Hispanic Americans

"The border is a notion too. It’s a mood. It’s a culture…after living seven years on the border, and I really was speaking in two tongues—I was dual person back then…"

"I’m obsessed with women and Latina women. I think I’m on my seventh or eighth all-Latina play. I’m really comfortable in that world. So, if I had to say what I’m interested in exploring, it’s that—class, and how it affects Latinas and people of color."

"Respect your history, listen to your ancestors, tell the truth, and write your own story—or someone else will write it and get it all wrong."

"We’re not allowed in an open way, in a public way, to talk about our grief and our experiences, our challenges, or our failures, which is what I tried to do."

"I wanted to really be sure that the play never became a play about how to grieve…And in order to accomplish that I needed the play to remain in this time of confusion and chaos."

"I remember feeling that if I don’t express this somehow, I’ll despair, I’ll go mad. Looking back, part of it was about trying to impose some kind of order in a process that was decidedly chaotic. Because of my profession, I tend to understand the world in words, in sequences of events. What I saw later was that I was trying to document as clearly as possible an emotional journey. And it felt important at the time that I remember it in its entirety and its complexity."

"There’s a legend in my family about my great-grandmother, who lived through the Cuban War of Independence and the Spanish-American War. The Spanish came to take over her farm when she was 16 years old and sent her family to internment camps. The legend is that my great-grandmother refused to go; she took her pet pig under her arms and walked up into the mountain to join the rebels. That’s as much of the story as I could ever get from anyone. I always had an image of this young woman finding a way to survive a terrible war. The play that I eventually wrote is not her story, but it’s certainly infused with her spirit…"

"Making art, any art, you are in some way trying to imitate life, and the ways in which that succeeds or fails is fascinating to me…"

"My father's Japanese and my mother's half Spanish, half Cuban, but I grew up in a household where we spoke English. I learned about my family in bits and pieces. There are things that still peek out in the telling, like my father's sister will tell me something he neglected. I think you find out about the mysteries of your origins in unexpected ways."

"In terms of being an Asian American writer, I'm mixed race. I think there are issues about being racially mixed that are different that for people who are Japanese-American, or Korean-American, or Chinese-American in background. People don't know where I come from. My father is Japanese. My mother is Latina. There is a line in the play, "I look at you and I don't know what i'm seeing." I think a lot of people look at me and don't know what they're seeing. There are issues that people who are of mixed heritage deal with that are complicated in terms of finding their home in a specific ethnic group."

"I think it is dangerous to run away from history. I am much more interested in looking at something difficult and really fraught with a lot of problems and then challenging it from a close perspective, as opposed to just not dealing with it when creating the characters or the story."

"These type of stories still go on. This is something that has to be said. It’s been done in many ways, but I think that theater being done live has a different impact. And when we come out of the show we stop and think–”What can I do in my society to make it better?”"

"Plays are events in time and space. Plays are music. Word music. Visual music. I’ve always thought of plays as a form of composition—of text and the architecture of the experience of the full-length evening…"

"I wanted to write a play about racism, about poverty, about the negative forces that haunt us and make us murderous—and the positive forces that do daily battle for us—like love, friendship, family—which lead to some kind of hope..."

"There are so many “invisible” stories still, and one of the beauties of writing for the stage is making these so-called “invisible” stories seen and heard and felt. In terms of form, I think my work as a dramatist is becoming starker and leaner, rather than more baroque…"

"The vanishing middle-class, distinct rich/poor class divisions in the US and poverty continue to be issues that nag and tear at the social fabric but rarely are put front and centre in plays and works for live performance. I don’t think every play needs to address these topics, of course. I do think the daily lives of citizens—the sheer struggle to get by, make do, and the increased dependency on credit (and therefore, debt) are issues that affect everyone…"

"A smart-alecky boy threw a pebble at me and said “This isn’t the Mexican bus stop. You have to go to the Mexican bus stop…I had never experienced racial tension, but in La Jolla we saw incredible—to us—prejudice."

