Hispanic Americans

"(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…"

"Being a Chicana is a political, societal, economic and spiritual stance for me because I identify myself with the struggle of Chicanos in this marginal border world of identity—straddling different worlds, the world of the raices in Mexico, the roots, and also the contemporary world of the United States…"

"(On how her writing allows readers to imagine themselves) The fundamental truth of my life, the principle that governs it, is that nobody has a monopoly over the truth. Every person is a lens that focuses reality in a different way and everybody has the right to do so. This, in fact, is an anarchist principle, for I am indeed, an anarchist. From the moment I position myself at a certain standpoint, I immediately see things from that perspective and from its opposing perspective…"

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

"I think that accepting biculturalism is smarter than perpetuating the unyielding Nazi, fascist idea that we can only speak Spanish in Puerto Rico and that we can only think in nationalist terms."

"the most revolutionary aspect of my books resides in their participation in the feminist struggle—in the search for individual freedom."

"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."

"being Puerto Rican is more than speaking and writing a language, and more than a language. It is a culture and a way of thinking; an environment; customs; food; a very complex context."

"…If I say I ’m not a Chicana I might as well cut off my arm or my leg. And if I say I ’m not a feminist, well, I might as well cut off my foot. The whole package goes together."

"[He] worshiped her; her merest whim was a matter of dogma to him. If he lived in a world of fantasy in which art had taken the place of religion, that was all right with her. After all, I can help him be happy in life as well as in death, she thought. Our needs cancel each other out, and that's as solid a base for love as any. ("Isolda's Mirror")"

"…Feminine literature is much more subversive than the literature of the men because women often dare to delve into prohibited areas bordering the irrational and the mad, areas dealing with love and death, areas which in our rational, productive, and utilitarian society become dangerous when one acknowledges their existence."

"…there should be an absolute identification between the individual's experience and the writer's so that [experience] serves as the starting point for being able to write a short story or a novel later on…"

""Sometimes it's necessary to believe in love, even if it doesn't exist," he said with a suave smile. ("Isolda's Mirror")"

"Remember that the Latino, Chicano, Mexican American writers are following in the footsteps of the African American writers. This has to do with the antepasados, the people who have come before you, who allow you to take the steps you need to take. I always thank the Black writers because they gave me a sense of freedom…"

"He created the house on the lagoon as one would create a poem or a statue, breathing life into its every stone. (chapter 6, p49)"

"("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."

"These times made me search for guidance within myself, for a reason to live. This is where my literature comes from."

"Every country that aspires to become a nation needs its heroes, its eminent civic and moral leaders, and if it doesn't have them, it's our duty to invent them. ("Sweet Diamond Dust")"

"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."

"You smile and return to Franklin's body. Maybe he's not exactly a dragon. Maybe you're not the angel your client believed you to be. But this life is still one of your own design, and that's the way you like it. You roll the Trance seed around your fist, imagining what life you'll design for him next. Every name he's worn so far will remain good and buried, but he's in excellent hands with you. The world knows this. You'll make a new name for him. And no one will remember the old ones."

"It is an American story. And it’s a Mexican story. I’m the child of immigrants. Being the child of immigrants is always this liminal space of, where do I fit in? It is complex. And the older I get, the more complex it becomes. I was born here. What I celebrate is the America that I grew up in—it’s very brown, it’s very Mexican…"

"Living on the hyphen is a complex cultural existence at times, and we’re often pulled in many directions where allegiance is always demanded. It is a fractured state of being, though I don’t think it’s necessarily bad; at least the having multiple ways of looking at life-the Mexican and American/the male and female. Where that goes awry is when we want to make one way of approaching life, The One Way. That’s where things begin to disintegrate, loyalties are questioned, and patriarchies are born…"

"It’s easier for me to point out what makes bad literature: forced language, too much description, poor word choice, writing things just for shock value, shitty plots, clichés, lack of research, lazy writing, people who are trying to write “diversely” for the sake of diversity. Good literature is the opposite of that…"

"… Wage theft, the intentional dumping of oil, shark finning—in each of those categories you’ll find people who are the culprits, but if you really try to understand what makes them tick, you’ll see that they’re pretty desperate characters who are victims themselves of a larger, screwed-up system…"

