Essayists From The United States

"She was in my poetry seminar at Columbia and I felt that then her poetry was tremendously involved with a kind of female anger but also victimization which I think is something that really has to come out in poetry, but it's not primarily what I would hope to find in women's poems in the future. I'd like to find something much more complicated and dense. But I think there's going to be a lot of that anger in poetry and some of it will be very powerful poetry."

"A poet fascinated with border states between existence and nonexistence."

"One of the purest and most accomplished lyric poets now writing."

"I’m an opportunist—I always hope I’ll get material out of any activity. I never know where writing is going to come from"

"Don’t prejudge your stimuli. Just trust where your attention goes."

"When I’m trying to put a poem or a book together, I feel like a tracker in the forest following a scent, tracking only step to step. It’s not as though I have plot elements grafted onto the walls elaborating themselves. Of course, I have no idea what I’m tracking, only the conviction that I’ll know it when I see it."

"(You once said to me on the phone, “Follow your enthusiasms.”) I believe that. I used to be approached in classes by women who felt they shouldn’t have children because children were too distracting, or would eat up the vital energies from which art comes. But you have to live your life if you’re going to do original work. Your work will come out of an authentic life, and if you suppress all of your most passionate impulses in the service of an art that has not yet declared itself, you’re making a terrible mistake. When I was young I led the life I thought writers were supposed to lead, in which you repudiate the world, ostentatiously consecrating all of your energies to the task of making art. I just sat in Provincetown at a desk and it was ghastly—the more I sat there not writing the more I thought that I just hadn’t given up the world enough. After two years of that, I came to the conclusion that I wasn’t going to be a writer. So I took a teaching job in Vermont, though I had spent my life till that point thinking that real poets don’t teach. But I took this job, and the minute I started teaching—the minute I had obligations in the world—I started to write again."

"The poem will not survive on content but through voice. By voice I mean the style of thought, for which a style of speech never convincingly substitutes."

"(You said once that the life of a poet oscillates between ecstasy and agony, and what mitigates those extremes is the necessary daily business of living.) Yes. Friends, conversation, gardens. Daily life. It’s what we have. I believe in the world. I trust it to provide me."

"Intense love always leads to mourning."

"The fact was that, while Misty was moral, Vincent was good. Watching him sleep it was revealed to Misty that the good do not necessarily have to maintain morality: they were born with it, while people like Misty, who were not good, had to strive mightily for goodness. That was what a moral system was: it helped you be good when you weren’t very nice."

"“Once in a while I get a kid in from the student agency to do some heavy cleaning. You’d be amazed how efficient budding sociologists and historians can be.”"

"Tolkien takes the stance that I believe all of us should take; that is, of decent, though fallible, people struggling against evil. He does not wallow in horrible scenes and images, though horrible events are certainly depicted in his writings. Rather, he dwells on hope, on perseverance, on faith, on honour, and on love. As a result of Tolkien’s own stance, I have rarely painted or sketched a scene from Middle-earth that was deliberately ugly, or dark, or that I intended should in any way glorify or honour the power or the triumph of evil. I wish to follow Tolkien in highlighting light, and life, and the deeply-felt longing we all have for the good, the true, and the beautiful."

"As with any classic novel, each subsequent reading teaches me a bit more about myself, about the greater world, and about the nature of life and mystery; because at each reading, I approach the texts as a different person."

"There is no greater pleasure for me than to have someone see a painting or a sketch of mine and say to me “yes, that’s exactly how I always pictured it!."

"Magic makes for a slippery concept. Like "gender," "race," or any other term that can be picked apart as a social construction—which of course means all of our terms, every attempt at producing order through language and —the word "magic" does not simply express a straightforward, self-evident reality, but rather creative reimagining on the part of everyone who uses it. Magic's meaning is continually shaped and reshaped by changes in our knowledge, values, and prejudices. Scholars writing about magic today, when confronted with the matter of definitions, often chose to simply admit the incoherence and uselessness of the topic and then move forward with their projects."

"The atmosphere at the conference was frankly hostile. (...) It was up to people from the audience to protest and oblige the chairperson to allow me to read out my paper. When it was my turn, I was heckled somewhat by the Leftist crowd, especially by a well-known Indo-American Communist academic, who was rolling his eyes like a madman and making obscene gestures until an elderly American lady sitting next to him told him to behave. At the end, Mathew came to collect a copy of my text (the book version, of which I had some author's copies handy), called me a "liar, and told his buddies that they needed to write a scholarly rebuttal. Which is still being awaited today."

