Novelists From The United States

"[R]emember that the antidote to hubris, to overweening pride, is irony, that capacity to discover and systematize clear ideas. Or as Emerson insisted, the development of consciousness, consciousness, consciousness. And with consciousness a more refined conscientiousness, and most of all, that tolerance which takes the form of humor, for when Americans can no longer laugh at each other, they have to fight one another."

"I am a novelist, not an activist... But I think that no one who reads what I write or who listens to my lectures can doubt that I am enlisted in the freedom movement. As an individual, I am primarily responsible for the health of American literature and culture. When I write, I am trying to make sense out of chaos. To think that a writer must think about his Negroness is to fall into a trap."

"Some people are your relatives but others are your ancestors, and you choose the ones you want to have as ancestors. You create yourself out of those values."

"Injustice wears ever the same harsh face wherever it shows itself."

"The act of writing requires a constant plunging back into the shadow of the past where time hovers ghostlike."

"Good fiction is made of that which is real, and reality is difficult to come by."

"If you can show me how I can cling to that which is real to me, while teaching me a way into the larger society, then I will not only drop my defenses and my hostility, but I will sing your praises and help you to make the desert bear fruit."

"Let's not play these kids cheap; let's find out what they have that is a strength. What do they have that you can approach and build a bridge upon? Education is all a matter of building bridges, it seems to me."

"At best Americans give but limited attention to history. Too much happens too rapidly, and before we can evaluate it, or exhaust its meaning or pleasure, there is something new to concern us. Ours is the tempo of the motion picture, not that of the still camera, and we waste experience as we wasted the forest."

"Commercial rock ’n’ roll music is a brutalization of the stream of contemporary Negro church music … an obscene looting of a cultural expression."

"The blues is an art of ambiguity, an assertion of the irrepressibly human over all circumstances, whether created by others or by one's own human failing."

"When American life is most American it is apt to be most theatrical."

"Deep at the dark bottom of the melting pot, where the private is public and the public private, where black is white and white black, where the immoral becomes moral and the moral is anything that makes one feel good (or that one has the power to sustain), the white man's relish is apt to be the black man's gall."

"Closed societies are now the flimsiest of illusions, for all the outsiders are demanding in."

"Perhaps the novel evolved in order to deal with man's growing awareness that behind the facade of social organisations, manners, customs, myths, rituals and religions of the post-Christian era lies chaos. Man knows, despite the certainties which it is the psychological function of his social institutions to give him, that he did not create the universe, and that the universe is not at all concerned with human values. Man knows that even in this day of marvelous technology and the tenuous subjugation of the atom, that nature can crush him, and that at the boundaries of human order the arts and the instruments of technology are hardly more than magic objects which serve to aid us in our ceaseless quest for certainty. We cannot live, as someone has said, in the contemplation of chaos, but neither can we live without an awareness of chaos, and the means through which we achieve that awareness, and through which we assert our humanity most significantly against it, is in great art. In our time the most articulate art form for defining ourselves and for asserting our humanity is the novel. Certainly it is our most rational art form for dealing with the irrational."

"Every serious novel is, beyond its immediate thematic preoccupations, a discussion of the craft, a conquest of the form, a conflict with its difficulties and a pursuit of its felicities and beauty."

"By and large, the critics and readers gave me an affirmed sense of my identity as a writer. You might know this within yourself, but to have it affirmed by others is of utmost importance. Writing is, after all, a form of communication."

"The understanding of art depends finally upon one's willingness to extend one's humanity and one's knowledge of human life."

"All novels are about certain minorities: the individual is a minority. The universal in the novel—and isn't that what we're all clamoring for these days?—is reached only through the depiction of the specific man in a specific circumstance."

"Our task then is always to challenge the apparent forms of reality—that is, the fixed meaning and values of the few—and to struggle with it until it reveals its mad, vari-implicated chaos, its false faces, and on until it surrenders its insight, its truth."

"[T]here must be possible a fiction which, leaving sociology and case histories to the scientist, can arrive at the truth about the human condition, here and now, with all the bright magic of the fairy tale."

"Perhaps the most insidious and least understood form of segregation is that of the word.[…] For if the word has the potency to revive and make us free, it has also the power to blind, imprison and destroy."

"Life is as the sea, art a ship in which man conquers life's crushing formlessness, reducing it to a course, a series of swells, tides and wind currents inscribed on a chart."

"[T]he painful details and episodes of a brutal experience alive in one's aching consciousness, to finger its jagged grain, and to transcend it, not by the consolation of philosophy, but by squeezing from it a near-tragic, near-comic lyricism. As a form the blues is an autobiographical chronicle of personal catastrophe expressed lyrically."

"In his two "comic novels for adults" (not novels in comic book form), Maus and Maus II, he insisted on involving himself with small things, actualities, and remembered events, rather than reach for grand political statements. To present his parents' story and their history accurately and effectively, "it soon became clear that I had to engage myself with the specifically Jewish aspects of my parents' situation. Any universalizing could only be achieved through particulars." It might well be that in the end the most personal is the most gripping, the individual rather than the ideological, the idiosyncratic rather than the general, the specific situation rather than the imposed set of concepts. The popularity of Spiegelman's books does not reside in their curious format but in the thoroughness of the specific story they tell-that of his parents' survival."

"I didn't make Maus to teach anyone anything. I wasn't making "Auschwitz for Beginners." And I do not want Maus to ever be used as a recruiting poster for the Israeli army!"