"We do our characters a disservice by allowing them to be flat. Our role as novelists is to do our best to portray the nuance of a whole range of life experiences. It's one of the things that fiction is uniquely positioned to do, to bring the reader into the interior life of people’s experiences that are wildly different than our own…"

"This negation of our existence, and the omitting of our stories and histories, is one of the reasons I write — I write to exist. We cannot escape our past; our past determines what choices we make for the future. It determines how we act, how we see ourselves…"

"More recent writers who have knocked me dead include Roberto Bolaño, Ruth Ozeki, Sabrina Vourvoulias, Isabel Quintero and N. K. Jemisin."

"As a Rioplatense person of European decent, I feel strongly about the urgency of retelling the stories of our nation’s histories, the Argentinian and Uruguayan national stories and cultural stories, in ways that fully recognize the presence of black people. Which is a huge part of the greater story of the Americas as well. You cannot tell the story of the Americas without the story of black people and the transatlantic slave trade — that mass atrocity. Alongside, of course, the genocide of indigenous people. And also the cultural richness and artistic production and stories of resilience and power that, too, come out of those harsh realities that are at the origin of the Americas."

"Writing can be a way of honoring those who’ve suffered real traumas and often surmounted them. And when a story has not yet been fully reflected in formal histories, the telling has a purpose, or so we hope…"

"At some point, the novelist has to leap head first into the pool of imagination in order to more freely explore the truth."

"All of these types of abuses, whether they’re human rights abuses, or environmental crimes, stem from a core problem, which is a lack of governance at sea, especially on the high seas. Specifically, there are three ways in which misbehavior happens offshore routinely and with impunity: too few rules, a lack of enforcement, and insufficient awareness of what is happening there. All of these problems are also connected in the sense that they occur with a certain tacit complicity from all of us who live on land…"

"…as we become more alienated from the things we consume, especially while buying online, the out-of-sight,out-of-mind problem becomes more intense."

"They go off to sea for nine months, they’re sick half the time, bad things happen to them, they see others die. Then they come back home and they have not a cent in their account. The way it ruins these men in their very spirit is a crime that’s horrific to see. And it’s hard to capture that in writing because wage theft, that term, is so boring. But on the ocean, it’s so pervasive and so ruinous that I would put it up there on par with putting men in an oven and cooking them slowly."

"…it’s just another front in the battle against racism. And that’s what it was, because New Mexico was much more colonial than any other area, but it was all the same damn racism. And so I never felt like I was breaking any life pattern; I was just shifting to another front.…"

"ours is an age of intensified empire-building in which no war is unthinkable."

"Favianna Rodriguez is one of the first people I met who brought up sex in a public context with no attempt at mass seduction. She was incredibly matter-of-fact about her truth that, as an artist, as an organizer, her pleasure and her freedom are part of her larger radical creative path."

"The narrative we need is to respect all life, including all human beings. How do we build our reconnection to each other as human beings? Because that’s what’s going to transition us away from an extractive economy and solve the climate crisis."

"The power of art is that it can help us heal our relationship to nature and help us as human beings understand that we can move away from an extractive relationship toward a regenerative one. Culture can do that, but we have to do it by replacing the old fairy tales. Greta Thunberg called them “fairy tales of endless extraction” because, in reality, they are fairy tales. They are stories. They are a form of culture that has gotten us here—and largely a culture of colonialism that deemed some life could be exploited for the benefit of other life."

"I really long for a time when I can look at art and listen to music and watch films that remind me of my relationship to nature, that help connect me to all of the beautiful animals that we share this planet with, the ocean, the forest. That relationship has been broken. It has been altered and severed. That is the effects of white supremacy and colonialism. This is why in so many movements, there is a demand to return land to Indigenous communities and to center Indigenous voices because Indigenous people continue to be the ones who are most protecting our world’s biodiversity. And if you look at culture from an Indigenous perspective, they are very different kinds of stories. They are stories about being stewards of the Earth, stories about protecting the salmon."

