African Americans

"“I was trying to stand out, trying to be the class clown and be super-funny. But everybody thought I was lame and hated me…I’ve experienced that real sense of feeling out of place plenty in my life."

"…I’ve lived in so many places, so I almost feel as though I’m not a native of any one place—though, I definitely consider myself a Southerner. I was raised in Louisville, Kentucky and Atlanta, Georgia. But other places in terms of writing: I’ve written about Baltimore quite a bit, even though in terms of the percentage of my life lived in certain places, Baltimore probably occupies a very small percentage. It’s just been a large part of my imagination in terms of where stories are set…"

"…I found the world of nonprofits funny to begin with just because having worked there, you see that people are so altruistic and they're so benevolent and they're pretty selfless and you're working generally for a great cause.But the atmosphere within the work environment can be oddly competitive. People want the credit. Sometimes they don't listen to the people they're trying to help. And for me, this white guilt is so prevalent at this nonprofit. And they're so - they treat the kids as this pity party. And for me, I would hate to work in an environment like this, but it's ripe for comedy."

"Has the Negro girl proved herself worthy of the intellectual advantages which have been given her? What is your answer when I tell you that Negro women stand at the helm of outstanding enterprises; such are: Nannie Borroughs — Charlotte Hawkins Brown; they are proprietors of business — we recall Madam Walker and Annie Malone; they are doing excellent work in the field of Medicine, Literary Art, Painting and Music. Of that large group let us mention Mary Church Terrell and Jessie Fauset; Hazel Harrison, Caterina Jarbors and Marian Anderson as beacon lights. One very outstanding woman is a banner. Others are leaders in Politics."

"“My parents helped me and they hurt me…My mom was extremely pro-Black, and I believed her. My dad is Senegalese, and I grew up around my dark-skinned cousins and just thought that they were the most beautiful women in the world. I was surrounded by beautiful dark people. And then middle school hit, and I was like, Oh, they think I’m ugly. They think I’m big. They think I’m unattractive. I went back to my mom like, ‘What the f—k?! Y’all lied to me my whole life. What is this?!’ I started realizing, Mom, you’re light-skinned. So I don’t know what you were talking about. It’s not like you can relate to being dark. And your hair is not the same texture as mine. So what do you know about telling me I’m beautiful? Why would you lie to me? That definitely had an impact on how I saw myself."

"I have no creative use for guilt, yours or my own. Guilt is only another way of avoiding informed action, of buying time out of the pressing need to make clear choices, out of the approaching storm that can feed the earth as well as bend the trees. If I speak to you in anger, at least I have spoken to you: I have not put a gun to your head and shot you down in the street; I have not looked at your bleeding sister’s body and asked, “What did she do to deserve it?” This was the reaction of two white women to Mary Church Terrell’s telling of the lynching of a pregnant Black woman whose baby was then torn from her body. That was in 1921, and Alice Paul had just refused to publicly endorse the enforcement of the Nineteenth Amendment for all women — by refusing to endorse the inclusion of women of Color, although we had worked to help bring about that amendment."

"…A lot of women write about messy, complex and complicated things. Our lives and experiences as women are complicated, and very dense, and on some levels, I think more multidimensional, because we have a whole lot more to deal with. Men don’t have periods. They don’t have babies, and nowadays they don’t have to worry about just taking care of a family. We women do all of that. And so, I find on some levels, our lives are a little bit more interesting…"

"Life is a lot of stops and starts, but when you get in your 50s, you see there is a finish line, and I want to go out sliding into home."

"Home will never go away Home will be here when you come back You may go to bring back fortune You may go to escape misfortune You may even go, just because you want to go But when you come back We hope you’ll come back Home will still be here."

"Anyone can go to the shop and buy anything and give to anyone, he told Liomi when the boy asked him for the umpteenth time why he couldn’t get even a little toy truck. The true measure of whether somebody really loves you, he lectured, is what they do for you with their hands and say to you with their mouth and think of you in their heart."

"I'm not trying to be Toni Morrison or Katherine Anne Porter or Virginia Woolf. I'm not trying to do anything except tell stories."

