I would rather be a superb meteor, every atom of me in magnificent glow, than a sleepy and permanent planet.
The task of an American writer is not to describe the misgivings of a woman taken in adultery as she looks out of a window at the rain but to describe four hundred people under the lights reaching for a foul ball. This is ceremony.
American writers, at least those of us who are fortunate enough to support ourselves in the field, are by and large a lucky lot.
The most underrated of all contemporary American writers of fiction.
Offhand, the only North American writers I can think of who have come from a background of rural poverty and gone on to write about it have been Negroes.
It is in this matter that I fall foul of so many American writers on writing; they seem to think that writing is a confidence game by means of which the author cajoles a restless, dull-witted, shallow audience into hearing his point of view. Such an attitude is base, and can only beget base prose.
There was no audience for my books. The Indians didn't regard me as an Indian and North Americans couldn't conceive of me of a North American writer, not being white and brought up on wheat germ. My fiction got lost.
I love Truman Capote, Tennessee Williams, Flannery O'Connor. I read a lot of American writers.
I do feel fortunate to have some knowledge of the great Latin American writers, including some that are probably not that well known in English. Im thinking of Jose Maria Arguedas, whom I read when I was living in Lima, and who really impacted the way I viewed my country.
When success happens to an English writer, he acquires a new typewriter. When success happens to an American writer, he acquires a new life.
As a Vietnamese refugee who became an American writer, I can tell you that you matter, that your sadness matters, the story of how you survived and triumphed matters. For every story that belongs to you, in time, belongs to America.
To an American writer, I should think it must be a flattering distinction to escape the admiration of the newspapers.
Gore Vidal, the American writer, once described the American economic system as 'free enterprise for the poor and socialism for the rich'. Macroeconomic policy on the global scale is a bit like that. It is Keynesianism for the rich countries and monetarism for the poor.
I want people to read good work. If I see someone reading a book by Lorrie Moore or Jennifer Egan, I'm psyched. If I see them reading X Latin American Writer Who Sucks, I'm not psyched. But in terms of news, I do think that's important.
I like terrific writing, but I also like a terrific story. My favorite books have both, and they're by contemporary, commercial American writers.
In one particular chapter in Ulysses, James Joyce imitates every major writing style that's been used by English and American writers over the last 700 years - starting with Beowulf and Chaucer and working his way up through the Renaissance, the Victorian era and on into the 20th century.
Salter is a writer who particularly rewards those for whom reading is an intense pleasure. He is among the very few North American writers all of whose work I want to read, whose as-yet-unpublished books I wait for impatiently.
I think I'm an American writer writing about Latin America, and I'm a Latin American writer who happens to write in English.
When I was starting out, science fiction was a little genre over there, which only a few people read. But now -- where are you going to put, for example, Salman Rushdie? Or any of the South American writers? Most people get by calling them magical realists.
Henry David Thoreau, who never earned much of a living or sustained a relationship with any woman that wasn't brotherly -- who lived mostly under his parents' roof . . . who advocated one day's work and six days "off" as the weekly round and was considered a bit of a fool in his hometown . . . is probably the American writer who tells us best how to live comfortably with our most constant companion, ourselves.
I've had the good fortune to read a lot of great American writers in translation, and my absolute beloved, for me one of the greatest writers ever, is Mark Twain. Yes, yes, yes. And Whitman, from whom the whole of 20th-century poetry sprung up. Whitman was the origin of things, someone with a completely different outlook. But I think that he's the father of the new wave in the world's poetry which to this very day is hitting the shore.
Sixty percent of all Indians live in urban areas, but nobody's writing about them. They're really an underrepresented population, and the ironic thing is very, very few of those we call Native American writers actually grew up on reservations, and yet most of their work is about reservations.
Some Native American writers enjoy being called Native American writers.
American writers ought to stand and live in the margins, and be more dangerous.
The culturally specific, in particular, the American porch play that American writers have cherished and loved for many years in terms of their new writing, has seemed to have very little relevance to a much more fast-flowing, abstract, experimental drama that has been emerging in [the UK]. The porch play, not to mention that thing of, Oops, I wasn't loved enough by my father, somehow didn't have the relevance in this country.
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