Novelists From The United States

"All of my books have focused on characters that are displaced and having to start over in some place new, and how the new landscape shapes the person you are and the person you become. (2019)"

"I’m an immigrant myself. One of the things I’ve noticed over the years, when I do events, is that people will—not unkindly—suggest that I’m “doing well.” It’s something that’s always mystified me, as if there are different classes of immigrants, and the immigrants who “make it” work harder than those who don’t “make it.” As if success is entirely determined by an individual’s effort, irrespective of society’s structural inequities. I’ve always been very suspicious of that notion. It’s very dangerous. It’s an idea that I think makes people feel guilty when they’re not successful. Like if you’re poor, it’s your fault because you didn’t work hard enough…"

"When you move into a new place, it does involve a refashioning of the self. We derive our sense of identity at least partly in relation to the landscape around us, in which we’ve grown up..…"

"They’re supposed to be the people who support you, who love you no matter what, and the reality is they’re the first people who teach you to cast doubt on yourself, they’re the first people who sometimes don’t have your back…"

"There’s a disconnect between how people imagine their families and how families are in real life."

"He needed someone to trustworthy to deal with Faten, and he knew Raouf would not let him down."

"Lucky Aziz. He curses his own luck."

"We're so blinded by our love of the West that we're willing to give them our brightest instead of keeping them here where we need them."

"Better than the Moroccans themselves."

"A bit salty dear," she said. Faten smiled, grateful for the truth."

"She did not notice the fading afternoon light that lengthened the shadows behind her, framing her body like the arches of a shrine."

"He couldn't understand these foreigners. They could go to a nice hotel, have a clean bed, go to the beach or the pool, and here they were in the worst part of town, looking around for something exotic."

"She had to do something for her future—today."

"But, he tried to tell himself, maybe this was just a fleeting interest, maybe it would all go away."

"I had been pushed further and further into a fate from which no escape or reprieve seemed possible. And so there came a moment when I stopped struggling, when I decided that I would cease making any more plans to return to the old days. I made up my mind to look upon the present as exactly what it was: it was all I had. (p232)"

"Somehow I had also convinced myself that my redemption could only come from some force outside of me-that if I were useful to others, they would save me. What a terrible thing to believe. I had to stop playing a part in my own misery. I had to save my own life. (p129)"

"Telling a story is like sowing a seed—you always hope to see it become a beautiful tree, with firm roots and branches that soar up in the sky. But it is a peculiar sowing, for you will never know whether your seed sprouts or dies. (p122)"

"in those days, I fed my hopes of freedom in whichever way I could, without realizing that I was only hooking myself to different lures. (p88)"

"life should not be traded for gold (p87)"

"He warned me that trade would open the door to greed and greed was an inconsiderate guest; it would bring its evil relations with it. (p58)"

"Nothing new has ever happened to a son of Adam, she said. Everything has already been lived and everything has already been told. If only we listened to the stories. (p52)"

"I know now that these conquerors, like many others before them, and no doubt like others after, gave speeches not to voice the truth, but to create it. (p8)"

"A name is precious; it carries inside it a language, a history, a set of traditions, a particular way of looking at the world. Losing it meant losing my ties to all those things too. (p5)"

"Grafting solitude onto a character who would live it on the page seemed to provide me with a sense of catharsis."

"One thing that I came to learn about myself as a writer in working on this book is that my writing is often about who is happening moreso than what is happening. That is, I love creating characters who feel very true-to-life but who are almost so specific as to be mysteries to themselves as they are to other people."

"I think levity and humor can be used to tackle larger themes that are darker. Loneliness can be damaging, but when you’re feeling lonely, you do some of your most productive thinking. I wanted to show the idea of loneliness in that light – that humor works in tandem with the joy to be found in self-examination."

"In all my work, the things I’m invested in are empathy and compassion and trying to put human experiences on the page that I haven’t read before."

"The dialogue. I love writing dialogue and using that particular element of narrative to draw out the heart of a story because storytelling as a discipline really began with speech—stories orally passed down, generation to generation. Dialogue is just my most favorite thing. In all the stuff I’ve written actually."

"Nonreaders. Especially Nonreaders of Color. Which I didn’t even realize until so many of them started contacting me. I write for them because I think it’s important to read, and yet I also understand that when you’ve never really seen yourself if the type of stuff you’re assigned, reading seems kinda wack [sic]. So I wanna hook the reluctants and get them started reading for enjoyment.…"

"Nonfiction is supposed to drive home a point. In fiction, you need more nuance, buried in layers. There is character development and plot, and that switch can be tricky. I really like writing short stories, and I wish they were more popular..."

