Authors From The United States

"I think it is a natural impulse to look to your own past and history to discover the stories that move and inspire you. The problem is that the past is nebulous and waiting for a shape. What ultimately gives it form and context is the present. That’s the part of writing inspired by personal history that is exciting to me."

"…Everyone gets caught up in the “wright” of playwright (meaning to make or build or create), whereas I take daily joy and solace in the “play” part. How rare and wonderful to be asked to play in your very job title?"

"…There is something holy about the experience of sitting in the dark, looking at the light and living the story happening in front of us in real time that just can’t be replicated…"

"Coco Chanel said something like, “When you’re getting ready to go out, take off one thing.” I think it’s similar with dialogue. Cut it off. Don’t say too much, because then it gets to a place where it’s not natural. Most people don’t go on and on for sentences in real life. Also, when two characters are in a space that’s emotionally raw, they can’t always articulate everything. They’re talking, but not saying the right things. Another thing is to never let people directly answer each other’s questions if you’re trying to create tension."

"Absolutely has the particularity of African-American experience. But I feel strongly that this kind of experience is not so different from other people’s experiences. This is about a particular time and place, but I think there are so many other resonances here to other kinds of experiences. And that to me is the beauty of reading. As a reader, you know the gut of it and say, ‘I get this,’ and I’ve felt like that, too."

"I am a solo flyer. I go by dramatist or playwright. My brand is original plays that take on aspects of our shared American history that have shaped our culture. I write serious plays, but I use as much humor as possible. I also use a lot of music (original and found), and I’m not afraid to examine my characters’ sexuality…"

"…Early on is the time to be bold, to grow muscles, and build a thick skin. Tell the hard stories now—it builds the heart muscle. It’s also addictive, and will hopefully lead to more plays that matter over the writer’s career. From hard experience, I would urge all young writers to be compassionate of themselves and the source of their desire to write. The saddest thing I’ve witnessed is that fire being snuffed out…"

"At the end of the day, I don’t think it had anything to do with my age; I was successful because I could speak intelligently about the products, and because I had, at the end of the day, a really high-quality product. Obviously, there was some initial pushback from customers due to my age, but it just got to the point where I found my niche and got into a rhythm."

"Everything I've learned in these nine years has been self taught — that's not to say I've had a lot of help along the way in terms of meeting so many amazing people in this industry. But I have always loved cooking, and I grew up cooking with my grandfather and my mother, and entertaining and cooking for people was always such of strong importance. And so I’ve just applied that same passion for food to truffles."

"There’s just so much unknown information exotic ingredients, so my hope is to educate the reader, and take them on this journey to procuring and exploring these exotic ingredients around the world—from Serbia to meth heads in Oregon."

"I’ve never considered myself a strong reader or writer. When I was younger, I had some hardships with reading and writing, and I never thought of myself as someone who could pull this off. To a degree it was challenging. In my everyday life, I’m pretty private and reserved, so the hardest part was taking personal emotion and putting it on the page and putting myself out there…"

"I think I was just a very skinless person…And I had this terrible need to confess; and I still do it…It’s a bid to be loved, in some way."

"In order to write anything profile-driven, I would become the person; and then I would analyse the person from within. Earlier, I would analyse them from without. But if I was going to write about him now, I would do it internally, so then it would be fiction.”"

"When I read, if I don’t know where a story is set, I always feel unmoored. The same is true for my writing: Until I place my story in a specific place, I can’t get my footing in the world…"

"I think it means where the artist doesn’t necessarily have a full understanding of something, but they have deep empathy. They have some kind of amazing empathy with the characters in the world. I just think it means being openhearted and generous. I think that to be a conscious person is to sort through stuff in order to understand not just yourself but how you feel in the world."

"The damage suffered by people I know and love is almost always based on the trauma of the only elder they had treating them badly or being interested only in their silence. And what you’re left with, by the grace of God and some miracle, is this inner self. Our experiences are painful and sometimes annihilating, and if we have the strength to crawl out of and excavate that wreckage, we have to ask ourselves how to describe the truth of it."

"I love the short story: I love its flexibility, its distillation of language, the pressure it exerts on the moment. A story demands that the reader look closely. And yet, despite the intensity and constraints, a story can be surprisingly capacious…"

"It has absolutely been romanticized; it shows up in literature and art. I think there is a sort of magic to it that draws people and yet I think the reality of it is that it's an extraordinarily complicated place."

"I do think one of the reasons I’m a writer is that we moved around so much when I was a child, and I was always the new kid. I was always in a new environment and trying to figure it out. I was always watching, trying to suss out what the social situation was, and where I might fit in, and who I was in this new place. We’re different people in different contexts; different aspects of our identities become more pertinent…"

"I’m interested in coaching, modeling, and teaching various writing practices and less in discovering talent. I want students to develop their own unique writing practices rather than impose my aesthetic values from the top down…"

"I often start with a question as big and unwieldy as why do we have children – or what are we investing in when we love and raise our children; it’s a process of looking for structures – images or rhetorical figures – that will contain my questions."

"I don’t think it’s a responsibility, but I certainly think it’s something poetry can do, and I think that poetry has a unique ability to do it because of its self-referential nature and its self-conscious nature. And I mean that in the sense that, in prose, we’re not often as conscious of the language and the operation of language itself. Our focus in on the content, on what is denotatively produced. In poetry we are trained, or at least readers of poetry are trained, to attend to or account for the structures of language as well as what that language conveys."

