Poets From The United States

"I have no desire to offer a political message in a novel. An artist cannot hide from her or his political beliefs; they will be in the work. But to presume that I am smart enough to preach a position runs counter to my artistic sense."

"I love these kids. I’m just here to bear witness to their lives, because I believe that it is in bearing witness that everything is made real."

"A great writer in the purest sense...makes my head bop from side to side."

"If you are neutral in situations of injustice, you have chosen the side of the oppressor."

"There are two ways to approach the race thing. One is the unfortunate marginalization of American writers who happen to be black by calling them “black writers,” which tacitly acknowledges the existence of something else that would be mainstream, and so ghettoizes the work immediately. That is the unfortunate part. If one allows that, one fails to acknowledge the truth that there is no such thing as a “black American experience”…"

"The truths are universal: Every kid knows fear. Every kid knows family and friendship. Loss, love, laughter. Everything else is just detail."

"My uncle used to say that the good books begin with “… and shots rang out.” Shots rang out is a cliché, but what he meant is that no one has time for you to get us to the minefield. Drop us in the midfield in the beginning. Drop us off in the mix and you can move backward and forward from there. End in the mix. Don’t answer any questions. Leave me in the muck at the end, too. There can be less muck, but all the loose ends shouldn’t be tied up. There should be something unreconciled. That’s life. Nobody’s life is tied up in a bow. Stories that end in a bow are kind of disrespectful to the reader. If you want your story to be compelling, let it fade to black without reconciliation."

"…And I just remember the pain – the pain of the lost friend but also the pain of meeting a part of myself that I didn’t know existed. A part of myself that could lose control to the point where I could commit a murder. That’s a very human thing. I think that most of us don’t ever meet that part of ourselves that exists within all of us. This rage that, when triggered, will cause you to do things that you don’t necessarily understand that you’re doing."

"It's hard to be what you can't see."

"I’m proud of young black america. I’m proud of them, even if they are misunderstood. I’m proud of them for using their voices, their way. Racism, classism, fear, it all exists. Still. It’s here, embedded into the fibers of our society. But I have to be honest, I do believe that because of technology, no matter how problematic it can be, and the rapid spreading of information, I’d like to believe there is a slow awakening occurring, and that our babies, or at least the generation after them will have a very different reality here. I know my role is to do what so many have done before me in this tradition — tell the stories, unashamed and unafraid."

"Hip-hop saved me,. It gave me permission to use language in a certain way. It validated my community and my friends. It gave our slang a certain elegance. I have a chip on my shoulder I pet every morning, a constant feeling like I have something to prove. Hearing that the canon can’t be diversified, there’s no room for more brown faces—that fueled my fire. I loved music that people said was not music, that it was too violent, too crass, too sexual. And now everyone in the world is rapping Hamilton."

"…Young people – especially young men – it’s not that they hate reading, it’s that they hate boredom. So my thing was: I need to write a story that is interesting, that is gripping, that can connect to them and their experiences, and write something that’s not very intimidating, because there’s so much white space."

"It totally matters to me that teenagers think I'm cool. I mean, teens keep their fingers on the pulse of culture. When things shift, it's usually because they shift them. They call the shots. So if teenagers think I'm cool, then hopefully they'll want to get down with whatever I'm doing. My hope is that reading and writing becomes the new "waiting in line to buy Jordans.""

"During this period, Latino artists did not shy away from taking on issues of racial and economic inequality many artists displayed a newly politicized style of expression. The music, murals, literature, and theater of the movement period most often explored racial identity, cultural pride, and social inequality. Pedro Pietri's oft-cited poem "Puerto Rican Obituary" is representative of this developing aesthetic… Poetry such as "Puerto Rican Obituary" highlights another significant aspect of movement thought: the shift from cultural shame to ethnic pride. Unlike earlier critiques of prejudice and discrimination, movement rhetoric and writings often focused on the emotional and psychic damage of racism, exploring the need to overcome internalized shame and self-hate."

