Editors From The United States

"…I know plenty of people who have been at the helm of various creative galleries, or production companies, and have never felt the need to behave poorly. It’s just a lazy justification. And as someone who has managed to go 25 years without conflating sex with power, or bullying my colleagues, I find it particularly offensive."

"Part of this book is an homage to the way my friends and I live: lives without children, without marriage, lives you rarely see depicted in popular art, unless as a punch line or a tragedy, lives not considered by many to be full, legitimate adulthood. And yet when I was growing up, my parents always had a diversity of friends, some of whom lived different kinds of lives themselves…And they had many friends who had chosen this other path of adulthood, who weren’t married, who didn’t have children, whose lives didn’t resemble their own. So this sort of life never seemed like anything less-than to me. The loneliness of living the life I do comes from the fact that so many people do think it’s a lesser existence, a purgatory of true adulthood."

"In some ways. I do want to do something very different with each book…I think this book is linked to the first but approaches it in a completely different way. The first book was much chillier, more remote. And intentionally so. I don’t think it was a book that anyone loved and I didn’t love it either. It was not a book that was meant to inspire love in the way that I think this one is."

"One of the things my editor and I did fight about…is the idea of how much a reader can take. To me you get nowhere second guessing how much can a reader stand and how much can she not. What a reader can always tell is when you are holding back for fear of offending them. I wanted there to be something too much about the violence in the book, but I also wanted there to be an exaggeration of everything, an exaggeration of love, of empathy, of pity, of horror. I wanted everything turned up a little too high…"

"…You have to intentionally seek out community. You have to intentionally seek out spaces that are comfortable, that are welcoming. And I think that intentionality just bleeds into the work of people who are from Pittsburgh. It's not a place where you could just laze into blackness. You have to be hyper-cognizant of it…"

"I have a deep fear of hurting people…I don’t want to be seen as this kind of person. I don’t want my work to be seen as this type of work."

"I like to write about modern instincts that are in some way good. And also in some way dangerous."

"The whole ‘girlboss’ realm, actually. Anything that is treating the magnification of a personal brand, or the acquisition of wealth as the ultimate prize, is just fully out the window. The way those books treat little girls as if they’re generic? I get sent so many self-help books that are about like, ‘perfectly imperfect’, ‘badass feminists’ that ‘don’t give a fuck’, but then the fuck is bleeped out? You know what I mean?"

"I’m not this MFA or this academic. I didn’t come through a New York Times or New Yorker pipeline or whatever. I started a blog…Now I’ve written for some of those publications I’ve named, but I wasn’t brought up and groomed that way. Since I haven’t been, it would be fraudulent for me to try to be less accessible just because … that’s just not me."

"Many cities are predominantly white in America, many larger cities; but with Pittsburgh, the whiteness there is a bit thicker, that it’s almost atmospherically white, spiritually white…"

"…I act like a hopeful person, but I think that hope is based on having zero expectations. I’ve never expected anything out of life, so I’ve never been disappointed…"

"…there are individual ways that we work our way through all of these systems that are corrosive and inescapable. But if there is a solution to the system itself, it’s at a collective level. It’s the level of policy and politics, it’s not at the level of individual choice."

"I wanted the book to inhabit quieter moments, and to be about these smaller interactions that reflect the way life often is. A tidy, definitive ending wouldn’t have been right for this book or the people in it; I wanted to leave the suggestion that life goes on, for all of these characters, even after the last page."

"People are so obsessed over this question of what is and isn’t autobiography—and I think the question is especially popular with people who don’t read much fiction, because a novel seems so mysterious: “Where did this story come from?…"

"It doesn’t get any less scary. All that happens is that you have less life left. It helps if you do your falling early, and it really helps if you do your reaching early."

"I think most Asian American writers, especially younger ones, are tired of the standard stories about discrimination and assimilation, or those set in the ancient hinterlands of our countries of ethnic origin. Those stories are no longer pertinent or urgent to most of us. Although we have not yet entered into a post-racial era, and although bigotry still rages on, it’s not something that people want to explore or dramatize in every single book or story…"

"A lot of this had to do with resenting the suggestion when I was starting out as a writer that I should write about the Asian American experience and have Asian American characters. I thought the suggestion was, in and of itself, racist, that I was being told I shouldn’t step out of the ethnic literature box, that I should know my place. But I didn’t want to be labeled as an ethnic writer, and I wasn’t interested in writing about being an immigrant or setting stories in Old Asia. I had no connections to those stories. They weren’t my stories. So essentially my reaction to those suggestions was, Fuck you…"

"Sometimes there’s nothing better in the world than talking to another creative person about where you are, because you may feel like you’re floating in outer space a lot of the time."

