Novelists From The United States

"It’s important that young people find the right books that speak to them at the right time, otherwise you might be encouraging them to dislike reading."

"(Which writers — novelists, playwrights, critics, journalists, poets — working today do you admire most?) Luis Rodriguez, Edwidge Danticat, Natalie Diaz, Rigoberto González, Virginia Grise, Joy Harjo, Helena Maria Viramontes, Lois-Ann Yamanaka, Denise Chávez, Manuel Muñoz, Dorothy Allison, Levi Romero, John Phillip Santos, Charles M. Blow, Jorge Ramos, Carmen Aristegui, Elena Poniatowska, Luis Alfaro and every Mexican journalist who puts their life in danger by writing the truth. And, I hear a chavalo named Lin-Manuel in New York is pretty good."

"I’m on a mission to make up for the huge gaps in my miseducation as a woman of color...At this point in my life, I want to read the classics from the Americas, from Mexico, from women, from the working class, from the Indigenous communities, from everyone who hasn’t been allowed to the podium before."

"Even if a language disappears, I believe a worldview, a syntax, a cadence survives from which the conquering language builds upon, like the stones the Spanish conquistadores gathered from the Indigenous temples to build their Catholic churches. Something like that is happening in our poetic inheritance. Something old and ancient and sacred survives in the spoken word, which is fascinating for those of us who are word-workers."

"Books are medicine. What heals me may not be the right prescription for anyone else."

"Language is much better than throwing stones; language is much, much stronger."

"Working-class women's literature, women of color, specifically Latina women's writing like my friend Ana Castillo's, or my friend Cherrie Moraga's, Helena Viramontes's, Elena Poniatowska's, and Marguerite Duval's sends me all the way to my typewriter as much as Manuel Puig's stories."

"my favorite writers are, right now Merce Rodoreda, Grace Paley, Juan Rulfo, Manuel Puig, Marguerite Duras - these are my favorite writers. I'm trying to reach that world level. I think that we should always aim for that level."

"In Chicana writing the love between a grandmother and a granddaughter is holier than the relationship between a mother and a daughter because the mother and daughter have to deal with the reality of the everyday, whereas the grandmother can be revered from afar. Especially if she’s dead, she becomes this mythic symbol in Chicana literature."

"Of course I like to write about love, but then I’ll ask, how is Mexican love different from American love? I’ll look at the Mexican models of love, and that leads me to the true Mexican love. True love in Mexico isn’t between lovers; it’s between a parent and a child. Mexico is a very intense culture of sons adoring their mothers, and this is why I claim that Mexican culture is matriarchal. Because the one constant, faithful, inviolable, holy love of loves—the love of your life—is not your wife or your lover; it’s your mother."

"I like living in a town not dominated by cars. I like living in a small community where artists from around the world come and go. I like living in a town with big sky and big clouds, and where you can connect with things of the spirit easily. It’s both stimulating and peaceful all at once. It makes me want to write."

"I don’t take it personally. It has nothing to do with me, or with my book. The book is being taught because it is telling a story that has spiritual resonance at this time in history. It is serving a need, it is doing its healing, it is transmitting light, but I was just the conduit for that light, not the source. I am grateful that the timing was right for my labor to be recognized, and that the readers were ready to hear this story at this time. I am fortunate and blessed to be the flute, but I recognize and acknowledge I am not the music."

"The only reason we write—well, the only reason why I write; maybe I shouldn’t generalize—is so that I can find out something about myself. Writers have this narcissistic obsession about how we got to be who we are. I have to understand my ancestors—my father, his mother and her mother—to understand who I am. It all leads back to the narcissistic pleasure of discovering yourself."

"If I had to speak about anything that was difficult in my life now looking back at it, I would say the most difficult part was how the world made you feel about being poor, about being a girl. And, later, how painful it was navigating the world as a young woman. A lot of times I found myself in disastrous situations because I was such an innocent/idiot. It left me damaged as a human being for decades. I think having been beautiful was a cross, and I’m grateful I’m no longer young and no longer beautiful in that same way."

"I think my work still has a distinctive voice that is uniquely mine—and that voice is one of a person speaking Spanish in English. By that I mean that I write with the syntax and sensibility of Spanish, even when there isn’t a syllable of Spanish present. It’s engrained in the way I look at the world, and the way I construct sentences and stories. I was not aware of this when I wrote House, but I’m conscious of it now. What remains the same? Well, I am still as astonished by the world and as intuitive/foolish as ever, but I am aware that this is a good thing, and not ashamed of it as I was when I was young. The difference now is that I know myself. I think my writing is wiser, and, I hope, more complex."

