Novelists From The United States

"Reality and logic don’t matter to her. She needs this so badly, failure isn’t even in the realm of possibilities."

"I don't know what shocks me more--- the power in my voice or the words themselves"

"I begin to realise how far others will go to keep us down."

"“Everyone else feels like being caught in the rain. You’re the whole tsunami."

"No matter how much I crave peace, the gods have other plans."

"When I read, I like to go somewhere else in my mind with stories that touch our real world without taking place in it."

"(Which writers — novelists, playwrights, critics, journalists, poets — working today do you admire most?) For novelists, I’m a forever-fan of Sabaa Tahir. Her debut fantasy — “An Ember in the Ashes” — was the epic tale that inspired me to write “Children of Blood and Bone.” It moved me in ways a story hadn’t moved me before and gave me a chance to imagine a fantasy world with characters I’d never gotten to see before. For journalists, Shaun King. The work Shaun does for the black community is incredible. I respect his strength, tenacity and passion, and I admire him deeply for the commitment to getting our stories out."

"…I had a lot of different reasons for writing the book but at its core was the desire to write for black teenage girls growing up reading books they were absent from. That was my experience as a child. Children of Blood and Bone is a chance to address that. To say you are seen."

"I saw the opportunity to show the beauty in the culture and show that these words sound magical. We’re so used to using Latin, but if J.K. Rowling saw magic in that, you can see magic in your own culture. And if you can see it, you can help other people to see it."

"The thing is that underneath we are all humans…Everyone has people they love and people they want to protect, everyone has things they are afraid of or that cause them pain."

"People say you’ve got to write honestly and that sounds great but also, what does that mean? I think part of that is knowing there are some things black people go through that are universal and those things are how the world shapes you…if you’re in a racist encounter, they’re not going to say, “Oh, you’re Jamaican, oh, you’re Nigerian; oh, you’re full African American; your ancestors were brought here on slave ships.” That’s not what other people see. In the outside world, we have a kind of universal experience but it also changes depending on whether you’ve grown up in predominantly white spaces or predominantly black spaces…"

"There are some extraordinary people working right now and there are scenes in literary fiction being published that I know wouldn’t have been published five years ago. But they probably would have 45 years ago. Tommy Orange, Torrey Peters, Nana Kwame Adjei-Brenyah, Maisy Card are all extraordinary."

"You were white, you were brown, you were red, you were dust. You were both and neither. When you took baths, you’d stare at your brown arms against your white legs in the water and wonder what they were doing together in the same body."

"Our heads are on flags, jerseys, and coins. Our heads were on the penny first, of course, the Indian cent, and then on the buffalo nickel, both before we could even vote as a people — which, like the truth of what happened in history all over the world, and like all that spilled blood from slaughter, are now out of circulation."

"Some of us got this feeling stuck inside, all the time, like we’ve done something wrong. Like we ourselves are something wrong … We drink alcohol because it helps us feel like we can be ourselves and not be afraid. But we punish ourselves with it."

"They tore unborn babies out of bellies, took what we were intended to be, our children before they were children, babies before they were babies."

"We know the sound of the freeway better than we do rivers, the howl of distant trains better than wolf howls. We know the smell of gas and freshly wet concrete and burned rubber better than we do the smell of cedar or sage or even frybread. We ride buses, trains, and cars across, over, and under concrete plains. Being Indian has never been about returning to the land. The land is everywhere or nowhere."

"In Stein’s Everybody’s Autobiography, she talks about how someone was asking her what it’s like to come back to her childhood home in Oakland, where I also come from, and she says, “There is no there there.” She was talking about how it had been developed over and was unrecognisable. I was using that as a parallel to Native experience and the “there there” of the land before it was colonised, developed over and bordered."

"I wanted to write characters that felt true and real, and there’s a lot of harrowing detail about the lives of Native people. You can just look at the health statistics and they’re pretty staggering. I wanted the characters to be working-class, because so often the characters in novels that I’ve read are white and upper-middle-class with white, upper-middle-class problems…"

"The initial impulse was just liking it in other books. … Also, coming from a community that felt voiceless in the larger scheme of things—as far as movies and literature, as far as representation goes—it felt like the right decision to have a whole bunch of voices come out, as opposed to one or two."

