A Quote by Rege-Jean Page

I have always found it curious that Americans consider Roots' an American story. I first watched it growing up in Zimbabwe, and I naturally saw it as an African story.
Mr. Murphy is really, really amazing. I have admired him from the time that I saw the first season of 'American Horror Story.' I watched 'Glee,' but once I saw 'American Horror Story,' I was like: 'I'm working for him.'
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.
When I was a kid, I'd go to the African-American section in the bookstore, and I'd try and find African-American people I hadn't read before. So in that sense the category was useful to me. But it's not useful to me as I write. I don't sit down to write an African-American zombie story or an African-American story about elevators. I'm writing a story about elevators which happens to talk about race in different ways. Or I'm writing a zombie novel which doesn't have that much to do with being black in America. That novel is really about survival.
It's exciting to me that Ride Along is a movie that has two African American leads, but it's even more exciting to me that it's not a movie about two African American leads. They just happen to be African American. It's a universal story. It's a story about a guy in love with a girl, and he's gotta get the approval of the overbearing, mean brother. That's a universal theme.
It may be the optimist in me, but I think America has a uniquely powerful and capacious glue internally. The American identity has always been ethnically and religiously neutral, so within one generation you have Italian-Americans, Irish-Americans, Chinese-Americans, Jamaican-Americans - they feel American. It's a huge success story.
Whether you work in news, sport, politics, whatever, it's exactly the same; a story is a story, is a story. I consider myself first and foremost a journalist.
'Pretty Deadly' is the story of these immortal and mortal characters, and the mortals' story follows Sarah's family, a black family, through the ages. I never made the choice of, 'Oh, this is gonna be the story of an African American family!'
America is - and will always be - a success story. We have African Americans, Native Americans, Hispanics, and members of other ethnic groups elected to positions inside our governments.
The story you envision as you start out is always a great story; when the facts turn out to be different from, or more complex than, what you expected, your first reaction is always disappointment. That's when you must fight the urge to bend the story to your preconceived notions. First, it's dishonest. And second, in the end, the truth is always the best story.
It's profound to watch a little African-American girl light up when she raps as George Washington and she realizes that Washington's story is her story. That this history belongs to all of us.
Lawrence Hill, a cultural and spiritual descendant of West African griots, has used his vast storytelling talents to create an epic story that spans three continents. The Book of Negroes recites the pain, misery and liberation of one African woman, Aminata Diallo, who was stolen from her homeland and sold into American slavery. Through Aminata, Hill narrates the terrifying story of slavery and puts at the centre a female experience of the African Diaspora. I wept upon reading this story. The Book of Negroes is courageous, breathtaking, simply brilliant.
I always say African American history is the quintessential American story. It's about perseverance and resilience - something everyone can relate to.
So many of the recipes that I come up with have a story. I'm a blogger. It flowed very naturally out of me, but I also knew this was a way to set my recipes apart. A, they are always using interesting ingredients but B, there is always a story behind it.
Dwayne McDuffie was one of my favorite writers. When I was growing up, he was one of the few African Americans working in American comics.
I have made up thousands of stories; I have filled innumerable notebooks with phrases to be used when I have found the true story, the one story to which all these phrases refer. But I have never yet found the story. And I begin to ask, Are there stories?
The funny thing about cinema is, usually when they do a story that has African Americans in it, there always has to be a white guy who's the savior.
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