"When I started writing, it was a way to understand my own adolescence, and what came out was a revelation about my own teenage years..."

"We often hear all this rhetoric of “spare the rod and spoil the child,” discipline and punishment, and I just don’t believe in that. In all my years I haven’t come across an adult who, because they got an excess of love as a child, grew up to be a not-so-nice person. In fact, I believe exactly the opposite is true. And this isn’t rocket science, but I think that parents for understandable reasons sometimes forget that…"

"I think I was politicized at age five, once I started noticing the beggars on the streets, and children my age who had to rummage through dumpsters looking for food. But since I grew up in a middle-class milieu where we were always told that "that's just how things are," it never occurred to me that the social order could be changed, much less that I could play a role in changing it. It was only in my teenage years that I understood things about class and inequity and how there was nothing inevitable about it. **On when she became politicized in "AN INTERVIEW WITH THRITY UMRIGAR" in BookSlut (January 2012)"

"I always share this advice with my writing students: Tell the story of one person so deeply and completely, that in the act of going deep into that one person, something magical happens, and it becomes a universal story."

"Writing was my way to make sense of the world outside and inside my home. Despite the recollections of the adults in my life, I don't think I was a terribly articulate child. Writing was a way to give wings to the inchoate emotions and feelings inside of me."

"I came to understand that there are far more stories in the world than my own, and that there was a richness and a profound resilience in the lives of these women that I was working with that just astonished me. It just floored me. And witnessing that resilience, witnessing their strength, their warmth, their generosity despite horrible acts of violence perpetrated against them, I walked away from that job with a very clear idea of who I was as a writer and what I needed to write. And it hasn’t changed. It’s just a fist inside of me. It just sits there."

"My fingers are turning red, my nose is turning red, and that kind of cold, I was, of course, also unfamiliar with. And snow has always had an awe for me. The silence that takes over the world, and just. . . the absolute miracle of snow. I’ve never gotten over it, I have to confess."

"I think the only responsibility that writers have is to our own truth. If that happens to merge with contemporary issues, then yes, write that truth. But what we are haunted by is not a thing we choose. And that choice is most certainly not made by the latest headlines."

"I do believe that inside each of us, inside our imaginative lives, dwells every possibility in the human journey. It is a matter of access, I suppose. And the courage to access. I think we all have the same weapons: patience, imagination, hope, and the ability to be crucified and yet resurrect. I strive to be open to all of these."

"The thing that is exciting about any project or any book is that you have to push yourself, you have to push beyond what makes you comfortable."

"…Short stories still require a similar amount of lead-up time (sometimes they spend several years in my head) but once I sit down to write I finish within a few days, and have never needed to redraft or heavily revise. I love short stories. They are perfect, crystallized moments. Snapshots of life…"

"…Knowing the end. Knowing the rest. I like unanswered questions, and I don’t really believe in endings…"

"…You might think it’s harder to come up with something from the ground up. And funnily enough, real-life settings seem to have their mystical way of kind of…working out. If you need an alley for something to happen and you’re thinking of a particular place, strangely enough, you usually find it. You usually find something workable that you can do. There’s a little less pressure, I will say, having made up something, versus trying to do justice to the place that actually exists."

"…I can’t get away from violence and gore. Every fantasy I write will be dark, and disturbing in places. That’s what I like in my fantasy."

"Fiction fosters empathy among readers by putting them in a position to consider deeply someone’s history, hopes, and ambitions…"

"Characters, even though they’re minor, shouldn’t be a device. No person should be a device to move the plot along. That’s when you run into problems with stereotypes. I strive, in my journalism and my fiction, to make characters as complex and complicated as they are in real life…"

"I think the American dream is still what gets us out of bed every day, that life can be better…"

"I think often, especially with immigrant narratives, or narratives from marginalized communities, there is room for only one narrative or that there’s only stereotypes or statistics. A River of Stars does kind of show that we do have different histories, dreams, flaws, and ambitions, and I hope people are able to really see the fullness of the humanity of each character, whether they’re major or minor."

"There are so many stories to tell — we’re just as varied in experiences as white men, and it doesn’t look like people are sick of those stories yet. And I’m lucky enough to be in a position to tell these stories and share them."

"I don’t think California is perfect by any means. I’m sure there are a lot of people being oppressed here and not getting a fair shake. But I just feel like maybe it’s the weather, maybe it’s the location on the coast with access to all of Asia coming in and the strong immigrant communities here, that makes it different…I feel like in the East Coast, that’s still a thing in certain classes. That said, there are a lot of wealthy people here in California. There’s definitely segregation and classes in Los Angeles…"