Junot Diaz Quotes - Page 7

There are a couple of strategies for writing about an absence or writing about a loss. One can create the person that was lost, develop the character of the fiancee. There's another strategy that one can employ, maybe riskier... Make the reader suffer the loss of the character in a more literal way.

Love was a rare thing, easily confused with a million other things, and if anybody knew this to be true it was him.

In minority communities there's a sensitivity, often a knee-jerk reaction, to critical representations. There's a misunderstanding of what an artist does.

I write incredibly slowly. And, on top of that, I spent my entire youth and twenties working like a dog, so one of the things that happened when I finished Drown was that I got busy living. I'd never travelled, I'd never seen anything. So I did as much travelling as my job teaching would allow.

Sucks to be left out of adolescence, sort of like getting locked in the closet on Venus when the sun appears for the first time in a hundred years.

I always individuate myself from other writers who say they would die if they couldn't write. For me, I'd die if I couldn't read.

And because love, real love, is not so easily shed.

If you're a status quo writer, you're considered to not be political but that's as political as if you're a progressive writer. Some politics are asked to show their passports and others aren't. In the Dominican Republique, if you're slightly progressive, people have a lot of suspicions that you're up to some sort of conspiracy, that this is some sort of plot. On the other hand, if you're conservative and mainstream, people tend to take that as a given and don't notice the politics.

As artists we are here to make you uncomfortable with the complexity of your reality.

You keep waiting for the heaviness to leave you. You keep waiting for the moment you never think about the ex again. It doesn't come.

You were at the age where you could fall in love with a girl over an expression, over a gesture

Character is the plot in many ways

You can't find intimacy - you can't find home - when you're always hiding behind masks. Intimacy requires a certain level of vulnerability. It requires a certain level of you exposing your fragmented, contradictory self to someone else. You running the risk of having your core self rejected and hurt and misunderstood.

The only difference between a published and unpublished writer is a tolerance for imperfection.

She had reason to doubt him; he was real good at planning but real bad at doing.

Love is understood, in a historical way, as one of the great human vocations - but its counterspell has always been infidelity. This terrible, terrible betrayal that can tear apart not only another person, not only oneself, but whole families.

In the end, all worlds, whether they're set in the future or in New Jersey of today, are fictions. Sure, you don't got to do too much work to build a mundane world, but don't get it twisted: you still got to do some work.

Well, when you look at a lot of science fiction novels they're asking questions about power. There are questions about what it means to have power and what are the long-term consequences of power.

My mother took care of us until my father scrammed, and then she ended up working in the small-factory sector of New Jersey with a lot of other immigrants.

That’s life for you. All the happiness you gather to yourself, it will sweep away like it’s nothing. If you ask me I don’t think there are any such things as curses. I think there is only life. That’s enough.

You said i could call you when i wanted but that you wouldn’t call me. you have to decide where and when, you said. if you leave it up to me i’ll want to see you every day. At least you were honest, which is more than i can say for me.

It wasn't that I couldn't write. I wrote every day. I actually worked really hard at writing. At my desk by 7 A.M., would work a full eight and more. Scribbled at the dinner table, in bed, on the toilet, on the No. 6 train, at Shea Stadium. I did everything I could. But none of it worked.

We all dream dreams of unity, of purity; we all dream that there's an authoritative voice out there that will explain things, including ourselves. If it wasn't for our longing for these things, I doubt the novel or the short story would exist in its current form. I'm not going to say much more on the topic. Just remember: In dictatorships, only one person is really allowed to speak. And when I write a book or a story, I too am the only one speaking, no matter how I hide behind my characters.

Instead of finding himself in nerd heaven—where every nerd gets fifty-eight virgins to role-play with—he woke up in Robert Wood Johnson with two broken legs and a separated shoulder, feeling like, well, he'd jumped off the New Brunswick train bridge.

Books are surviving in this intense, fragmented, hyper-accelerated present, and my sense and hope is that things will slow down again and people will want more time for a contemplative life. There is no way people can keep up this pace. No one is happy. Two or three hours to read should not be an unattainable thing, although I hope we get to that stage without needing a corporate sponsored app to hold our hand. The utopian in me has my fingers crossed that we haven't quite figured out the digital future just yet. After all, the one thing we know about people: they always surprise.