than our own.

And when you see that as a writer, you quickly realize that you don't want to be the jerk who says to a young reader, “Sorry, kid. You don't get to exist in story; you're too different.” You don't want to be part of our present dystopia that tells kids that if they just stopped being who they are they could have a story written about them, too. That's the role of the bad guy in the dystopian stories, right? Given a choice, I'd rather be the storyteller who says every kid can have a chance to star.”
― Paolo Bacigalupi

“What, then, is truth? A mobile army of metaphors, metonyms, and anthropomorphisms – in short, a sum of human relations, which have been enhanced, transposed, and embellished poetically and rhetorically, and which after long use seem firm, canonical, and obligatory to a people: truths are illusions about which one has forgotten that this is what they are; metaphors which are worn out and without sensuous power; coins which have lost their pictures and now matter only as metal, no longer as coins.”
― Freidrich Neitzsche

“If it's true what is said, that only the wise discover the wise, then it must also be true that the lone wolf symbolizes either the biggest fool on the planet or the biggest Einstein on the planet.”
― Criss Jami, Diotima, Battery, Electric Personality

“This is how space begins, with words only, signs traced on the blank page. To describe space: to name it, to trace it, like those portolano-makers who saturated the coastlines with the names of harbours, the names of capes, the names of inlets, until in the end the land was only separated from the sea by a continuous ribbon of text. Is the aleph, that place in Borges from which the entire world is visible simultaneously, anything other than an alphabet?”
― Georges Perec, Species of Spaces and Other Pieces

“It is not surprising that young white males – most between thirty and forty – play major roles in the production of hip-pop. It’s easy to forget this because when most people critique rap and hip-pop harshly, they assume that young black men are the sole creators and producers of misogynist rap. In fact, nothing is unilaterally produced anymore. As we’ve discussed, once you have a corporate takeover of the street culture, it is no longer the property of the young, Black and Latino men and women who have created it. It is reinvented with the mass consumer audience in mind. The hard-core misogyny and the hard-core sexism isn’t a translation from street to big-time studio, it is a product of the big-time studio.”
― bell hooks, Homegrown: Engaged Cultural Criticism

“[Author's Note:] When I was sixteen, two of my cousins were brutally raped by four strangers and thrown off a bridge in St. Louis, Missouri. My brother was beaten and also forced off the bridge. I wrote about that horrible crime in my first book, my memoir, A Rip in Heaven. Because that crime and the subsequent writing of the book were both formative experience in my life, I became a person who is always, automatically, more interested in stories about victims than perpetrators. I'm interested in characters who suffer inconceivable hardship, in people who manage to triumph over extraordinary trauma. Characters like Lydia and Soledad. I'm less interested in the violent, macho stories of gangsters and law enforcement. Or in any case, I think the world has enough stories like those. Some fiction set in the world of the cartels and narcotraficantes is compelling and important - I read much of it during my early research. Those novels provide readers with an understanding of the origins of the some of the violence to our south. But the depiction of that violence can feed into some of the worst stereotypes about Mexico. So I saw an opening for a novel that would press a little more intimately into those stories, to imagine people on the flip side of that prevailing narrative. Regular people like me. How would I manage if I lived in a place that began to collapse around me? If my children were in danger, how far would I go to save them? I wanted to write about women, whose stories are often overlooked.”
― Jeanine Cummins, American Dirt

“Once, Turner had himself lashed to the mast of a ship for several hours, during a furious storm, so that he could later paint the storm. Obviously, it was not the storm itself that Turner intended to paint. What he intended to paint was a representation of the storm. One's language is frequently imprecise in that manner, I have discovered.”
― David Markson, Wittgenstein's Mistress

“Now we really like to put people in boxes. As men, we do it because we don't understand characters that aren't ourselves and we aren't willing to put ourselves in the skin of those characters and women, I think, terrify us. We tend not to write women as human beings. It's cartoons we're making now. And that's a shame.”
― Paul Haggis

“History is too much about wars; biography too much about great men.”
― Virginia Woolf, A Room of One’s Own

“It is more substantial to represent a purpose, rather than just a title.”
― T.F. Hodge, From Within I Rise: Spiritual Triumph over Death and Conscious Encounters With the Divine Presence

“Surrealism also refuses the representation of reality: reality can only be; its existence proves its reality. Fiction thereby becomes impossible or is, by definition, false.”
― Michael Richardson, Dedalus Book of Surrealism 2: The Myth of the World

“One of the Christian's biggest fears is appearing 'too Christian'. God forbid, because that's often characterized as god-awful! We want to be one, but without being 'one of them'.”
― Criss Jami, Killosophy

