Fireworks In Spanish Quotes

Because as much as touching Lucas usually left every cell in my body tingling, I was beginning to understand that touching someone you loved was about much more than just that. It wasn’t always about the sparks and the fireworks. Not exclusively. It could also be about the peace it brought you. The comfort. And for all the romances I’d read and the one, almost two, I’d written, I hadn’t known that. I would have never imagined that touching a man could light me up inside and quiet every worry and every noise in the world.

He encouraged me to take one more deep puff and hold it in, so I did, and the smoke traveled down on top of my esophagus and then did a U-turn up into where my brain was supposed to be. At first it felt like fireworks, and then I began to feel like I was floating down a stream. I liked it. And I took another puff and studied my ass off. The next morning, however, I would fail my very first Spanish exam, because I would not remember how to conjugate anything except Abraham.

Like Italian or Portuguese or Catalan, Spanish is a wordy language, bountiful and flamboyant, with a formidable emotional range. But for these same reasons, it is conceptually inexact. The work of our greatest prose writers, beginning with Cervantes, is like a splendid display of fireworks in which every idea marches past, preceded and surrounded by a sumptuous court of servants, suitors, and pages, whose function is purely decorative. In our prose, color, temperature, and music are as important as ideas and, in some cases-Lezama Lima or Valle Inclan, for example-more so. There is nothing objectionable about these typically Spanish rhetorical excesses. They express the profound nature of a people, a way of being in which the emotional and the concrete prevail over the intellectual and the abstract. This is why Valle Inclan, Alfonso Reyes, Alejo Carpentier, and Camilo Jose Cela, to cite four magnificent prose writers, are so verbose in their writing. This does not make their prose either less skillful or more superficial than that of Valery or T.S. Eliot. They are simply quite different, just as Latin Americans are different from the English and the French. To us, ideas are formulated and captured more effectively when fleshed out with emotion and sensation or in some way incorporated into concrete reality, into life-far more than they are in logical discourse. That perhaps is why we have such a rich literature and such a dearth of philosophers.

This Paris is evoked in the alluringly titled Le Rendez-vous des étrangers (Where Strangers Meet) by Elsa Triolet, Louis Aragon’s muse—a Paris in which the Spanish Picasso, Russian Chagall, and Italian Giacometti all felt at home, and with good reason: The people who gathered in Montparnasse formed a sort of foreign legion, though the only crime they had on their conscience was that of being far from home, far from their own milieu . . . Paris had handed over this small corner to us . . . This place for the displaced was as Parisian as Notre-Dame and the Eiffel Tower. And when, like a firework, genius erupted out of this small crowd, it was still the Parisian sky that received its reflected glory.