“Each of us chooses the tone for telling his or her own story. I would like to choose the durable clarity of a platinum print, but nothing in my destiny possesses the luminosity. I live among diffuse shadings, veiled mysteries, uncertainties; the tone of telling my life is closer to that of a portrait in sepia.”

“My worst flaw is that I tell secrets, my own and everybody else's. ”

“Absolute silence greeted the mystery of death, and for a time impossible to measure they waited, motionless, while Lynn's spirit rose from her body. Severo felt a long howl surging from the center of the earth and passing through his body to his lips, but it did not escape. The scream invaded him, filled him, and burst inside his head in a silent explosion.Portrait in Sepia, Isabel Allende.”

“I strike the ground with the soles of my feet and life rises up my legs, spreads up my skeleton, takes possession of me, drives away distress and sweetens my memory. The world trembles.”

“If, for example, I saw my grandparents or my daughter for an instant, would I recognize them? Probably not, because in looking so hard for a way to keep them alive, remembering them in the most minimal details, I have been changing them, adorning them with qualities they may not have had. I have given them a destiny much more complex than the ones they lived.”

“My death..I mean..will it be quick,and with dignity? How will i know when the end is coming?""When you vomit blood,sir," Tao Chi'en said sadly.That happened three weeks later,in the middle of Pacific,in the privacy of the captain's cabin. As soon as he could stand , the old seaman cleaned up the traces of his vomit, rinsed out his mouth , changed his bloody shirt, lighted his pipe, and went to the bow of his ship , where he stood and looked for the last time at the stars winking in a sky of black velvet. Several sailors saw him and waited at a distance, caps in hands. When he had smoked the last of his tobacco, Captain John Sommers put his legs over the rail and noiselessly dropped into the sea.-Portrait in Sepia by Isabel Allende.”

“Like my maestro, Juan Ribero, she believed that photography and painting are not competing arts but basically different: the painter interpets reality, and the camera captures it. In the former everything is fiction, while the second is the sum of the real plus the sensibility of the photographer. Ribero never allowed me sentimental or exhibitionist tricks-none of this arranging objects or models to look like paintings. He was the enemy of artificial compostion; he did not let me manipulate negatives or prints, and in general he scorned effects of spots or diffuse lighting: he wanted the honest and simple image, although clear in the most minute details.”