"The term "Hispanic," to me, encompasses everybody that has a history, a background with the Spanish Language. The problem with the label is that "Hispanic" is going to be stretched and stretched to cover a whole range of things-Chicanos in the Southwest, Puerto Ricans in New York, Cubans in Miami-until I don't know what good the label is…"

"Immediately after you get into that stage of relaxation, think of a situation before you were ten years old. Let's just say there's somebody sick in your house, and you go into your memory to see what happened. When I do that, I remember the kind of shoes I was wearing. You remember your favorite shirt, your favorite dresses and things that you wore and how it felt. That someone was sick in your house absolutely connects you to whatever relationships you had. You don't really "think" about it. In this way, what comes out is really true."

"There's so much Aztec in the Chicano culture that you feel in California and even here in New Mexico. But the rest of South America has so many European blends. Europe is really the old continent and corrupt. I think that that's what makes Mexico so much more interesting."

"When I was a child, poverty was a common suffering for everybody around me. A common suffering is a richness in itself."

"I’ve always been at the peripheries of the Chicano Movement because the Chicano world does not consider me Chicana enough. They, however, respect me as a writer…"

"Deep in my psyche, I am no different than any American—I have a greater command of their language than they do. I am a composite of all of the heroines in the books I’ve read—legendary, mythological, fictional ones. I wonder if I am real? I want to be!"

"I was not really of the barrio, but the barrio was an important part of my life. Spanish was my first language; English was the language of my reading world. This was the world I lived in—an idealistic world, and unreal world that filled my senses with hopes, with joy and identification…"

"A lot of people want to tell me their stories, and it’s not just the people who were alive back then. Though the play deals with AIDS, it’s about more than just the epidemic. It deals with things that plague gay men now. It’s very much about addiction, too. And the audience’s experiences run the gamut. And these audiences feel emboldened in the best way possible to not keep secrets. And they feel like they trust us enough to tell us their stories. It’s a beautiful thing."

"I can never predict what is going to capture my interest and draw me to create. I think it comes primarily from curiosity. I like to play the “what if” game with subjects. “What if slaves owned by Jewish families adopted that religion?” “What if a family living in the proposed footprint of Lincoln Center in 1959 were completely devoted to Jerome Robbins and his work?” “What if a straight guy became a drag queen?” That leads to the next important question of “why?” And then “who?” And so on."

"There is also the inheritance to younger gay men, of the generation that is coming up right now, of a responsibility and a debt to the generation that came before them…The generation that fought tirelessly to be able to walk down the street and hold your partner's hand, to kiss your husband in public, to get married, to just truly be accepted for being who you are and loving who you love."

"The thing that drew me to Forster most specifically, I think, looking back on it, was I was picking up on what I would call 'the vibrations’…And 'the vibrations' were a closeted gay man in the early 20th century, at that time, speaking to a closeted gay boy at the end of the 20th century."

"Patience and perseverance are key. Cultivate a spirit of generosity. Find your tribe of collaborators and keep working with them. Trust your gut. Stay true to your vision. Seek mentorship…"

"If I could change one thing about U.S. theater, theater companies would produce a wider, broader range of plays by women and men who fully represent the cultural complexity of twenty-first century U.S. culture. Theatergoers would then have access to a huge selection of diverse theatrical worlds that would challenge, entertain, delight and intrigue them…"

"This story contains many elements of my journey as a writer. As a Spanish-American, I gain much of my inspiration from the Latin world and often write about how the Anglo and Latin worlds collide, intersect and transform each other. I also draw huge inspiration from my father's Spanish family of artists. Dealing with loss has also been an area I've continually explored as a writer…"

"It’s a 21st-century play…The overarching theme is, how do we find peace in the present? Through love, understanding and learning about our cultural and religious differences."

"My favorite definition of magic realism is by Ariel Dorfman, who said in an NPR interview about his play, Widows, "When people who have nothing demand everything, that’s real magic.""

"when 9/11 was taking place in the U.S., few journalists, except people like Ariel Dorfman, few of them mentioned that there was another 9/11 that took place in Chile created by the terrorism that the United States government, in a way, was supporting through the CIA...Dorfman wrote a wonderful editorial in The New York Times, an op/ed about two or three days ago, and he said that Pinochet's dirty dealings with his money were found because through the Patriot Act they discovered that he had money in the Riggs Bank, and he became like a terrorist that stole $8 million, but he also says that it was the same secrecy that Pinochet governed that allowed him to steal the money. So secrecy is dangerous no matter how you look at it, and he was talking the secrecy of the Patriot Act."

