Part I and Part II of the interview, found via subashini. Photo taken by me at the Berlin Wall. Translation: “BLACK GERMAN LESBIAN, whom a so-called ‘Republican’ wanted to gas in the U-bahn on April 21, 1990. After the opening of the wall, the attacks on people of color, homosexuals and minority groups increased. This dedication is for civil courage.”
Paula M. L. Moya: I was so pleased when, during your lecture yesterday, you stated—clearly and unapologetically—that you write about race. I have always been struck by the fact that, in all the interviews you have given that I have read, no one ever asks you about race. If it does come up, it is because you bring it up. Yet it has long been apparent to me that race is one of your central concerns. This is why, for my contribution to the symposium, I decided to focus on your story, “How to Date a Brown Girl (Black Girl, White Girl, or Halfie).” And because the story is about the way race, class, and gender are mutually-constituted vectors of oppression, I decided to read it using the theoretical framework developed by the women of color who were writing in the 1980s and 90s. Honestly, though, I feel like I am swimming against the current—lately, I have seen a forgetting and dismissal, in academia, of their work; it is as if their insights are somehow passé. But it seems right to me to read your work through the lens of women of color theory. Does this make sense to you?
Junot Diaz: Absolutely. In this we are in sync, Paula. Much of the early genesis of my work arose from the 80s and specifically from the weird gender wars that flared up in that era between writers of color. I know you remember them: the very public fulminations of Stanley Crouch versus Alice Walker, Ishmael Reed versus Toni Morrison, Frank Chin versus Maxine Hong Kingston. Talk about passé—my students know nothing about these exchanges, but for those of us present at the time they were both dismaying and formative. This was part of a whole backlash against the growing success and importance of women-of-color writers—but from men of color. Qué irony. The brothers criticizing the sisters for being inauthentic, for being anti-male, for airing the community’s dirty laundry, all from a dreary nationalist point of view. Every time I heard these Chin-Reed-Crouch attacks, even I as a male would feel the weight of oppression on me, on my physical body, increased. And for me, what was fascinating was that the maps these women were creating in their fictions—the social, critical, cognitive maps, these matrixes that they were plotting—were far more dangerous to the structures that had me pinioned than any of the criticisms that men of color were throwing down. What began to be clear to me as I read these women of color—Leslie Marmon Silko, Sandra Cisneros, Anjana Appachana, and throw in Octavia Butler and the great [Cherríe] Moraga of course—was that what these sisters were doing in their art was powerfully important for the community, for subaltern folks, for women writers of color, for male writers of color, for me. They were heeding [Audre] Lorde’s exhortation by forging the tools that could actually take down master’s house. To read these sisters in the 80s as a young college student was not only intoxicating, it was soul-changing. It was metanoia.
Paula: Can you say more about why the maps plotted by women of color seemed to you more dangerous than the critiques that were made by the men of color who were attacking them?
Junot: Think about that final line in [Frantz] Fanon’s Black Skin, White Masks: “O my body, make me always a man who questions!” I remember reading these sisters and suddenly realizing (perhaps incorrectly but it felt right to me at the time) that women-of-color writers were raising questions about the world, about power, about philosophy, about politics, about history, about white supremacy, because of their raced, gendered, sexualized bodies; they were wielding a genius that had been cultivated out of their raced, gendered, sexualized subjectivities. And what they were producing in knowledge was something that the world needed to hear in order to understand itself, that I needed to hear in order to understand myself in the world, and that no one—least of all male writers of color—should be trying to silence. To me these women were not only forging in the smithies of their body-logos radical emancipatory epistemologies—the source code of our future liberation—but also they were fundamentally rewriting Fanon’s final call in Black Skin, White Masks, transforming it into “O my body, make me always a woman who questions . . . my body” (both its oppressions and interpellations and its liberatory counter-strategies). To me (and many other young artists and readers) the fiction of these foundational sisters represented a quantum leap in what is called the post-colonial-slash-subaltern-slash-neocolonial; their work completed, extended, complicated the work of the earlier generation (Fanon) in profound ways and also created for this young writer a set of strategies and warrior-grammars that would become the basis of my art. That these women are being forgotten, and their historical importance elided, says a lot about our particular moment and how real a threat these foundational sisters posed to the order of things.
Paula: What do you think was the most important advance that women of color made on the work of those earlier male thinkers?
Junot: Well, first of all these sisters were pretty clear that redemption was not going to be found in the typical masculine nostrums of nationalism or armed revolution or even that great favorite of a certain class of writerly brother: transracial intimacy. Por favor! If transracial intimacy was all we needed to be free, then a joint like the Dominican Republic would be the great cradle of freedom—which, I assure you, it is not. Why these sisters struck me as the most dangerous of artists was because in the work of, say, Morrison, or Octavia Butler, we are shown the awful radiant truth of how profoundly constituted we are of our oppressions. Or said differently: how indissolubly our identities are bound to the regimes that imprison us. These sisters not only describe the grim labyrinth of power that we are in as neocolonial subjects, but they also point out that we play both Theseus and the Minotaur in this nightmare drama. Most importantly these sisters offered strategies of hope, spinning the threads that will make escape from this labyrinth possible. It wasn’t an easy thread to seize—this movement towards liberation required the kind of internal bearing witness of our own role in the social hell of our world that most people would rather not engage in. It was a tough praxis, but a potentially earthshaking one too. Because rather than strike at this issue or that issue, this internal bearing of witness raised the possibility of denying our oppressive regimes the true source of their powers—which is, of course, our consent, our participation. This kind of praxis doesn’t attack the head of the beast, which will only grow back; it strikes directly at the beast’s heart, which we nurture and keep safe in our own.
Heady stuff for a young writer. Theirs was the project I wanted to be part of. And they gave me the map that I, a poor Dominican immigrant boy of African descent from New Jersey, could follow.
1 thought on “From “The Search for Decolonial Love: An Interview With Junot Diaz” at Boston Review”
diaz misrepresents my views. his comments show a lack of homework on his
part. it’s a superficial examination of a serious topic. by the way,the most scathing comment abt alice walker’s “color purple” was made by toni. why doesn’t he know this!! ishmael reed