A Quote by Jess Row

It was always a false assumption that white American writers cannot write novels about race unless they're approaching it from a very oblique angle. — © Jess Row
It was always a false assumption that white American writers cannot write novels about race unless they're approaching it from a very oblique angle.
I think there's a false division people sometimes make in describing literary novels, where there are people who write systems novels, or novels of ideas, and there are people who write about emotional things in which the movement is character driven. But no good novels are divisible in that way.
White writers in many cases choose not to populate their fiction with people of color. A lot of what I'm doing is trying to write against that, not about race but against the avoidance of race that's such a dominant model in white literary discourse.
I think I'm on an angle. I'm on an oblique angle through all of existence.
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.
'American Playhouse' is very supportive of writers. That's really why writers like to write for 'American Playhouse' for very little money. They care about making your play, your script, not some network production. We're treated like playwrights, not like fodder for some machine.
Living in a cultural milieu where the foreign writers most widely available and admired were Russian, I came very late to postwar American writers, and I had great trouble with the canonically exalted white male writers I tried first.
I write my novels personally, desperately and non-negligently. When I write my novels, I think about my novels only, and never do other works.
I had wanted to write English crime novels based on the American hard-boiled style, and for the first two novels about Brixton, the critics didn't actually know I was Irish.
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.
As a white male in America, I have privilege. As a white male who happens to be an artist with a fan base, I have a platform to spread awareness about that privilege. However, songs about race and privilege are very difficult to A) write and B) dissect as a listener. They're heavy.
In novels, and American novels in particular, it's not just about redemption, it's about forward movement and healing oneself. Americans are very big on getting better.
Science fiction offers an intensely bracing angle of view for writers to adopt, especially in a time of constant innovation and crisis, and it is a scandal that in 1999 so many writers have written it and continue to write it in obscurity.
The structure of my novels has nothing to do with the narrative mode of cinema. My novels would be very difficult to film without ruining them completely. I think this is the area where writers need to place ourselves: from a position of absolute modernity and contemporaneity, creating a culture of objects which cinema cannot.
Writers of color are given certain messages - explicit or implicit - about what they're allowed to write about or what will be successful if they write about it. And white writers are given another set of implicit and, sometimes, explicit messages.
We don't tend to write about disease in fiction - not just teen novels but all American novels - because it doesn't fit in with our idea of the heroic romantic epic. There is room only for sacrifice, heroism, war, politics and family struggle.
I have a well-balanced show. It's 50/50 on men/women, and also African-American/white writers, it's the same thing. I have four African-American writers, and four non-African-American writers.
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