Quotes of All Topics . Occasions . Authors
My sister taught me how to write my name when I was about three. I remember writing my whole name: Jacqueline Amanda Woodson. I just loved the power of that, of being able to put a letter on the page and that letter meaning something.
I think writers are the history keepers, right? We're the ones who are bearing witness to what's going on in the world. And I feel like it's our job to put that down on paper, and put it out into the world, so that it can be remembered.
Sometimes you do have to laugh to keep from crying. And sometimes the world feels all right and good and kind of like it's becoming nice again around you. And you realize it, and realize how happy you are in it, and you just gotta laugh.
I didn't have any idea of what I was getting into by going away to college. And I was scared. I was scared of failing. I was scared of it not being for me because I was going to be one of the first people in my family to go off to college.
I'm always wondering if he'll return. Sometimes I pray that he doesn't. And sometimes I hope he will. I wish on falling stars and eyelashes. Absence isn't solid the way death is. It's fluid, like language. And it hurts so much...so, so much.
Even with all of its changing, Brooklyn's architecture still feels like home, the language feels like home. It's changing so quickly that it's surprising. It's surprising still, when someone looks kind of askance to see me walking towards them.
As a poet who has the tools for interpreting the poem differently, you can begin to deconstruct it. But the human being who's like, "I know about conversation, I know about language, I know about hard times," will approach the poem differently.
The epistolary form is one of the hardest to write. It's so hard to show something that's bigger in a letter. Plus, you have to have the balance of how many letters are going to work to tell the story and how few are going to make it fall apart.
I think it's so important that, if I'm writing about the real world, I stay true to it. I think that kids do compartmentalize, and they're hopefully able to see it from a safe place of their own lives and, through that, learn something about empathy.
Sometimes it seems as though not a moment has moved, but then you look up and you're already old or you already have a household of kids or you look down and see your feet are miles and miles away from the rest of you—and you realize you've grown up.
We do inherently know that poetry is about the way we speak. It's about where we pause, where we drop our words in the middle of a sentence. It's about the rhythm and the cadence of the way we speak. It's about putting that down at the end of the day.
When I'm feeling frustrated with a story, I have faith that it's going to come. Also, when I first started writing, I wanted to write the stories that were not in my childhood, to represent people who hadn't historically been represented in literature.
I would have written 'Brown Girl Dreaming' if no one had ever wanted to buy it, if it went nowhere but inside a desk drawer that my own children pulled out one day to find a tool for survival, a symbol of how strong we are and how much we've come through.
Lately, I'd been feeling like I was standing outside watching everything and everybody. Wishing I could take the part of me that was over there and the part of me that was over here and push them together—make myself into one whole person like everybody else.
My grandparents were wealthy; my mom was not. I would walk into these worlds of privilege and then walk back into this other world. My little brother is biracial. So race and economic class and sexuality - these were always issues that were a part of my life.
A lot of times, when people send me books to read - new writers mostly - I find that the book is still in a draft stage and that before it can leave the writer's hands and head to a publisher, it needs about five more revisions. Some people don't want to do that.
I definitely believe in a greater good. I definitely believe that there's a reason each of us is here and that we've been brought here to do something. And we need to get busy doing it. And I definitely believe that there is something moving us forward that's good.
I think that happens for a lot of people, they have this idea that there's only one type of way to write poetry and that you have to have this information. You have to know about meter, you have to know about form, you have to know about iambic pentameter, and all of that.
The Great Migration can get forgotten if we don't pay attention or bear witness to it. It's part of my personal history and the history of millions of African Americans who left those oppressive conditions for better lives in the North. It's important to put that on the page.
I feel like so much of what I'm doing is making a road where there is no road and inviting people on that road with me. It's scary. It's scary, but I can't listen to the voices that are saying form is the only way, or that there is only this kind of form or that kind of form.
The strength of my mother is something I didn't pay attention to for so long. Here she was, this single mom, who was part of the Great Migration, who was part of a Jim Crow south, who said, 'I'm getting my kids out of here. I'm creating opportunities for these young people by any means necessary.'
I'm fascinated by adult women who don't have close friends and how that could come to be. I think when you're a kid, the relationships are so intimate, and you're so connected to your girls, so what becomes of them? What could possibly happen to have you become an adult woman and no longer have that?
I remember my mother would get upset with me 'cause she said I walked like my dad. But I think it was more like, there's something about you that's not quite ladylike and femme. And then when I got older - once I came out, my mom and grandma were horrified and just kind of like, where did we go wrong?
I feel like I'm a New Yorker to the bone. But there is a lot of the South in me. I know there is a lot of the South in my mannerisms. There's a lot of the South in my expectations of other people and how people treat each other. There's a lot of the South in the way I speak, but it could never be home.
As a person of color, as a woman, as a body moving through this particular space in time, I realize the streets of New York tell the story of resistance, an African-American history of brilliance and beauty that, even in its most brutal moments, did not - could not - kill our resilient and powerful spirit.
A long time ago, Anne used to talk about energy - how that was all that love was - ions connecting across synapses of time and air. Don't rationalize, she'd say. None of it will ever make sense. I leaned back against the wall and closed my eyes, not wanting to cry. Anne was right. None of it made any sense.
As a child in South Carolina, I spent summers like so many children - sitting on my grandparents' back porch with my siblings, spitting watermelon seeds into the garden or, even worse, swallowing them and trembling as my older brother and sister spoke of the vine that was probably already growing in my belly.
My family is big, complicated, and beautiful - and keeps me smiling and whole. It's so important to have family, whether it's biological family, good friends, foster families, or a group of aunties who are raising you. The idea of feeling isolated is scary to me - to walk through the world alone would be heartbreaking.
Who are you without your girls? I truly believe that. Who are you without the people who help you make sense of the misogyny, the racism, the economic struggle, all of it? You need those people saying you're a good mom, a great writer. You're a great dresser. You cook well. Whatever the beauty is that you need to hear.
'Brown Girl Dreaming' was a book I had a lot of doubts about - mainly, would this story be meaningful to anyone besides me? My editor, Nancy Paulsen, kept assuring me, but there were moments when I was in a really sad place with the story for so many reasons. It wasn't an easy book to write - emotionally, physically, or creatively.
I wouldn't mind the early autumn if you came home today I'd tell you how much I miss you and know I'd be okay. It's funny how we never know exactly how our life will go It's funny how a dream can fade with the break of day. Time can't erase the memory and time can't bring you home Last Summer was a part of me and now a part is gone. —Margaret
I think when I was a young person, there was just kind of - there was very little dialogue about it. And there was just kind of one way to be gay, right? You saw very effeminate guys. You saw very butch women. And there was no kind of in-between. And there was no - you know, there wasn't anything in the media. There wasn't anything on television.
I think in terms of being a New Yorker, as my friends would say, I don't take a lot of mess. I have no tolerance for people who are not thinking deeply about things. I have no tolerance for the kind of small talk that people need to fill silence. And I have no tolerance for people not - just not being a part of the world and being in it and trying to change it.