Paul Beatty Quotes

If all the world's a stage, I want to operate the trap door.

I think there's nothing new going on. Except that, you're even more public than you've ever been.There's some good and some bad to that.

In White Boy Shuffle, I combined my seventh-grade teacher, Mr. Takemoto, who really saved me - I don't think I've ever told anyone this - and my first basketball coach, Mr. Shimizu, into one character. Something about the way they talked about things, and their attitudes, had a huge impact on me. Not that I necessarily agreed with them. It was important to me to just put them there to stay grounded.

My good friend, the poet Kofi Natambu, once said, "Contradiction is how we operate."

We don't act the same in every situation. Things bleed into all kinds of other things, from behavior to identity.

It's so hard to say what you really mean. For any number of reasons: to protect yourself, or if you just can't find the words.

There are certain things that happen in New York that just don't happen anywhere else.

Maybe I'm just sensitive to that person who's on the outside.

The thing is that it's always a constant reminder of how violent this country has been, always has been, you know. I'm still frustrated with these conversations: [Barack] Obama is black so that means this, that things are better, or it means that you voted for him because he's black.

It's just never the same. At least for me.It's probably because it's just who I am, I never know what that [truth] is. It's so momentary to go, "Oh, yeah, that's true." That's a fundamental starting point for me - to figure out what's true from moment to moment to moment.

I try to be accommodating, but I'm pretty much a loner.

If I'm in LA, I'm close to home, and that just brings up all these other things, good and bad. There is a reason why I am not there .

Don't write about trying to change the world, just write about a changed world or a world that's not changing. Let that do the work.

I just rode cross-country and the thing I noticed is just how afraid everyone is, and how nervous and scared and angry people are. From my point of view, I don't think it's all necessarily justified, but I think that's easy for me to say.

I remember going to see Amiri Baraka. It wasn't actually too long before he died. He said, "You've got to write to change the world!" I was like, "Not me, no, no, no, no."

The anger and fear are so global. And of course, we live where we live and there's a hierarchy to who is worth what. It's been going on for a long, long time.

There are many similarities between Germans and blacks. The nouns themselves are loaded with so much historical baggage it's impossible for anyone to be indifferent to the simple mention of either group. We're two insightful people looking for reasons to love ourselves; and let's not forget we both love pork and wear sandals with socks.

My British publisher has this independent press. It's pretty small; they actually won last year. And she's got this great energy, and she's fiercely independent, and you know this book was a hard sell. No one wanted to buy this book. But she did, and so it's paid off for her, I hope.

The other thing [my psychology professor] said to me was that I was always very mindful of the person who was away from the group, that I was always trying to bring them in.

I've also never written anything really in LA.

I think, and a lot of that has to do with where I grew up in California; [status] isn't something I think about that much.

There are always so many things happening [to us] at one time. We read Isherwood's A Single Man in class, and we had to ask: How is he talking about all this stuff: teaching, being lonely, all his memories, all at the same time? He's telling us: This is where my head is at, let me be straightforward. And of course, try be artful about it.

Sometimes I highjack memories. Sometimes I switch them around. Sometimes they're just in the background, like some little bass note. Those things have carried me through, especially when I first started writing. They're still there, but more in the distance these days.

Like when you have the right title for something you're writing and you get lost - you can always go back to the title and go, "Yeah, that's what this is about."

There are things I don't like, like sitting at the head of the class. It makes me uncomfortable. I'll do it in a seminar if I have to, but with a workshop, I try to put myself in the circle somewhere. Because that hopefully frees up some people by making somebody else sit at the nominal head of the table.

In The Sellout I tried to capture how we can talk and see race, how we see urbanity, and how we see our history.

I'm very fortunate. I'm not much of a self-promoter or anything.

I talk about folding it in often with Althea, my girlfriend. She's getting her doctoral degree at Berkeley and she talks about how even when writing these very academic, and, for the most part, serious papers there's just so much going on in her head and heart, and it's a reminder that there's a reason that she's studying these things.

If New York is the City That Never Sleeps, then Los Angeles is the City That's Always Passed Out on the Couch.

Well, it's not all the same, but there are a lot of parallels. I'm not sure how to answer [on psychology background], but I think when I was studying psychology I had a professor and a friend who would talk about "process" all the time. Your process, his process, the group's process. There's some carryover from that discussion to my creative work.

Contradictions make people feel off. They'll say, "Hey, you just said this and now this person is doing that, how is that possible?"

I forget how beautiful and calm California is. It's not so much about the place, but also the age that I came to the place and, well, other things. New York is hard.

I'm healthier in California, probably a little happier, maybe.

I'm hugely honored [with the Man Booker Prize].

People are very comfortable when race relations get looked at retrospectively. Slavery, the civil rights movement, etc.

I read an interview with a Japanese freestyle jazz musician once, and he said something like, "Everything I'm going to tell you is not going to be true." He's not saying, "I'm trying to lie to you." But he's kind of saying that you can never say what something really is.

Why are the mainstream buzz things rarely contemporary? It doesn't happen very often. It's hard to feel culpable or implicated or even apathetic.

I'll say this, and it'll sound like bullshit, but it's not: I don't really pay attention to this stuff [Man Booker Prize] very much. I think part of it is I can see myself wondering who's doing what and getting jealous, and none of that's healthy for me. So I just don't really.

I've written a little bit in Germany.

It makes me think about how you hear these young people say, "I see you, man." Or even if you go and watch some basketball game over the summer and the announcer goes, "I see you," and you see that player smile. You know what I mean? That thing of just being recognized, especially when you do a little subtle thing. I don't know.

I'm not much of a self-promoter or anything. It's not something I feel comfortable doing. But sometimes I would get frustrated, I'd think, "You know, this is a good book, how come no one is paying attention to it?" So it's nice to have some recognition. I don't write to put it in a drawer, I hope that people see it. But what am I willing to do for that? I struggle with that a little bit. I try to be accommodating, but I'm pretty much a loner. I'll say this, and it'll sound like bullshit, but it's not: I don't really pay attention to this stuff very much.

I don't write to put it in a drawer, I hope that people see it.

If all the students who slept through lectures were laid end to end, they'd all be a lot more comfortable. If all the world's a stage, I want to operate the trap door.

If I'm in LA, I'm close to home, and that just brings up all these other things, good and bad. There is a reason why I am not there. That's what I have to remind myself of. But I'm healthier in California, probably a little happier, maybe. I forget how beautiful and calm California is. It's not so much about the place, but also the age that I came to the place and, well, other things. New York is hard.

My dad fought in Korea. It was one of the first stories I remember hearing about.

It's all the same for me, how I teach, how I write, how I think.

The Sellout is about friends and relatives who have touched me in real ways.

Even when it comes to writing fiction, how do you encompass all this stuff that's right on the tip of your tongue? You have to fold that into what you're working on.