"But the Universe gives us different sources of Love to unite us all as One. Who are we to decide what the source of our Love should be at any given time? Love is Love, and at any given point we have everything we need."

"Our people say no condition is permanent, Mr. Edwards. Good times must come to an end, just like bad times, whether we want it or not."

"People in this country, always worrying about how to eat, they pay someone good money to tell them: Eat this, don’t eat that. If you don’t know how to eat, what else can you know how to do in this world?"

"I would say that I write out of frustration. If I were a witch, I would twitch my nose and fix it all and make things easier for all of us. That's what's underneath it."

"…The song does remember the deceased, and it’s the song that helps the deceased move on—to ascend, in the words of the poem, to the next life. I wanted to take that and apply it to senses of transition and, hopefully, ascendance within life, moments where one feels one has to move on and move up. I didn’t know it would become an ongoing, theoretically endless series—"

"…One of my favorite things was that television was all in English. Growing up an English speaker in a predominantly French-speaking country, I couldn’t understand most TV shows since they were in French, so coming to America allowed me to enjoy such a simple pleasure…"

"I did not do it because I wanted to one day have a book deal…I did it because I loved it, and I enjoyed it, and I did not know where it was going to take me. I did it out of love of the art."

"I think that the audience for poetry has widened in recent years and maybe it's continuing to widen—I hope so. The whole poetry slam phenomenon has created an interest and widened the audience for poetry in significant ways. There's a lot that needs to be done, obviously. But poetry is one of those things that just won't go away, and people keep rediscovering it. I think every generation has a poetry boom, or gives a boom to poetry, gives itself to poetry. There is also a growing sense that poetry has great variety to it, that there are many ways of going about it. I think with the recognition of that variousness, there's been a growth in the audience."

"…I think figures accrue to and build on feeling, and it’s no doubt the case that orphaning speaks of and from an emotional disposition I’m both inclined toward and see applying beyond myself. The orphan is such an archetypal figure, recurrent not only in my work but in world culture, because it tugs at the roots of our sense of belonging and the mix of anxiety and solace that goes with that sense…"

"…Drift is the tension and play between spirit and matter. Spirit wants to be unbound. It’s the tension between spirit and letter as well, the play between spirit and letter, the tangential way of knowing that the expression “you get my drift” gets at, not to mention the turns spirit and letter take toward each other and away from each other. Language, especially poetic language, replicates or is infused with the relationship between spirit and matter, the traffic between spirit and letter, its analogue…"

"…The reason why people connected with the characters is because they are real, and to write real characters you have to go deep into them. As a human you look at another human and you come with your own judgements, but as a writer you have to put that aside and just look at people for who they are. It is a process, and much of it is subconscious…"

"…to the extent that categories and the way things are defined -- the boundaries between things, people, areas of experience, areas of endeavor -- to the extent that those categories and definitions are rooted in social and political realities, anything one does that challenges them, that transgresses those boundaries and offers new definitions, is to some extent contributing to social change…"

"The South was very segregated. I mean, all through my childhood, long after Jim Crow was supposed to not be in existence, it was still a very segregated South. And the town we lived in - Nicholtown, which was a small community within Greenville, S.C. - was an all-black community. And people still lived very segregated lives, I think, because that was all they had always known. And there was still this kind of danger to integrating. So people kind of stayed in the places - the safe places that they had always known."

"I think what happened was the language settled in me much deeper than it settled into people who just can read something once and absorb what they absorb of it. I feel like what I was absorbing was not by any means superficial. And I think I was - from a really young age, I was reading like a writer. I was reading for this deep understanding of the literature not simply to hear the story but to understand how the author got the story on the page…"

"I feel like, as a person of color, I’ve always been kind of doing the work against the tide…I feel like change is coming, and change sometimes comes too slow for a lot of us. But it comes."

"I realized the more specific the story, the more universal it becomes."

"It's so hard to be a stranger in a strange land. I don't think most people understand how difficult it is to leave behind what you know and come to a country where everything about you is considered "different.""

"I want it to be there for the people who need it. I don’t want anyone to walk through the world feeling invisible ever again."

