ABSTRACT
Since Jorge Amado’s publication of Jubiabá, endless cycles of quotation have effected a genuine proliferation of Candomblé imagery in Bahia’s public sphere. Quoting, as I have stated before, is always a procedure that produces distance. It removes you from the source. It takes the heat out of things, so to speak. ‘Look, it has been said before! I’m only quoting!’ Yet it also creates little pipelines between fields that were hitherto unconnected. Through these pipelines the color of the quote – its feel, its temperature, its texture – is passed on to the new surroundings in which it was inserted. In this process, both the quote itself and its new context are bound to change their meaning.
