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Darryl Pinckney Quotes

Most Famous Darryl Pinckney Quotes of All Time!

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The history of blacks is complicated, fragmented, disturbing to contemplate - not a neat trail of challenges met or of felled trees blocking the path to the mountain top.

When writing on black life, whites have often been unwelcome, usually called upon to give witness or hauled in as the accused.

In the years after World War I, blacks began to migrate to the North and its imagined freedoms in great numbers - 'Russian' came to mean a black who had rushed from the South.

Jean Toomer is a phantom of the Harlem Renaissance. Pick up any general study of the literature written by Afro-Americans, and there is the name of Jean Toomer. In biographies and memoirs of Harlem Renaissance figures, his name is invoked...

'High Cotton' is more conscious of class than 'Black Deutschland.'

I wrote 'Black Deutschland' very quickly one summer, probably because I had a lot of it in pieces and fragments sitting around over the years as false starts or notes.

I know black kids who don't even know any other black kids except their cousins. And that's enough. You wouldn't look at these kids and say that they are Uncle Toms or self-hating or fleeing or trying to be white,...

Identity is made up of lots of different things now. Different colors and patterns stand out at different times. Different instruments in the symphony of being are more distinct than others at different times.

Unfortunately for me, I was one of these people who took a long time to learn that the material at his feet was fine.

I'd waste a holiday trying to set a story in this new place I'd visit, whereas I would never write a story about Indianapolis.

I had a lot of notes and fragments and observations that never amounted to anything. After the Wall had gone down, so many people were writing about Berlin, I didn't have the same urgency or feel enough authority.

Eventually, I gave up my sublet in Berlin and stayed in England for a long time - for about 20 years.

For a long time, Nella Larsen was the mystery woman of the Harlem Renaissance. In the late 1920s, she published two sophisticated novels, 'Quicksand' and 'Passing,' and then her writing life came to an end. She died in obscurity in...

If the sensitive washout has no taste for extreme gestures, total self-destruction, then his hope for singularity rests in his voice. Tone is everything.

Tone is everything.

The city - as the theater of experience, the refuge, the hiding place - has, in turn, been replaced by an abstraction, the fast lane. In the fast lane, the passive observer reduces everything - streets, people, rock lyrics, headlines...

The nameless loser in Jay McInerney's 'Bright Lights, Big City' is going to the dogs like a gentleman. He is too smart to blame anyone for the impasse he has come to, hip enough to know he does not know...

Paule Marshall does not let the black women in her fiction lose. While they lose friends, lovers, husbands, homes, or jobs, they always find themselves.

Harlem's streets lead backward, into history, straight to a work such as 'This Was Harlem.'

Harlem exists in retrospect, in the memory of grandparents or elderly cousins, those 'old-timers' ever ready with their geysers of remembered scenes. The legends of 'Black Mecca' are preserved in the glossy musicals of Times Square and in texts of...

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