After the Tiananmen Massacre, I felt compelled not only to continue writing but to actively resist the restrictions placed on freedom of speech. I set up the publishing company in Hong Kong, with offices in Shenzhen in mainland China, and managed to publish works of fiction, philosophy, and politics by unapproved authors.
It hardly matters why a library is destroyed: every banning, curtailment, shredding, plunder or loot gives rise (at least as a ghostly presence) to a louder, clearer, more durable library of the banned, looted, plundered, shredded or curtailed.
For a country to have a great writer ... is like having another government. That’s why no régime has ever loved great writers, only minor ones.
I was thinking of writers living in East Europe before the Berlin Wall came down. They wrote fantastic stuff but were dealing with a situation that was almost impossible to deal with, but they found a way.
Exile as a mode of genius no longer exists; in place of Joyce we have the fragments of work appearing in Index on Censorship.
I would like to save all books, those that are banned, those that are burned, or forgotten with contempt by the mandarins who want to tell us what is good and what is bad. Every book has a soul ... and I believe every book is worth saving from either bigotry or oblivion.
In a lot of writing or intellectual discourse we're starting to use that model: "Oh, this is where it comes from!" I would like to concentrate on work which is more resistant to that procedure, as I think fiction is.
I believe that the power of literature is stronger than the power of tyranny.
Before my teens, my contemporaries were reading Tolkien and were absorbed by his works, but try as I might, I could not be drawn in, perhaps as something in me resists the epic, medieval-feeling fantasy.
The problem with literature, with writing, is that it works sometimes in terms of correction of social ills. Other times, it just does not suffice. The proof of that is the ability of a dictator to snuff out the life of a writer.
Some may want to shout on the street, but we should tolerate those who hide in their rooms and use literature to voice their opinions.
And at the end of the day, there was an attempt to suppress a book. The book wasn't suppressed. It's freely available in whatever it is, close to 50 languages. There was an attempt to suppress the writer. And I'm happy to say the writer wasn't suppressed.
The resistance to my work, and to my way of writing, has been there from the beginning. The first things I wrote were these short short stories collected in At the Bottom of the River, and at least three of them are one sentence long. They were printed in The New Yorker, over the objections of many of the editors in the fiction department.
My first book, 'Nadirs,' was very important for me. I'll leave its literary worth for others to judge. But its publication in Berlin in 1984 gave me protection. As did the awards it won. The Romanian secret police could no longer treat me and my friends as though we were completely cut off from the rest of the world. And we no longer felt cut off.
It has seemed to me that literature, as I meant it, was embattled, that it was increasingly difficult to find writing doing what I thought literature should do - which was simply to push people into changing their ideas about the world, and to go further, to encourage us in the work of changing the world, to making it more just and more truly human.
Poetry is my politics. It's an opportunity that gives me a way to speak.
Science fiction was one of those places, particularly during the McCarthy era, where you could write whatever you wanted because it was beneath contempt. They didn't bother censoring it.
A writer will write with or without a movement; but at the same time, for Chicano, lesbian, gay and feminist writers-anybody writing against the grain of Anglo misogynist culture-political movements are what have allowed our writing to surface from the secret places in our notebooks into the public sphere.
Manuscripts do not burn.
I still think the revolution is to make the world safe for poetry, meandering, for the frail and vulnerable, the rare and obscure, the impractical and local and small.
I look at the great poets of the Soviet Union, like Anna Akhmatova, who endured far worse then anything we've seen or hopefully that we will ever see. If they could keep writing and keep a voice alive, keep people hopeful through their poetry, then I would be ashamed to stop and to give in. It would be really self-indulgent, unacceptable, and inexcusable to walk away from it.
The act of writing for the slave constituted the act of creating a public, historical self, not only the self of the individual author but also the self, as it were, of the race.
There was no really good true war book during the entire four years of the war. The only true writing that came through during the war was in poetry. One reason for this is that poets are not arrested as quickly as prose writers.
Fiction is more dangerous than nonfiction because it can seduce better. I think we all know this, know that deeper truths can be approached in fiction than in fact. There are risks for the reader, because after reading certain books you find you have changed irreversibly. There are risks for writers: in China, now, and Ethiopia and other countries right now, writers face real persecution.
There is no living African writer who has not had to, or will not have to, contend with Achebe's work. We are either resisting him - stylistically, politically, or culturally - or we are writing toward him.