"Little attention has been paid to the fact that the most significant Chicano and Puerto Rican organizations turned to poetry to mark their entry into the public realm...A great deal of "classic" movement poetry has a strong civic impulse-it seeks to be both educative and socializing. Poets such as Gonzales, Alurista, and Pedro Pietri saw their poetry as an organizing tool that served an "agitprop function.""

"…It goes back to 1945; when my parents, right, they left paradise looking for paradise…During the adventure of Operation Bootstrap, a lot of people were brainwashed to believe that if they leave there you can have a better life over here."

"She become one of Latin America's most powerful writers. Still controversial, her works critique Puerto Rican society with detachment and precision: a cultural sexism that makes middle- and upper-class wives and daughters into dolls; the moral bankruptcy of a corrupt aristocracy; class conflicts that erupt into random violence; the desperation of women and men who are marginalized by poverty and racism."

"Like I said, it was 1957 when I started in oral tradition by memorizing all the poems I wrote…And I’d sit in parties, and bars—they were just poems to make people feel good…"

"I don't expect it to be easy, but I'm certain it will be fruitful. My mission is to take a different approach: Instead of explicitly encouraging young people to read, my goal is to get them to see the value in their own narratives — that they, too, have a story, and that there's power not just in telling it, but in the opportunity to do so."

"I was introduced to Langston Hughes, who became one of my favorite poets…I mean, he was a poet; he wasn’t about words, he was a poet, he had rhythm."

"When I started writing, there were only two women writers that I knew: Lorraine Sutton and Margie Simmons. There were very few Latinas writing in English... So when I started, I was mainly surrounded by men-Pedro Pietri, Jesus Papoleto Melendez, Lucky Cienfuegos, Miguel Algarín, Miguel Piñero, Tato Laviera. Many of them had books already published. I was like a sponge, absorbing different things from these male contemporaries."

"("What is your reaction when you have finished a work?") I almost always like it immediately after finishing it. I continue to think that I wrote something quite good for a period of maybe six months or a year. But after a year and a half I begin to see some flaws in it, after two years it begins to look pretty bad, after three years it is horrendous, and by the fourth year I want to burn the book."

"Puerto Rico, like all the countries of the Caribbean, is a nation where fantastic reality, the world of magic, is ever present. There are various sects of white magic, such as Santeria. It is a reality that is very palpable in our environment, and this is why there are no great differences between fantasy and reality...All Caribbean writers have this in common."

"It's not that I want to victimize men, but I think that women have been the victims throughout the centuries, a fact which has been incorporated into mythology and which I thought it was high time to change."

"I very much believe in the influence of magic and the subconscious on the literary process...I think that magic has to do with the subconscious, much as the ancient sorcerers believed. The identification of man with his material surroundings and his active participation in that world are detailed in the books of Carlos Castañeda, for example, as well as, on a different level, with the books of sociologists like Lévy-Bruhl and Ernest Cassirer, or Lévi-Strauss. The magical identification has a lot to do with literature, this alternate way of viewing the world."

"Books grow and become something else"

"I have always wanted to understand certain things about myself and my life, but in order to know what I think, I have to write it down first."

"I certainly don't think that the discovery and colonization of America by Spain is anything that should be glorified. The first Indians who came into contact with the Spaniards were the Taínos, the native Puerto Rican Indians, who were a very peaceful people. The relationship which developed at first was very interesting because the Indians had no idea what the Spaniards would eventually do, and they trusted them and befriended them. The Indian leader Agüeybana even offered his daughter in marriage to Juan Ponce de León. But then they realized that what the Spaniards were doing was taking them as slaves, and this is when they began to rebel, without any success. When one thinks of what happened, it is truly an extermination of a people, comparable only to what happened with the Jews in World War II."

"The word is extremely important. As a writer, it is my means for self-definition, the tool to express my idiosyncracies, my personality. It is also like a painter's brush which I use to depict the reality of my people."

"All writers are unhappy with reality and so they want to build a world where things are open to change. They have created a different space where they would like to be. All writing is, in that sense, a meeting of reality but also an escaping of it."

