novelists-from-new-york-city

"The children romped together in and , they raced on shaggy ponies, they sailed chips amid protesting ducks on the pond, they wandered the nearby woods and stuffed themselves with . They explored all the fascinating features of the Manor lands, the mill with its big slowly turning sails, the little heath where had once found some Roman coins, the ruins of a castle haunted by a headless lady in gray."

"From all of the nearby s, from as far away as and and , the people were flocking to celebrate at . Weeks ago the King's herald had galloped throughout the country proclaiming the great tournament and inviting all valorous knights to come and participate. There would be tilting at the and other knightly games; there would be jousts and challenges, and there would be a climaxing tourney, or melee, for all contenders. Most of the knights and arrived at Windsor some days ago, and the lesser ones who cloud not be accommodated in the castle were already encamped on the plain below the walls in a bivouac of multicolored tents; many had brought their ladies, and all, of course, their s. But the common people, though not specifically invited, were welcome, too. For these, five hundred oxen were roasting at charcoal fires dotted around the fields, vats of beer had been set up, and a thousand loaves of already baked for distribution."

"Seton spent several years researching , and her book has been repeatedly commended for its . It has even been listed in the bibliographies of works of historical nonfiction, which is no mean achievement. On the debit side, this has resulted in it achieving more credibility for accuracy than it deserves ... It is important to note that Katherine is essentially a novel, and although its author made impressive and commendable efforts to get her facts right, there are three good reasons why we should not accept hers as a valid portrayal of the historical . First, Katherine is essentially of its own time. Seton's is derived partly from nineteenth-century perception of him ... and partly from Clark Gable's portrayal of in Gone With the Wind: ... one Internet reviewer described John of Gaunt, as depicted in the novel, as the "sexiest hero since Rhett Butler." ... Second, Katherine is as much about Anya Seton as it is about Katherine Swynford. ... The third reason we should be cautious in accepting Anya Seton's portrayal of Katherine Swynford as historically accurate is that Katherine is essentially a romantic novel in the classic sense. ... Threaded through it are the classic romantic clichés of remembered childhood, , cruel conflict, and lonely exile."

"', the story of the mistress and later, the wife of , was the sixth of the ten popular novels ... written by Anya Seton. All of Seton’s novels were best sellers, yet in the fifty years since its original publication, Katherine stands apart, showing the longevity of a classic. This is illustrated most clearly by the book’s inclusion in the listing of the top 100 favorite books in (2003)."

"On the night of the great storm, the taproom at was deserted. Earlier that evening men had wandered in for beers or rum flip—shore men all of them now, too old to go out with the fishing fleet. They had drunk uneasily, the mugs shaking in their vein-corded hands, while they listened to the rising wind. Ever more boisterous gusts puffed down the big chimney scattering fine ash over the scrubbed boards. In the two hundred yards away, the mounting breakers roared up the , muffling the clink of mugs on the table and the men's sparse comments."

"The Beautiful Adulteress had been lent by Phoebe , and it must be finished by nightfall so that Phoebe could return it to Deborah Wilson, who had purloined it from her brother's saddlebag. Despite Miranda's eighteen years and elegant education at Philander Button's , despite avid perusal of this and similar books, she had not the vaguest notion of the horrifying behavior that resulted in one's becoming an adulteress. But that point was immaterial. It was the glorious palpitating romance that mattered. The melancholy heroes, the languishing heroines, the clanking ghosts, dismal castles and all entrancingly punctuated at intervals by a tender, a rapturous—but in any case a guilty—kiss."

"... I have no illusion about my writing. It is swift, competent, pictorial, emotional, and I am a . I am not very original and have no subtleties of style."

"It snowed softly on , which was the fourth year of 's reign, and on Christmas morning a fleece as white and soft as a lay over London town. It hid the wooden gables and the red roof tiles, it hid the piles of filth dumped into the narrow . It muffled the rumble of carts, the clop-clop of hooves, the acrid cries of the street venders, but the church bells clanged out clear as ever above the stilled city. And while in the impatiently pounded snail shells in a , she heard rowdy singing directly outside the shop door on Old Bailey Street. "Is it ?" she cried, throwing her down on the counter top and rushing to the twinkling-pained, ."

"Art is about pushing at the edges, and we’re privileged, however uncomfortable and challenging it may be, to have the opportunity to walk on a tight-rope between multiple lingual, cultural, national, social entities. (2019)"

"My name is Cara Romero, and I came to this country because my husband wanted to kill me. Don't look so shocked. You're the one who asked me to say something about myself. (beginning of book)"

"I yelled. But who could hear me? How many people have died this way? (p15)"

"It's always like that: just when I think I don't give a shit about what my family thinks, they find a way to drag me back home. (beginning of book)"

"Thinking about it, sometimes I watch the news and say, "¿What kind of world do we live in? ¿Who are these people making these crazy decisions and why are we living in it? ¿And what can we do?" Fiction is one of those last places where the world is bound between these pages, and you can sit with it for a while and imagine humanity in a completely different way. Without all the gloss of image...It's a place to dream and it's a place to look at yourself through the characters; again, it's like the person you are connecting with, it's connecting with the issues that you have within yourself. (in Callaloo Summer 2007)"

"Everything is alive around you (in Callaloo Summer 2007)"

"I do think reading is an intimate conversation we can have with ourselves and each other. Even if we don’t explicitly say the horrors of our lives out loud, the characters in the books can bridge an understanding that we survived something or a knowing of something, between family members and our communities. (2020)"

"She writes with confidence and compassion. She cleaves through the evasions and silences that obscure so much of what we call the immigrant experience."

