Novelists From The United States

"Lord, I do not ask that Thou shouldst give me wealth; only show me where it is, and I will attend to the rest."

""She has a nice ladylike appearance, but when she takes her bonnet off she looks seventy years old.” “She ought to keep it off, then,” returned Francesca, “ for she looked eighty with it on."

"She was fairly good at any kind of housework not demanding brains. (Chapter 20)"

"I knew him at once!—the smiling, genial, mobile face, rather highly colored, the brilliant eyes, the watch chain, the red carnation in the button-hole, and the expressive hands, much given to gesture."

""Mr. Popham is a Methodist and I'm a Congregationalist, but I say let the children go where they like, so I always take them with me." (Chapter 24)"

"When I was a little girl (I always think that these words, in precisely this juxtaposition, are six of the most charming in the language) -- when I was a little girl, I lived, between the ages of six and sixteen, in a small village in Maine."

"Miranda Sawyer had a heart, of course, but she had never used it for any other purpose than the pumping and circulating of blood.”"

"Aunt Celia is one of those persons who are born to command, and when they are thrown in contact with those who are born to be commanded all goes as merry as a marriage bell ; otherwise not."

"Salemina is so English! I can’t think how she manages. She is, in fact, more than English; she is British."

"He had his literary weaknesses, Charles Dickens, but they were all dear, big, attractive ones, virtues grown a bit wild and rank. Somehow when you put him -- with his elemental humor, his inexhaustible vitality, his humanity, sympathy, and pity -- beside the Impeccables, he always looms large. Just for the moment, when the heart overpowers reason, he even makes the flawless ones look a little faded and colorless."

"Nothing .. can blot from my memory the profound, searching, and exhaustive analysis of a great nation which I learned in my small geography when I was a child, namely, " The French are a gay and polite people, fond of dancing and light wines."

"When you have wanted something very much, and didn’t know whether you would ever get it or not, and then all at once you find you have it, you almost wish it hadn’t come so soon!"

"Some readers told me there was a stark difference in the writing in my last book [Moonlight on the Avenue of Faith] between the sections set in Los Angeles and those set in Iran. The Los Angeles sections were harsh and devoid of the magic -- but it's much easier to see the dark parts when they're up close."

"(What do you think is the relationship between Iranian-Americans and Iranians?) It's a pretty close relationship. Of course I'm talking about the Iranians who are conscious of those outside, not those who live far outside the cities in the villages. To those who are conscious there's always been such an incredible relationship between America and Iran. To many it's still The Great White Hope. The "Great Satan" and name-calling and all that was the work of such a small proportion of the people. America is still known as the Land of Good and Plenty. There's a 24-hour AM radio station here in America and you can tell there are people coming here constantly from Iran. There is such little distance and difference between the countries, especially in the minds of the young. The two countries are in almost constant communication, especially with the Internet."

"Everything always changes as you write."

"What do you do with a loss you can neither cure, nor accept, nor overcome? (Part 6, p269)"

"sometimes, truth alone will not suffice. (Part 6, p273)"

"there's a great resistance in the media to showing anything from the Middle East."

"At some point you just begin to take yourself a little less seriously."

"She's sixteen years old-a young woman in a city with blue mountains. (first line)"

"Of all the stories I will tell about my mother, this is the one I cherish most. I like to see her at the point of inception, the moment that would set the course for all our lives and all the stories that followed. And though I always know the end even before I have said the first word, I like the possibility, the promise inherent in each new telling, of a different finish. (Part 1, p5)"

"Every person I know has a hidden half. (Part 4, p158)"

"I think a lot of people go to writing programs and don’t think of themselves as writers and don’t think of it as a career. Writing is not a hobby!"

"I used to write in Farsi when I lived in Iran. When I first came to America I wrote in French because my French was better than my English. But I've always liked reading in English. There is a freshness to literature in English. In French there are all these historical and grammatical rules. I also speak Spanish, so having read all these books before in all these languages makes the prose available to me a little richer. I can translate concepts from other languages that don't exist in English."

"On Israel’s Independence Day every year—it’s called something else there like “the worst day that happened to Arabs”—they have funeral marches in the streets all over the Muslim World and people walking like someone died. They mourn like people in Israel celebrate. Well, every year in Iran, the Jews march in the streets in mourning also because they have to prove to the government that they are not Zionists. Being Zionist is punishable by death but being Jewish under the mullahs is accepted. The Jews live in fear in many ways, but I think they are so used to it that the Jews who stayed compare those dangers with other dangers like being in the West and having your children become Westernized or assimilated or being here and not having a job or being unable to make a living."

"John Rechy taught me everything. He taught me the importance of structure and the importance of clarity. I see that in my own students as well, you know, confusing mystery with vagueness. He taught me the difference."

""There's such a thing as too much hope...It's like a black hole: you fall in, and there's no bottom. That's why [he] is the way he is: he can't tell the difference between what's possible, and what's not." (Part 6, p257)"

"Every time I write a book, I’m trying to figure out the answer to a question. By the time I’ve written the book and gone through different drafts, I’ve figured out the answer. With this book, the question was: Is there going to be a distinct Iranian-Jewish culture and community in the United States in the long run? And do we want to assimilate so much that we become part of the larger American Jewish community? And why have we only managed to integrate ourselves to the extent that we have?"

"Every time I do an event, invariably people in there will start asking questions and within minutes, it evolves into people expressing various forms of outrage: at their Iranian neighbor, at their Iranian ex-partner, at their Iranian client. A lot of the things they say about Iranians are true -- some of us are ostentatious, some of us are too clever in business -- but what people don’t realize is that some people in every community are like that. What’s happened with us is we’ve become identified only by our negative traits. We’re all getting blamed for the sins of the few in the community. I think the reason for that is that we are just very visible. We came to America as a big group and from the very start we made our presence known. I think people are reacting to that."

