Novelists From Canada

"Canada, in fact, has had its own legacies of slavery, segregation, state violence, and systemic impoverishment; and Canada, no less than any other site of the African diaspora, boasts brilliant affirmations of Black life and creativity, powerfully “here,” but in complex intercultural and diasporic dialogue with the world."

"All through my childhood, I wanted to be a novelist. I stopped writing at various points because I would get frustrated because there were things I didn’t know how to do. I didn’t know how to move a story through time. Pacing. My character would enter a room and need to get across the room to the action, and I would walk her ploddingly across the room. I didn’t know how to move the plot along quickly and efficiently through time…"

"We’re afraid of saying the word “suicide” and talking about it. Certainly the word suicide has a kind of energy that is frightening, and people can be afraid of talking about it. Why is it that we forget we were adolescents once? I don’t forget that. Writers need to keep that part alive in order to write. What’s important (for adolescents) is that you have a lifeline; it can be your friends, it can be your family, church, writing practice, a teacher, your cat, your gerbil. And little by little, the hormones subside and you develop coping skills and you develop passions and things that are really worth living for, and you get through that difficult period."

"As a writer you wait around for inspiration; this book is about what happens when a character taps a writer on the shoulder and calls her into being; it's about the character creating a novelist."

"I lived most of my life feeling like an outsider. I remember in second grade being bullied, taunted and beaten up. I am bicultural, biracial – my mother is Japanese and my father is caucasian. I grew up in Connecticut; it was a fairly white culture and I grew up thinking I was Japanese. Then when I went to Japan I realised that I was American. That was shocking but also a wonderful completion, realising that I was neither here nor there but occupied some liminal space, neither in one culture or the other. That's a great vantage point."

"How I began to write is different than how I became a writer. They are two different things. Many people write but they do not become writers. To become a writer is a job. It involves planning and it affects all parts of your life. Even what you eat—being a writer means not eating food with too much rich sauce to avoid taking a long afternoon nap! It’s like being a professional athlete. And a writer must choose between being a sprinter who writes a book, and being a writer who creates an oeuvre. If you want to create an oeuvre, you have to be careful not to put all your energy into the first book. You have to have a vision for the long term..."

"More recent writers who have knocked me dead include Roberto Bolaño, Ruth Ozeki, Sabrina Vourvoulias, Isabel Quintero and N. K. Jemisin."

"It's not often you see your city falling down in front of your eyes. People are screaming in pain all around you. Children are running in the streets. Some people start talking about the end of the world. But writing, for me, was as important as taking care of the injured."

"They were human beings who had a life, who had a lineage, who had parents, who had children, who had lives. They were not poor or rich. They were people and these people had humanity. So it was important that someone who knew them write about the event…"

"The dictionary doesn’t have individual contributions. It’s like building a cathedral. The workers are unknown. But one of the things I tend to do is suggest that it might be interesting to have examples of things that aren’t from France. If it’s a wind, which we worked on recently, does it always have to be the mistral? What about the winds of elsewhere? How about zephyrs or siroccos? In French, there exists an enormous variety of classifications, proverbs, and witticisms about winds. There are winds that push ships as well as winds that come from the gut—the noisy, bodily winds of Rabelais. All shadings have to be in the dictionary."

"Gothic has this slow, moody, syrupy sort of pace. That is what gives gothic its shape."

"white supremacy is like a horrible, dangerous cult, and like an infection. And it doesn’t just harm — I mean, it harms people of color definitely. Certainly African American people, Latinos, when somebody tries to hurt them, they are the most harmed. But I think it also harms the white people within. It’s a dangerous kind of place, I think, white supremacy. And if you get into it, you really start losing touch with reality, and it’s almost like you’re the member of a suicidal cult to me."

"Words are seeds, Casiopea. With words you embroider narratives, and the narratives breed myths, and there's power in the myth. Yes, the things you name have power."

"I think one of the problems that happens with representations of — well, I’ll say with Mexicans, but in general with Latin Americans — is that we only get one type of story told. In general, the type of story that you get if you’re Latin American and you’re reading something in the English language — because it’s different if you’re reading Spanish fiction — you don’t get any genre fiction at all. The stories that you can tell are very limited. Normally they limit you to the suffering illegal immigrant."

