A life in two languages is a life experienced twice. - Ilan Stavans

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.

What I want people to engage in, and people already do so, is not only in what others are telling us and what we're telling the others, but in the music that we engage in when we speak. And where that music comes from, language is character, is individual character, is collective character. Language is history too...When we're listening to somebody who doesn't speak exactly like us, it's easy to demonize them, to think that they are less worthy than us. But in the end, we come from that background. We come from others that didn't have the language that we have today. And if we can see the versions, the iterations of the past, in those words, in that music, I think we're going to be more sensitive, compassionate and humble.

The relationship we develop with a classic is like a lifelong friendship: it goes through ups and downs. Whenever we reopen the book, we are different, and, as a result, what we read is too. This, I think, is another definition of a literary classic: like a mirror, it reflects what is in front of it.