"And I think for any kid, you know, looking up to - any boy, certainly, looking up to his father - and, you know, I'm granting that there are some aspects of masculinity that I'm not entirely down with anymore, you know, as an adult, but as a kid, I bought into the narratives of masculinity very much.…"

"To me, that always echoes in questions of race, and how I think so much of what we end up calling racism—and it may very well be racism proper—but I am interested in how racism is also just the mindset of ‘I don’t want to be associated with the reviled, with the alien class, I want to keep as much distance as possible from the people who are oppressed.’ And so these questions were on my mind the whole time, and as you say it’s kind of an unfortunate coincidence that they’ve come to a head now, and in the way that they are coming to a head, but it wasn’t intentional."

"I try to give folks the tools and resources to be a part of a movement…I'm a very strong believer in the idea that everybody has a place in the movement."

"It really was harmful because it makes it feel for women, for LGBTQ folks, for even white men too, that there are only these tokens and that’s not the case. What it does is reinforce white supremacy, it reinforces patriarchy. It’s harmful to everyone, not just the people who are being erased."

"I just haven't experienced a lot of the ridiculousness, you know? I haven't been around that long…I’m constantly shocked. Whenever I'm doing work, a large part of that work is going to be reacting, and I don't think that's a bad thing necessarily — me being surprised but still wanting to change things."

"It’s really challenging that idea of who is a hero, who has made contributions to society, but then also not historicizing it, so we’re really putting it in the present because that’s what modern media is so much about…"

"I was encouraged to look around me and to paint what I saw. I painted my story, and it had a lot of angles to it. I was trying to explain how I saw life as a black person living in America, and I put things together that were not acceptable. A lot of people did not want these kind of paintings representing America in any sense, but I wanted to tell my story and what I saw…"

"The boys of my gang – there were six or seven of us – none of them lived to be men, to be 21 years old, except one. All of them are dead from some violence or other, shot or cut to death before they were men, by white society…"

"No wonder you get a Rapp Brown, no wonder you get a Le Roi Jones, no wonder you get a Stokely Carmichael. But you can’t really compare these kids with me, because my time was beyond their time. Black studies, the identification with Africa emerging, has instilled a lot of pride in black kids. But the black kids on the campuses are suddenly asking for separate classes and segregated dormitories. I’ve said to them, ‘Black people have fought and died that you might be here. These white kids will be the next leaders, and will reshape your lives for the next 200 years unless you get in the classrooms with them and help’."

"I think that the film being made there did an awful lot to dispel that. For the first time there – well, for the first time in the United States – there was a black man riding in that big crane, and he was the boss of a mostly white crew, about 200 people. They looked at this at first in utter amazement and eventually they were proud of me, because I was a local boy. It was very prideful for the Negro kids."

"…Quilting was a method of artistic expression that could also be used to cover people, to keep them warm, but which also put designs together to make them beautiful…"

"… I think maybe the rural influence in my life helped me in a sense, of knowing how to get close to people and talk to them and get my work done. That might have helped some...to try and get to know people and get to know all kinds of people better and investigate their ills and their prejudices and their goods and their evil…"

"At the library I would go the shelves alphabetically. I was drawn to anyone with a female name, with a Latino or Spanish name. There were very, very few. But as a teenager I discovered African American poetry. Gwendolyn Brooks was the first. Then Phillis Wheatley. I really identified with this slave woman writing poetry to assert and affirm her humanity. Suddenly my eyes were open to history. There was a whole explosion of African-American women poets-Audre Lorde, Nikki Giovanni, June Jordan. I have a poem in my head that's going to take me years to write down. Its working title is "On Thanking Black Muses." I owe them, because poetry really changed my life, saved it."

"I think they were a little bit too bold in that I was showing the relationship between black and white people, the struggle for independence and freedom that black people were pursuing during the civil rights era. It was just a little bit too damn much going on. The struggle was one thing when you talk about it, another thing when you picture it. I wanted people also to look at that work and see themselves. Whichever part you were playing, this is what's going on…"

"That disadvantage sometimes pushes you, you know, if you use it right, because you want to rid yourself of those things that hurt you emotionally when you're coming up."

"(At National Black Theater performance) I was in awe of the words I witnessed that day. It was the first time that I heard the works of writers like Gwendolyn Brooks, Nikki Giovanni, Langston Hughes, Amiri Baraka. I heard poetry that was about me, that was very immediate. I connected to it in a visceral way. That experience moved me so profoundly that I went home and that night I wrote my first batch of poems. It was like the floodgates opened. That reading empowered me with a voice and gave me permission to express everything that had been festering in me for years. So I just started experimenting with language and writing all kinds of things."

"[I realized] I can’t tell your story, I can only tell mine. I can’t be you, I can only be me."

"let's build what we become when we dream"

"then I awoke and dug that if i dreamed natural dreams of being a natural woman doing what a woman does... i would have a revolution"

"If I were advising someone on a writing career, the deal is this: write. If you get it published, good. If somebody pays you, better, because you have to eat, but the deal is you have to write."

"...as i grew and matured i became more sensible and decided i would settle down and just become a sweet inspiration"

"The authority of the writer always overcomes the skepticism of the reader."

"if science has the most perfect language just think of me as Mc2 ...one day i'm gonna grab your loveand you'll be satisfied"

"I'm a big fan of the black woman and so I'm always looking at aspects of the black woman--what she's doing and how she does it."

"Political people don’t seem to understand art…It’s not what they’re trying to do. And if it is, let them do that. Don’t tell me what to do, because I have to look at this many years from now and be happy that I did it, not unhappy. And I would be unhappy with the ‘Kill whitey.’ It’s not my thing."

"Paint me Hopeful Paint Me Futuristic Paint Me Nikki I'm a Poet"

"History is wonderful. We have so much we can learn if we would quit making ideology out of history, and just deal with what happened…"

"if it does not sing discard the ear for poetry is song if it does not delight discard the heart for poetry is joy if it does not inform then close off the brain for it is dead if it cannot heed the insistent message that life is preciouswhich is all we poets wrapped in our loneliness are trying to say"