MADISON SMARTT BELL

The country is too often assumed to be a backward place: The First World has trouble remembering that Haitians were two centuries ahead of us in abolishing slavery and in extending full rights of citizenship to everyone, regardless of race.

In 'For Whom the Bell Tolls,' Hemingway cozies up to revolution by romanticizing it (and not only with those execrable love scenes).

Haiti was founded by African slaves who rose against their European masters, had a revolution, and created a new state. There is no other such event in Western history.

Imaginative writing has always been a solitary and indeed a somewhat antisocial activity. Apprenticeship existed, no doubt, but it was an apprenticeship to books and not to living masters of the craft.

One can't do anything alone in Haiti. Sharing and cooperation are so deeply woven into the culture that sometimes it's hard to have a separate thought.

Jeremy Popkin's collection of first-person narratives of the Haitian Revolution is an extremely valuable work, accessible, sound and intelligent. I only wish such a book had been available fifteen years ago when I was in the early stages of researching my series of novels. Popkin has been deft and tactful in stitching together these excerpts, and as a result, he manages to tell a complete version of the Revolution almost entirely in the words of the people who experienced it-this book engaged me deeply.

In TheColorful Apocalypse, Greg Bottoms explores the frontier between inspiration and psychosis with the expressive power, the passionate fervor, and the faithfully unflinching honesty for which his work is deservedly known. This book is incisive, startling, and often genuinely moving.

To me, there is nothing more soothing than the song of a mosquito that can't get through the mesh to bite you.

I don't call myself a very good Christian, but I think I know one when I see one, and I also think I know when I don't.

Sometimes you don't get but one mistake, if the one you pick is bad enough.

I had been an abject fan of Robert Stone since the early eighties, when I borrowed a copy of 'A Flag for Sunrise' to read on a plane to Rome. I was twenty-something, with a first novel under my belt.

The country is too often assumed to be a backward place: The First World has trouble remembering that Haitians were two centuries ahead of us in abolishing slavery and in extending full rights of citizenship to everyone, regardless of race.

In 'For Whom the Bell Tolls,' Hemingway cozies up to revolution by romanticizing it (and not only with those execrable love scenes).

To me, there is nothing more soothing than the song of a mosquito that can't get through the mesh to bite you.

Normally, most writers don't say, 'I'm going into a mild hypnotic trance.' Typically, they don't know how they do it. Most people, when they have a good experience writing, they're well placed in that state, which is also sometimes called a 'flow state.' If you don't have trouble, you don't have to think about it.

I don't call myself a very good Christian, but I think I know one when I see one, and I also think I know when I don't.

John Fahey, thought during his lifetime to be possibly more than a little crazy, was the author of some thirty albums of gnomically introverted droning guitar instrumentals, which I listened to heavily in my teens and twenties; I even produced an hour or so of banjo music in an imitative John Fahey style.

Haiti was founded by African slaves who rose against their European masters, had a revolution, and created a new state. There is no other such event in Western history.

Hemingway's minimalism is based on the psychological mechanics of repression. An echo of his approach can be detected in a favorite trope of 1980s minimalists: a pattern of reference to dire secrets and hidden wounds these authors didn't realize they were supposed to have imagined.

Our cultural capital has changed tremendously on its way into the twenty-first century. Manhattan has been secured and sanitized; it's smoke- and trans-fat-free. In the boroughs, many of the old jungles have been cleared as well.

Since the 1960s, exile for Haitians is a condition that ends only to begin again.

One can't do anything alone in Haiti. Sharing and cooperation are so deeply woven into the culture that sometimes it's hard to have a separate thought.

I had a house in Haiti, in the hills above the North Atlantic coast. The house appeared as if out of a dream: my dream to have a foothold in the country. Like many concepts do in Haiti, the phrase 'pied a terre' became literal, material.

I have always had a mystical attitude toward inspiration. That's my nature.

Edwidge Danticat's prose has a Chekhovian simplicity--an ability to state the most urgent truths in a measured and patiently plain style that gathers a luminous energy as it moves inexorably forward. In this book she makes a strong case that art, for immigrants from countries where human rights and even survival are often in jeopardy, must be a vocation to witness if it is not to be an idle luxury.

Jeremy Popkin's collection of first-person narratives of the Haitian Revolution is an extremely valuable work, accessible, sound and intelligent. I only wish such a book had been available fifteen years ago when I was in the early stages of researching my series of novels. Popkin has been deft and tactful in stitching together these excerpts, and as a result, he manages to tell a complete version of the Revolution almost entirely in the words of the people who experienced it-this book engaged me deeply.

Sometimes you don't get but one mistake, if the one you pick is bad enough.

In TheColorful Apocalypse, Greg Bottoms explores the frontier between inspiration and psychosis with the expressive power, the passionate fervor, and the faithfully unflinching honesty for which his work is deservedly known. This book is incisive, startling, and often genuinely moving.

Imaginative writing has always been a solitary and indeed a somewhat antisocial activity. Apprenticeship existed, no doubt, but it was an apprenticeship to books and not to living masters of the craft.