"(Why do so many South American Jews write about oppression?) People like Timerman and Dorfman were part of generations that suffered terribly because of dictatorships. So they write about what happened to them and their countries, and have the courageous belief that an author should write about things as a witness."

"The past is really unknowable, but it’s got to be knowable enough so that we can seek forgiveness for our crimes…"

"More than a traveler, I’m a displacer. In other words, I’m a person who is constantly meditating on what it means not to arrive at a place, but to be on my way somewhere else."

"Not to belong anywhere, to be displaced, is not a bad thing for a writer…If you can deal with it. If it doesn’t destroy you."

"I think the genre decides for me—which sounds like a way of avoiding the question unless I explain first that this chameleon-like border crossing, this shifting of genre identities is, I realize, parallel to, or anticipates, or recollects my own life. I’m probably fluctuating across genres perhaps because my identity itself is always in flux…"

"I think the audience I'd like to reach is increasingly an audience that stays home--a poor audience, a Latino audience, people of color, or people who feel disenfranchised. They're not going out and they don't feel entitled to theater. Theater is becoming more and more elitist because we just do it for each other. It seems that there are more theater people at the theater than regular people, and that's not good."

"When I was 8, my best friend was raped and murdered and thrown off the roof of our building. That's when my serious writing began--when writing became an outlet for me to express my feelings and emotions…That is when I began to understand the power of writing. Other kids played stickball; I'd write weird journal entries."

"It never occurred to me when I was 10 years old that I was going to end up representing an entire—not just community, but nationality. That’s not something I ever thought of, because I wasn’t a political person then. But I was forced to become one because of the circumstances. At some point, I discovered that a lot of people were suffering unnecessarily. I really started to understand that everyone has a responsibility to others and to a community, that you are not the only person in the world you simply represent, whether you like it or not."

"So me saying that only 4% of those films are directed by women, there's a misconception for some people in Hollywood that that's the pool of talent. And you see that in the indie space, women represent maybe 28% of films that are made. So it exists in the pipeline — people are making a conscious decision not to hire those women and not to put them up for projects. Also there's still this language that I really hate, with a studio movie, that we "took a risk,"…"

"I had all but decided to take a break and do some plays, and to see plays and read books and not work – literally not work – until I was going to burn for something."

"Because it’s set in the world of boxing, and about men, there’s a real danger of it just existing in a real toxic masculinity space…And while I don’t think it should be the role of the women in the film to soften that entirely – like, men should have the responsibility to deal with their toxicity,” she laughs, “I do think that there’s a nice opportunity for the women in the film to come in and be like, ‘Hey…’ you know?"

"The film itself is sort of an indictment of Hollywood. With black people, why is everything that we do wrapped in Christian dogma? Why do we only have to be the sassy black friend? It was incredible to be able to talk about the frustration that I’d had in this industry, in a film. And then it did so well. So that became my North Star."

"As an immigrant first-generation family here in this country, it wasn't about safe choices, it was about realistic choices. There was a lot of weight put into the fact that I was one of the first in my extended family to attend college [a bachelor's from Brooklyn College, a master's in fine arts from Cornell) and what that meant — what this country has to offer."

"I'm told L.A. Law's success — the fact that his ethnicity was very much part of his identity and he was a great lawyer — caused an increase in applicants to law schools. I got requests to be a keynote speaker at the New Mexico Hispanic Bar Association, the Illinois Bar Association. I always felt that was a little bit above my pay grade, but that's a nice icing on the cake, when your character resonates with the audience."

"As an artist I want to try to be as versatile as possible. I’ve had the good fortune to play characters that have a role-model thing to them. But I would think now, after 25 years, 30, that the body of work does say something about where I’m coming from. So now it’s not so much about role models. Although this character does have a nihilistic approach to life and he’s very complicated and flawed, that’s a meal for an actor."

"The truth is I never should have gotten involved…I'm not heartless. In spite of what they say, I'm not a vendido (sellout). I'm not trying to be a coconut. Is it being a vendido to want the best for your people and to speak your mind?"