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To know love we must surrender our attachment to sexist thinking in whatever form it takes in our lives. That attachment will always return us to gender conflict, a way of thinking about sex roles that diminishes females and males. To practice the art of loving we first have to choose love—admit to ourselves that we want to know love and be loving even if we do not know what that means.

— All About Love by bell hooks (Page 155)

Quand une parole est offerte, elle ne meurt jamais.

Ceux qui viendront l'entendront.

— Bâtons à message - Tshissinuatshitakana by Joséphine Bacon (Page 130)

Ma douleur, devenue remord, est le long châtiment qui courbe mon dos.

Mon dos ressemble à une montagne sacrée, courbée d'avoir aimé tant de fois.

— Bâtons à message - Tshissinuatshitakana by Joséphine Bacon (Page 64)

Le passage d'hier à demain devient aujourd'hui l'unique parole de ma sœur, la terre.

Seul le tonnerre absout une vie vécue.

— Bâtons à message - Tshissinuatshitakana by Joséphine Bacon (Page 30)

The willingness to sacrifice is a necessary dimension of loving practice and living in community. None of us can have things our way all the time. Giving up something is one way we sustain a commitment to the collective well-being. Our willingness to make sacrifices reflects our awareness of interdependency.

— All About Love by bell hooks (Page 142 - 143)

What kind of expansion can a painting hold? Can it bring into our senses how encounters become scale and refusals textured? Becoming and being black is movement, state change, evolution, quanta, and distance.

Black distance is a form of knowledge indelibly tied to liquid. We know who we are as a discontinuous expansion of blue black. What are the spatial dependencies of curvilinear liberation? How does distance influence compositions made from an ocean rising?

The cantilever of black sensoria is the whole ethos: a mark, a line, an enclosure, an edge. Freedom is composing a painting with precarity that keeps blackness close, over, across and under the edge of being. —Torkwase Dyson

— Ordinary Notes by Christina Sharpe (Page 249)

You do not have to save the things that kill you.

— Ordinary Notes by Christina Sharpe (Page 162)

As a culture we are obsessed with the notion of safety. Yet we do not question why we live in states of extreme anxiety and dread. Fear is the primary force upholding structures of domination. It promotes the desire for separation, the desire not to be known. When we are taught that safety lies always with sameness, then difference, of any kind, will appear as a threat. When we choose to love we choose to move against fear—against alienation and separation. The choice to love is a choice to connect—to find ourselves in the other.

— All About Love by bell hooks (Page 93)

Maintenant que le Sud est installé au Nord, on croit l'intégration impossible. Coutumes, religions et langues différentes séparent l'un de l'autre. Et on insiste sur ces points de dissonance. Alors que ce n'est pas l'essentiel. A force de frottements, on n'aura pas besoin de deux décennies pour accommoder tout pli cela dans la grande chaudière urbaine. Mais l'Occident, qui a eu besoin de quelques millénaires pour construire une civilisation exceptionnelle, et de quelques siècles pour ériger ces magnifiques cathédrales de pierre, est devenu si impatient quand il s'agit de tricoter des relations humaines. Cela se traduit par des affrontements constants entre la police et les jeunes immigrés, avec de brèves périodes d'accalmie, qui ne font que retarder le moment de cohésion sociale.

— Tout ce qu'on ne te dira pas, Mongo by Dany Laferrière (Page 39)