John Edgar Wideman Quotes
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The primary thing writing and basketball share is the sense that each time you go out, each time you play or begin a piece, it's a new day. You can score 40 points one game, but the next game, those points don't count. You can win the Nobel Literature Prize, but that doesn't make the next sentence of the next book appear.
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What I wanted to do in talking about basketball in 'Hoop Roots' was retrieve the game as something to participate in, not to watch.
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That's what writing is: it's imagining that you can make a world. That's what basketball is, too: it's imagining the game as a world.
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My aunt Geraldine was the unofficial historian and storyteller. She had all the information about family members and the gossip that came out of the church because we were very much part of the African Methodist Episcopal Zion Church. At family gatherings, the older folk had the floor, had pride of place, and it was their stories I remember.
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A lot of people think the best work I've done was nonfiction - the 'Brothers and Keepers' book. But I think of myself as a fiction writer. And I think, if my work is put in perspective, all the books would be a continual questioning of what's true and what's not true, what's documented and what's not documented.
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Real change is always violent, but it may hurt a lot less than what's in place before the violence occurs.
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Writing 'Hoop Roots' was a substitute or a surrogate activity. I can't play anymore - my body won't cooperate - so in the writing of the book, I was looking to tell a good story about my life and about basketball, but I was also looking to entertain myself the way that I entertain myself when I play.
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My father was intelligent and closed-mouthed. He knew a lot more than what he was ever going to tell you.
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Books were my Internet, my TV, my movies all rolled into one.
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I call people by their initials when they're good buddies, and that's a kinda street thing, too - 'Here comes JF,' or, 'Here comes KC.' It's fun; it's intimate.
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I feel compelled not to pass on a vision of bleakness, destruction or cynicism. I want to tell the truth as I see it, but I also have to believe that individuals - my kids, your kids, whoever - can do something about it, and I want to show the ways in which they can do something about it.
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Stories are told over time, and so they naturally accrue meanings.
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Silence marks time, saturates and shapes African-American art. Silences structure our music, fill the spaces - point, counterpoint - of rhythm, cadence, phrasing.
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I try to cope by doing what I do, what I find purpose and joy in. For me, that has been writing and playing ball. It doesn't make the pain go away, but what else can I do?
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I think I was kind of melancholy as a kid. I spent a lot of time inside my own head, a lot of time sort of staring into space wondering the hell was going on.
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All my life, I've been very aware of my body. I have always used it as a gauge of things. When I look at a person, and I see their body, that's the beginning of knowledge about them. Furthermore, I respect the body.
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What basketball expresses is what jazz expresses. Certain cultural predispositions to make art. All African-American art has a substratum, or baseline, of improvisation and spontaneity. You find that in both basketball and jazz.
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For African-American people, I am in the business of inventing a reality that gives a different perspective - on history, on crime, on art, on love.
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I have written about the women around me. My ancestors, my relatives, lovers. It was a way of trying to make it all make sense.
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My mother was a reader; my father was a reader. Not anything particularly sophisticated. My mother read fat historical or romantic novels; my father liked to read Westerns, Zane Grey, that kind of stuff. Whatever they brought in, I read.
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Home wasn't so much a house as people, family.
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I wish I had time to listen to music more.
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I write what I want to write, and then, when it's finished, I use my judgment to see whether or not I think it's intrusive. If it is problematic, then I ask those involved. I won't necessarily do what they say. But I do consult. I haven't had too many problems. Nobody's really gotten angry at me. Nobody, as far as I know, has felt betrayed.
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Seamless, careful, by-the-book performance provides no evidence of what the spider's thinking about the fly enmeshed in its web.