"If the writer is trying to interpret the meaning of life, all of what he writes is autobiographical…When you write fiction, you are wearing a mask, you are dealing with magic. The novelist is like the shaman; he reinterprets the life of the tribe in terms of his fictitious characters, in order to bring out the devils. And that's what literature does."

"(Q: In "When Women Love Men" every woman who is sexually repressed would like to break those taboos and simply be sexually free.) If you read Freud or a little psychoanalysis, you know that society has to control that or there would be total anarchy. But everybody has the same desires. The important thing was that when this story came out no Puerto Rican woman had ever written about sex. My story is just a little story, and it's not Henry Miller's Tropic of Cancer, but I think I was trying to go in that direction."

"I have the idea that people who are very repressed tend to be inner-oriented; they talk to themselves more than other people. People who have difficulties making themselves heard have usually been brought up in stifling environments. Maybe that's why I felt as I did-because I was very timid. Maybe that's why my writing is so violent, in a way."

"I get to whisper to them, "I love you, I see you, I know. I know you're scared, and it's OK to be scared, and if you can't be scared out there you can be scared in here. Within the pages of this book, you can be who you wholly are." And perhaps that might be empowering enough to at least add a bit of significance to their lives."

"I do believe in inspiration, but more so in dedication."

"Literature is made of many pieces, of a reinterpretation of similar themes, of a recycling of materials. Only the mask exists, and the writer wears it to interpret the manifold possibilities of humanity that exist around him. He learns to be a writer when he can take someone else's mask and make it a part of himself and talk from that mask."

"What a delight to discover that Ferré is as good a storyteller in English as in her native Spanish!"

"Writing is about touching people's hearts-in Spanish we say "conmover," which literally means to move with the reader, to make the other feel. We move our bodies when we're making love, and I've always thought about writing as a way to make love: you give and receive understanding, compassion, support, advice, knowledge, and pleasure. Without communication there is no love. This is the commitment a writer has to literature."

"I think Latina writers today, even more than Latino writers, are trying to integrate both cultures, the Hispanic and the Anglo. There is a conscious effort to include both visions, like V. S. Naipaul does in his novels: the native and the foreign, the colonizers and the colonized. There's an effort to underline the importance of the "side view" in them, of the border town. From the border you have access to more roads, and the perspective-front and back-can be 180 degrees. Spanish and English, those two opposing paths that have kept the New World divided for centuries, are beginning to merge at last into a third path. That's what these new novels are really about: a new United States, where half of the population will be Latino in the next century."

"Writing is a lot like sewing: You bring pieces together and make a quilt."

"I don't translate my work; I write versions of it. I couldn't let anybody do it for me. We're a different self in each language, since language makes you think in different ways. I feel if I let someone else translate my work, the translator would stamp his personality on it. The translator speaks with your voice, but the soul behind the voice is someone else's."

"All writing is, in essence, a translation of reality into imagination. Writing implies a passage, a transformation that brings echoes of death and rebirth."

"We live in much more flexible societies, but we have to keep testing them, pushing against the lid of the system so it doesn't crush us again. And one of the best ways to do this is to be frank about one's own experiences."

"A story is like building a chapel; a novel is a cathedral: That's the difference."

"(On featuring Black and mulatto characters in her works) …I grew up in Ponce where all our domestic service was black. I always had a lot of contact with them, and to a degree they gave me the kind of love that my family denied me. And so I have that sympathy—or empathy—for la gente de color (people of color), and I cannot help it. However, I do not like to create archetypes. If it is possible to break down a novel into archetypes, it is not a good novel…"

"There's still a fraternity of men. They admire themselves, and they admire each other's works. I think they are a little bit scared of women, too."

"I know publishing it may have dire results, but a tale, like life itself, isn't finished until it is heard by someone with an understanding heart. (Isabel, p380)"

"Coral explained to Manuel that political ideals were very important. Believing in something made you think; it kept your spirit alive. (chapter 34, p340)"

"Literature is prophetic-life often lives up to fiction ("Preface: Memoir of Diamond Dust")"

"She seldom smiled, but when she did, I felt as if she were pouring oil on my wounds. (chapter 19, p204)"