A Quote by Gloria Naylor
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.
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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 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.
There's no reason why you can't say "August Wilson, playwright" even though all of my work, every single play, is about black Americans, about black American culture, about the black experience in America. I write about the black experience of men, or I write about black folks. That's who I am. In the same manner that Chekhov wrote about the Russians, I write about blacks. I couldn't do anything else. I wouldn't do anything else.
'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!'
To me, 'Kita y Fernanda' is very much an American story, and I know some people are going to think it's a Latina story, but it's about shifting people's paradigms and views of what it is to be American.
The story of the African-American people is the story of the settlement and growth of America itself, a universal tale that all people should experience.
'The Master and Margarita' is deeply to do with the unconscious. It is a story about a man who writes a story in a time when he's not supposed to write that story: the story of Pontius Pilate.
No library of American business achievement is complete without the story of Arthur G. Gaston. . . . Black Titan is a long overdue contribution to the recording of not just black history, but American history.
The story of the Underground Railroad is the story of American heroes, and who doesn't want to hear a story about American heroes?
I like cable stuff; I really do - 'American Horror Story,' 'American Crime Story.'
Phunny Business is a breezy, vivid, funny, star-studded and delightful valentine to comedy, entrepreneurship and the All-American impulse to make something out of nothing. The story of comedy club owner/inveterate dreamer Raymond Lambert and his heroic quest to create a safe, productive place for black stand-up comedians to hone their craft and find their voices isn't just a great Chicago story and a great comedy story: it's a flat-out great story, lovingly and engagingly told.
For me, a story begins with music: I feel the rhythm, the cadence, the pulse of the characters and their voices and the setting. Because I had just finished writing a book called 'Black Potatoes: The Story of the Great Irish Famine,' I was already filled with the music of the lives and culture of the Irish people, so I thought, why not use it?
The humorous story is American, the comic story is English, the witty story is French. The humorous story depends for its effect upon the manner of the telling;the comic and the witty story upon the matter.
The story of American pop music is the story of failure. The blues, country music, it's not the story of success. People don't win; they lose.
Everybody has told the story of black people in struggle except black people. The black people in the struggle haven't had the means to tell the story historically. There were a million slaves, but you see very few slave narratives. And that is intentional.
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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