A Quote by Ishmael Reed
Hateful material travels the globe. A few years ago, CNN, America's Der Sturmer, ran a story about Black parents being so low down that they abandoned their children and the children had to eat rats. I was at a University in Wisconsin at the time and the mother of a student from South Africa called to see whether the story was true. She had seen it all the way over there. The story was untrue. The children lied. CNN never corrected the story.
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History is a story like any other, but black history is a story so devoid of logic that it frustrates the young reader. The young readers in my house, told of slavery and segregation, asked in disbelief, 'What? Why?' We - the parents of black children, the parents of all children - still need to tell that story.
I came across an old story of mine that I'd written a decade ago. The main joke of the story is that a mother is telling her children about how she met their father online. The majority of memories the mother has all have to do with really funny links he sent her, a music download that she loved, etc. - and because of these superficial details she fell in love with the father. Reading it today, it's hardly a dystopian story; it's simply a realistic story about how people actually meet.
I wrote The Jesus Storybook Bible because I wanted children to know the Bible isn't mainly about you and what you're supposed to be doing. It's about God and what he has done. It's the story of how God loves his children and comes to rescue them. It's a Love Story. It's an Adventure Story. And at the center of the story is a baby - the child upon whom everything would depend. And every single story in the Bible whispers his name.
I have written a few children's books. The first book that I wrote was for children. It was called "The Package", and it was a mystery story in pictures. It had no words.
I have written a few children's books. The first book that I wrote was for children. It was called 'The Package', and it was a mystery story in pictures. It had no words.
Every family has a story that it tells itself, that it passes on to the children and grandchildren. The story grows over the years, mutates, some parts are sharpened, others dropped, and there is often debate about what really happened. But even with these different sides of the same story, there is still agreement that this is the family story. And in the absence of other narratives, it becomes the flagpole that the family hangs its identity from.
The story he [Todd Willingham] told me was this: He woke up to a fire. He ran out of the house and couldn't run back in to save his children, and that was enough to get me interested. ... There's a writer in me that's like, ... this is a great story. ... I have a good friend, who was my neighbor at the time, and I told her about it. ... She had been a reporter, and she was like, "Let's go investigate it."
There is a problem in America. An Irish or Polish American can write a story and it's an American story. When a Black American writes a story, it's called a Black story. I take exception to that. Every artist has articulated to his own experience. The problem is that some people do not see Blacks as Americans.
Philip Galanes makes his debut with a novel that is both heartbreaking and deftly comic, the story of a young man struggling with his most primitive desires--wanting and needing. It is a novel about the complex relationships between parents and children, a story of loss and of our unrelenting need for acknowledgment, to be seen as who we are. And in the end it is simply a love story for our time.
He thought about the story his daughter was living and the role she was playing inside that story. He realized he hadn't provided a better role for his daughter. He hadn't mapped out a story for his family. And so his daughter had chosen another story, a story in which she was wanted, even if she was only being used. In the absence of a family story, she'd chosen a story in which there was risk and adventure, rebellion and independence.
A true epilogue is removed from the story in time or space. That's the reason it is called an 'Epilogue'; the label serves to alert the reader that the story itself is over, but we are going to now see a distant result or consequence of that story.
I wanted to make a black story about South Africa. Unfortunately, no producer in the United States would put one penny into a black story.
A children's story that can only be enjoyed by children is not a good children's story in the slightest.
I had written a story. I wrote the story out of some desperation, really, and I didn't know I was writing a story, and it took me years. And when I finished, a friend of mine had the idea that the story should be read as a monologue in a theater.
Each of us is our own story, but none of us is only our own story. The arc of my own personal story is inexplicably and intrinsically linked to the story of my parents and the story of my neighbor and the story of the kid that I met one time. All of us are linked in ways that we don't always see. We are never simply ourselves.
All these years I've had a story in my mind, the story about us that never really existed. And because of that story, I've kept you framed up on the wall in a little box of nostalgic moonlight.
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