Hispanic Americans

"…It goes back to 1945; when my parents, right, they left paradise looking for paradise…During the adventure of Operation Bootstrap, a lot of people were brainwashed to believe that if they leave there you can have a better life over here."

"…I think the most important thing for me is to give flesh and blood reality to people who are far away and distant from most American concerns. It's very easy to stick to the one-dimensional labels, and my hope is to completely explode the labels and reveal the flesh and blood and soul of each of the women in the play and to really make it impossible to walk away from the play with your prejudices still intact…"

"What a delight to discover that Ferré is as good a storyteller in English as in her native Spanish!"

"I certainly don't think that the discovery and colonization of America by Spain is anything that should be glorified. The first Indians who came into contact with the Spaniards were the Taínos, the native Puerto Rican Indians, who were a very peaceful people. The relationship which developed at first was very interesting because the Indians had no idea what the Spaniards would eventually do, and they trusted them and befriended them. The Indian leader Agüeybana even offered his daughter in marriage to Juan Ponce de León. But then they realized that what the Spaniards were doing was taking them as slaves, and this is when they began to rebel, without any success. When one thinks of what happened, it is truly an extermination of a people, comparable only to what happened with the Jews in World War II."

"She become one of Latin America's most powerful writers. Still controversial, her works critique Puerto Rican society with detachment and precision: a cultural sexism that makes middle- and upper-class wives and daughters into dolls; the moral bankruptcy of a corrupt aristocracy; class conflicts that erupt into random violence; the desperation of women and men who are marginalized by poverty and racism."

"Like I said, it was 1957 when I started in oral tradition by memorizing all the poems I wrote…And I’d sit in parties, and bars—they were just poems to make people feel good…"

"It's not that I want to victimize men, but I think that women have been the victims throughout the centuries, a fact which has been incorporated into mythology and which I thought it was high time to change."

"I have a natural tendency toward theatricality and poetic language...I've never really written realism…and I wanted to give it a shot."

"The word is extremely important. As a writer, it is my means for self-definition, the tool to express my idiosyncracies, my personality. It is also like a painter's brush which I use to depict the reality of my people."

"I have always wanted to understand certain things about myself and my life, but in order to know what I think, I have to write it down first."

"I very much believe in the influence of magic and the subconscious on the literary process...I think that magic has to do with the subconscious, much as the ancient sorcerers believed. The identification of man with his material surroundings and his active participation in that world are detailed in the books of Carlos Castañeda, for example, as well as, on a different level, with the books of sociologists like Lévy-Bruhl and Ernest Cassirer, or Lévi-Strauss. The magical identification has a lot to do with literature, this alternate way of viewing the world."

"I do believe in inspiration, but more so in dedication."

"Books grow and become something else"

"("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."

"If the writer is trying to interpret the meaning of life, all of what he writes is autobiographical…When you write fiction, you are wearing a mask, you are dealing with magic. The novelist is like the shaman; he reinterprets the life of the tribe in terms of his fictitious characters, in order to bring out the devils. And that's what literature does."

"Puerto Rico, like all the countries of the Caribbean, is a nation where fantastic reality, the world of magic, is ever present. There are various sects of white magic, such as Santeria. It is a reality that is very palpable in our environment, and this is why there are no great differences between fantasy and reality...All Caribbean writers have this in common."

"All writers are unhappy with reality and so they want to build a world where things are open to change. They have created a different space where they would like to be. All writing is, in that sense, a meeting of reality but also an escaping of it."

"I was lucky…because my grandparents, who lived with us, were illiterate but they were great storytellers, so I got a kind of storytelling bug from them."

"Writing is a lot like sewing: You bring pieces together and make a quilt."

"I think Latina writers today, even more than Latino writers, are trying to integrate both cultures, the Hispanic and the Anglo. There is a conscious effort to include both visions, like V. S. Naipaul does in his novels: the native and the foreign, the colonizers and the colonized. There's an effort to underline the importance of the "side view" in them, of the border town. From the border you have access to more roads, and the perspective-front and back-can be 180 degrees. Spanish and English, those two opposing paths that have kept the New World divided for centuries, are beginning to merge at last into a third path. That's what these new novels are really about: a new United States, where half of the population will be Latino in the next century."

