Essayists From The United States

"My mother is very smart, thoughtful, and loving, but I find that religion can take the most intelligent parts of her and warp them. There is a theological argument to be had about being gay, but I have found that trying to have that argument with people who believe their religion is opposed to gay identity is too hard. It tends to dismantle too much of who they are as people. Easier to just clarify, “I plan to have sex, so I can’t date Jesus.”"

"I’m in the last October of life looking for a few more Aprils. I don’t want to remember no more."

"Sitting around bullshitting ain’t no problem for Man, who can ignore his own heart and treat his own with all kinds of trickerations and cruelty to twist the truth so he can get what he wants, shutting off parts of his mind to let evil run things. But no Animal can do that, for Animals is Higher Orders, and we speak in Thought Speak, which don’t allow but so much wiggle room when it come to truth and consequence."

"You ugly enough to keep ants out of a picnic, mister."

"I tell them that a simple story is the best story, and that time and place is really crucial to good storytelling. Establish your stories in a specific time and place and get your characters set solidly within that framework before you let them start moving from one room to the next..."

"When I was a kid, my mother told me about the time my sister got lost at the circus in New York in Madison Square Garden. ... She said out of the throng of people, suddenly after looking for a long time, she said a cop just appeared and he was holding my sister's hand — she was a little girl. My mother never forgot that picture in her mind. We never see those stories about each other. And I think the writer who wants us to have a better life must take on the responsibility of showing us those kinds of stories."

"Now he wanted more. That’s the problem with Smelly Ones. They got one thing Animals don’t got. They got ambition."

"She smiled a little bit. “Most of us has a desire to mind other folks’ business,” she said. “That’s the child in you, Butter, not the man.”"

"Writing is the act of failing at something all the time. Do it with a sense of humor, and it ain’t no big deal. Life is just about falling on stage and getting up, and that’s what writing is all about, too."

"You can’t become a good writer unless you have the ability to see that everybody is seeking to ease his or her pain, and everyone’s pain is relative. Blondes don’t really have more fun. There’s always someone who’s going to be bigger or faster or stronger or a better writer or singer or architect than you are. But accepting you where you are is one of the things that fiction helps you do."

"Me personally and professionally, I haven't been that outspoken about race and class, partly because it's in my work, but in part because I don't want to get hate mail. I'm sick of trying to talk to people. I don't think you can change people. I think people have to be forced to do the right thing, so I'm not interested in trying to change people's opinion. I can illuminate, and you can see if you like. And if you can't see it, then just go buy the next book. But I'm sorry, I'm no longer interested in trying to be nice about what is right, because that doesn't work."

"Colson Whitehead, Charles Dickens and Octavia Butler — fascinating writers who carved out their own dominions in literature and who, in wholly unique fashion, changed writing for the rest of us."

"The rest of the stories came as they came, over the years, as I traveled over hill and dale and dusty trail, moving through life. As for the particular ache or longing that brought them on…well, if I shared every Twitter feed and eye blink and snort and nose pick with every Tom, Dick, and Mary in the world every five seconds, I wouldn’t have a thing left for me."

"Most of my characters: they don't yell, they don't scream. They don't curse, by and large. They're good people. And you know what? Good people don't have to be boring. The really interesting parts of life are the parts we are not witness to. Because the man who decides to shake his neighbor's hand, or help him cut the grass, they're the true heroes…"

"I ask myself: Is the outlook of this book comic? Is it tragic? Is the story best served by a first person narrator who's telling his or her story? Is it best served by an omniscient narrator who can stand above and make connections about the characters and society and politics? Part of figuring out how to tell the story is tone and voice, the same way I'm picking characters and places."

"My compulsion to write the story was from seeing so many people go unpunished, and so many innocents' stories being untold…"

"Elwood and Turner represent two different parts of my personality…There is the optimistic or hopeful part of me [in Elwood] that believes we can make the world a better place if we keep working at it. Then there’s the pessimistic side, the cynical side [in Turner] that says no—this country is founded on genocide, murder, and slavery and it will always be that way. That’s our dilemma as human beings: How do we reconcile the hopeful with our pessimistic side? How do we reconcile disappointments with the small daily times that make up our lives? I don’t know [any more] than anybody else.… For the characters [in the novel] there’s the problem of, How do you come back from a life-changing catastrophe?...Bouncing back from trauma, you borrow from a sense of hope…but also recognize what you’ve gone through and what you’re up against."

"I never know when I start out. You know, I sort of know what the ending is. I know where the characters always end up, and I usually have an image of the last page before I start. I'm a big outliner. But you can't know everything and you have to be open to discovery…"

"The way he saw it, living taught you that you didn’t have to live the way you’d been taught to live. You came from one place but more important was where you decided to go."

