Quotes About Identity

none of them had chosen to marry Sebastián, or to take on the risks of his profession as their own. Only she had done that, and now her family had paid for her choice. The fears of her past and the horrors of her present are so mixed up they feel like the unmatching pieces of a rompecabezas, like she's trying to piece together things that were never meant to fit.

At worst, we perceive them as an invading mob of resource-draining criminals, and, at best, a sort of helpless, impoverished, faceless brown mass, clamoring for help at our doorstep. We seldom think of them as our fellow human beings.

She's wondered with the sort of detached fascination of the comfortable elite how dire the conditions of their lives must be wherever they come from, that this is the better option. That these people would leave their homes, their cultures, their families, even their languages, and venture into tremendous peril, risking their very lives, all for the chance to get to the dream of some faraway country that doesn't even want them.

of lace, defined not so much by what she's made of, but more by the shapes of what's missing. She can't

On the trains, a uniform seldom represents what it purports to represent.

where she imagines she's inconspicuous. This is the one benefit of being a migrant, of having effected this disguise so completely: they are nearly invisible. No one looks at them, and in fact, people take pains not to look at them.

She's donated money. She's wondered with the sort of detached fascination of the comfortable elite how dire the conditions of their lives must be wherever they come from, that this is the better option. That these people would leave their homes, their cultures, their families, even their languages, and venture into tremendous peril, risking their very lives, all for the chance to get to the dream of some faraway country that doesn't even want them.

They're both smart, quick to learn. But their lives have been so expansive, their traumas so adult. They are young women and now they're meant to clip themselves into a three-ring binder each day. They're meant to hang their jackets in lockers and flirt with boys in the hallways. They're supposed to regress into shapes that were never familiar to them.

She was a woman who had never been beautiful, but who took care to appear as if she might once have been.

you. Because people are complex

she feels as tatty as a scrap of lace, defined not so much by what she's made of, but more by the shapes of what's missing.

Amor en los tiempos del cólera, first in Spanish, then again in English. No one can take this from her. This book is hers alone.

Luis Alberto Urrea, Óscar Martínez, Sonia Nazario, Jennifer Clement, Aída Silva Hernández, Rafael Alarcón, Valeria Luiselli, and Reyna Grande.

It was exciting for him to be good at something after a lifetime of mediocrity in Tamaulipas.

How monumental Lydia's grief had been when her father died! It terrifies her now, to think of it, how deeply formative that single loss was in her earlier life. Now there are sixteen more. When she thinks of this, she feels as tatty as a scrap of lace, defined not so much by what she's made of, but more by the shapes of what's missing.

The man's words have landed on her face and she does – she looks like an Aztec warrior.

migra. When has she ever

come from, that this is the better option. That these people would leave their homes, their cultures, their families, even their languages, and venture into tremendous peril, risking their very lives, all for the chance to get to the dream of some faraway country that doesn't even want them.

perímetro. Lydia move o corpo na direção dessa

defined not so much by what she's made of, but more by the shapes of what's missing

gloves and dark black visors so you can't see their eyes, and their faces

Jeanine Cummins

from the glass, 'Abuela,' and renews his attack

como «plática motivacional con crisis de identidad»