Top 15 Ilan Stavans Quotes

Because you live in two or three worlds doesn't mean you don't live in any of them.

In Mexico, I was a Jew. In the U.S., I became a Mexican, but all these dichotomies helped me to see that you can be an outsider and an insider simultaneously. You become a member of another minority, but not fully. Here I'm a Mexican in the U.S. I'm a Latino. I'm a Jew. I'm an American.

There has been for many years resentment of Spain as the conqueror, but a lot of things about modern Spain have changed, he said. We should talk about the Hispanic world as a much more dynamic body made up of Spain, Latin America, the Spanish-speaking Caribbean and Latinos in the U.S.

I don't think Latinos are a separate nation in the U.S. 'We are entering, belonging and sharing that melting pot with many other minority groups.

A life in two languages is a life experienced twice.

I hardly remember reading the Torah in school. On the rare occasion we did, it was always as a series of mythical stories: a plotline with characters, good and evil, who behave all the time like the rest of us, trying to find meaning in life when none is available. Years later, when I was already an adult, I remember feeling struck by the religious emphasis in just about every episode. How could I have missed it? My gut feeling is that our teachers were ambivalent about it, too. They liked storytelling, and that's what they stressed. Today I'm grateful to them for introducing me to the Bible not as a Halakhic (legal) manual but as a depository of collective memory. For that reason, my relationship with it isn't tyrannical.

It was only when I was a newly arrived Mexican immigrant in New York that I came to terms with Yiddish. It happened in a rather unexpected way, as I became exposed to the mixing of Spanish and English (called Spanglish today) in the subway and on the street, on TV, and on the radio. At first that barbaric hybrid, neither here nor there, made me cringe. My beloved Spanish language was being contaminated by an onslaught of Anglicisms. Should I do something to stop the pollution? However, I soon came to recognize that "a new Yiddish" was emerging in the United States, this time among Latinos, a vehicle of communication that depended on jazzy, never-ending code switching, just as Yiddish had done between Hebrew and German plus a variety of Slavic tongues. Yiddish automatically regained a dominant place for me. I not only wanted to reclaim its status, for me and others, but also to study its history, its evolution, in order to measure the potential of Spanglish.

My advice to young writers of personal essays is made of three steps: read, read, and read. Read what the classics have left for us: Montaigne, Sor Juana, Edmund Wilson, James Baldwin, Borges. Don’t only read them but read against them. Disagree and debate them. It is untrue that we write along with our contemporaries. Truth is, there is no present tense in literature: in the library, all books are together. I don’t write only for today’s readers. I write for the writers and readers of the past and of the future.

The best conditions for fine criticism to emerge are rather simple: an atmosphere where ideas and stories aren’t in opposition but in partnership, where the act and art of thinking becomes a compelling narrative not about a particular point but about life itself.

An accessible language is a language that is beautiful. It is a language of understanding, not of pretension. To be accessible is to write not from Mount Sinai but from below, where the people are. The critic has the exact same words (in English, there are close to a million, according to the editors of the OED) available to write poetry, fiction, theater, autobiography, et cetera.

I tell my students that education isn’t about facts. It isn’t about theories, either. It is about tracking your thoughts, about witnessing how stories are formed in your mind. It is about allowing the mind not to be clogged, about letting it see not what it does but how it does it. The rules of criticism are the same as the rules of other types of literature. These rules boil down to one: finding the right words to tell the right narrative at the right time. Nothing else matters.

Unfortunately, criticism has been kidnapped by the academy, which has overwhelmed with rubbish. The academic essay — e.g., the tenure-track essay — is written for an audience of three or four lonely readers — for whom literature long ago ceased to be about pleasure — in order to become part of a profession. Yes, the worse that might happen to literature is institutionalization. For literature is free: free to make up things, free to associate, free to rebel.

narrative is narrative: it needs to entertain, to illustrate, to enlighten. We live by and through narratives because we have an insatiable desire to comprehend our circumstances, to share its basic tenets with others, and to appreciate how others tell their own tales. I don’t like the abyss our civilization has built between fiction and criticism. In my view, they are sides of the same phenomenon. I live, I let myself live, in the connection between these sides. All essays are personal — either we recognize it or not — just as all fiction is autobiographical (and all autobiography is fiction). I love the personal essay. It triggers something instinctual in me: to use the “I” as a Virgil, to elucidate what I see, what I think, what I conceive in ways that aren’t for me alone but for everyone.

Without the classics, we are a tabula rasa: we have no memory. We not only open the classics to re-create the past; we also use them to calibrate the present.

no translator is godlike; on the contrary, all are miserably human, meaning imperfect in their quest. Therefore, the practice of translation exists, as it should, in a state of constant renewal.