"It’s memorable because it makes you either laugh or cry. If a story’s really good, it does both. Sometimes it’s not the story’s fault if it doesn’t stay with you, because you’re too old or too young for it. I feel that, in the Native American sense, the story cycles; there are different times of your life that a story may come to you. You don’t remember it, and then you hear. it again or read it again later in your life, and because of what’s happened in your life it’s distinct from the first time you heard it."

"I think we are all gifted as children, but we aren’t gifted with the same gifts. In crowded, poor schools, an overwhelmed teacher can’t always help us discover what our gifts are. I am grateful my mom was a frustrated artist. At home we drew murals, created puppet shows, had craft hours, went to the library, visited museums. I’m certain without my mom, I wouldn’t have been an artist today."

"“My father was – well he had a work ethic and a half. Contrary to popular stereotypes, most Latinos I knew growing up had very strong work ethics. He was also a very kindly man, and…gentle, very soft-spoken. And I think to a certain extent, very shy. And I think I inherited that from him, which has made the fact that I have to get out every now and then, and actually be somebody in front of people without getting terrible stage fright, which I used to get all the time. You know it took me a long time to get over that hump."

"My take on Cuba is partly memory-bound, partly melancholic. I read this interesting thing about the word "nostalgia," which is often used about my writing: that it comes from a term ship doctors used to describe a disease when sailors had been out to sea for a few years and were getting homesick. I've always had that, in terms of writing, this thing that is physical,that makes you homesick. For me it is a home that I never really knew and have always seen partly through literature and the great Cuban writers. My writing about Cuba [is] more like an act of creation. Whatever my Cuba is about, it's my own version. I'm not a cultural anthropologist."

"My advice to me back then is: Beware of people bearing gifts. When you have la fama [fame], people come out of the woodwork who are supposedly looking out after you. There's an old blues song that goes, "She's got a mouth full of gimme and a hand full of much obliged," and basically that's it. Unless you have guidance, it's a hard world to experience, but it has its perks."

"Texts like the poetry of Sandra Cisneros were a lifeline. Here was a Mexican girl from Chicago who'd become a writer and traveled alone through Europe."

"Sandra Cisneros's stories are pure poetry."

"The Ojibwe say that each word has a spirit."

"I have never fully exorcised shames that struck me to the heart as a child except through written violence, shadowy caricature, and dark jokes."

"If you should ever doubt that a series of dry words in a government document can shatter spirits and demolish lives, let this book (The Night Watchman) erase that doubt. Conversely, if you should be of the conviction that we are powerless to change those dry words, let this book give you heart."

"Now there is a lot more awareness about missing and murdered Indigenous women. And it hasn't - of course, it hasn't stopped. It's probably gotten worse."

"I've been asked by people, well, why wasn't that great? Why didn't people just want to move away from their reservation and become like everybody else? You know, I've been asked that question. It's a fair question. And the answer is because native people aren't like everybody else, and native people want to stay who we are, right? And that's because the government made a very firm decision not to put money into the infrastructure on reservations, not to keep the treaties. The treaties stated that they would provide for health, education and the general welfare of native people as they struggled into this new form of existence. And that was basically rent for all that the rest of the country enjoys; all of the lands, all of the rivers, all of the places that no longer belonged to Native Americans."

"The reasoning behind the best schools being far away was to assimilate native children, to train them to live in a culture that was very different from their parents. So that when they came home, often children couldn't speak the language that their parents were speaking. I have to say right here that boarding schools are often characterized in sort of a lump definition, but they were all very different. And the government had secular boarding schools which underwent a real sea change in the 1930s and became much more supportive of native culture, while many of the boarding schools which were run by religious groups did not and remained hostile to native religion and native culture."

"I'm a very mixed person. And yet, being a citizen of a nation within our nation gives one a certain sense of - it changes your life. It means that I care deeply about my people, my mother's people."

"These treaties had been made since the beginning of our country on a nation-to-nation basis with every tribe. And they all contain these words, as long as the grass grows, as long as the rivers flow."

"Nothing. I was a model child. It was the teacher’s mistake I am sure. The box was drawn on the blackboard and the names of misbehaving children were written in it. As I adored my teacher, Miss Smith, I was destroyed to see my name appear. This was just the first of the many humiliations of my youth that I’ve tried to revenge through my writing. I have never fully exorcised shames that struck me to the heart as a child except through written violence, shadowy caricature, and dark jokes."