"A story is like building a chapel; a novel is a cathedral: That's the difference."

"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."

"Writing is about touching people's hearts-in Spanish we say "conmover," which literally means to move with the reader, to make the other feel. We move our bodies when we're making love, and I've always thought about writing as a way to make love: you give and receive understanding, compassion, support, advice, knowledge, and pleasure. Without communication there is no love. This is the commitment a writer has to literature."

"There's still a fraternity of men. They admire themselves, and they admire each other's works. I think they are a little bit scared of women, too."

"(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…"

"I have had many opinions in my life because I have lived many lives. Ultimately, I can say that in all of my many lives, I have tried to do one fundamental thing: I have attempted to bring self-respect back to Puerto Ricans. That has been my purpose and I have been consistent in this. I believe that if readers can see themselves in what I write, if they realize that they share something with those characters, then they can understand themselves better and they can accept themselves. And when you accept yourself, you gain self-respect. If I have provided that space for two or three people in the world, I am more than satisfied."

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

"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."

"(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…"

"(Many of your stories use dolls as symbols of women's restricted lives. Were you sort of a doll in your marriage?) Yes, I was. Definitely. But in Puerto Rico most of the women of my generation were in the same situation. I was no exception. Women who wanted to change that or go against that stereotype would be considered odd or slightly crazy. The only reason they couldn't say the same about me was because I made it in the world of literature."

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

"…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…"

"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."

"[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."

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

"The events we are about to tell took place when the Metropolis began to rinse the blood of Saint John the Baptist's lamb off its hands, as it sat gentle and tame on our country's flag. Its senators and representatives were at peace with their consciences and never tried to justify their decision to leave: in recent sessions they had voted unanimously to cede the island its independence. In any case, deep down we had always wanted to be free without daring to be so, and now they were going to help us reach our goal. As the biblical lamb of the Psalms had lain calmly beside the still waters, so had we slept for more than a century under the Metropolis's flag, and it was understandable that now we should be terrified to swim out by ourselves onto the wild, roaring seas. (beginning of "Captain Candelario's Heroic Last Stand")"

"Literature is prophetic-life often lives up to fiction ("Preface: Memoir of Diamond Dust")"

"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")"

"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."

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

"(Q: In "When Women Love Men" every woman who is sexually repressed would like to break those taboos and simply be sexually free.) If you read Freud or a little psychoanalysis, you know that society has to control that or there would be total anarchy. But everybody has the same desires. The important thing was that when this story came out no Puerto Rican woman had ever written about sex. My story is just a little story, and it's not Henry Miller's Tropic of Cancer, but I think I was trying to go in that direction."

"[about being at college] It was there I learned that Ponce, which seemed as large as the universe itself when I lived on Aurora Street, was really a very small town. (chapter 18, p185)"

"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)"

"She seldom smiled, but when she did, I felt as if she were pouring oil on my wounds. (chapter 19, p204)"

"Abby used to say adaptability was the secret of survival-one's soul should bend and then it wouldn't break. (chapter 29, p295)"

"When they ran down the street, their souls barely clung to their bones, like fragile kites made of tissue paper. (chapter 4, p31)"

"Jaquira Díaz writes about ordinary girls living extraordinary lives. And Diaz is no ordinary observer. She is a wondrous survivor, a woman who has claimed her own voice, a writer who writes for those who have no voice, for the black and brown girls 'who never saw themselves in books.' Jaquira Díaz writes about them with love. How extraordinary is that!"

"Jaquira Díaz is an unstoppable force. Her writing is alive with power. I stand in awe of what she brings us. The future is here."

"Coral explained to Manuel that political ideals were very important. Believing in something made you think; it kept your spirit alive. (chapter 34, p340)"