"The power of art and culture is that it speaks to our heart. It speaks to our emotions, but it also opens up our imagination to show us what’s possible. It takes us to another world, and we can experience that world. What we urgently need in our climate movement is to be able to imagine solutions and see ourselves in a different kind of relationship to nature. In order for us to halt the climate crisis, we have to reimagine our relationship to energy. We have to think about our consumption, especially as Americans. We could tell very different kinds of stories around how we achieve happiness and success. How we do that is by reconnecting to each other and to the natural world."

"We need to be able to have writers in television rooms write about the Black children who are getting asthma, the Latinx farmworkers who are working in extreme heat. All of these stories exist. They’re happening, but we need to find the bridge so that these stories can be transformed into cultural content that will move audiences."

"As a movement who cares about climate justice and justice overall, we need to better leverage the power of culture because culture is what transforms the imagination—culture shows us what’s possible. And we can do that by including artists and culture makers in our organizing work. We can train and educate artists on what are the key issues we’re facing in climate. We can pass the mic to artists of color when it comes to climate change. So many people think of white men as the primary spokespeople around climate, but that needs to shift. We need to ensure that it’s BIPOC artists who are speaking about the true impact of the climate crisis. We need people of color and especially culture makers of color to be sharing the stories of what’s happening in our community."

"I have always been committed to opening doors for other artists of color, and I’ve always been committed to justice. Largely, that’s because I grew up in Oakland during the era of the War on Drugs, and I experienced hip hop. I experienced the remnants of the Black Panthers, so I’ve always been shaped by the idea that culture is not only something very healing, but it is truly what gets us through the hardest time. Art and culture give us the language to talk about what we are experiencing as oppressed people."

"I’ve been tremendously inspired by artists like Judy Baca, who is a muralist in Los Angeles who has transformed what murals mean in our communities and has also built her own institution. Artists like Nina Simone and James Baldwin, who were able to create work that really spoke about the conditions facing Black people and work that would remain universal contributions to culture—something that would continue to shape generations. I’m inspired by people like Víctor Jara, who was a musician in Chile during the very oppressive government. He was actually killed by the government, but nevertheless, his music continues to inspire generations today. I was also inspired by Frida Kahlo. She was the only Latina artist I was exposed to in high school, so she was a role model because she was the only one I studied when I was younger."

"I started calling myself an artist when I was 18 years old and attending UC Berkeley. I had been an activist for a few years, and a lot of the ways I would contribute to social justice movements would be through my art. I would design the posters and flyers. I would bring art activity to the people. I met a woman through my Chicano studies class. Her name was Yreina Cervantez, and she was and continues to be a very well-known Chicana artist. She saw my work and told me that I was very talented and connected me to Self Help Graphics in Los Angeles, which was one of the first institutions in which I really was able to produce my first body of work. So although I did not go to art school, I took on my own artistic learning, and I haven’t stopped ever since."

"We need to actually tell the stories in a way that helps people understand both what the problem is as well as the solution. Because I don’t think it’s just about being reactive. It’s about putting forward a solution — and I can assure you that the right wing is definitely already doing this. They are already helping people imagine."

"together as a global community, we are recognizing the failures of the system. It is so clear. People are upset. People are seeing, like, ‘Wow, our governments are not set up to take care of us, even though we have all this wealth and even though people work so hard. We don’t have the infrastructure, whether it’s the health infrastructure or economic infrastructure, to truly be resilient."

"I advocate for a lot of issues around food security because I grew up in a community that had only fast food. And when I recognized that not only were we getting sick from what we ate, but that we are part of the gears of the machine, whether it’s on the farm picking food or killing animals — because remember that it is the beef industry that is destroying the lungs of the planet — who works in this industry? It’s overwhelmingly Latinx people, overwhelming immigrants."

"When we’re dealing with a crisis like COVID, which is disproportionately affecting people of color — and it’s a respiratory disease! — and then you consider that Black and Latino people overwhelmingly live in polluted communities, the disparities just become really clear."

"when we’re thinking about what’s next, we’re saying don’t bail out the fossil fuel industry, don’t bail out the airlines. Bail out people."