Novelists From The United States

"There should be no room in your life for regret. If in the moment of doing you felt clarity, you felt certainty, then why feel regret later?” She"

"If we go to the white man for school, we will learn the way the white man wants us to learn. We will come back and build the country the white man wants us to build. One that continues to serve them. We will never be free."

"Evil begets evil. It grows. It transmutes, so that sometimes you cannot see that the evil in the world began as the evil in your own home. I"

"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. Those who were there in the olden days, they told stories to the children so that the children would know, so that the children could tell stories to their children. And so on, and so on."

"You cannot stick a knife in a goat and then say, "now I will remove my knife slowly - so let things be easy and clean; let there be no mess." There will always be blood."

"The need to call this thing “good” and this thing “bad,” this thing “white” and this thing “black,” was an impulse that Effia did not understand. In her village, everything was everything. Everything bore the weight of everything else."

"You want to know what weakness is? Weakness is treating someone as though they belong to you. Strength is knowing that everyone belongs to themselves."

"We believe the one who has power. He is the one who gets to write the story. So when you study history, you must ask yourself, Whose story am I missing? Whose voice was suppressed so that this voice could come forth? Once you have figured that out, you must find that story too. From there you get a clearer, yet still imperfect, picture."

"It’s interesting because this book comes from a place of always feeling like I wasn’t Ghanaian enough for Ghana and not African American enough for the United States. So it will also be interesting to see how Ghanaian critics respond to it, because I can imagine getting the opposite side of the critique, where they think my treatment of the African American characters is nuanced. I don’t know what to do about that. I have always existed in this weird, murky space where someone is allowed to say I’m not either thing, if they are that thing."

"It is a dual thing – you belong and you don’t. I remember the Ghanaian passport official reading my name correctly and it felt like the biggest, warmest welcome. At the same time, I understand my native language but don’t speak it. So I am necessarily at this remove – the country can never be fully mine."

"I was devastated. I felt immense rage. The dungeons still smell after hundreds of years. There was grime on the walls and a tiny air hole at the top. When they closed the door, there was no light. Hundreds of people were kept there for three months at a time before being sent God knew where. The terror they must have felt – not knowing what was to become of them. You can imagine and you cannot possibly imagine."

"I thought the novel would be traditionally structured, set in the present, with flashbacks to the 18th century. But the longer I worked, the more interested I became in being able to watch time as it moved, watch slavery and colonialism and their effects – I wanted to see the through-line."

"I love that Camilla is trying to figure it out. We tell kids there are no stupid questions. But when you throw race in the mix, there are a lot of questions — some are painful to ask, some are painful to answer and we all say stupid things sometimes. I hope readers feel after reading Cammi’s story that it’s not about one moment or interaction, it’s about staying heart strong and moving forward. Like Maya Angelou used to say, when you know better, you do better."

"It's very beneficial to Mexico that these workers [come to the U. S.]. It relieves a lot of social tension. It empties out the countryside of the poor and the needy. It stops revolution from happening. And it's sending back a tidal wave of money. The remittance money from the United States is the second or third largest source of income in Mexico now. I guess you could argue that we have an extremely generous foreign policy…"

"Chicano" was a bad word when I was coming up. At least that's what the elders said. The word referred to a Mexican born in the U.S., so by that definition, I'm not Chicano. I was born in Tijuana, but the Mexicans didn't see me as Mexican and the Americans didn't see me as American. I'm a man without a flag. When I started working among Chicanos as an adult, some accepted me, but some didn't. On either side [of the border] I was the "other"; I've always been the other. Later on when I had a bit of success, people on both sides were much more enthusiastic about embracing me. The word "Latino" seems meaningless to me, and "Hispanic" is just wrong. These days, I just tell people my nationality is "Writer."

"I have always been amazed that it seems to come as a shock to people that Mexicans are human beings. And on a philosophical level, I always remind interviewers that “the border” has nothing to do being Mexican or not. The border is simply a metaphor for what divides and wounds us as people – and I mean that “border” between any group of people, gay-straight, black-white, Muslim-Jewish, etc…"

"I felt everything crashing down and I didn't know what to do. It was such a harrowing experience being with his body. I sat in a room with him all night, his body, dealing with the police. And then I had to go to the border and deal with immigration and have all of his papers…By the time I got back to San Diego, I had forgotten English. It took me a minute to get back into being an American. I had only one way to deal with it, which was writing. I had been writing since high school, and so I wrote about it…"

"The kitchen was the United States; the living room was Mexico…One side was struggling with all her might to make me an American boy, and the other side, with all of his might, was trying to keep me a Mexican boy."

"A story's narrative demands ebb and flow when so much time is covered. There has to be change in order to create movement in a story. And then again, the time period and the culture had a lot to do with their staying power. Today, the world is much more fast paced, and hitting a stagnation point might mean the end of a relationship."

