vendredi 16 juillet 2010

Bernard Malamud, THE TENANTS, New York, Farrar, Strauss & Giroux, 1971

"What I said about revising some of my ideas don't mean I'm changing how I feel on black writing in comparison to white. Art is O.K. when it helps you say what you got to, but I don't want to turn into a halfass white writer or an ass-kissing Neegro who imitates ofays because he is ashamed or afraid to be black. I write black because I'm black and what I got to say means something different to black people than it does to white, if you dig. We think different than you do, Lesser. We do and we are, and we write different. If a white prick tears a piece of black skin off your ass every day, when somebody says, "Sit down," it's gonna mean two different things to me and you, and that's why black fiction has got to be different than white. The words make it different because the experience does. You know that, man. Also we are the rising people of the future, and if the whites try to hold us down it ain't no secret we might have to cut your throats. You have had your day and now we are gonna have ours. That's what I got to write about but I want to write it in black art, in the best way I can. In other words, Lesser, I want to know what you know and add on to that what I know because I'm black. And if that means I have to learn something from whitey to do it better as a black man, then I will for that purpose only."
(p. 81-82)

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