"Quite a few RISA (Religion in South Asia) scholars are inveterate enemies of freedom of speech. When I spoke on the Aryan Invasion Theory in Prof. Andrew Sihler’s Department at the University of Wisconsin in 1996, Biju Mathew and Vijay Prashad of the Forum Of Inqilabi (= Revolutionary) Leftists distributed a leaflet demanding that I be denied a platform to speak at American Universities. This leaflet was subsequently condoned explicitly by Prof. Michael Witzel (7-2-2003) and Prof. Robert Zydenbos (10-2-2003) on the secretive Scholarly Services list. So we know where the enemies of liberty are. ... In 1996, when I delivered a lecture... a Communist student group called Chingari, "spark", along with Biju Mathew of FOIL, the Forum of Indian (now Inqilabi, "Revolutionary") Leftists, distributed a pamphlet in which they demanded that I be denied a platform. This demand was later supported .... by Prof. Michael Witzel and Prof. Robert Zydenbos. (262)"

"Biju Matthew insisted on the Stalinist position that in the social sciences, no theory ever comes without a political agenda. So, he reduced the whole AIT debate to a question of cultural policy of the Indian bourgeoisie, which was badly trying to be European. This was indeed part of the motive for the 19th-century acceptance of the AIT by the likes of Keshab Chandra Sen, but not of the present-day rejection of the AIT. But Matthew had not cared to notice the diametrical opposition between the former, colonial, and the latter, anti-colonial positions, perhaps because he counted on a knee-jerk reaction of hostility to anyone who merely utters the word... He was all the more serious about deciding the burning question whether Non-Resident Indians should call themselves “Indian” or “South-Asian”; he himself opted for the latter “because it has the advantage of being antinational”. He wanted South-Asians in North America to shake off their religious and national identities and develop an “identity project” on the model of the African-Americans, which would only leave race as the distinctive trait of South-Asians in the US, a self-identification which approximates racism in its original meaning. I am in no position to berate African-Americans for defining their own identity in racial terms, for the reduction of their complex ethno-religio-linguistic identities (Yoruba, Ashanti etc.) to their skin colour was forced on them by Arab (7th-20th century) and later also by European slave-traders (15th-19th century); but to deliberately drop existing non-racial identities for a racial one, that is another matter."

"I remember Vijay Prashad and Biju Mathew calling for a denial of any platform to myself, and big professors like Michael Witzel and Robert Zydenbos seconding this call; but I don't remember Wendy Doniger coming out in my support.... In most cases, the people clamouring "freedom of expression" on this occasion are very selective in their love of freedom, which they would gladly throw overboard as soon as it concerns the expression of an opinion less dear to them. I have the impression that Wendy herself is in this category too, but she may convince us otherwise by showing off her earlier acts of solidarity with besieged writers."

"It never occurred to me that I had brought him not just to show him my little world, but to ask my little world to let him in, so that the place where I came to be alone on summer afternoons would get to know him, judge him, see if he fitted in, take him in, so that I might come back here and remember."

""Later!" The word, the voice, the attitude. I'd never heard anyone use "later" to say goodbye before. It sounded harsh, curt, and dismissive, spoken with the veiled indifference of people who may not care to see or hear from you again. It is the first thing I remember about him, and I can hear it still today. Later!"

"He was waiting for me to say something. He was staring at me. This, I think, is the first time I dared myself to stare back at him. Usually, I'd cast a glance and then look away—look away because I didn't want to swim in the lovely, clear pool of his eyes unless I'd been invited to—and I never waited long enough to know whether I was even wanted there; look away because I was too scared to stare anyone back; look away because I didn't want to give anything away; look away because I couldn't acknowledge how much he mattered. Look away because that steely gaze of his always reminded me of how tall he stood and how far below him ranked."

"Perhaps the physical and the metaphorical meanings are clumsy ways of understanding what happens when two beings need, not just to be close together, but to become so totally ductile that each becomes the other. To be who I am because of you. To be who he was because of me. To be in his mouth while he was in mine and no longer know whose it was, his cock or mine, that was in my mouth. He was my secret conduit to myself—like a catalyst that allows us to become who we are [...]."

