A Quote by Dinaw Mengestu

When I began 'All Our Names,' I did so wanting to create parallel narratives between Africa in the nineteen-seventies and America during that same period. — © Dinaw Mengestu
When I began 'All Our Names,' I did so wanting to create parallel narratives between Africa in the nineteen-seventies and America during that same period.
I'm often associated with parallel narratives or dual narratives. The 'Devil in the White City' was a fluke.
My parents were born into a secular country. They met in Turkey's top medical school, moved to America in the nineteen-seventies, and became researchers and professors.
The Jewish exodus from North Africa, in the late nineteen-fifties and the nineteen-sixties, brought hundreds of thousands of Algerian, Moroccan, and Tunisian Jews to France.
There's a parallel between me going through these enormous efforts to try to make a moment that means something - and in a way, the figures are doing the same thing. There is that parallel, for sure.
The only difference between [America] and South Africa, South Africa preaches separation and practices separation, America preaches integration and practices segregation. This is the only difference, they don't practice what they preach, whereas South Africa practices and preaches the same thing.
America in the 1800s isn't quite the historical mystery hotbed as the same period in the country it bested in the War of Independence, but its unique spectacle of rapid social change and the lingering influence of its literary voices act in a parallel manner upon crime fiction chroniclers devoted to this side of the Atlantic.
The people I admire unreservedly are my parents. They are the real pioneers of Africa in many ways. They were born and raised in rural Africa during the colonial period. They are the ones who came to the U.S. long before I did.
The evil lot who did that thing on September 11 did it because they wanted to create a war between America and Islam. And by invading Iraq, we gave them what they hoped for.
The media doesn't create narratives, really. They're not that powerful. What they do is they tap into narratives that are already bubbling amongst their viewership or readership.
Voltaire's novel [Candid] offers us parallel universes, the possibility of entering into alternative worlds existing side by side, and this is something quite modern. Nested narratives and parallel universes are popular at the moment in many different art forms.
Throughout the nineteen-seventies and eighties, especially during periods of recession, employees were moved from offices to cubicles.
Whether they did or didn't, America was certainly safe between 2000 and 2008. I don't remember any terrorist attacks on American soil during that period of time.
It was quite weird when we met, because we were both the ones who cooked in our own groups. When I was married, I did the cooking at home, same as Si did. It was like a parallel universe. We were both born hungry, weren't we?
America became a special source of attraction to people who were fleeing the aftereffects of the 30 Years War and the religious persecution that began to sweep through Europe in the period between the Renaissance and the Enlightenment. And when people got here, very often they succeeded.
The America in which we grew up is vastly different from the America the secular-socialist Left want to create. And that's why saving America is the fundamental challenge of our time. The secular-socialist machine represents as great a threat to America as Nazi Germany or the Soviet Union once did.
Narratives have the same power, I think. Some readers of my novels ask me, "Why do you understand me?". That's a huge pleasure of mine because it means that readers and I can make our narratives relative.
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