"when we think about Mexican people, when we think about Latin American people. We don’t imagine them having full and interesting lives in the same way that we imagine white people having full and interesting lives. But they did...there’s all these nuances that get lost sometimes when you read these stories about us. And in every story that I write, I want to bring a little bit of that."

"He'd fallen in love slowly and quietly, and it was a quiet sort of love, full of phrases left unsaid, laced with dreams."

"In my experience, the term magic realism is often overused and stereotypical, spoken without much thought."

"Categories should not act as straitjackets, and yet the magic realism label has sometimes strangled rather than liberated Latin American literature."

"There was sadness in her, of course, but she didn't wish to crack like fine china either. She could not wither away. In the world of the living, one must live. And had this not been her wish? To live. Truly live."

"I wish we had more nuanced, complex conversations about books. Why can’t we speak in expansive terms about genre and aesthetics? About mood and texture? About things that fit into categories and the ones that defy them?"

"But does it matter what we call Latin American literature? Isn’t a rose by any other name just as sweet? In my experience, it matters because categories create expectations."

"In her spare time, she looked to books or the stars for company."

"Mortals have always been frightened of the night's velvet embrace and the creatures that walk in it, and yet they find themselves mesmerized by it."

"The magic realism conundrum will not be resolved quickly or easily, but I believe a wider selection of books from writers with a Latin American heritage can help move us toward a world in which our vision of this region is vaster and richer. This is happening, albeit slowly."

"Magic realism once referred to the literary style of a loosely connected group of Latin American authors who penned works some 60 years ago, but in the English-speaking world, the term has become synonymous with Latin American writing in general. Picture every work by a British writer being called “Austenesque” today, and you get an idea of this phenomenon."

"Growing up in Mexico, we didn't have a dividing line between the fantastical and the literary, like you do in Canada, so it bled through. Therefore, my writing bleeds through categories and I enjoy the challenge of changing constantly, like molting out of a book."

"Telling is a component of many cultures and it’s certainly present in many classics of Latin American literature. Modern American literature doesn’t seem to value telling as much as it once did or as much as other cultures still do. It’s seen as a sign of gracelessness. But of course, folklore is spoken, and there are benefits of telling rather than showing…"

"It's probably a lot better to imagine that you can deal with vampires and witches, because at least those, there's some ways to combat them. When you're talking about humans, there are no certain remedies for dealing with a band of roving soldiers."

"when you come to places like Mexico and other states that were colonized, that question of race becomes very interesting because there's obviously a lot of race-mixing going on in these nations. And so it's not the same sort of eugenics that they're handling in Great Britain, where there is this great anxiety about miscegenation. It's a little bit different. It's still highly racist, but it's not exactly the same kind of thought process that is going on. And I just always found it so interesting how Europeans view the colonies as a space of fear, because it is that space where people are coming together and mixing."

"Noemí’s father said she cared too much about her looks and parties to take school seriously, as if a woman could not do two things at once."

"I don’t think many people realize what it’s like to be a maid, what it’s like to be poor, and to literally have zero opportunities in life. My great-grandmother was always depending on family taking her in. When she was depressed, she referred to herself as an “arrimada,” which is hard to translate but it’s almost like saying a parasite. She thought she was nothing, a parasite…"

"Thematically, I like to write quiet stories. I’m not a bang-bang kind of writer. I love, love Shirley Jackson. Stuff that is slow and builds up layer by layer. Sometimes my mother makes fun of me because of that. She’d rather that I have more shooting and spaceships going woooosh."

"It’s never as fun seeing the monster as much as imagining."

"People love to classify things as black and white, good or bad, but I’ve seldom met any one who can be neatly defined and classified…"

"I am partial to quiet, slow, psychologically intricate work."

"I wasn’t very much interested in what is called gothic romance or a female gothic. I was always more into what is termed the male gothic, which is gothic books that have supernatural elements, graphic violence, and that kind of stuff. Sometimes we also call it gothic horror, as opposed to what we consider to be the female gothic, which is more like Scooby-Doo types of stories. Jane Eyre kinds of tales, in which a young woman goes to a distant location, meets some dude, and then there’s some kind of mystery to unravel. There is a happy ending — that is mostly the desire of that kind of story...It’s a liminal category, the gothic, and this is one side of it. But I was always more into the horror gothic. Into the Draculas of the world and the Carmillas."

