Speaking of Junot Díaz, here’s another interview this time with Nicholas Wrote in The Guardian:

He says his remarkable use of language – his Spanglish is just one example of worlds colliding – was part of an attempt to unite the various parts of himself. “I was from a very strict and conformist family, so it wasn’t even permissible to cohere between home and the streets. Then came college and so on. In artistic terms it took a lot longer to work out than it should have. There are protocols in writing that are used to simplify things. It takes a while for an artist to work out that they can be broken. One of the contradictions of America’s insane capitalism is that you will meet people like me who have lived in three or four worlds. Maybe it’s to do with the fact that I’m straight and male, but I never saw any value in sealing off my background. I was critical, but I never felt one of the options was to entirely reject it. But it did take a long time for me to talk to my friends at home about the kind of books I read and the kind of politics I was interested in at college. It also took a long time for me to take my home into this larger and more intellectual world.”

Dude just rocks so much. Read his books — there are only two and they are both amazing.

Díaz on his new short story collection “This Is How You Lose Her”:

I needed a framework to start out. I had this idea of writing a book of collected stories about the rise and fall of a cheater. What drove me nuts was getting this whole thing from beginning to end pieced together. It’s like building a building. I won’t say it’s like building a cathedral, but it’s sort of like building a barn. You want to get it working and you want to get everything fitted nicely,” he says. “What drove me bananas was searching for, wrestling with the missing beams. Had it been a novel, I think it would have been a very different book, and one day I will write a novel about the rise and fall of a cheater, but I wanted to do this as a kind of fragmentary whole.

I also loved this bit about writing unique, memorable prose:

Thermodynamics has these neat, tidy little laws that hold true, and evolution has all these great little principles that hold true. The one principle that we have in literature and art is that the universal arises from the particular. It’s the actual thumbprint uniqueness, it’s the granular idiosyncratic, one-of-a-kindness of a work of art that gives it power across time, across space, across language, that allows it to clear that most terrible of all barriers, the barrier that separates one soul from another. We’re still reading Shakespeare because Shakespeare was so incredibly particular… . Hamlet rings across the ages because Hamlet is a f__king Dane, not in spite of it.