"I stopped for a second. If you remember everything, I wanted to say, and if you are really like me, then before you leave tomorrow, or when you're just ready to shut the door of the taxi and have already said goodbye to everyone else and there's not a thing left to say in this life, then, just this once, turn to me, even in jest, or as an afterthought, which would have meant everything to me when we were together, and, as you did back then, look me in the face, hold my gaze, and call me by your name."

"The farther away you move from our dominant assumptions about who should have expertise, generally speaking, the more you have to prove that you have a legitimate claim to whatever you're speaking on. For black women that means we're dealing with racist ideas and stereotypes about who's knowledge is valuable, but we're also dealing with gender stereotypes about who should be allowed to speak and to lead…"

"The hyper-visibility means that you both can't hide, but also never really feel completely seen by authority figures and by your peer groups. Trapped in that space of hyper-visibility, I think, is where we wrestle with the ideas of, 'What part of me matters?'"

"The whole ‘girlboss’ realm, actually. Anything that is treating the magnification of a personal brand, or the acquisition of wealth as the ultimate prize, is just fully out the window. The way those books treat little girls as if they’re generic? I get sent so many self-help books that are about like, ‘perfectly imperfect’, ‘badass feminists’ that ‘don’t give a fuck’, but then the fuck is bleeped out? You know what I mean?"

"I like to write about modern instincts that are in some way good. And also in some way dangerous."

"…I act like a hopeful person, but I think that hope is based on having zero expectations. I’ve never expected anything out of life, so I’ve never been disappointed…"

"…there are individual ways that we work our way through all of these systems that are corrosive and inescapable. But if there is a solution to the system itself, it’s at a collective level. It’s the level of policy and politics, it’s not at the level of individual choice."

"I want to be able to show up and raise the hell at the precise right moment that might tip the scales in a way that will make something a little more clear, or a little bit more just, for people I care about…"

"It troubles me that our worth is measured against what white people in power care about on a given day, week, month. The stories of my people are evergreen. I will write about them for a lifetime."

"We don’t even have the power to build a bubble, right? That’s the ultimate story of being who we are and writing about ourselves. We don’t even have the authority to create that bubble."

"One of the things I like to say to people is that we think that broadening access in any realm — we do this with everything, by the way. It’s such an American way to approach the world. We think that broadening access will broaden access on the terms of the people who have benefited from it being narrowed, which is just so counterintuitive. Broadening access doesn’t mean that everybody has the experience that I, privileged person, had in the discourse. Broadening it means that we are all equally uncomfortable, right? That’s actually what pluralism and plurality is. It isn’t that everybody is going to come in and have the same comforts that privilege and exclusion had extended to a small group of people. It’s that now everybody sits at the table, and nobody knows the exact right thing to say about the other people."

"Guys in prison are always saying, “I wish someone would write my life story. It would be a bestseller.” So I thought I’d start writing my life story…"

"I think that part of the problem is that a lot of black writers are … satisfied with being successful outside of what you’d call literary fiction. And if you take that satisfaction, you don’t get in the club. You have to write literary fiction to get in the club. And there aren’t that many black writers that they’ve allowed in the club to choose from…"

"I also love the way lists and repetitions can serve as a comfort. We can predict a repetition and that’s soothing, but we can also alter it to create something new, which, in my case, often produces a joy."

"…As I was visualizing the play, before I even started writing it, I just imagined three characters and their lives happening, their stories happening, on top of each other. It just visually felt like a fugue to me. If you read music, you can picture a Bach fugue. You have one line and the line can come back inverted and they’ll be playing on top of each other and I was like, that’s cool. That feels like something to me. I also was excited about combining this Latin world and this very western music classics world…"

"In Latino culture the idea of the border is very contemporary. It’s very much of our world, its politics are important to us. It’s also a part of our emotional relationship to the rest of our family in Puerto Rico, or wherever, and our own relationship to roots—the land of our roots—and where we are now…"

"…with any story there are infinite ways to tell it, infinite character arcs to follow, when you drop the needle into the story, and when you pick the needle up."

"I pretty much live in the details of them, and they teach me while I’m writing. I don’t come to it thinking, “I want this character to serve this function in the play.” I have a very inside out approach as opposed to outside in…"

"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."

"…I have discovered that plays are easier to write than novels if the writer has a certain verbal facility, a certain capacity for the colloquial, an ear for the secret cadences of the spoken word. A play can be written with more ease than a novel…"

"("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."