Junot Diaz

Every single immigrant we have, undocumented or documented, is a future American. That's just the truth of it.

Like most lit nerds, I'm a voracious reader. I never got enough poetry under my belt growing up but I do read it - some of my favorites, Gina Franco and Angela Shaw and Cornelius Eady and Kevin Young, remind me daily that unless the words sing and dance, what's the use of putting them down on paper.

Personally I always feel like I could use a little more of poetry apothegmatic power in my own work but we're always lacking something.

'A Princess of Mars' may not have exerted the same colossal pull that Tarzan had on the global imagination, but its influence on generations of readers cannot be underestimated.

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.

When I write, what I long for is not more realism or fiction but more courage. That's what I always find myself short on and what I have to struggle to achieve in order that the work might live.

I always had a sense that I would fall in love with Tokyo. In retrospect I guess it's not that surprising. I was of the generation that had grown up in the '80s when Japan was ascendant (born aloft by a bubble whose burst crippled its economy for decades), and I'd fed on a steady diet of anime and samurai films.

People are always fascinated by infidelity because, in the end - whether we've had direct experience or not - there's part of you that knows there's absolutely no more piercing betrayal. People are undone by it.

One of the many characteristics of the new is that, at first, it's very hard to recognize it for what it is. We're lucky if we recognize something as being new when it first appears. Usually I think we don't have that privilege. It's usually after the fact that we suddenly turn around and say, 'Wow, this thing is amazing.'

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.

I feel most like myself... after I run - I go out for five miles every morning.

The Caribbean is such an apocalyptic place, whether it's the decimation of the indigenous populations by the Europeans, whether it's the importation of slaves and their subsequent being worked to death by the millions in many ways, whether it's the immigrant processes which began for many people, new worlds ending their old ones.

Colleagues are a wonderful thing - but mentors, that's where the real work gets done.

My novel, which I had started with such hope shortly after publishing my first book of stories, wouldn't budge past the 75-page mark. Nothing I wrote past page 75 made any kind of sense. Nothing. Which would have been fine if the first 75 pages hadn't been pretty damn cool.

If you, like, consciously think about being cool, you're not cool. If you consciously think about being, like, different or original, you ain't different or original.

I'm still trying to figure out how to write about cancer and my family's experience with it. If I had been able to write 'The Pura Principle' back in those days, I'm positive it would have had no humor in it. Which means the story would have been false.

We all dream dreams of unity, of purity; we all dream that there's an authoritative voice out there that will explain things, including ourselves.

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.