"I don't want to write the war in my next novel. I want to imagine peace...Maybe it's in code-switching that we can invent a language for peace. (in Callaloo Summer 2007)"

"She writes with a rare combination of fierce passion and tender compassion for her unforgettable world."

"What are we teaching our daughters or sisters or cousins if we always pretend that we don’t need anybody? The truth is we all need somebody and I wanted to illustrate that too. Like, even if there is strength in doing certain kinds of things the celebration of resilience is also killing us. (2022)"

"I know that I should be free to write any which way I want-tone, story, etc.-because if not, we're lying to ourselves. (in Callaloo Summer 2007)"

"Miner is a writer of reach, audacity, range, uniquely important to understanding our time... She gives us the beat of everyday urban life""

"I feel as if I've been trespassing my whole life in one way or another: Literally trespassing, as someone who has lived abroad a lot and traveled widely; but trespassing morally, in the sense that I've made some unconventional choices in my life and, although I certainly am not a practicing Catholic anymore, I still have echoes of a Catholic conscience that tell me that I'm trespassing. I'm also trespassing in the sense of being from the working class and moving into a middle-class environment; and trespassing in the sense of transgressing literary conventions because that book plays with a lot of different forms."

"I have come to depend upon Valerie Miner as an uncommonly honest novelist, humorous, acute, and kind."

"to have a steady diet of American writers is like eating Rice Krispies for 365 days; it is boring. I find international literature appealing because, as a writer, I'm curious about place and find it provocative to see what people do with place. I'm very interested in rhythms in language, in seeing and hearing on the page how people write English differently. And, of course, it's fascinating to see how translators translate into English differently."

"We also should develop an international consciousness of our work as writers - that's crucial to our own individual welfare and to the kind of imaginative collectivity that I mentioned."

"for me, being out as a lesbian has to do with honesty and the vitality I get from honesty. It isn't a moral act or a question of conscience so much as it's a way of engaging more fully in the world by being who I am. In some sense, coming out as a lesbian writer is a process of discovery, a journey, just as coming out as a writer from a working-class family or coming out as an American writer [she laughs]. And it's something that continually surprises me with new dimensions."

"I didn't actually intend to write a murder mystery when I wrote Murder in the English Department. That's just what happened when these people got together. Every book is, in some sense, a mystery."

"I am not saying that working-class men started that war. But a number of them were complicit in fighting it. The rhetoric of Vietnam, particularly in the last five years, has made all of the soldiers heroes. Not just survivors, but heroes. And I don't think that's true, and that's one of the things that has led us into further aggression in the Middle East and in Central America. So there is some urgency in confronting this...To say that working-class men during that war were heroes and to exonerate them is the worst kind of castration. It's taking all their power and all their culpability away from them. In the book I am trying to look at working-class protest against the war and support of the war. One of the things that really bothers me is that often working-class lives are presented as having no choices."

"One of the reasons I became a writer was to try to develop some kind of empathy for my fellow human beings. If I'm always writing about the same kinds of people, I'm not going to get very far."

"As a writer, I still strongly identify as a worker, partially as a consequence of working with those other people [the co-editors of her first two books] and partially as a result of my class background. I see my work emerging from some kind of imaginative collectivity, not from solitary genesis."

"As a feminist, I want to involve readers in the story and give them time to pause, reflect, argue, and engage."

"I still want to change the world, and if my political principles have remained steady, the belief in my own powers has shifted. Now I can say that the goal of my stories is understanding. As I grow less prescriptive, I hope to become more receptive."

"I don’t like the term “political correctness” because conservatives tend to employ it to distract from serious racial, class, national, and gender discrimination. It’s a divisive phrase that perpetuates the so-called culture wars. I first heard the term in the 1970s, when it was used among progressive people as a safeguard against our own rigidness and the rigidness of other people on the left. Many political meetings ended with a period of evaluation and this was one of the problems acknowledged as something to avoid. The term has been bowdlerized since then. I welcome a range of opinions in my classroom and we always discuss the importance of genuine disagreement on the first day of term. I aim for a stimulating, surprising, awakening, collegial, and safe classroom, and try to foster this by encouraging everyone to speak and by creating assignments in which students work in a variety of small groups. We speak, we agree, we argue, we laugh, we learn."