"(What moves you most in a work of literature?) Reading about an ordinary person who behaves with integrity in a terrifying situation. (2016)"

"I started Future Home of the Living God sometime after the 2000 U.S. election. I was furious and worried. I saw the results of electing George W. Bush as a disaster for reproductive rights. Sure enough, he began by reinstating the global gag rule, which cuts international funding for contraceptives if abortion is mentioned. This, when we face overpopulation."

"(Did you feel you weren't finding yourself in the books you read?) LE: Perhaps that's why I was drawn to science fiction. If you don't see yourself reflected, you can travel to another world. I suppose that was probably what drew me to the captivity narrative. This idea that this was telling me something about my family."

"So many things in the world have happened before. But it's like they never did. Every new thing that happens to a person, it's a first. To be a son of a father was like that. In that night I felt expansion, as if the world was branching out in shoots and growing faster than the eye could see. I felt smallness, how the earth divided into bits and kept dividing. I felt the stars. I felt them roosting on my shoulders with his hand. The moon came up red and warm. (p271)"

""...Society is like this card game here, cousin. We got dealt our hand before we were even born, and as we grow we have to play as best as we can." (p263)"

"All through my life I never did believe in human measurement. Numbers, time, inches, feet. All are just ploys for cutting nature down to size. I know the grand scheme of the world is beyond our brains to fathom, so I don't try, just let it in. (p221)"

"And so when they tell you that I was heartless, a shameless man-chaser, don't ever forget this: I loved what I saw. And yes, it is true that I've done all the things they say. That's not what gets them. What aggravates them is I've never shed one solitary tear. I'm not sorry. (p217)"

"I had gotten humble in the past week, not just losing the touch but getting jolted into the understanding that would prey on me from here on out. Your life feels different on you, once you greet death and understand your heart's position. You wear your life like a garment from the mission bundle sale ever after -- lightly because you realize you never paid nothing for it, cherishing because you know you won't ever come by such a bargain again. Also, you have the feeling someone wore it before you and someone will after. I can't explain that, not yet, but I'm putting my mind to it. (p213)"

"You know, some people fall right through the hole in their lives. It's invisible, but they come to it after time, never knowing where. (p190)"

"Time was rushing around me like water around a big wet rock. The only difference is, I was not so durable as stones. Very quickly I would be smoothed away. It was happening already. (p94)"

"...I let my thoughts run out like water from a dam. (p66)"

"The length of sky is just about the size of my ignorance. Pure and wide. (p40)"

"All that held him together now was the crowd, and when the parade was finally over and they drew apart he would disperse, too, in so many pieces that not even the work of his own clever hands could shape him back the way he was. (p315)"

"But then as time passed, I learned the lesson that parents do early on. You fail sometimes. No matter how much you love your children, there are times you slip. There are moments you can't give, stutter, lose your temper, or simply lose face with the world, and you can't explain this to a child. (p236)"

""Everything that ever happened to him in his life," she said, "all the things we said and did. Where did it go?" I didn't have an answer, so I just drove. Once I had caused a miracle by smashing my face on ice, but now I was an ordinary person. In the few miles we had left I could not help drawing out [her] strange idea in my mind. In my line of work I've seen thousands of brains that belonged to sheep, pork, steers. They were all gray lumps like ours. Where did everything go? What was really inside? The flat fields unfolded, the shallow ditches ran beside the road. I felt the live thoughts hum inside of me, and I pictured tiny bees, insects made of blue electricity, in a colony so fragile that it would scatter at the slightest touch. I imagined a blow, like a mallet to the sheep, or a stroke, and I saw the whole swarm vibrating out. Who could stop them? Who could catch them in their hands? (p203-4)"

"So that's how I came to Argus. I was the girl in the stiff coat. (first line)"

"Pain comes to us from deep back, from where it grew in the human body. Pain sucks more pain into it, we don't know why. It lives, and we harbor its weight. When the worst comes, we will not act the opposite. We will do what we were taught, we who learnt our lessons in the dead light. We pass them on. We hurt, and hurt others, in a circular motion. (p199)"

"We'll get to the truth quicker if we don't worry about logic. (p111)"

"[She] was one of those who took on too much in order to remain perpetually dissatisfied with herself. It worked — a plume of spent fuel trailed her days, headlong in concentration, and her nights were black. (p25)"