Stereotypes, they're sensual, cultural weapons. That's the way that we attack people. At an artistic level, stereotypes are terrible writing.

I don't think you can be from the Caribbean and not know a certain amount about the apocalypse.

I read a book a week, man. And I don't have a great memory, but I have a good memory about what I read.

Nobody warned me that when you fall in love, you really fall in love forever.

We get so many people saying short fiction is not economical, that it doesn't sell; but there are so many of us enjoying writing it and reading it. So it's wonderful to be around people who love short fiction too - it's like hanging around with my tribe.

I look most like myself... when I'm wearing my black, nerdy engineering glasses.

Infidelity raises profound questions about intimacy.

For kind of sophisticated art I'm interested in, the larger structural rebuke has to be so subtle that it has to be distributed at an almost sub-atomic level. Otherwise, you fall into the kind of preachy, moralistic fable that I don't think makes for good literature.

I was, as a kid, really obsessed with reading... that was about as geeky as you could possibly get.

Students teach all sorts of things but most importantly they make explicit the courage that it takes to be a learner, the courage it takes to open yourself to the transformative power of real learning and that courage I am exposed to almost every day at MIT and that I'm deeply grateful for.

I mean in the community that I grew up in, you know, a very, you know, mixed, almost entirely African Diaspora community, one of the things that we were not ever supposed to say was how much self-hatred and colorism determined and guided what we would call our desire. In other words, what we would consider beautiful.

You know, I was a kid who had difficulty speaking English when I first immigrated. But in my head, when I read a book, I spoke English perfectly. No one could correct my Spanish. And I think that I retreated to books as a way, you know, to be, like, masterful in a language that was really difficult for me for many years.

'Drown' was always a hybrid book. It's connected stories - partially a story collection but partially a novel. I always wanted the reader to decide which genre they thought the book belonged to more - story, novel, neither, both.

There is a lot of scepticism today as to whether memoir is real. But when fiction is done at a certain level there is scepticism as to whether it is really fiction.

Spin is 'something is beautiful because we say it's beautiful.'

I was in fact pretty much - by the larger culture, by the local culture, by people around me, by people on TV - encouraged to imagine women as something slightly inferior to men.

Just the fact that you get to live and breathe and interact with the world - that's pretty marvelous.

When I got heartbroken at 20, it just felt like someone had spiraled a football right into my skull. At 40, it feels like someone had driven a 757 right through me.

A young person, or someone who's writing in a different way - in some ways you could say, eventually someone will find them. Eventually someone will hear them. But it's good a lot of young people persevere. Because sometimes you have to send something out a thousand times before anyone recognizes your value.

Books don't live and die by awards. You don't listen to an Hector Lavoe album because it won some awards.

I think there's something really painful about your identity being entirely composed of ghosts. For me, I didn't want to be this kid whose Dominicanness was something caught utterly in the past, is an abstraction, the thing that I write about. Instead I wanted it to be, first and foremost, a thing that I lived.

I write incredibly slowly. And, on top of that, I spent my entire youth and twenties working like a dog, so one of the things that happened when I finished 'Drown' was that I got busy living. I'd never travelled, I'd never seen anything. So I did as much travelling as my job teaching would allow.

The one thing about being a dude and writing from a female perspective is that the baseline is, you suck. The baseline is it takes so long for you to work those atrophied muscles - for you to get on parity with what women's representations of men are.

Art is not boosterism, it's not propaganda, and it's not spin, but that's not something that art does, and nor has it historically ever done it.

When I became my masked identity I was this incredible little nerd, but in the real world I had to be this tough kid from the neighborhood.

It took me 11 years to struggle through one dumb book, and every day you just want to give up. But you don't find out you're an artist because you do something really well.

To an outsider, I just seem like a list of accomplishments. To me, all there is is how often I fail.

New Jersey for me is so alive with history. It's old, dynamic, African-American, Latino.

My thing is every generation of Americans has to answer what we call the 'Superman Question.' Superman comes, lands in America. He's illegal. He's one of these kids. He's wrapped up in a red bullfighter's cape. And you've got to decide what we're gonna do with Superman.

Technically, I split my time between N.Y.C. and Boston.

My greatest responsibility is to acknowledge the mistakes and the shortcomings of the country in which I live, to acknowledge my privileges, and to try to make it a better place.