"Everything I did in the book that’s related to modern technology and contemporary behavior had to do with revisiting the idea of the historical monolithic Native American that everyone thinks of, and that ... the only real way to be a real Native American is to be historical or have a headdress or look this one way. It’s deeply damaging to a people to not have a dynamic range of ways to be that are still acceptable as Native. One of the common experiences of being a Native is to be questioned, like: Are you enough? So I wanted it to feel very contemporary and now."

"The rest of the stories came as they came, over the years, as I traveled over hill and dale and dusty trail, moving through life. As for the particular ache or longing that brought them on…well, if I shared every Twitter feed and eye blink and snort and nose pick with every Tom, Dick, and Mary in the world every five seconds, I wouldn’t have a thing left for me."

"Now he wanted more. That’s the problem with Smelly Ones. They got one thing Animals don’t got. They got ambition."

"Sitting around bullshitting ain’t no problem for Man, who can ignore his own heart and treat his own with all kinds of trickerations and cruelty to twist the truth so he can get what he wants, shutting off parts of his mind to let evil run things. But no Animal can do that, for Animals is Higher Orders, and we speak in Thought Speak, which don’t allow but so much wiggle room when it come to truth and consequence."

"I’m in the last October of life looking for a few more Aprils. I don’t want to remember no more."

"You ugly enough to keep ants out of a picnic, mister."

"She smiled a little bit. “Most of us has a desire to mind other folks’ business,” she said. “That’s the child in you, Butter, not the man.”"

"When I was a kid, my mother told me about the time my sister got lost at the circus in New York in Madison Square Garden. ... She said out of the throng of people, suddenly after looking for a long time, she said a cop just appeared and he was holding my sister's hand — she was a little girl. My mother never forgot that picture in her mind. We never see those stories about each other. And I think the writer who wants us to have a better life must take on the responsibility of showing us those kinds of stories."

"I tell them that a simple story is the best story, and that time and place is really crucial to good storytelling. Establish your stories in a specific time and place and get your characters set solidly within that framework before you let them start moving from one room to the next..."

"Most of my characters: they don't yell, they don't scream. They don't curse, by and large. They're good people. And you know what? Good people don't have to be boring. The really interesting parts of life are the parts we are not witness to. Because the man who decides to shake his neighbor's hand, or help him cut the grass, they're the true heroes…"

"You can’t become a good writer unless you have the ability to see that everybody is seeking to ease his or her pain, and everyone’s pain is relative. Blondes don’t really have more fun. There’s always someone who’s going to be bigger or faster or stronger or a better writer or singer or architect than you are. But accepting you where you are is one of the things that fiction helps you do."

"Writing is the act of failing at something all the time. Do it with a sense of humor, and it ain’t no big deal. Life is just about falling on stage and getting up, and that’s what writing is all about, too."

"Me personally and professionally, I haven't been that outspoken about race and class, partly because it's in my work, but in part because I don't want to get hate mail. I'm sick of trying to talk to people. I don't think you can change people. I think people have to be forced to do the right thing, so I'm not interested in trying to change people's opinion. I can illuminate, and you can see if you like. And if you can't see it, then just go buy the next book. But I'm sorry, I'm no longer interested in trying to be nice about what is right, because that doesn't work."

"(is a master class on dialogue:) Pachinko by Min Jin Lee. Really it’s a masterclass of everything. I always tell people that I am the president of the Pachinko fan club. It is one of my favorite novels of all time and gave me insight into a part of history, and a part of the world, from perspectives I had never encountered. A must read."

"My point of view of Korea is a child’s point of view. Because I left when I was seven and a half, there was an enormous amount of innocence. While I was growing up, a lot of horrible things happened politically in South Korea, and yet, I had a mother who was teaching piano at home. I remember things like getting ice cream as treats if we had some extra money, or how my father always wore a suit to the office; that’s sort of what I remember as a child. And that innocence is really nice because, now that I learned the historical aspect of what was really going on, I think, gosh, they must have been terrified in some ways. They must have been terrified sufficiently to say, “We would like to immigrate to another country and start all over again being essentially working class.”"