"When we're born, our experience is half the time spent undoing these ideas that were placed onto our body since birth and then building a personal identity on top of that."

"Taking time to color in the people around your main characters truly does a lot of heavy lifting for you in terms of subtext and context because tiny misunderstandings and micro-aggressions or avoidance speaks volumes without requiring so much exposition…"

"The thing about sexual assault and the narrative that gets played out so often is that it’s a deadlock. It’s what one person said vs. what another person said. It’s just that my personal experience as a survivor is incredibly muddied. I was very young and had such a crush on the person. I willingly obliged so many preambles to The Moment. I felt incredibly complicit. My self-gaslighting was so sustained and calcified that I wasn’t entirely sure if it “counted.” At the time it wasn’t something I would ever have felt secure declaring as assault if the burden of proof lay with me recounting everything about my intentions vs. the other person’s. We talk about consent and it’s important to define, but it’s never this hard and fast yes/no pact that’s then committed to the stenographer…"

"I’d like to see us get to the point where Asian American authors can have Asian American characters and a big deal isn’t made about it, or at least so it’s not the first thing mentioned…"

"Memory is everywhere, in the ways we think of ourselves and tell our stories. There are certain kinds of people who have more of a sense of who they are and their whole life story."

"Some writers want to write something that doesn’t exist within a time, but I’m not interested in that. I want to capture particular moments in time…I’ve always seen my writing as an attempt to document and be specific in that documentation."

"I just feel left out of the whole possibility of love and romance. I hate that that is related to my race, and I hate that I believe it. I hate that I have felt it for so long, and I hate that white women have it so easy. And it’s not that they are all beautiful or interesting—their face could look like a piece of paper, but there is a cultural perspective skewed towards them. We are asked to compare ourselves to them."

"Nonfiction requires logic and more careful thinking; sometimes I have to remind myself to be less self-conscious when I’m writing fiction. You have to turn off the part of your brain that tells you things don’t make sense or aren’t any good. Whereas that voice can be useful in nonfiction writing."

"I feel queasy about the idea of having non-Asians taking center stage in one of my books. I would feel guilty about it, as if I were trying to deny my ethnic heritage, even though this is precisely what I am suggesting we should be free to do."

"I’m existing on all of these different planes: in one moment I’m here, then I’m in the future, then I’m on a slave ship…"

"For those who don’t like the American Raj, a US invasion of Venezuela would mark a step forward in the crumbling of the empire. More aimless imperial over-reach, more lack of strategy, more enemies generated. The big winner would, of course, be the Pentagon and military industrial complex. More billions spent on a nation most Americans could not find on a map if their lives depended on it, more orders for ‘counter-insurgency’ weapons, more military promotions, and cheers from Fox News and wrestling fans."

"Few talk or think about Iraq these days; the media ignores this important but demolished nation. Iraq, let us recall, was the target of a major western aggression concocted by George W Bush, Dick Cheney and Britain’s Tony Blair, and financed and encouraged by the Gulf oil sheikdoms and Saudi Arabia."

"Most people don’t understand that Iraq remains a US-occupied nation. We hear nothing about the billions of dollars of Iraqi oil being extracted by big US oil firms since 2003. For the United States, Iraq was a treasure house of oil with 12 per cent of the world reserves. It was OPEC’s second largest producer."

"Russia and the West are at war – over fruits, veggies, pork and bank loans. The cause is Ukraine, a vast emptiness formerly unknown to the western world, but now deemed a vital national security interest worthy of a risking a very scary war. Economic embargos such as those launched by the US against Russia may seem relatively harmless. They are not. Trade sanctions are a form of strategic warfare that is sometimes followed by bullets and shells. Think, for good example, of the 1940 US embargo against Japan that led Tokyo’s fateful decision to go to war rather than face slow, economic strangulation... Frighteningly, today, there are senior officials in Washington and Moscow who are actually considering a head on clash in Ukraine between Russian forces and NATO – which is an extension of US military power. Intensifying attacks by Ukrainian government forces (quietly armed and financed by the US) against pro-Russian separatists and civilian targets in eastern Ukraine are increasing the danger that Moscow may intervene militarily to protect Ukraine’s ethnic Russian minority. A full-scale military clash could begin with a Russian-declared ‘no fly’ zone over the eastern Ukraine such as the US imposed over Iraq. Moscow’s aim would be to stop the bombing and shelling of Ukrainian rebel cities by Kiev’s air force. Russia’s leader, President Vladimir Putin, is under growing popular pressure to stop the killing of pro-Russian Ukrainians – who were Russian citizens until 1991."