"I think it is precisely the existence of a relative few wealthy, successful African Americans like Barack Obama, Oprah Winfrey, and Colin Powell, and even Herman Cain, that creates this mirage of great racial progress even as a system like mass incarceration exists in which millions of poor folks of color are trapped in a permanent undercaste. I think that the existence of Black folks who can be offered as proof that “if you just try hard enough you can make it,” really creates, helps to immunize a system of mass incarceration from serious critique. The appearance that if you try hard enough you can make it, makes it difficult even for many Black folks to view our nation as one that would readily create and sustain a caste-like system again…"

"When we look back over the course of our nation’s history, what we see again and again almost like clockwork are these predictable efforts by the wealthy elite to use race as a wedge. To pit poor whites against poor people of color for the benefit of the ruling elite. Many people don’t realize that even slavery as an institution—the emergence of an all-Black system of slavery—was to a large extent the result of plantation owners deliberately trying to pit poor whites against poor Blacks. And ensure that poor whites would not join in any kind of resistance, movement, struggle, or revolt with poor Blacks…"

"For children, the era of mass incarceration has meant a tremendous amount of family separation, broken homes, poverty, and a far, far greater level of hopelessness as they see so many of their loved ones cycling in and out of prison. Children who have incarcerated parents are far more likely themselves to be incarcerated…"

"I had long contemplated the failure of the Negro to strike one solitary blow for his own freedom during the War of the Rebellion, when he might easily, by an uprising, have plunged the South into chaotic impotency, thereby compelling the return of Southern soldiers to defend their hearthstones. Many Northerners desired just such an event. But the Southern Negro not only did not rise in vindictiveness but even toiled in the field, worked in factories and mines, and built fortifications for his masters. ... In other words, the Negro forged and repaired the chains for his own bondage when he should have, by revolting, ignited a monster conflagration in the rear of the Confederacy, which would have consumed it much earlier than it was."

"I'm okay with people saying “oh the language makes me uncomfortable,” but if the language is what makes you uncomfortable, consider yourself privileged. I'm more uncomfortable about the killing of unarmed black people in this country."

"Teenagers give me hope. We write them off so often. But I'm seeing a lot of things in this generation that’s coming up that gives me a lot of hope for the future. So I tell them when I'm in the old folks home, I think I can relax because I think you guys are going to do a great job."

"Certainly youth of color, particularly those in ghetto communities, find themselves born into the cage. They are born into a community in which the rules, laws, policies, structures of their lives virtually guarantee that they will remain trapped for life."

"So many black kids are put in that position, so I wanted to show that there is no one way to talk black. There is a stereotype that if you sound ghetto, and you use a lot of slang, that makes you black. I wanted to show this girl who exists in these two different worlds. Which Starr is the real Starr? There are so many adults who identify with that, too. I went through it myself when I was in college…"

"It probably won’t surprise anyone to hear me say that boundaries between genres are not borders to be respected so much as walls to tear down. I can’t imagine being a writer of only one genre, and I find that most of the time, even works that I’m writing to fit a particular genre are influenced by my experience of other genres. I think that everything I write is “literary,” but we also have to understand that these terms have marketing implications and so on…"

"I’ve been really intrigued by the idea of the end of the world — how it’s never really real, though it may feel like it is to us living in the midst of climate change as we are. Except on the scale of billions of years, according to the kind of timeline where suns birth and die and so on, worlds are quite adaptive creatures. Earth has had five or so ice ages. Dinosaurs have come and gone, many dying, others living on as birds. Mass extinction is par for the planet’s course…"

"I compare Bri and Starr to Biggie and Tupac…Without the beef! Tupac was very community-orientated, and that’s how Starr is. But Bri, similar to Biggie, she’s about making it, she’s about seeing her dreams come to life. She’s about trying to save her family, and there’s nothing wrong with that. So that’s where they’re different, but they’re similar in the fact that they are both powerful young women who know they have voices, and they both understand how they can use those voices to affect an entire generation."

