Edwidge Danticat Quotes
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In terms of the idea of long-term occupation - I have been reading a little bit more about this period - and you can see in that occupation are many lessons for the current occupation of Iraq. So we have these connections that go way back that people aren't aware of.
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It is the calm and silent waters that drown you.
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I come from a place where breath, eyes, and memory are one, a place from which you carry your past like a hair on your head. Where women return to their children as butterflies or as tears in the eyes of the statues that their daughters pray to
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I think it's hard for an outsider to capture the flavor of a community and all its nuances, so ultimately Haitian-Americans need to start sharing intimate accounts of their stories.
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Vodou is one of the religions practiced in Haiti, a rich religion for the people.
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You have also at the same time Castro and the revolution being the glue that held the United States together with a lot of these dictators.
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It's hard to tell what people will do with the word and how they'll be circulating it but I think the storytellers and the stories themselves will always be there.
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The whole military structure in Haiti that existed until the early 1990s was put in place by the American occupation. At the top there were Southern white officers, who led an army that crushed the indigenous resistance - the cacos. A high-ranking U.S. officer said when he arrived, "To think these niggers speak French!" Later, Haitian officers attended the notorious School of the Americas at Fort Benning. The threat from the U.S. is something that is always hanging over people's heads: If we don't behave, we'll have occupation again.
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Creating these messes that go from administration to administration and then you swoop in and clean them up - with that heroic Delta force - people not realizing that they were always there but doing different things than what we see them doing at the moment.
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When you write ,it's like braiding your hair. Taking a handful of coarse unruly strands and attempting to bring then unity.
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Pretend that this is a time of miracles and we believe in them.
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Create dangerously, for people who read dangerously. ... Writing, knowing in part that no matter how trivial your words may seem, someday, somewhere, someone may risk his or her life to read them.
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I would hate for people to generalize about every Haitian from something that one Haitian did, or a group of Haitians did.
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Anger is a wasted emotion.
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On some levels, you can also have this feeling that we are being duped, somehow. And that the world is at play for something you would understand more if it were pure ideology. It is a very strange time and also basic things are being taken away.
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After the Dance was my first attempt at nonfiction. I'd never really participated in carnival, and I really wanted to go. It sounded like a wonderfully fun thing to do. And I wanted to write something happy about Haiti, something celebratory. And going to carnival gave me a chance to do that, because it is one of the instances in Haiti when people shed their class separation and come together.
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I remember reading an interview with a writer who said that in nonfiction if you have one lie it sort of messes it up. But in fiction the real details give you so much more credibility, because people do so much research just to write fiction. In fiction you're trying to recreate something lifelike.
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Jephthah called together the men of Gilead and fought against Ephraim. The Gileadites captured the fords of the Jordan leading to Ephraim, and whenever a survivor of Ephraim said, 'Let me cross over,' the men of Gilead asked him, 'Are you an Ephraimite?' If he replied, 'No,' they said, 'All right, say Shibboleth.' If he said, 'Sibboleth,' because he could not pronounce the word correctly, they seized and killed him at the fords of the Jordan. Fourty-thousand were killed at the time.
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Napoleon had been fighting this army of slaves and free people in Haiti and it depleted his forces. And after the Revolution, when the French were driven out, they stopped and sold this big chunk of North America to the Americans for very little money.
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In the 1980s, when people were just beginning to talk about AIDS, there were just a few categories of those who were at high risk: homosexuals, hemophiliacs, heroin addicts, and Haitians. We were the only ones identified by nationality.
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That experience of touching down in a totally foreign place is like having a blank canvas: You begin with nothing, but stroke by stroke you build a life. This process requires everything great art requires-risk-tasking, hope, a great deal of imagination, all the qualities that are the building blocks of art. You must be able to dream something nearly impossible and toil to bring it into existence.
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In Haiti you had the Duvaliers for 29 years and they were very well supported by the United States.
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The more practice you have, the less stressful writing is.
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There are many possible interpretations of what it means to create dangerously, and Albert Camus, like the poet Osip Mandelstam, suggests that it is creating as a revolt against silence, creating when both the creation and the reception, the writing and the reading, are dangerous undertakings, disobedience to a directive.