"I never intended it to be for young adults, children, whatever. But over the years I’ve had to change my opinion. When I first got an award from the New York Public Library for best young adult book, I was annoyed, because I thought, “Thirteen years to make a book for adults, and here it is getting a young adult award.” And I’ve had to modify my position over the years because I’ve now met many, many children who have studied it in school, who found it on their own, who were given it by their parents, and it actually is received with a degree of real wisdom in their reading, based on the people I’ve talked to, the young people. So, I give up. Comics are for whoever can understand them."

"Comics seem to be cooking these days. It's like being a rock star."

"I was asking the school shrink, 'Has anyone ever told you the top of your head looks like a penis?' I thought that was a really funny thing to tell a bald shrink."

"I became a philosophy major literally to understand why I should put up with this shit."

"I guess I don’t subscribe to the twee school. I remember trying to lose our copy of Thomas the Tank Engine before I had to read it again. Life is a more dimensional and interesting affair than vestigially Victorian notions of childhood. I was trying to make something substantial, something to be read and reread."

"There's a therapeutic aspect to all making, but the nature of working is to compress, condense, and shape stuff, not to just expunge it. It's not just an exorcism."

"A manifesto, a diary, a crumpled suicide note, and a still relevant love letter."

"What Franz Kafka was to the first half of the 20th century, Philip K. Dick is to the second half."

"Ray Black was in prison, so we weren't able to talk to him. I did some research on the internet and found out that he was in prison because he murdered two children after he raped them. There were also pictures of the dead children, and even though I knew it would only hurt me to look at them, I did. I printed them out and put them in *Stuff That Happened To Me*, right after the picture of Jean-Pierre Haigneré, the french astronaut who had to be carried from his spacecraft after returning form the MIR spacestation, because gravity isn't only what makes us fall, it's what makes our muscles strong."

"He had a wall of masks from every country he‘d been to, like Armenia and Chile and Ethiopia. It‘s not a horrible world, he told me, but it‘s filled with a lot of horrible people."

"There were things I wanted to tell him. But I knew they would hurt him, so I buried them, and let them hurt me. (p. 181)"

"I put my hand on him. Touching him has always been important to me, it was something I lived for. I never could explain why. Little, nothing touches, my fingers against his shoulder, the outsides of our thighs touching as we squeeled together on the bus. I couldnt explain it, but I needed it. Sometimes I imagined stiching all of our little touches together. How many hundreds of thousands of fingers brushing against each other does it take to make love?"

"I said, I want to tell you something She said, you can tell me tomorrow I had never told her how much I loved her. She was my sister. We slept in the same bed. There was never a right time to say it. It was always unnecessary. I thought about waking her. But it was unnecessary. There would be other nights. And how can you say I love you to someone you love? I rolled onto my side and fell asleep next to her. Here is the point of everything I have been trying to tell you, Oskar. It's always necessary. I love you. Grandma."

"The mistakes I've made are dead to me. But I can't take back the things I never did. (p. 309)"

"It's easy to be emotional. You can always make a scene... Highs and lows make you feel that things matter, but they're nothing." "So what's something?" "Being reliable is something. Being good."

"I wanted to build walls around him, I wanted to separate inside from outside, I wanted to give him an infinitely long blank book and the rest of time. (p. 280)"

"It broke my heart into more pieces than my heart was made of, why can't people say what they mean at the time? (p. 279)"

"Time was passing like a hand waving from a train I wanted to be on. I hope you never think about anything as much as I think about you. (p. 224)"

"I'm so afraid of losing something I love, that I refuse to love anything. (p. 216)"

"I never thought about things at all, everything changed, the distance that wedged itself between me and my happiness wasn't the world, it wasn't the bombs and burning buildings, it was me, my thinking, my cancer of never letting go, is ignorance bliss, I don't know, but it's so painful to think, and tell me, what did thinking ever do for me, to what great place did thinking ever bring me? I think and think and think, I've thought myself out of happiness one million times, but never once into it. (p. 17)"

"Why is it the Mongols of this world always tell us they're defending us against the Mongols?"

"Now I think you'll both agree that through my various illicit enterprises," Cairo Martyr said, "I control the Moslem Quarter in this city." "The mummy dust king is about to strike," muttered O'Sullivan Beare. But at the same time he knew the claim was true, just as was his own secret control over the Christian Quarter and Munk Szondi's over the Jewish Quarter, religious symbols and trading in futures being just as essential to Jerusalem as mummy dust. "Now then, that's my bet. Control of the Moslem Quarter. I'm putting the Moslem Quarter on the table. If either of you wins, which you won't, it belongs to you. But first you have to match my bet. No openers. The real thing."

"The Great Jerusalem Poker Game for secret control of the city, the ruin of so many adventurers in the period between the two world wars, continued for twelve years before it finally spent itself. During that time thousands of gamblers from around the world lost fortunes trying to win the Holy City, but in the end there were only three men at the table, the same three who had been there in the beginning."

"But to Stern at that moment it wasn't a hand grenade at all but a no longer distant cloud high above the Temple of the Moon, a driftin memory in the desert of dim pillars and fountains and waterways, mysterious places where myrrh grew, the ruins of his youth. Blinding light then in the mirror behind the bar, sudden death merging the stars and windstorms of his life with darkness in the failure of his seeking, bright blinding light in the night sky at last and Stern's once vast vision of a homeland for all the peoples of his heritage gone as if he had never lived, shattered as if he had never suffered, his futile devotion ended on a clear Cairo night during the uncertain campaigns of 1942 when the eternal disguise he wore to his last clandestine meeting, his face, was ripped way and thrown against a mirror in the half-light of an Arab bar, there to stare at a now immobile landscape fixed to witness his death forever."