The nation as the horizon of an identity that you want to come into being as a fundamental absence of something that is compromised, something that needs to be rescued or made - these matters preoccupy the third world writer. It is seductive for a Marxist understanding of literary practice and production in the sense that it says that material culture determines literary output.

The nation as the horizon of an identity that you want to come into being as a fundamental absence of something that is compromised, something that needs to be rescued or made - these matters preoccupy the third world writer. It is seductive for a Marxist understanding of literary practice and production in the sense that it says that material culture determines literary output.

Making of poetry, music, dance and art as culture-making in the service of nation-making. You can find writings that make that purpose for art quite explicit.

Snowboarding allows you to create your own path, and for me it was awesome because no one was telling me what to do. I could go out on the mountain and try new things and learn for myself.

A wedding is earth and water and a species of irreducible light and the flat belly of a harbor and a mango about to ripen and fall into gravity's caress and the waves subsiding and resuming their concerto in a minor key and the rush hour canceled by the stun of auspicious beginnings.

All third world literature is about nation, that identity is the fundamental literary problem in the third world. The writer's identity is insecure because the nation's identity is not secure. The nation doesn't provide the third world writer with a secure identity, because the nation is colonized, it's oppressed, it's part of somebody else's empire.

A wedding is at once a crowded place and a private room, packed with trusts and empty of all but the heart's letters which one other heart may read and decipher.