"Once upon a time I wrote the way a very young child draws, with absolute confidence that the work is genius. A splotch of colour there. A smear. Spirals and zigzags. Exploration and process are at the heart of art when we are only beginning. My writing has always been intentional. Both intensity of feeling and lushness of language have been primary goals of mine from the get go, but it did not always involve this level of anxiousness, of desperation…"

"The political strategy of divide, demonize and conquer has worked for centuries in the United States — since the days of slavery — to keep poor and working people angry at (and fearful of) one another rather than uniting to challenge unjust political and economic systems."

"Part of me wonders if I should’ve labelled by characters according to contemporary definitions of gender and sexuality so there’d be no doubt in anyone’s mind. To me, all of these labels are context dependent and therefore it does not feel authentic or organic to use words that have developed out of our contemporary discourse to describe my characters…"

"If nothing else, fiction has empowered a lot of people in the act of resistance. The Hate U Give, I know, has birthed several young activists and I’m so happy with that, I’m so proud these young people have decided to speak up and speak out on things that concern them. There was one young lady in Texas, it started out with her deciding she was going to speak up for the book when it was challenged by the school district. And that led to her becoming an activist in her own right in other areas. So I think books can empower. Rudine Sims Bishop [the author and educator] says that books are either mirrors, windows or sliding-glass doors, and that’s important in the act of resistance. You need that mirror to see yourself, to know what you can be and know what you are. And then you need that window to see into someone else’s life so you can understand what’s happening around you in the world that you may not notice at first glance. And you need the sliding-glass door so that you can step into someone else’s life and walk in with some empathy and use that empathy to make yourself heard. So yeah, I think books play a huge role in resistance. They play a huge role in opening people’s eyes and they’re a form of activism in their own right, in the fact that they do empower people and show others the lives of people who may not be like themselves.""

"What has changed since the collapse of Jim Crow has less to do with the basic structure of our society than with the language we use to justify it. In the era of colorblindness, it is no longer socially permissible to use race, explicitly, as a justification for discrimination, exclusion, and social contempt. So we don’t. Rather than rely on race, we use our criminal justice system to label people of color “criminals” and then engage in all the practices we supposedly left behind. Today it is perfectly legal to discriminate against criminals in nearly all the ways that it was once legal to discriminate against African Americans. Once you’re labeled a felon, the old forms of discrimination—employment discrimination, housing discrimination, denial of the right to vote, denial of educational opportunity, denial of food stamps and other public benefits, and exclusion from jury service—are suddenly legal. As a criminal, you have scarcely more rights, and arguably less respect, than a black man living in Alabama at the height of Jim Crow. We have not ended racial caste in America; we have merely redesigned it."

"The shift that's occurred this time around "wasn't by happenstance," Brittany Packnett Cunningham, an activist and a writer, told me, nor is it only the product of video evidence. "It has been the work of generations of Black activists, Black thinkers, and Black scholars"-people like Angela Davis, Kimberlé Crenshaw, Michelle Alexander, and others-"that has gotten us here. Six years ago, people were not using the phrase 'systemic racism' beyond activist circles and academic circles. And now we are in a place where it is readily on people's lips, where folks from CEOs to grandmothers up the street are talking about it, reading about it, researching on it, listening to conversations about it.""

"I don’t want people to consume our suffering. I am not tragic. I don’t want to be pathology porn so I don’t write it."

"Part of that has to do with the fact that the book is a mix of humor and pathos. For me, I love someone like David Sedaris. I think it’s easier for people to consume white gay queer men doing this. It’s different if you’re not [white] because so often we consume otherness solely in terms of pathology. It’s like, “I’m black and gay, so it must be so awful to be me.” The idea of me being able to make fun of my trauma and what I’ve gone through — [publishers] didn’t think there’d be an audience for that. But thankfully we’re proving that there is."

"I believe in a god. And I just don't think I believe in maybe necessarily the Christian God I was raised to believe in. But I do like the idea of Christians who actually practice the teachings of Christ. I think Jesus is like a swell guy…"

"My mother is very smart, thoughtful, and loving, but I find that religion can take the most intelligent parts of her and warp them. There is a theological argument to be had about being gay, but I have found that trying to have that argument with people who believe their religion is opposed to gay identity is too hard. It tends to dismantle too much of who they are as people. Easier to just clarify, “I plan to have sex, so I can’t date Jesus.”"