"It came mainly from my desire to learn more about the Japanese culture. I've also always been fascinated by social groups who live and work outside the mainstream. So the world of sumo wrestling within the Japanese culture had been an ongoing interest, something I've always wanted to write about. It covered such enticing material and I've always had so many questions I wanted answered…"

"I'm as American as apple pie…And yet when Chinese New Year comes along I still have to be very careful about not saying anything wrong, because that sets the mood for the whole year. All these Chinese traditions from my mother's family are with me, and they all come out in my books. But sometimes you have to step away from them."

"Writing chose me…It came out of the need to learn about my heritage."

"I remember loving Chato’s Kitchen by Gary Soto and Susan Guevara; I couldn’t believe that there was a book in the library about people from el barrio (actually cats, mice, and dogs), dressed, speaking, cooking, and having a family life that resembled mine. These books—and countless others—are the reason why I started making my own books..."

"Mine is literary, and mine has a story to tell about a little boy with gaps in his education who became a writer. I’m hoping that the visitor will be curious, not unlike when someone goes to another person’s house for the first time—you look around and learn something about that person. We’re curious creatures, right?"

"Often my characters—a Jesus, a Hector, a Gloria—will be bilingual, or if not bilingual at least know enough Spanish to throw words and phrases into conversation. As a writer, I'm trying to capture the voice of my characters, who sometimes will speak in Spanglish…"

"Poems written in rhyme and meter can be easily memorized, even longish poems. However, because I write in free verse, my lines are probably more difficult to take in, to absorb, to memorize. But I'm not seeking any students to memorize my poetry—heck, I don't even know my poems. I'm hoping for a sentiment that will linger in the reader's mind. Sentiment, or feeling, is so important to the reader…"

"It means handling words and images in an interesting way. All of us use words daily, unless of course we are the silent type. Everyday we say simple things like, "Gee, look at this tan of mine." Or: "I feel sort of sad." But say you wrote something like: "Our faces were the color of pennies," and "Our souls are broken like jars." The language becomes interesting and perks up our spirits and imagination. This is what poetry means—language that surprises and keeps us on our toes."

"(What about the work of younger writers?) RF: I have not seen much. I’ve only read Mayra Santos Febres’s books, which I think are very good, but there is not enough work to judge yet. Although I think that she is the most promising of all."

"Like many Puerto Rican scholars of my generation, I am a huge admirer of Mayra Santos-Febres. She is one of the most prolific and influential writers, critics, and teachers on the archipelago"

"I have NEVER seen so many Afro-Latinxs at universities, holding Ph.Ds, and participating in public discourses about race in my life. Whenever I go, Colombia, Perú, Guatemala, México, Cuba, or Spain, France, etc., I have never in my life seen so many people of African descent sitting where decisions and discourses are being produced. I think this is a major change in the game."

"Afro-descendants in Puerto Rico fall between the gaps of two converging definitions of Blackness and Latinx-ness and therefore, remain invisible to both U.S. and colonial Puerto Rico's public policies. I have to say that Puerto Rican government administrations have used the U.S. current definition of "Latinx identity to further marginalize Afro-Puerto Ricans. For instance, administrations of all political denominations use the Latinx minority status to ask for aid for the whole Puerto Rican population, without precise statistical information that includes race. On the island, they use the overrated and old discourse of "mestizaje to further marginalize blackness. Most public departments refuse to use the category of "Afro-Latino or "Afro-Hispanic in their census. They do use the category "African American," which is not the identity with which many Afro-Latinxs, or Latin people of African descent identify themselves. Up to this point, we don't know, for instance, how the COVID-19 pandemic has affected people of African descent on the island. This racist policy does not provide us as Afro-Puerto Ricans with the necessary tools to demand government action nor changes in public policy to benefit our population."

"Our stand as an island/nation/U.S. "territory"/colony is asking for a revision. Personally, I believe that we live in global times. New identities need to participate in the dialogue about civil rights, sovereignty, the need to look past nationalisms and their monolithic discourses on what constitutes citizenship."

"I think that art and especially literature is really good at teaching people how to be compassionate and how to put yourself, put themselves, in other people's shoes and trying to bridge the unbridgeable, which is to live through other people's perception. It gifts the eyes of the beholder, not the eyes of the writer, and that is a wonderful gift. That is absolutely wonderful—and that books—it's okay if they entertain, it's okay if they teach—but what they teach in a very profound level is to be human."

"My intention is to write things that can convey a vision of the memory lost, of a way of living in the world."

"what is sold as mainstream literature, I don't like it very much—very simplified, industrialized, Dan Brown stuff. I don't want to write like that."

"that's what artists are. We are the voices, and the memory, and the explorers of an aesthetic, and a sensibility, and a philosophy that has been silenced and devalued."

"literature and arts are defined in our cultures as an activity that produces both, or this product, that is for leisure and luxury—leisure and luxury. And that is a very weird definition of artists for an Afrolatina. That is a Eurocentric view of what is art, because for us it's basically about recuperating memory and telling the stories and raising the voice and exploring an aesthetic that is devalued."

