A Quote by Rudolfo Anaya

In many respects, I think 'Bless Me, Ultima' is a novel about the indigenous. — © Rudolfo Anaya
In many respects, I think 'Bless Me, Ultima' is a novel about the indigenous.
'Bless Me, Ultima' is quite autobiographical in the sense that I was writing a story about my childhood, my hometown where I grew up, Santa Rosa, New Mexico, on Old Highway 66 and the Pecos River. So a great deal of that environment, landscape, people, got thrown in the novel.
I think if someone has a gaming obsession, 'Ultima' became mine. I would say no other series ingrained itself in how I want to make games or what I want them to be more than 'Ultima' did.
I bless God for this retirement: I never was more thankful for any thing than I have been of late for the necessity I am under of self-denial in many respects.
Madly, futilely, I wrote novel after novel, eight in all, that failed to find a publisher. I persisted because for me the novel was the supreme literary form: not just one among many, not a relic of the past, but the way we communicate to one another the subtlest truths about this business of living.
Madly, futilely, I wrote novel after novel, eight in all, that failed to find a publisher. I persisted because for me the novel was the supreme literary form - not just one among many, not a relic of the past, but the way we communicate to one another the subtlest truths about this business of living.
The true essence of reconciliation is more than making friends with nonindigenous people. Our motto is united Australia, one that respects the land and the heritage of its indigenous peoples and provides justice and equity for all. I think reconciliation is about changing the structures that govern us and trying to influence opinion leaders in whatever way we can.
In many respects most of the books I write deal with well-known people. I think of those books as more about me than about those people.
Even though the method of 'Harvest' was a historical novel, its intentions were that of a modern novel. I'm asking you to think about land being seized in Brazil by soya barons. It's also a novel about immigration.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
If we had, we would have realised sooner that Indigenous organisations are sometimes not the appropriate channel for programmes to help the stolen generations, because many of them play little part in Indigenous associations.
If you think about the history of mobile handsets, in many respects there was a time when Asia and then Europe all led North America.
I'm skeptical that the novel will be "re­invented." If you start thinking about a medical textbook or something, then, yes, I think that's ripe for reinvention. You can imagine animations of a beating heart. But I think the novel will thrive in its current form. That doesn't mean that there won't be new narrative inventions as well. But I don't think they'll displace the novel.
The simpler the message, the broader the meaning, in many respects. I think about a song like Free's 'All Right Now,' which I'm often asked about. It's that sort of song.
So many indigenous people have said to me that the fundamental difference between Western and indigenous ways of being is that even the most open-minded westerners generally view listening to the natural world as a metaphor, as opposed to the way the world really is. Trees and rocks and rivers really do have things to say to us.
There's no such thing as the contemporary novel. Before I seem the complete reactionary, let me add that I've happily joined in many discussions about 'the contemporary novel' where what that usually, unproblematically means is novels that have appeared recently or may appear soon.
I don't think there's been that many indigenous players in Australia.
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