"India and Pakistan, where people starve in the streets, waste billions on military spending because of the Kashmir dispute. Now some of India’s extreme Hindu nationalists warn they want to reabsorb Pakistan, Bangladesh, and even Sri Lanka into Mother India. Previous Indian leaders have been cautious. But not PM Modi. He is showing signs of power intoxication."

"…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 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—"

"…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…"

"…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…"

"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 used to sit on the stairs outside the courtroom and scratch out poems on legal pads while I was waiting for our cases to be called. There were juvenile hearings prior to the housing cases, and of course given their right to privacy we were not allowed inside the courtroom while that was going on. Everyone was in the hallway or on the stairs. I sat there. I didn’t have an office there, and I wrote poems. It was not as crazy as it might sound because whether I was working or am working as a lawyer or a poet, I am an advocate…"

"My diction, my choice of words, is as precise as I can make it. The images that I use, the evocation of the senses, again, relies upon a certain exactitude. You can see how what I did with language as a poet would bleed into what I did as a lawyer, vice-versa…"

"Everybody takes his or her reality for granted. Everybody takes for granted the reality we see, we hear. That’s true for life as well as poetry. We grow up in certain circumstances, in a certain environment, and we understand that this is the way the world works. Sometimes we have to unlearn that truth, learn that there is a different or broader reality. I’m always open to that, and I’m certainly transformed any number of times during my life. And then I regress. We all do it…"

"At the risk of over-generalizing, my sense is that American poetry, where popular culture is concerned, is a poetry of freedom and permission—that there are certainly poets who embrace it and have enjoyed success, from a publishing perspective, in embracing it…"

"When I started to make translations I was just doing it intuitively, and my tendency was to stick to the original as much as possible. Then I gained more confidence in my own poetry and my own writing and I began to become less concerned about being strictly faithful to the original and more concerned with producing a good poem in English. What I have often found—especially in the translations that are done by scholars—is that they’re very faithful to the content of the original language, but in English they don’t really sound that good as poems."

"A Puerto Rican writer from New York is doubly dislocated: first, there is dislocation from Puerto Rico; secondly, there is Puerto Rico’s dislocation from itself. Puerto Rico is a colony of the United States. It may be a truism that you can’t go home again, but it’s especially true when home is an occupied territory. A Puerto Rican writer from New York, like myself, is twice alienated. I never forget that in this country I belong to a marginalized, silenced, even despised community; yet, in Puerto Rico, as a “Nuyorican” poet, I am marginalized again, for reasons related and unrelated to the island’s colonial status…"

"When you’re confronted with your community being rendered invisible to the culture-at-large, a mission as straightforward as nurturing and promoting your community’s storytellers can, in my view, be viewed as a form of activism. Another, if one works in a context like mine, is exposing one’s students to the work of your community’s poets and writers…"

"The advice to any young poet is to embrace your freedom and not feel constrained to write in one particular way or only about one particular topic. If they’re Latino poets, I would encourage them not only to read widely, but also to read Latino poetry, to familiarize themselves with their particular tradition within American literature…"

"Not all successful Latin@ writers feel they owe anything to Latin@s. But among those who do, I would hope they keep in mind the history that got them there and that they work to keep those roads open for the upcoming writers."

"...we still are far from a racist and sexist free world. The fact that there will be Latin@s who will vote for McCain proves that despite the numbers, there is no such a thing as a Latino Movement today."

"… In terms of Latino communities generally speaking, I don’t think women’s (and gay) sexual identities are more than simply tolerated outside the heterosexual one. But I do believe there is change taking place there, too. These are my observations and most definitely have no empirical basis. I do believe that straight men, regardless of age or background, because times are changing, are becoming more accepting of the variations of binary gender constricts."

"The road in either direction is neither longer nor shorter, nor more narrow nor wider than the fear that closes your heart."