"Writing for TV was a huge influence on this book, partly because you realize in casting what a vast gap there was between who people are and who they play. You sometimes see Shakespearan trained actors playing janitors. And at the same time, I’ve seen actresses who are really well known for playing wealthy, super cultured women come in and they are well, let’s just say the exact opposite."

"I prefer novels. However, I think that the theme of the piece determines its form. Some texts work better in poetry than in essay or stories or plays. It is good though to learn as many techniques in creative writing as one can, so that, as a writer, one has the flexibility to work with the piece and its need."

"I do not see this novel as solely dealing with LGBT issues. I see Sirena as a metaphoric representation of the whole Caribbean. The fact that s/he is a transvestite is just a fact. Basically, I did what Flaubert did with Emma Bovary. He talked about his society through the character of a woman—an adulterous woman…"

"People believe that black people live the same way everywhere and that is not true. White people don’t live the same way everywhere, even if you have the same cultural references. Take music. Rap, of course, black rappers don’t live the same way everywhere. There are black rappers in Africa, black rappers in France, black rappers in the U.S. and there are black rappers in the Caribbean. I wanted people to see the way in which that music became a means of expression of a reality, which is at the same time both global and local."

"I was born with a particular sensitivity to words. Some people are very good with math and sports… I wasn’t but I could feel words."

"Female rage is not really permitted in real life. Angry women are called bitches, too emotional, hysterical, whereas male rage is often portrayed as heroic, righteous, intelligent. In Monstress, Arcanics wear collars around their necks to keep them from exercising their full selves. And I think one of the collars around the necks of women is society’s views about female rage. Which isn’t to say anger is necessarily a force for good. Rage can be energizing and sustaining, but it’s ultimately problematic if it doesn’t lead you to a deeper exploration of the source…"

"I realized I was thinking about fiction two-dimensionally. When I’m writing comics, I’m also visualizing how the story will look on the page—not even always art-wise, but panel-wise, like how a moment will be enhanced dramatically by simply turning a page and getting a reveal. It requires thinking about story in a way I never had to consider when I was writing prose."

"Monstress, however, was the product of many different ideas; my grandmother’s experience of the Japanese occupation of China, for example, my desire to explore what it is to be monstrous. But it also had to do with women—more precisely the representation of women."

"For the most part, romance novels are stories about women finding and taking up space for themselves. And not just taking up space, but daring to find happiness. And yes, romance novels are about the fantasy—the heterosexual fantasy—of having the perfect relationship with a man, but it’s also about women taking power over their sexuality, women taking control over their lives, women making themselves vulnerable to all the intimacies of love…"

"It was an interesting phenomenon, being of mixed race, especially in the eighties. And actually, things haven’t changed all that much, because people still don’t like to talk about race. The inhibition around discussing racism and what it means to be a person of color in this country is profound. Growing up, there was no space to talk about racism. If anyone brought that up at school, suddenly that person was a troublemaker. And as a mixed race kid who had a lot of mixed race friends, if anyone talked about racism we were held up like little trophies. Literally, people would point to us and ask, “How can there be racism? Look at all these biracial kids running around. How is there racism when we see a melting pot?” We were the biological representatives of a post-racial society, and that created an incredible silencing effect…"

"Books, words, were my most treasured escape. I lived inside stories, I breathed them. I felt like they made me more human, or a better human…"

"I love her work. I relish her work. It is incisive and beautiful at the same time."

"In a recent interview about Autobiography of my Mother, Kincaid was told: Your characters seem to be against most things that are good, yet they have no reason to act this way -- they express a kind of negative freedom. Is this the only freedom available to the poor and powerless? Kincaid answers: “I think in many ways the problem that my writing would have with an American reviewer is that Americans find difficulty very hard to take. They are inevitably looking for a happy ending. Perversely, I will not give the happy ending. I think life is difficult and that's that. I am not at all -- absolutely not at all -- interested in the pursuit of happiness. I am not interested in the pursuit of positivity. I am interested in pursuing a truth, and the truth often seems to be not happiness but its opposite” Kincaid’s novels do indeed withhold happy endings and she adds the fine shading to the narrative of colonialism by creating characters who can never thrive, never love and never create precisely because colonialism has removed the context within which those things would make sense. In Autobiography of My Mother, for example, Kincaid provides her readers with a motherless protagonist who, in turn, does not want to be a mother, to reproduce under colonialism or to claim kinship with her colonized father. She opposes colonial rule precisely by refusing to accommodate herself to it or to be responsible for reproducing it in any way. Thus the autobiographical becomes an unwriting, an undoing, an unraveling of self. Kincaid concludes an interview about the book, which the reviewer has called “depressing” and “nihilistic” by saying: “I feel it’s my business to make everyone a little less happy.”"