Junot Diaz

When I enter that higher-order space that's required to write, I'm a better human. For whatever my writing is, wherever it's ranked, it definitely is the one place that I get to be beautiful.

The only difference between a published and unpublished writer is a tolerance for imperfection.

We get so many people saying short fiction is not economical, that it doesn't sell; but there are so many of us enjoying writing it and reading it. So it's wonderful to be around people who love short fiction too - it's like hanging around with my tribe.

I always individuate myself from other writers who say they would die if they couldn't write. For me, I'd die if I couldn't read.

It's extraordinary how many people read a book that's new and weird and befriend it.

Poor Oscar. Without even realizing it he'd fallen into one of those Let's Be Friends Vortexes, the bane of nerdboys everywhere. These relationships were love's version of a stay in the stocks, in you go, plenty of misery guaranteed and what you got out of it besides bitterness and heartbreak nobody knows. Perhaps some knowledge of self and women.

The thing is, you try your best, and what else you got? You try your best, really, that's all you can do. And for me, my best happens really so rarely.

You see, in my view a writer is a writer not because she writes well and easily, because she has amazing talent, because everything she does is golden. In my view a writer is a writer because even when there is no hope, even when nothing you do shows any sign of promise, you keep writing anyway.

I'm of African descent and my sister looks completely black, but I didn't look black. I was the super-nerdy kid who was also willing to fight.

Well, when you look at a lot of science fiction novels they're asking questions about power. There are questions about what it means to have power and what are the long-term consequences of power.

There are a couple of strategies for writing about an absence or writing about a loss. One can create the person that was lost, develop the character of the fiancee. There's another strategy that one can employ, maybe riskier... Make the reader suffer the loss of the character in a more literal way.

The one thing about being a dude and writing from a female perspective is that the baseline is, you suck. The baseline is it takes so long for you to work those atrophied muscles - for you to get on parity with what women's representations of men are.

Students teach all sorts of things but most importantly they make explicit the courage that it takes to be a learner, the courage it takes to open yourself to the transformative power of real learning and that courage I am exposed to almost every day at MIT and that I'm deeply grateful for.

My thing is every generation of Americans has to answer what we call the 'Superman Question.' Superman comes, lands in America. He's illegal. He's one of these kids. He's wrapped up in a red bullfighter's cape. And you've got to decide what we're gonna do with Superman.

It wasn't that I couldn't write. I wrote every day. I actually worked really hard at writing. At my desk by 7 A.M., would work a full eight and more. Scribbled at the dinner table, in bed, on the toilet, on the No. 6 train, at Shea Stadium. I did everything I could. But none of it worked.

I write for the people I grew up with. I took extreme pains for my book to not be a native informant. Not: 'This is Dominican food. This is a Spanish word.' I trust my readers, even non-Spanish ones.

I was part of that group of kids growing up in the '80s under the Reagan regime, what I used to call 'living in the shadow of Dr. Manhattan,' where we would have dreams all the time that New York City was being destroyed, and that that wall of light and destruction was rolling out and would just devour our neighborhood.

I think there's something really painful about your identity being entirely composed of ghosts. For me, I didn't want to be this kid whose Dominicanness was something caught utterly in the past, is an abstraction, the thing that I write about. Instead I wanted it to be, first and foremost, a thing that I lived.

I really am a believer that 99.99% of all the stories we need, not only as artists but as human beings, not only as writers but as readers, haven't been written yet. Certainly haven't been published yet.

I mean, the nation in which we live - and the world in which we live - is so extraordinarily more like a future than the futures that we're being sold on the screen and on television.

I have a very powerful sense of place, but I have a very powerful sense of being a migrant, so it's both. It seems like I'm always leaving my home. That's part of the formula. I love the Dominican Republic. I go back all the time. I love New Jersey. Go back all the time.