When I hear that Jennifer Lopez is such a role model for Latinas, on the one hand I respect her for her business sense and I respect her for her ambition. But she's in the entertainment world. She's done it on her looks and very specifically on her anatomy. Madonna is also considered a great businesswoman and so is Yoko Ono. I feel if I had a young daughter right now, I would feel a little discouraged if that was my daughter's primary role model for success and for young people, for Latinas and Latinos.
Whatever it is that people find that they want to work on they also have to remember that they are human beings and they need to save some time for themselves for personal growth, for mental health, for their families, their loved ones so that they will have the strength to continue doing that work.
I feel that it's very important for young people to have a sense of history and do research and don't re-invent the wheel and don't think that you're the first martyr to discover social injustice but to take advantage of previous generations of activists and find out what they did and how they resolved things.
You know you have that zealousness of the young person that feels like you can go out and do it all. You know you save the world, save your gente, save women and before you know it if you try to do that you will burn out very quickly. My feeling is that I always think that and my advice to young people regardless of what times in these decades we've been living in there's always work to be done. The point is what can you do personally that you can live with so that you can get up the next morning and have the strength to start it all over again.
People like to think of themselves as purists, but there is no such thing as purity, when there exists so much contact.
The writers who have been serious about recreating American literature have always been far and few between. What we do have at the end of the 20th century that we didn't have at the beginning, at that time of the Lost Generation of rich white boys, is a mixture. We're now getting gay writers of color, let's say, and women of color being published. This is unprecedented.
I had serious reservations about putting my son in the public schools in my area. I have a tremendous amount of fear for the future of my boy. He's nine-and- a-half and dark-skinned. By the time he's 12 or 13, who knows who he's going to be identifying with in these days when you get shot down for wearing expensive Nikes to school...I've heard that if a Latino makes it to 19 years of age, he has a good chance of surviving into adulthood. Up until then, you don't know.
As time has gone on and we're at the end of the 20th century and major publishing is a big business, yes, of course we're going to get a lot of plain, mediocre trash. There are a lot of writers who get huge advances for books that don't go anywhere and they have to burn them somewhere or throw them away. I always think about all the poor trees that have been sacrificed.
Many European countries are fascinated with minorities from the United States. They still see this country as a world power and they covet that power...I was approached by a professor once at the Sorbonne in Paris and asked about racism in this country, and when I reflected on racism on the streets of Paris - you know, I'd be considered an Arab there -well, she didn't want to address that...It just goes to show it was easier for Europeans to study racism in the United States than it is from within the belly of the beast.
We were doing the same thing. We will never have "a" Chicano English or Spanish because of regional differences. But I think that because of our bilingual history, we'll always be speaking a special kind of English and Spanish. What we do have to do is fight for the right to use those two languages in the way that it serves us. Nuevo-mexicanos have done it very well for hundreds of years, inventing words where they don't have them. I think the future of our language is where we claim our bilingualism for its utility.
I definitely do see language serving its users, and when it no longer serves them we need to look for new words.
The language in New Mexico is very different. At first when you hear the speech here, you don't really know what to do with it, but then I just went with it, because as a writer as well as a translator I do believe that translated words are not different names for the same thing. They're different names for different things. I tried to stay as true as I could, so I used Ruben Cobos' dictionary of Southwestern Spanish, and when I went into Spanish I never assumed the word I would use would be the word a nuevomexicano would use.
When I devoted myself to poetry - and poetry is a very serious medium - I don't think the people that knew me as an individual with that tongue-in-cheek kind of humor...well, it didn't always lend itself to my poetry. When you're writing poetry, it's like working with gold, you can't waste anything. You have to be very economical with each word you're going to select. But when you're writing fiction, you can just go on and on; you can be more playful. My editor's main task is to cut back, not ask for more.
I think the possibilities are endless in terms of what the genre would be like. However, in terms of looking for sources of money, I think we have to be very careful not to fall into Hollywood's commodification of Chicano culture. We could look at the example of Piri Thomas, a successful Puerto Rican writer now living in the Bay Area, who has received repeated offers from Hollywood...and he said he's not going to write about his people doing drugs and going to jail.
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