A Quote by Alden Nowlan
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.
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I do write about race a lot, but I don't think writers - of any shade or background or whatever - have to write about certain subjects.
Americans think African writers will write about the exotic, about wildlife, poverty, maybe AIDS. They come to Africa and African books with certain expectations.
North as well as South, the Negroes have emerged from slavery into a serfdom of poverty and restricted rights.
Of course, the way writers think about those things is almost certain to be affected by their own cultural background, and it would be hard to deny that, for whatever reasons, a lot of SF writers come from Anglo or European backgrounds.
I don't write about anything I don't want to write about. I like to think I could write about anything pretty much that I chose to. I have been asked to write songs about specific things, and I've always been able to come up with the goods.
We have one of the few societies, the only one I can think of right offhand, where your health care is so tied to your job, so that when an American company has to hire, they have to think about health care.
William Maxwell's my favorite North American writer, I think. And an Irish writer who used to write for 'The New Yorker' called Maeve Brennan, and Mary Lavin, another Irish writer. There were a lot of writers that I found in 'The New Yorker' in the Fifties who wrote about the same type of material I did - about emotions and places.
In North America, what happens often is that they put race before nationhood. Everyone here is Hispanic-American, Chinese-American, African-American. But really, we're just North Americans of all these different descents. The only time I notice North Americans becoming national is when a war happens or a crisis happens.
I do have the feeling that other writers can't help you with writing. I've gone to writers' conferences and writers' sessions and writers' clinics, and the more I see of them, the more I'm sure it's the wrong direction. It isn't the place where you learn to write.
I can't think offhand of any American poets who have Mandelstam's urgency, but it's a different country and a different time, and I don't think it would make much sense to say that this is something that's "missing" from contemporary American poetry.
Here in New York, we're media obsessed. Writers write about writers who write about writers and reporters and freelancers, and it's just a festival of information. We're all analyzing and examining and predicting, and I can't imagine that it's like that everywhere else.
That 'writers write' is meant to be self-evident. People like to say it. I find it is hardly ever true. Writers drink. Writers rant. Writers phone. Writers sleep. I have met very few writers who write at all.
As writers, we don't just need to write about poverty or war or the immigrant experience.
I think it's just a coincidence that the North American teams are out. Most of us here have been playing in North America for a long time. Our knowledge of the big ice has been world championships here and there, same for the Canadians and the Americans. I don't see it as an advantage.
Writers often have a 'drunk' that is different than anyone else's. That's why it's so insidious and so damning. First of all, because they can write when they're drinking - or they think they can. A lot of writers will tell me - and this is the latest one I've heard - you drink while you're thinking about what to write, but when you actually write, you sober up.
I am very happy here [on Cuba], but I feel I have work to do in the United States. It's where I can identify with the total world struggle for socialism. But I think as a North American, as a Black North American, I have certain understandings - certain contributions - to make that are unique to the North Amerian experience.
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