"I’ve always regarded writing as a vocation more than a career. Vocation as in “calling,” as in “being summoned,” from the Latin vocare, which means “to call.”"

"Literature is the story of our many and diverse lives—in fiction, poetry, drama, and so forth. Unfortunately, women’s books are much less likely to get published then men’s books. They are much less likely to be reviewed then men’s books."

"I care a lot about accessible prose. People often fail to see the subtlety in a sentence that has been honed, worked, and reworked, unless it's written by Ernest Hemingway and has a penis in it."

"the literature that we read in the late sixties--I graduated from university in 1969--was really British literature by middle-class or upper-class white men. My people, working-class people, were not represented in the material I was reading."

"I'm very much an Irish Republican, in the sense that I believe that the troops should be out of the north and that the north should be part of Eire."

"History shows that often artists first envision the change feminist activists seek to bring about."

"My novels are usually ignited by a question–a philosophical, spiritual, moral, political quandary. My stories are usually imagined from a particular scene. Place is very important in all my fiction. (2021)"

"I think this American reflex judgment that if you write political fiction you are writing didactic fiction is funny because I see my fiction as the opposite. I see myself as somebody who is learning as I write, motivated, mostly, by questions. For me the process of writing a novel is to be thinking about the questions."

"... In such strange homes as the and the , or the deserts of Utah and southern California, we find the oddest desert plants, forced to curious expedients in order to sustain life amidst almost perpetual heat and , but often displaying blossoms of such brilliance and delicacy that they might well be envied by their more fortunate sisters, flourishing beside shady waterfalls, in a "happy valley" like , or a splendid mountain garden, such as spreads in many-colored parterres of bloom around the feet of . On the wind-swept plains hundreds of flowers are to be found; many kinds of hardy plants brighten the salty margins of the sea cliffs, or bloom at the edge of the snow on rocky mountain peaks, while quantities of humble, everyday flowers border our country roadsides or tint the hills and meadows with lavish color."

"It was a time when fashion was permitted to walk hand in hand with piety. All the fashionable accomplishments were taught by experts at . Fanny's contralto voice was well trained. She acquired enough Italian to read ',' a little Latin, even a little . Her Parisian accent soon became the envy of the other English girls ..."

"... the months that followed 's must have been dreary enough. Fortunately, his new book—the one thing that had made the last year bearable—still provided some distraction for his thoughts. had just been published by . There were reviews to be read, copies must be sent to old friends. He had taken great pains with the looks of his "bantling" and was satisfied."

"(What advice do you have for aspiring writers?) Write a little bit every day. I began by writing 500 words a day, but I think 25-100 words a day, every day will help a beginning writer gain confidence and a flow of thoughts and writing. Read widely! Be adventurous with your reading. Nothing helps writing like having the sound of good writing in your mind’s ear. Try new things. New foods. Visit new places. Then write about your experiences. (FAQ)"

"Children were a big part of the Black Panther Movement. At that time there were no books about the roles children played in the movement so I thought I should write a story that focused on children. I was also in awe of the women in the movement, like Angela Davis, Elaine Brown, Kathleen Cleaver and many more. They were strong and intelligent women who fought racism and sexism mainly through their words. (FAQ)"

"Ultimately, it’s the reader’s book. It’s about what they receive and how they interpret it. (2008)"

"(What have you seen change positively and negatively since that time especially in Af Am [African American] children’s literature?) RWG: The biggest change is being able to find African American lit for children and young people in libraries and bookstores. We’re here. We’re out on the shelves with our diverse stories. Characters don’t bear the weight of having to represent all African-Americans, or of meeting publishers’ black quota for the year. We have a presence, yet there’s still a need for even more stories and more writers to explore different genres. If you would have asked me twenty years ago about negativity in African American literature for young people, my lips would still be flapping. I would have begun with them not letting us tell our stories as we know them, and how they let people outside the race and culture write whatever they wanted and call it an African American story. That was one of my main gripes. “Why can’t I tell a story I know to be true, but ‘she’ can write this fake mess?” Ahem. I’ve calmed down over the years. My view has broadened as writing from the other side has gotten better. Truer. More and more I see that we are not a people unto our selves. We make up a good deal of the American experience, culture and expression. I feel both loss and gain. This is the way of forward movement. (2008)"

"One of the things I remember about the late 1960s was not only the emergence of the Black Panther Party, but the fact that there were kids who were involved. There were kids being served breakfasts, kids who were shown on the news holding signs, kids who attended rallies, and so on. This awareness of kids my age being a part of those things is what inspired my approach to One Crazy Summer."

"(Do you consider yourself a pioneer?) RWG: Our pioneers are Kristen Hunter, Alice Childress, Rosa Guy, Joyce Hansen, Mildred Taylor, Joyce Carol Thomas, Brenda Wilkinson, Virginia Hamilton, [[Julius Lester, and Walter Dean Myers. Manchild in the Promised Land is our Catcher in the Rye. These are our pioneers, while those still with us remain quite a force in young adult literature after thirty and forty years of publishing. (2008)"