African American Literature Quotes

In the early 1970s in Atlanta, I attended what had formerly been an all-white school but had become a black school after integration and white flight. Perhaps because of this, the teachers created a curriculum that included a focus on African American literature and history year-round, not just in February.

I was an English major in college who concentrated in African-American literature and culture. So I read quite a few slave narratives and stories of escape, and I grew up in Ohio, which was a common stop on the Underground Railroad.

There's a thriving field of self-published stuff in, particularly, black fiction. I don't know that other groups of people of color have that same recourse.

My chief literary influences have been Paul Laurence Dunbar, Carl Sandburg, and Walt Whitman. My favorite public figures include Jimmy Durante, Marlene Dietrich, Mary McLeod Bethune, Mrs. Franklin D. Roosevelt, Marian Anderson, and Henry Armstrong.

When I was writing my first novel, 'Where the Line Bleeds,' which had young black men as its main characters, I was very invested in telling the story and also very worried about the effects the story would have.

Why should he not justly know his race’s own heroes rather than through false teaching think them wrong? Have they not as much claim to valor as Hercules or Achilles? Now I do not say here that everything he has natively is right or better than the Caucasian’s. Not at all, but I do say that there are noble qualities and traits and a set of literary traditions he had which are just as fine and finer, and when he has these, or the sake of keeping a fine spirit of self-respect and pride in himself, let us preserve them.

Creatively, most of my influences come from the literary world: Alice Walker, Toni Cade Bambara. Writers are my heroes.

When I was in grad school, I had to admit I hadn't read Toni Morrison. My teacher, the novelist Colum McCann, said I had to. I read 'Beloved' and 'Song of Solomon.' Pretty incredible.

James Baldwin is one of the greatest, North American writers of the second half of the Twentieth Century. A prolific writer and a brilliant social critic, he foreshadowed the destructive trends happening now in the whole Western world and beyond, while always maintaining a sense of humanistic hope and dignity. He explored palpable, yet unspoken, intricacies of racial, sexual, and class distinctions in Western societies and the inevitable, if unnameable, tensions with personal identity, assumptions, uncertainties, yearning, and questing.

Writing 'Native Guard,' I didn't know I was working on a single book. I began writing that book because I was interested in the lesser-known history of these black soldiers stationed off the coast of my hometown.

I adore Toni Morrison. I think we would all be better writers if we read more of her.

The forties and fifties were years of high poet-incense; the language-flowers were thickly sweet. Those flowers whined and begged white folks to pick them, to find them lovable. Then the '60s: Independent fire!

'Beloved' is a book that makes me cry.

Throughout African-American literature, the writer has, in a sense, been burdened by the necessity of pleading the case for the whole race. For example, writers of slave narratives tend to lose their individual voices, as they were expected to stand in for all other voices, which were absent.

In her excellent, entirely readable Richard Wright, Hazel Rowley accomplishes what [previous biographer] Michel Fabre would have liked to do with once-guarded letters, aging witnesses, previously unidentified girlfriends. . . . Mostly, Rowley concentrates on telling Wright's very powerful story.

I started to read James Baldwin very early on in my life. At a time, as a young adult in the Sixties, when there were not that many authors in whom I could recognize myself, he was an important guide and mentor to me, as he was to many others. He helped me understand who I was and decipher the world around me.

Jimmy Baldwin was the creator of contemporary American speech even before Americans could dig that. He created it so we could speak to each other at unimaginable intensities of feeling, so we could make sense to each other at yet higher and higher tempos.

Nikki Giovanni! I got a book of hers from the library, and there was this woman who could paint me on paper with words - my whole little experience. I thought it was wonderful.

Ralph Ellison is a classic work of erudition, grace, and elegance. Rampersad offers us an Ellison whose gifts and warts orbit the same universe of creative genius. Like Ellison's work, Rampersad's text wrestles eloquently with difficult truths about race, politics, and American life.

I wanted to explore black culture, and I wanted that culture to be a revelation.

All the books that were being published by African-American guys were saying 'screw whitey', or some variation of that. Not the scholars but the pop books. And the other thing they said was, 'You have to confront the oppressor.' I understand that. But you don't have to look at the world through his eyes. I'm not a stereotype; I'm not somebody else's version of who I am. And so when people said at that time black is beautiful – yeah? Of course. Who said it wasn't? So I was trying to say, in The Bluest Eye, wait a minute. Guys. There was a time when black wasn't beautiful. And you hurt.

From blood banking to the modern subway, from jazz to social justice, the contributions of African Americans have shaped and molded and influenced our national culture and our national character.

Like Richard Ellmann on James Joyce, Arnold Rampersad on Ralph Ellison is in a class of its own. His masterful and magisterial book is the most powerful and profound treatment of Ellison's undeniable artistic genius, deep personal flaws, and controversial political evolution. And he reveals an Ellison unbeknownst to all of us. From now on, all serious scholarship on Ellison must begin with Rampersad's instant and inimitable classic in literary biography.

Typically, there's this perspective among writers - and black writers: there's this idea that there is one person - and maybe beyond writers - among blacks, there is always one person who everyone should go to learn about all things black.

I found poetry at 12 and 13 and, lo and behold, learned that my attorney father had a background in poetry - as he wore dashikis and Afros in the '70s and named his kids Arabic names. He was a poet and a lot like The Last Poets and Gil Scott-Heron and all of these folks. He definitely was an artist.