"Just like the mullahs who had marched into Goa two hundred years before with the Bahamani sultans, these Catholic clergy were prepared to go to any lengths to spread their faith. Initially they pestered the Portuguese king for special powers, and then they pestered the pope to pester the king on their behalf."

"In the wake of the warriors came the priests. First the Franciscans, then the Jesuits, then the Dominicans, and lastly the Augustinians. All of these eager missionaries must have been disappointed to find that hardly anyone desired to be converted. But what really made their holy blood boil was finding their old foes, the Muslims and Jews, openly and brazenly practising their religions. A number of ex-Jews had come out to the colony, and although they had professed to be Christians back in Portugal, in Goa they showed a worrying tendency to revert to their old ways. The men of God set about clearing what one Dominican termed this ‘jungle of unbelief ’ with all the ardour of Amazon lumber barons."

"The first of these special powers arrived in 1540 when the viceroy received authority to ‘destroy all Hindu temples, not leaving a single one in any of the islands, and to confiscate the estates of these temples for the maintenance of the churches which are to be erected in their places.’ A frenzy of activity must have followed. The Italian cleric Father Nicolau Lancilotto, visiting Goa in 1545, reported that ‘there was not a single temple to be seen on the island.’ The island in question was Teeswadi, the main field of operations for the two priestly orders then on the scene. Once the islands of Bardez and Salcete were acquired, each order was able to stake out its own territory – the Franciscans clearing the ‘jungle’ of Bardez, and the Jesuits going to work on Salcete. By the time the Dominicans and the Augustinians arrived a few years later, however, there was not enough room for separate spheres of influence. A glance at the absurd profusion of churches standing cheek by jowl in Old Goa still conveys some idea of the spiritual excesses indulged in by these competing orders during their heyday."

"Children were flogged and slowly dismembered in front of their parents, whose eyelids had been sliced off to make sure they missed nothing. Extremities were amputated carefully, so that a person could remain conscious even when all that remained was a torso and head. Male genitals were removed and burned in front of wives, breasts hacked off and vaginas penetrated by swords while husbands were forced to watch."

"The Vedas see the ultimate Truth behind all ephemeral truths. The Creation leads us to the Creator, to the highest knowledge, which is integrated into one. The Vedas still represent eternal truth in the purest form ever written. And they are what drew me to India in the first place, what kept me there, and what draws me back still. India is the only country that feels like home to me, the only country whose airport tarmac I have ever kissed upon landing."

"You are born with two things: existence and opportunity, and these are the raw materials out of which you can make a successful life."

"It is easy to prime the pump and have the words gush forth in a torrent of pious phrases but the proof of what we really want – regardless of what we say we want – is evident in the way we live."

"The last time there were so many Thapas in government, the Panchayat regime collapsed under their weight."

"Karl Marx wrote something like that in thick books that the Ch[h]ettris have not read because reading is not what the Ch[h]ettris do. Ch[h]ettris do statecraft."

"He did not succeed in 1814-16 war with the British, but the Thapas love him nonetheless because he tried so hard to control those pesky imperialists, overseeing military battles and negotiating treaties himself while trying to beat down Hodgson."

"At the very beginning of the first Trump presidency, back in 2017, I posted on Twitter the following thought: “Regular reminder that Donald Trump’s core competency is not dealmaking with powerful counter-parties. It is duping gullible victims.”"

"If conservatives become convinced that they cannot win democratically, they will not abandon conservatism. They will reject democracy."

"The thing to fear from the Trump presidency is not the bold overthrow of the Constitution, but the stealthy paralysis of governance; not the open defiance of law, but an accumulating subversion of norms; not the deployment of state power to intimidate dissidents, but the incitement of private violence to radicalize supporters. Trump operates not by strategy, but by instinct. His great skill is to sniff his opponents' vulnerabilities: "low energy", "little", "crooked", "fake". In the same way, Trump has intuited the weak points in the American political system and in American political culture. Trump gambled that Americans resent each other's differences more than they cherish their shared democracy. So far, that gamble has paid off."

"Anti-Semitism itself is a conspiracy theory... Anti-Semitism differs in this respect from racism, xenophobia, misogyny, and homophobia. Those other bigotries are founded on contempt. Anti-Semitism, like all forms of conspiracism, is founded on paranoia. Which is why people who start down any conspiracy-seeking path so often arrive at anti-Semitism. The pull is hard to resist, because the idea of Jews as arch-manipulators is such a powerful cultural resource."