Amputee author Quotes

“At the back of my mind I wanted to be a journalist when I grew up since I didn’t seem to be getting any better at goalkeeping.”

“The next morning, the earth was strewn with debris from the windstorm the night before. An audience of trees looked down on severed limbs cast about the ground, their hunched and beaten postures reminding me of a congregation of amputees gathered in the wake of a war.”

“I once saw a show about an amputee who lost his leg and still feels it. He actually wakes up at night to scratch his leg as if it’s still there, attached to him. They call it a phantom limb.I would be like that. A phantom draki, tormented with the memory of what I once was.”

“She had not had the relief of amnesia. She had suffered longer, and she had suffered more. Each second was agony in the first weeks. She was like an amputee in the days before anesthesia, half crazed with pain, astounded that the human body could feel so much and not die of it. But slowly, cell by painful cell, she began to mend. There came a time when it was no longer her whole body that burned with pain but only her heart. And then there came a time when even her heart was able, for a time at least, to feel other emotions besides grief.”

“It’s tempting to imagine happiness as a state of mind caused by whatever is happening in your life. By that way of thinking, we’re largely victims of the cold, cold world that sometimes rewards our good work and sometimes punishes us for no reason. That’s a helpless worldview and it can blind you to a simple system for being happier. Science has done a good job in recent years of demonstrating that happiness isn’t as dependent on your circumstances as you might think. For example, amputees often return to whatever level of happiness they enjoyed before losing a limb. And you know from your own experience that some people seem to be happy no matter what is going on in their lives, while others can’t find happiness no matter how many things are going right. We’re all born with a limited range of happiness, and the circumstances of life can only jiggle us around within the range. The good news is that anyone who has experienced happiness probably has the capacity to spend more time at the top of his or her personal range and less time near the bottom.”

“Lopez made sandals out of one tire. He sold them at ten cents each, because people sometimes needed only one.”

“A man can feel pain in an amputated arm (an arm that is not there). A man can also feel anxious when he thinks about how his soul will burn in the fire of hell when he is threatened by it though he cannot see it physically”

“It would seem that the author’s name, unlike other proper names, does not pass from the interior of a discourse to the real and exterior individual who produced it; instead, the name seems always to be present, marking off the edges of the text, revealing, or at least characterizing, its mode of being. The author’s name manifests the appearance of a certain discursive set and indicates the status of this discourse within a society and a culture. It has no legal status, nor is it located in the fiction of the work; rather, it is located in the break that founds a certain discursive construct and its very particular mode of being. As a result, we could say that in a civilization like our own there are a certain number of discourses that are endowed with the “author-function”, while others are deprived of it. A private letter may well have a signer_ it does not have an author; a contract may well have a guarantor_ it does not have an author. An anonymous text posted on a wall probably has a writer_ but not an author. The author-function is therefore characteristic of the mode of existence, circulation, and functioning of certain discourses within a society.”

“The truth is quite the contrary: the author is not an indefinite source of significations which fill a work; the author does not precede the works, he is a certain functional principle by which, in our culture, one limits, excludes, and chooses; in short, by which one impedes the free circulation, the free manipulation, the free composition, decomposition, and recomposition of fiction. In fact, if we are accustomed to presenting the author as a genius, as a perpetual surging of invention, it is because, in reality, we make him function in exactly the opposite fashion. One can say that the author is an ideological product, since we represent him as the opposite of his historically real function. (When a historically given function is represented in a figure that inverse is, one has an ideological production). The author is therefore the ideological figure by which one marks the manner in which we fear the proliferation of meaning.In saying this, I seem to call for a form of culture in which fiction would not be limited by the figure of the author…”