“The working-class woman shows me much more than the ladies who are totally limited by conventional behavior. The working-class woman shows me her hands, her feet, and her hair. She lets me see the shape and form of her body through her clothes. She presents herself and the expression of her feelings openly, without disguises.”

Quoted in Käthe Kollwitz: Woman and Artist (1976) by Martha Kearns The Feminist Press, ISBN 0-912-67015-0, p. 82.
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Käthe Kollwitz 14
German artist 1867–1945

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“To me she was a woman but to herself she was still a child calling to her mother to hold her hand and help her. And her own mother, in the secret life we do not see, was a child too. I come from a line of children without end.”

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Context: He closed his eyes and tried to recover in his imagination the mudbrick walls and reed roof of her stories, the garden of prickly pear, the chickens scampering for the feed scattered by the little barefoot girl. And behind that child, in the doorway, her face obscured by shadow, he searched for a second woman, the woman from whom his mother had come into the world. When my mother was dying in the hospital, he thought, when she knew her end was coming, it was not me she looked to but someone who stood behind me: her mother or the ghost of her mother. To me she was a woman but to herself she was still a child calling to her mother to hold her hand and help her. And her own mother, in the secret life we do not see, was a child too. I come from a line of children without end.

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“This is how she shows herself a woman indeed,
My lady, and I reproach her for it:
She does not want what one ought to want,
And what she is forbidden to do, she does.”

Can vei la lauzeta mover, line 33; translation by Frederick Goldin, from Boris Ford (ed.) Medieval Literature: The European Inheritance (1983) p. 440.

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