Bharati Mukherjee Quotes

I am always amazed when reviewers or some literary critics lump all Asian American writers together as being a homogenous group. Whereas within the subcontinental group of immigrants and naturalized American citizens here, we retain our old world ethnic differences. It's the narcissism of the slightest differences, as Freud might say. (2002)

Where am I going? I don't want to know too far ahead. (1996)

Writers (especially American writers, weaned on the luxury of affluence and freedom) often disavow the notion of a "literary duty" or "political consciousness," citing the all-too-frequent examples of writers ruined by their shrill commitments. Glibness abounds on both sides of the argument, but finally I have to side with my "Third World" compatriots: I do have a duty, beyond telling a good story or drawing a convincing character. My duty is to give voice to continents, but also to redefine the nature of American and what makes an American. In the process, work like mine and dozens like it will open up the canon of American literature.

I have been murdered and reborn at least three times; the very correct young woman I was trained to be, and was very happy being, is very different from the politicized, shrill, civil rights activist I was in Canada, and from the urgent writer that I have become in the last few years in the United States. I can't stop. It's a compulsive act for me. It's a kind of salvation, and the only thing that prevents me from being a Joyce Carol Oates, and I'm not talking about quality, but just that need to create, is schedule.

That's the marvelous thing about the writing process: you don't know when and how a memory, a scrap of conversation overheard, an allusion or image, is suddenly going to surface and work itself into your story. (1996)

I was born into a class that did not live in its native language. I was born into a city that feared its future, and trained me for emigration.

Novelists aim for fullness of catharsis, not a political pamphlet. (1996)

The most moving form of praise I receive from readers can be summed up in three words: I never knew. Meaning, I see these people (call them Indians, Filipinos, Koreans, Chinese) around me all the time and I never knew they had an inner life.

I believe that if you are literate, all literature that you expose yourself to is your heritage to claim

my true material is immigration. In other words, transformation not preservation.

It meant that anyone with a brown face in cities like Toronto, Vancouver was fair game for physical harassment as well as verbal harassment on the street. And so, you know, there were incidents every day. And I was a victim of many such incidents of not being served in stores or being roughed up by teenagers in blue jeans overalls in subway - on subway platforms or being, you know, thrown out of lobbies of fancy hotels if my white husband wasn't near me or being given secondary examination in airports or - racial profiling…

I have been blessed with an enormity of material. I can be Chekhovian and Tolstoyan-with melancholy and philosophical perspectives on the breaking of hearts as well as the fall of civilizations-and I can be a brash and raucous homesteader, Huck Finn and Woman Warrior, on the unclaimed plains of American literature.

Literature can help bring about change of hearts and minds and then put pressure for political, legislative change. (2007)

I'm amazed at how fast the interest has grown in writing in English by writers of South Asian origin, whether they're living in India, living in South Asia, or they are expatriate writers living here or immigrant American writers like Jhumpa Lahiri and me. The size of the community of such writers and the body of work produced has happened so fast. (2007)

my literary agenda begins by acknowledging that America has transformed me. It does not end until I show how I (and the hundreds of thousands like me) have transformed America. The agenda is simply stated, but in the long run revolutionary. Make the familiar exotic; the exotic familiar.