John Edgar Wideman
I don't understand why black people have been so quiescent, so passive over the hundreds of years of American history. Why hasn't there been more violence, more armed struggle? I know answers to some of that, but it seems to me it's an issue of faith, an abiding faith in some sort of great beyond, or great spirit, or even in the American dream.Collection: Faith
Real change is always violent, but it may hurt a lot less than what's in place before the violence occurs.Collection: Change
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.
My father was a veteran. He fought in World War II. He was a patriot. On the other hand, he had no illusions whatsoever about how Uncle Sam had mistreated him and other black soldiers.
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.
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.
For a young person, anybody who's sorting out and trying to make a life for himself or herself, to have the opportunity each day to set down - sit down and then set down thoughts, words - it's a crucial, crucial way of staying alive, of not allowing yourself and not allowing the culture outside yourself to totally dominate your life.
Too much is made for us; too much is given to us - even those of us who are underprivileged. The poverty is given to us. The difficulties are given to us.
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.
Stories are told over time, and so they naturally accrue meanings.
In Haiti, as I understand it, storytelling and history itself are not a business of necessarily elucidating facts or the truth of an incident, but finding the version that is most entertaining and therefore will get retold and live in immortality.
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.
I always liked to write and had fun writing, but I didn't have any pretensions about being a writer. I liked to read and liked to putz around and write little stories or poems, but my thing was sports.
My particular lifetime, my individual profile, represents something very basic to African-American history and culture because I was a second generation immigrant, so to speak, from the South. My grandfather was born in South Carolina - well, both grandfathers were born in the South.
When I wake up in the morning, I need the writing to go to. I begin there. And that's not an accident, I mean, that habit of getting up in the morning and going to my writing first thing.
I wish I had time to listen to music more.
I often want things to make definite statements. If I order onions sliced thinly on my hamburger, I don't want them to come out sort of medium. But that doesn't mean it's a reasonable desire, in all things.
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.
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.
I don't make that hard and fast distinction between political and nonpolitical writing. I write about what bothers me.
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.
Writers transform: they throw a hand grenade into the notion of reality that people carry around in their heads. That's very dangerous, very destructive, but not to do it means you are satisfied with the status quo - and that's a kind of danger as well, because a kind of violence is already being perpetuated.
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.
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.
Home wasn't so much a house as people, family.
I don't have anybody living around me who has much of a sense of what I do. That's exactly what I like.
A great artist transforms our world, removes scales from our eyes, plugs from our ears, gloves from our fingertips, teaches us to perceive reality differently.
Seamless, careful, by-the-book performance provides no evidence of what the spider's thinking about the fly enmeshed in its web.
I lived with my mother and father and brothers and sisters some of the time; some of the time, my mother and father were feuding, so my mother would take us to live in my grandmother's house.
Books were my Internet, my TV, my movies all rolled into one.
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.
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.
My books are not about how it feels to be a black man. My books are about how it feels to be a human being, and part of what I'm trying to sort out is what we mean - what I mean, what you mean, what everybody in the culture means - when they say 'black man,' or they say 'white person.'
The title of my book is 'American Histories,' plural. And as far as I'm concerned, my reading of history is it is a sort of nightmare. It is a sort of nightmare, and I'm trying to wake up from it. And as any nightmare, it's full of much that is unspeakable.
How do you talk about the Holocaust? How do you talk about slavery? Probably the best thing to do is just be quiet and hide from it, forget about it. Except, then it jumps up and bites you. Because it's there.
Silence marks time, saturates and shapes African-American art. Silences structure our music, fill the spaces - point, counterpoint - of rhythm, cadence, phrasing.
I assume the risk of allowing my fiction to enter other people's true stories. And to be fair, I let other people's stories trespass the truth of mine.
When I'm doing the brute work, I do it early in the morning; that's the best time for me to get the stuff down on the page.
That's been my routine for years and years... Up early before everybody else, before I get connected, before I get bugged, before I have obligations. Get the writing done first, then be the person I want to be in other ways after that.
My father was intelligent and closed-mouthed. He knew a lot more than what he was ever going to tell you.
The whole idea of spellbinding, of being an entertainer, being the center of the stage, making up words - that let me know that writing is nice.
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.
Basketball can give us a kind of mystical awareness. Everything seems focused and in balance.
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?
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.
What I wanted to do in talking about basketball in 'Hoop Roots' was retrieve the game as something to participate in, not to watch.
Do not fall asleep in your enemy's dream.Collection: Dream
When it's played the way is supposed to be played, basketball happens in the air; flying, floating, elevated above the floor, levitating the way oppressed peoples of this earth imagine themselves in their dreams.Collection: Basketball
A great artist transforms our world, removes scales from our eyes, plugs from our ears, gloves from our fingertips and teaches us to perceive reality differently.Collection: Eye
I don't write books because I have answers. I write books because I have questions. What we are is the questions that we ask, not the answers that we provide. It's all about the process of self-examination. I think that's what the best writing always contains.Collection: Book