"It's very beneficial to Mexico that these workers [come to the U. S.]. It relieves a lot of social tension. It empties out the countryside of the poor and the needy. It stops revolution from happening. And it's sending back a tidal wave of money. The remittance money from the United States is the second or third largest source of income in Mexico now. I guess you could argue that we have an extremely generous foreign policy…"

"I have always been amazed that it seems to come as a shock to people that Mexicans are human beings. And on a philosophical level, I always remind interviewers that “the border” has nothing to do being Mexican or not. The border is simply a metaphor for what divides and wounds us as people – and I mean that “border” between any group of people, gay-straight, black-white, Muslim-Jewish, etc…"

"Chicano" was a bad word when I was coming up. At least that's what the elders said. The word referred to a Mexican born in the U.S., so by that definition, I'm not Chicano. I was born in Tijuana, but the Mexicans didn't see me as Mexican and the Americans didn't see me as American. I'm a man without a flag. When I started working among Chicanos as an adult, some accepted me, but some didn't. On either side [of the border] I was the "other"; I've always been the other. Later on when I had a bit of success, people on both sides were much more enthusiastic about embracing me. The word "Latino" seems meaningless to me, and "Hispanic" is just wrong. These days, I just tell people my nationality is "Writer."

"I felt everything crashing down and I didn't know what to do. It was such a harrowing experience being with his body. I sat in a room with him all night, his body, dealing with the police. And then I had to go to the border and deal with immigration and have all of his papers…By the time I got back to San Diego, I had forgotten English. It took me a minute to get back into being an American. I had only one way to deal with it, which was writing. I had been writing since high school, and so I wrote about it…"

"I suppose that my work is always mourning something, the loss of a paradise—not the thing that comes after you die, but the thing that you had before."

"You can probably tell from my writing that I’m obsessed with notions of justice and injustice—those things that are wrong that can never be made right."

"How soft is the blackness as it falls. It falls in silence and yet it is deafening, for no other sound except the blackness falling can be heard. The blackness falls like soot from a lamp with an untrimmed wick. The blackness is visible and yet it is invisible, for I see that I cannot see it. The blackness fills up a small room, a large field, an island, my own being. The blackness cannot bring me joy but often I am made glad in it.”"

"His death was imminent and we were all anticipating it, including him, but we never gave any thought to the fact that this was true for all of us, too: our death was imminent, only we were not anticipating it ... yet.”"

"Out of the corner of one eye, I could see my mother. Out of the corner of the other eye, I could see her shadow on the wall, cast there by the lamp-light. It was a big and solid shadow, and it looked so much like my mother that I became frightened. For I could not be sure whether for the rest of my life I would be able to tell when it was really my mother and when it was really her shadow standing between me and the rest of the world.”"

"At first, the editors there said they didn’t want staff writers but that if I had an idea for a piece they’d look at it. So I went home and called up Ms. magazine, and I said, “I’d like to speak to Gloria Steinem.” She picked up, and I told her I’d like to interview her. She said, “Of course.” I was just somebody off the street, but that was the original solidarity of feminism."

"We weren’t taught Shakespeare or Milton in order to understand our own situation—they were taught as the jewels in Queen Victoria’s crown. The point of the colonial enterprise was that it had all these people to control. Our education was about imprinting on us the greatness of England, the idea that the people who could produce these works were of a superior kind of people...I came to understand that I should separate Shakespeare and all of the rest from Disraeli and Horatio Nelson—that the British Empire is one thing and literature another. I’ll take everything except Kipling. Wordsworth would have been very upset to know that his wonderful poems were being used as a weapon of empire."

"Oh what a morning it was, that first morning of Mrs. Sweet awaking before the baby Heracles with his angry cries, declaring his hunger, the discomfort of his wet diaper, the very aggravation of being new and in the world; the rays of sun were falling on the just and unjust, the beautiful and the ugly, causing the innocent dew to evaporate; the sun, the dew, the little waterfall right next to the village's firehouse, making a roar, though really it was an imitation of the roar of a real waterfall; the smell of some flower, faint, as it unfurled its petals for the first time: oh what a morning!"

"plunge ahead, put one foot in front of the other, straighten your back and your shoulders and everything else that is likely to slump, buck up and go forward, and in this way, every obstacle, be it physical or only imaged, falls face down in obeisance and in absolute defeat..."