"What do you call that moment when we let go of the conviction, albeit illusory, that life will only grow larger? That the horizon will always expand?"

"(why did you choose close third for the POV? Why not first person?) GN: Because I wanted to have a voice that echoed the voice of an observer that wasn’t entirely objective or fair. The voice in the novel has a lot of overtones or judgment, because as a society this is the voice that is constantly defining all of us to each other. Opinions get repeated. I wanted the narrative to have that kind of community voice."

"The only way there will be peace with the Muslim world is if there is an Islamic Reformation the way there was the Christian Reformation. The trouble with Islam is that it has never been adapted to the modern age. It has never had that transition or an adaptation. If we still believed in the Bible the way they did before the Reformation we would still be burning witches. If you did everything you were supposed to do in the Torah a disobedient son would be taken into the city square and stoned to death. People will say that jihad doesn’t really mean to go out and fight with guns and bombs to recreate the caliphate. Well, actually it does. It doesn’t matter how much you wish it didn’t. It’s literal. So what you need are spiritual Muslim leaders to come out and say that this applied a thousand years ago, it doesn’t apply anymore, now we are going to interpret jihad as something internal and peaceful. Unfortunately, there have been some Muslim religious leaders who have tried to create that and they quickly got assassinated, because there are forces with interest in keeping these old interpretations relevant."

"The words, such ample, respectable ladies, were fraught with the possibility of love beyond diminutives. I never stopped writing in Spanish because I could not abandon my essence, the fragile, divine core of my being. It would have meant becoming someone else, frequenting sadness, losing a soul and all the butterflies. I always spoke Spanish, even in my most solemn dreams. I did not want to translate myself."

"I dream the dream of stories not yet told and my lips begin to tell them out loud."

"...what is essential to art: They create art despite trauma, no matter how heartbreaking. They constantly question the reality in which their texts were born, but above all, they make more beautiful, through words, the failure and pain of existence."

"To be Jewish in Chile was to be above all a foreigner"

"In literature I found the caress, the unguarded pleasure, and the voice that had eluded me in this new country. I turned to books with a passion, almost in desperation, because they consoled me. I saw myself criss-crossing the hallways of the library, ransacking in particular the Spanish section and shelves. I discovered the warmth of words, words that belonged to me alone. I paused along their hills, invented the destinies of those exiled like myself. Above all I loved dictionaries, faithful guardians of my language. Through books I crossed borders. Wasn't Latin America an immense shawl united by a free and beautiful language?"

"To write meant to always be awake, willing to take risks, full of magic and happiness, eager to create and undo, because life was that way, like words."

"Writing is bewitching, like a song or cadence. I arrive at words the way one arrives at spells. Poetry is a story that attaches itself to my feet, my being. Sometimes I will lie down on the earth, invent poems about lost love and fear. Writing is a form of love, of loving and being loved. These aren't words, syllables, or useless alphabets launched by chance or an obsession with speech. Each word wants its own freedom to transform reality into wonder, to create another story, to uncover longings, happiness, the astonishing world between the pen and the shattered paper, limber and fragile. Writing is a way to truth, to telling the truth and tieing it to books, to stone walls."

"It seems that...literature grants us the ability to endure and encompass traumatic and horrifying events, to articulate them through writing and the evocative power of memory...It is a way of articulating the self, as well as the soul. A world without writers would be a world lingering in the shadows of silence...Literature moves us, rescues us from oblivion, and makes us witnesses to our history..literature binds the voices from the most diverse geographies, makes the experiences of women universal, and gives hope to future generations."

"Books unite people and books in translation are the thresholds of other cultures, invitations to travel and to know others."

"Writing and culture are very much related to the possibilities of the human imagination. The capacity of language allows the imagination to flow and to transform and mend the world."

"At times of great political repression, literature acquires a powerful function: It legitimizes artistic expression in a totalitarian society whose government prohibits this expression. Women writers, through their words and stories, manage to reaffirm what the greater society has denied. Paradoxically, if patriarchal societies have historically denied the presence of women writers, and also those who write about politics, the existence of extreme conditions due to political and civil violence has allowed these women writers to create and through their texts become visible."

"Sometimes I imagine the Torah as the great book of the world handed from person to person and generation to generation so that we may remember what unites us and to help us imagine that in all lands there is the possibility of creating a history and participating in it. Books have the strength to create a mutual complicity between writer and reader and they allow the great human family to celebrate through words the memories of other times and places."

"My activism in human rights was born from various conditions that came together: I was Jewish, female, and an exile."

"To write is also to bear witness, to resist the dehumanization of the world, and to tell and reveal."

"To write in Spanish is for me a gesture of survival, and because of translation my memory has now become a part of the memory of others. Translators are not traitors, as the proverb says, traductores, traidores--but rather splendid friends in this great human community of language."

"I think that memory is a form of translation. What motivates the artistic expression of poets and fiction writers, essayists and painters is memory. But memory is also very complicated because it consists of what one chooses to remember."

"how to become someone else-that's perhaps the greatest challenge for a translator because to become someone else is to become compassionate. To become someone else, you have to be in love with someone else. And in that sense I strongly believe that translations are acts of love"

"The Latin American writer of the 1970s, like the journalist, cinematographer, and photographer, is the one who prevents the truth from disappearing, the one who searches for the testimony of eyewitnesses, of the forgotten ones, offering a taste of life and validity to the word. Written literature, oral testimonies, and public performances on forbidden streets demonstrate that Latin America hums with life despite the collective massacres, book burnings, and obligatory silence."