Educators From The United States

"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."

"(What moves you most in a work of literature?) I’m moved by voices that ring so true that they make me feel kinship with characters who are completely different from me. As I get older, I also find myself moved by depictions of friendship and kindness, which are so much harder to execute convincingly on the page than cruelty or betrayal."

"When you move into a new place, it does involve a refashioning of the self. We derive our sense of identity at least partly in relation to the landscape around us, in which we’ve grown up..…"

"I’m an immigrant myself. One of the things I’ve noticed over the years, when I do events, is that people will—not unkindly—suggest that I’m “doing well.” It’s something that’s always mystified me, as if there are different classes of immigrants, and the immigrants who “make it” work harder than those who don’t “make it.” As if success is entirely determined by an individual’s effort, irrespective of society’s structural inequities. I’ve always been very suspicious of that notion. It’s very dangerous. It’s an idea that I think makes people feel guilty when they’re not successful. Like if you’re poor, it’s your fault because you didn’t work hard enough…"

"There’s a disconnect between how people imagine their families and how families are in real life."

"They’re supposed to be the people who support you, who love you no matter what, and the reality is they’re the first people who teach you to cast doubt on yourself, they’re the first people who sometimes don’t have your back…"

"All of my books have focused on characters that are displaced and having to start over in some place new, and how the new landscape shapes the person you are and the person you become. (2019)"

"(about The Other Americans) It’s a book that really questions how we remember one another on a personal level, but also on a public level. You can take an event, like the Iraq war – which figures in the book – and people even today are shaping it and remembering it and contextualizing it in very different ways depending on their views. So history itself is an argument, and we are still litigating it many different ways. (2019)"

"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…"

"He needed someone to trustworthy to deal with Faten, and he knew Raouf would not let him down."

"She did not notice the fading afternoon light that lengthened the shadows behind her, framing her body like the arches of a shrine."

"He couldn't understand these foreigners. They could go to a nice hotel, have a clean bed, go to the beach or the pool, and here they were in the worst part of town, looking around for something exotic."

"A bit salty dear," she said. Faten smiled, grateful for the truth."

"Better than the Moroccans themselves."

"She had to do something for her future—today."

"Somehow I had also convinced myself that my redemption could only come from some force outside of me-that if I were useful to others, they would save me. What a terrible thing to believe. I had to stop playing a part in my own misery. I had to save my own life. (p129)"

"I had been pushed further and further into a fate from which no escape or reprieve seemed possible. And so there came a moment when I stopped struggling, when I decided that I would cease making any more plans to return to the old days. I made up my mind to look upon the present as exactly what it was: it was all I had. (p232)"

"But, he tried to tell himself, maybe this was just a fleeting interest, maybe it would all go away."

"We're so blinded by our love of the West that we're willing to give them our brightest instead of keeping them here where we need them."

"What I remember and where I start is with the detail that is the equivalent of the punctum, the moment of a life, the shape of an object, the darkness of a room, that solicits me, most often because it represents an opening or a detour."

"Lucky Aziz. He curses his own luck."

"I love so many different writers from different eras. But a few—of, really, zillions, so this is an incomplete list—would be Herman Melville, Mark Twain, Ralph Ellison, Jamaica Kincaid, Toni Morrison, Percival Everett, Philip Roth and Junot Díaz on the novel side and, lord, the poets—too many to even mention. But right now I’m re-reading and re-reading Robert Hayden’s poems, which are absolutely beautiful and brilliant...I think Amiri Baraka’s work made me want to write poems too. Especially his beautiful poem, “An Agony. As Now.” A really, really beautiful poem."

"A name is precious; it carries inside it a language, a history, a set of traditions, a particular way of looking at the world. Losing it meant losing my ties to all those things too. (p5)"

"I know now that these conquerors, like many others before them, and no doubt like others after, gave speeches not to voice the truth, but to create it. (p8)"

"I have inherited this sense that seriousness does not necessarily go with grief, or seriousness does not necessarily go with joy, which to me is not glee, actually. Joy is this very complex, full, rigorous emotion. But yeah, I think the fact that I felt like I was being a little transgressive by titling it that indicates at least something about the way that I’ve come up in contemporary poetry."

"I was definitely feeling alienated in various ways, and feeling some unarticulated rage and sorrow about a number of things. Once I got introduced to the right poems, I became aware of maybe a way to express those things, articulate them."

"I feel like over the years, I’ve become more invested in a kind of written spoken voice. And connected to that, that I’m interested in the audience in a different way than I was before. I’m interested in caring for my audience. I don’t mean taking care of them. I mean being understanding. I understand that someone reading something that I’ve written is a generosity."

"One is that I’m the first reader, and so I’m always writing these poems to myself, and my self — my self as a reader — is someone who wants to be transformed in the process of reading poems. I don’t want to read a poem that I already know."