"A Puerto Rican writer from New York is doubly dislocated: first, there is dislocation from Puerto Rico; secondly, there is Puerto Rico’s dislocation from itself. Puerto Rico is a colony of the United States. It may be a truism that you can’t go home again, but it’s especially true when home is an occupied territory. A Puerto Rican writer from New York, like myself, is twice alienated. I never forget that in this country I belong to a marginalized, silenced, even despised community; yet, in Puerto Rico, as a “Nuyorican” poet, I am marginalized again, for reasons related and unrelated to the island’s colonial status…"

"My diction, my choice of words, is as precise as I can make it. The images that I use, the evocation of the senses, again, relies upon a certain exactitude. You can see how what I did with language as a poet would bleed into what I did as a lawyer, vice-versa…"

"Everybody takes his or her reality for granted. Everybody takes for granted the reality we see, we hear. That’s true for life as well as poetry. We grow up in certain circumstances, in a certain environment, and we understand that this is the way the world works. Sometimes we have to unlearn that truth, learn that there is a different or broader reality. I’m always open to that, and I’m certainly transformed any number of times during my life. And then I regress. We all do it…"

"I used to sit on the stairs outside the courtroom and scratch out poems on legal pads while I was waiting for our cases to be called. There were juvenile hearings prior to the housing cases, and of course given their right to privacy we were not allowed inside the courtroom while that was going on. Everyone was in the hallway or on the stairs. I sat there. I didn’t have an office there, and I wrote poems. It was not as crazy as it might sound because whether I was working or am working as a lawyer or a poet, I am an advocate…"

"I've come to think that the traditional way of writing is the artificial way that that's not the way things work at all. It's not the way thinking works."

"The kitchen was the United States; the living room was Mexico…One side was struggling with all her might to make me an American boy, and the other side, with all of his might, was trying to keep me a Mexican boy."

"Everything I do is because of writing. If I go for a walk, it’s because I’m thinking of writing. I go look at flowers, I go look at the garden, I go look at a museum, but it’s all coming back to writing. I don’t really do anything that isn’t about writing, and I don’t really know who I am if I’m not thinking about writing."

"I don’t like to hear people speaking in my work. I like reading it, and I marvel at people who can do it well. And there’s something when you see it done well. It’s just so terrific. But I’m not able to do it."

"(Were there black writers you read as a young person?) I didn’t know there were black writers. When I met Derek Walcott, after I had written my first novel, he was so appalled that I had not ever been exposed to a West Indian writer that he sent me an anthology. All the writers in it were men, of course. When I came to America, I did start to read black writers, but they were political writers—Eldridge Cleaver, LeRoi Jones (Amiri Baraka). The first book I got from a library in the U.S. was An American Dilemma: The Negro Problem and Modern Democracy, by Gunnar Myrdal. I didn’t understand race in America at all."

"Like many Puerto Rican scholars of my generation, I am a huge admirer of Mayra Santos-Febres. She is one of the most prolific and influential writers, critics, and teachers on the archipelago"

"The thing about writing in America—and I just recently understood this—is that writers in America have an arc. You enter writing as a career, you expect to be successful, and really it’s the wrong thing. It’s not a profession. A professional writer is a joke. You write because you can’t do anything else, and then you have another job. I’m always telling my students go to law school or become a doctor, do something, and then write. First of all you should have something to write about, and you only have something to write about if you do something. If you just sit there, and you’re a writer, you’re bound to write crap. A lot of American writing is crap. And a lot of American writers are professionals. Writing is not a profession. It’s a calling. It’s almost holy…"

"“Race.” I really can’t understand it as anything other than something people say. The people who have said that you and I are both “black” and therefore deserve a certain kind of interaction with the world, they make race. I can’t take them seriously. Not beyond the fact that they have the ability to say that you and I are a single race. You know, a piece of cloth that is called “linen” has more validity than calling you and me “black” or “negro.” “Cotton” has more validity as cotton than yours and my being “black.”…"

"(What about the work of younger writers?) RF: I have not seen much. I’ve only read Mayra Santos Febres’s books, which I think are very good, but there is not enough work to judge yet. Although I think that she is the most promising of all."

"literature and arts are defined in our cultures as an activity that produces both, or this product, that is for leisure and luxury—leisure and luxury. And that is a very weird definition of artists for an Afrolatina. That is a Eurocentric view of what is art, because for us it's basically about recuperating memory and telling the stories and raising the voice and exploring an aesthetic that is devalued."

"that's what artists are. We are the voices, and the memory, and the explorers of an aesthetic, and a sensibility, and a philosophy that has been silenced and devalued."

"My intention is to write things that can convey a vision of the memory lost, of a way of living in the world."

"what is sold as mainstream literature, I don't like it very much—very simplified, industrialized, Dan Brown stuff. I don't want to write like that."

"I was born with a particular sensitivity to words. Some people are very good with math and sports… I wasn’t but I could feel words."