Dinaw Mengestu

Dinaw Mengestu
Dinaw Mengestuis an Ethiopian-American novelist and writer. In addition to three novels, he has written for Rolling Stone on the war in Darfur, and for Jane Magazine on the conflict in northern Uganda. His writing has also appeared in Harper's, The Wall Street Journal, and numerous other publications. He is Lannan Chair of Poetics at Georgetown University. Since his first book was published in 2007, he has received numerous literary awards, and was selected as a MacArthur Fellow in 2012...
NationalityEthiopian
ProfessionNovelist
CountryEthiopia
Peoria is such a seemingly quintessential American city, and I had always wanted to draw on that in either my fiction or in nonfiction. The Midwest is also a landscape that I have always been infatuated with, perhaps because it's the first one I can truly remember.
The fact that I have always been deeply invested in politics, and African politics in particular, inevitably played a role in my first novel and, of course, in my decision to write about a handful of particular conflicts in Africa as a journalist.
The Beautiful Things that Heaven Bears is very much about America - it just happens to have African and Ethiopian characters, and in fact, it happens to have more characters who are not Ethiopian than who are.
There are those who wake up each morning to conquer the day, and then there are those of us who wake up only because we have to. We live in the shadow of every neighborhood. We own little corner stores, live in run-down apartments that get too little light, and walk the same streets day after day. We spend our afternoons gazing lazily out of windows. Somnambulists, all of us. Someone else said it better: we wake to sleep and sleep to wake.
It's hard sometimes to remember why we do anything in the first place. It's nice to think there's a purpose, or even a real decision that turns everything in one direction, but that's not always true, is it? We just fall into our lives.
The world around us is alive, he would have said, with our emotions and thoughts, and the space between any two people are charged with them all. He had learned early in his life that before any violent gesture there is a moment when the act is born, not as something that can be seen or felt, but by the change it precipitates in the air.
My mother could never have said she loved fall, but as she walked down the steps with her suitcase in hand toward the red Monte Carlo her husband had been waiting in for nearly an hour, she could have said that she respected its place as a mediator between two extremes. Fall came and went, while winter was endured and summer was revered. Fall was the repose that made both possible and bearable, and now here she was was with her husband next to her, heading headlong into an early-fall afternoon with only the vaguest ideas of who they were becoming and what came next.
At night my father often heard sporadic gunfire mixed in with the sound of dogs howling. If the war came closer, soon there would be only minor difference between shooting a dog and shooting a man.
We persist and linger longer than we think, leaving traces of ourselves wherever we go. If you take that away, then we all simply vanish.
I had lost too much of the heart and all the faith needed to stay afloat in a job where every human encounter felt like an anvil strung around my neck just when I thought I was nearing the shore.
I was always curious about the anxiety a person would feel when you open your mouth and you have an accent. You could have a Ph.D. or be a lawyer, but as soon as you say something, you may be diminished in the eyes of someone else.
History does influence our lives - every moment. We never sort of live our lives in a linear fashion. We always have these memories and these images from our past that sometimes were not even aware of, and they sort of shape who we are.
Growing up in the suburbs of Chicago, the color of my skin and my rather peculiar background as an Ethiopian immigrant delineated the border of my life and friendships. I learned quickly how to stand alone.
Personally, its a comfort and happiness to know that my work is taken seriously and is not marginalised and put in a box of ethnic immigrant writing in America.