"Nothing new has ever happened to a son of Adam, she said. Everything has already been lived and everything has already been told. If only we listened to the stories. (p52)"

"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’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 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."

"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."

"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.…"

"He warned me that trade would open the door to greed and greed was an inconsiderate guest; it would bring its evil relations with it. (p58)"

"life should not be traded for gold (p87)"

"in those days, I fed my hopes of freedom in whichever way I could, without realizing that I was only hooking myself to different lures. (p88)"

"Telling a story is like sowing a seed—you always hope to see it become a beautiful tree, with firm roots and branches that soar up in the sky. But it is a peculiar sowing, for you will never know whether your seed sprouts or dies. (p122)"

"In this extraordinary volume, Elizabeth Martínez reveals what has thus far been hidden from our view, the rich and inspiring history of Chicana women, from the early days of the Spanish conquest to the contemporary struggles for immigrant rights. The book is a treasure trove of exciting information and striking images. It should become an indispensable part of everyone's library, and a special gift to future generations of the young, on whom we depend to change the world."

"She was an innovative type of organizer. In all projects, she had a posse of young people working with her. She loved being around young people and they loved being around her."

"She was an example of what it means to not just speak your truth but to live your truth and to be prepared to commit your life to that truth."

"She was an elegant presence and a dynamic soul who wore red and purple together like no one else."

"I thought I knew my history, but 500 Years taught me more than I could imagine. In these pages, La Chicana emerges from historical erasure as spirit-warrior, artist, and revolucionaria. This book won't rest quietly on a coffee table, but belongs on the kitchen table, in the factory lunch-room, the school library, the clinic waiting room, the painter's studio. It is a book to be used, to remember and record Chicanas struggling to make home in our Native América."

"At first, she struck me as a film director at work, trying to create order out of chaos. She exuded an air of authority."

"Throughout this book, Martínez reminds readers again and again of why we should balance the wisdom of experience with the fire of youth and honor both perspectives. So many great leaders have boldly embodied this ethic, from the recently departed such as Yuri Kochiyama, Grace Lee Boggs, and Cedric Robinson, to those who carry on like Jamala Rogers, Miss Major Griffin-Gracy, and Betita Martinez herself...so much of Martinez's work calls us to reconsider the black-white schema for US racial politics. As Martinez insists, "a bipolar model of racism has never been really accurate for the United States"...As she has for decades, Betita Martínez both opens and answers questions, she lives the coalition ethic she espouses, and she reminds us eternally, that achieving justice requires all of us."

"We can look to Mexico, where a vision for social change has been powerfully affirmed by the Maya people of Chiapas. They named their vision "Zapatismo," in memory of Mexican revolutionary Emiliano Zapata, and startled the world with an armed uprising on January 1, 1994…The Zapatista vision does not find the answer to injustice in the replacement of one domination by another, but in a vast change of the political culture from the bottom up that will create a revolutionary democracy."

"From her involvement with the Student Nonviolent Coorditing Committee during the 1960s to her current leadership of the Institute for Multi-Racial Justice, Elizabeth (Betita) Martinez' work comprises one of the most important living histories of progressive activism in the contemporary era. Furthermore, her writings recording countless struggles for social justice-some won, some lost, some still raging with varying degrees of intensity, and many having international implications-offer us an invaluable reader in the rich history of radical activism in the Americas...Martínez' words are always powerful, never mournful as she addresses the role of U.S. people of color in forging the past, present and future of leftist activism... Her voice is of wisdom gained through a wide range of experiences across a broad spectrum of social movements...Her approach is no-nonsense, yet it reflects the sharp sense of humor that so effectively keeps the weightiness of her subjects from overwhelming...Betita Martinez' life and work stand as a living monument to the possibilities for success that reside in our collective knowledge, commitment, persistence and plain old hard work... the inimitable, the irrepressible, the indefatigable Betita Martínez."

"picking up the pen for Chicanas became a "political act." ...Women also founded and edited newspapers-El Grito (Betita Martinez); Encuentro Feminil (Adelaida del Castillo and Ana Nieto Gómez); Regeneracion (Francisca Flores); and El Chicano (Gloria Macias Harrison). Through their writings, Chicanas problematized and challenged prescribed gender roles at home (familial oligarchy); at school (the home economics track); and at meetings (the clean-up committee),"

"Thanks to the inspiration of Elizabeth Martinez, who founded and published El Grito del Norte in Española, New Mexico, during the late 1960s and early 1970s, I decided to write my doctoral dissertation on the history of land tenure in northern New Mexico. Only through understanding history and land, I believed, could the present be understood."

"One of the most striking facts about the 1990s is the high level of female leadership and participation. For anyone who remembers the sexism of the 1960s and 1970s movements, today's young women in action are a joy to see."