Every time I do an interview people ask similar questions, such as What is the most significant story that you have revealed? […] There really is only one overarching point that all of these stories have revealed, and that is–and I say this without the slightest bit of hyperbole or melodrama; it's not metaphorical and it's not figurative; it is literally true–that the goal of the NSA and it's five eyes partners in the English speaking world–Canada, New Zealand, Australia and especially the UK–is to eliminate privacy globally, to ensure that there could be no human communications that occur electronically, that evades their surveillance net; they want to make sure that all forms of human communications by telephone or by Internet, and all online activities are collected, monitored, stored and analyzed by that agency and by their allies.That means, to describe that is to describe a ubiquitous surveillance state; you don't need hyperbole to make that claim, and you do not need to believe me when I say that that's their goal. Document after document within the archive that Edward Snowden provided us declare that to be their goal. They are obsessed with searching out any small little premise of the planet where some form of communications might take place without they being able to invade it.

~ Glenn Greenwald

What we have here is a war—the war of matter and spirit. In the classical era, spirit was in harmony with matter. Matter used to condense spirit. What was unseen—the ghost of Hamlet’s father—was seen—in the conscience of the king. The spirit was trapped in the matter of theater. The theater made the unseen, seen. In the Romantic era, spirit overwhelms matter. The glass of champagne can’t contain the bubbles. But never in the history of humanity has spirit been at war with matter. And that is what we have today. The war of banks and religion. It’s what I wrote in Prayers of the Dawn, that in New York City, banks tower over cathedrals. Banks are the temples of America. This is a holy war. Our economy is our religion. When I came back to midtown a week after the attack—I mourned—but not in a personal way—it was a cosmic mourning—something that I could not specify because I didn’t know any of the dead. I felt grief without knowing its origin. Maybe it was the grief of being an immigrant and of not having roots. Not being able to participate in the whole affair as a family member but as a foreigner, as a stranger—estranged in myself and confused—I saw the windows of Bergdorf and Saks—what a theater of the unexpected—my mother would have cried—there were only black curtains, black drapes—showing the mourning of the stores—no mannequins, just veils—black veils. When the mannequins appeared again weeks later—none of them had blond hair. I don’t know if it was because of the mourning rituals or whether the mannequins were afraid to be blond—targets of terrorists. Even they didn’t want to look American. They were out of fashion after the Twin Towers fell. To the point, that even though I had just dyed my hair blond because I was writing Hamlet and Hamlet is blond, I went back to my coiffeur immediately and told him—dye my hair black. It was a matter of life and death, why look like an American. When naturally I look like an Arab and walk like an Egyptian.

~ Giannina Braschi