“...But if we are to say anything important, if fiction is to stay relevant and vibrant, then we have to ask the right questions. All art fails if it is asked to be representative—the purpose of fiction is not to replace life anymore than it is meant to support some political movement or ideology. All fiction reinscribes the problematic past in terms of the present, and, if it is significant at all, reckons with it instead of simply making it palatable or pretty. What aesthetic is adequate to the Holocaust, or to the recent tragedy in Haiti? Narrative is not exculpatory—it is in fact about culpability, about recognizing human suffering and responsibility, and so examining what is true in us and about us. If we’re to say anything important, we require an art less facile, and editors willing to seek it.”
― Michael Copperman

“I just like to say I'm from London, I don't have any specific area I represent. I'm not representing for a small group of people. I'd like everybody to be able to relate to a nerd, because everybody's a bit nerdy. I'm more interested in that than in where they're from. I'm more interested in what people do.”
― Craig Taylor

“—Mais, quelle que soit l'importance de l'événement, dès qu'il est écrit sur le papier, il ne fait plus qu'une ou deux lignes. "Mes yeux ne voyaient plus" ou "je n'avais plus un sou", il suffit d'une dizaine ou d'une vingtaine de lettres de l'alphabet. C'est pourquoi, quand on calligraphie des autobiographies, il arrive qu'on soit soulagé. On se dit que ce n'est pas la peine de trop réfléchir à tout ce qui se passe dans le monde.”
― Yoko Ogawa, Les Tendres plaintes

“The message I've gotten about guys who like guys and girls is that we're faking, that we couldn't possibly be attracted to girls if we're attracted to boys. Bi girls get the same thing, but for them it means they're perceived as straight and for us it means we're perceived as gay.”
― Aaron H. Aceves, This Is Why They Hate Us

“On the rare occasions when farm animals have been individualized in fiction, perceptions of their
rights have changed. For example, Babe (1995) is a film that appears to have influenced some viewers’ perceptions of eating meat. Babe is a comedy- drama about an anthropomorphised pig that dreams of being a sheep dog. During the film, Babe (the pig) escapes being slaughtered several times, often in comical circumstances. The story ends happily with Babe achieving his ambition of becoming a “sheep dog” and thus avoiding his fate as a farmed pig. In the period following the film’s release, there was a dramatic rise in the number of vegetarians, especially young female vegetarians (Nobis 2009: 58). This change in attitude was dubbed the “Babe effect” (Nobis 2009: 58). The “Babe effect” likely occurred because this film depicted farm animals as intelligent, individual, and compassionate individuals, something that had seldom been done previously and is usually reserved for higher-order species (Plumwood 2012: 55–74).”
― Rebecca Rose Stanton, The Disneyfication of Animals

“As established at various points in this book, Walt was fond of animals. They inspired his most famous characters and works, such as Mickey Mouse, Bambi, The Jungle Book, and so forth. Therefore, Walt, WDAS, and Disney, owe their unique global success to animals. In a small way, WDAS does pay homage to animals, yet they have continuously ignored the harsh lives that most animals today experience. This text is of the opinion that all animals are sentient and can feel pain. However, given the reality and scale of animal harm today, one should hope that this position is incorrect. One should hope that WDAS is right; fish are objects, wild animals want to live in captivity, dogs desire human owners, cows are happy to lactate milk for other species, and so forth. Disney’s depictions of animal harm are hopefully the ones that are correct because if animals do have lives of their own, away from the selfishness of humans, then companies like Disney have made a huge mistake.”
― Rebecca Rose Stanton, The Disneyfication of Animals

“English: "Not voting means choosing totality; voting for an empty envelope means choosing democracy, but none of the candidates adequately represent your views."

Česky: „Nevolit znamená volit totalitu; volit prázdnou obálku znamená volit demokracii, ale žádný z kandidátů dostatečně nereprezentuje tvé názory.”
― Sebastián Wortys

“Representation isn’t just checking off boxes, it’s validating experience.”
― Tiffany Haddish, I Curse You With Joy

“This book does not represent autism, and neither I nor Cassie represent autistic people. We are simply individual voices in a choir of millions of amazing neurodivergent people, all with our own experiences, or own ways of seeing the world, our own ways of existing. I cannot speak for anyone but myself, and I would not want to try. So, whether you enjoyed this book or not, whether you see yourself represented in this story or not, I urge you to seek out other autistic voices.
We are beautiful, we are unique, and we are legion.”
― Holly Smale, Cassandra in Reverse

“Rihanna is a celebrity who really stands to represent Cocoa and Black Women...and all other races and people too. A role model who lives what she says, wears what she sells, and raw about who she is. She's the definition of the word, "authentic"!”
― Mitta Xinindlu

“Rihanna is a celebrity who really stands to represent Cocoa and Black Women...and all other races and people too. A role model who lives what she says, wears what she sells, and is raw about who she is. She's the definition of the word, "authentic"!”
― Mitta Xinindlu

“Any democratically elected government that listens more to its campaign financiers than its citizens, takes the demands of financial lenders sine qua non and those of its impoverished citizenry non exitus, is a failed government, corrupt and incompetent. It's not a government for the people and by the people, it is a government by the Whores for power!”
― Njau Kihia