"“History has failed us, but no matter” serves as my thesis statement. I believe history has failed almost everybody who is ordinary in the world, not just the Korean-Japanese, who are the subject of Pachinko. I am also arguing that the discipline of history has failed. It is not that historians aren’t doing their jobs but rather that the memory of history has been reconstructed by the elite, because the overwhelming majority of ordinary people rarely leave sufficient primary documents; they do not have others recording their lives in real time. The phrase “but no matter” is a statement of defiance. It doesn’t matter that history has failed us because ordinary people have persisted anyway. This idea gives me an enormous amount of strength and hope as a writer because I am an ordinary person. Those of us who may be women of color, immigrants, or working class aren’t often meant to be people who write novels about ideas, but no matter."

"Political novels can be boring to read unless written effectively with the powerful tools of fiction; I was trying to do this. I want my books to be pleasurable and edifying. Though Frederick Douglass didn’t write fiction, his speeches have great narrative power because he integrates storytelling tools elegantly with his political analysis."

"In the United States we have two competing mythologies about immigration. On the one hand, we believe that different kinds of races make up an American person. On the other, a deep nativist strain keeps resurfacing. Nevertheless, there has also been strong resistance to nativism. Frederick Douglass, for instance, called the United States a “composite nation” when he argued against the Chinese Exclusion Act [of 1882]."

"I’ve always wanted to be a writer…And I have accepted that my niche is this quiet space. I’ve never been one of those writers who says writing is the hardest job in the world. Look at the jobs my grandparents had. Can I really say a job I’m able to do in my pajamas is the hardest job in the world? This is not a quiet title. And this is not a quiet story. I was a little intimidated by claiming this title for myself. But this novel caused me to challenge myself. I feel really good about it now."

"All of these characters are trying to figure out the extent to which they are allowed to be self-interested in the face of this larger cultural crisis…In many ways, it is a question of modern African-American life. What is the balance between your desires and your responsibilities?..."

"There’s also very little room for diverse expressions of black female identity. There is a place in society for a black man who comes off as uneducated but street-smart. That is respected in a certain kind of way. And there’s also the Obama model of the black man who’s been to the Ivy League. There’s a lot of room. But I feel like with black women, when it comes to credibility, that respectability is crucial."

"When I first started writing, I was thinking of it as a book about mass incarceration, and mass incarceration is not a plot. It’s not a story. It’s not a character. I was at Harvard doing research on this subject, and I felt like I had a lot of information, but I had not yet found my story because I had to realize that I am a novelist. I’m not a sociologist. I’m not a documentarian. I’m not an ethnographer. And I found the story, actually, through eavesdropping…"

"Colson Whitehead, Charles Dickens and Octavia Butler — fascinating writers who carved out their own dominions in literature and who, in wholly unique fashion, changed writing for the rest of us."

"The way he saw it, living taught you that you didn’t have to live the way you’d been taught to live. You came from one place but more important was where you decided to go."

"I never know when I start out. You know, I sort of know what the ending is. I know where the characters always end up, and I usually have an image of the last page before I start. I'm a big outliner. But you can't know everything and you have to be open to discovery…"

"Elwood and Turner represent two different parts of my personality…There is the optimistic or hopeful part of me [in Elwood] that believes we can make the world a better place if we keep working at it. Then there’s the pessimistic side, the cynical side [in Turner] that says no—this country is founded on genocide, murder, and slavery and it will always be that way. That’s our dilemma as human beings: How do we reconcile the hopeful with our pessimistic side? How do we reconcile disappointments with the small daily times that make up our lives? I don’t know [any more] than anybody else.… For the characters [in the novel] there’s the problem of, How do you come back from a life-changing catastrophe?...Bouncing back from trauma, you borrow from a sense of hope…but also recognize what you’ve gone through and what you’re up against."

"My compulsion to write the story was from seeing so many people go unpunished, and so many innocents' stories being untold…"

"I ask myself: Is the outlook of this book comic? Is it tragic? Is the story best served by a first person narrator who's telling his or her story? Is it best served by an omniscient narrator who can stand above and make connections about the characters and society and politics? Part of figuring out how to tell the story is tone and voice, the same way I'm picking characters and places."

"(What’s the last great book you read?) ...The last great one I read was Yaa Gyasi’s “Homegoing,” a fascinating novel about the legacy of the slave trade on both sides of the Atlantic."

"This is the problem of history. We cannot know that which we were not there to see and hear and experience for ourselves. We must rely upon the words of others."