“If one were to assign the life of an exiled writer a genre, it would have to be tragicomedy. Because of his previous incarnation, he is capable of appreciating the social and material advantages of democracy far more intensely that its natives do. Yet for precisely the same reason (whose main by-product is the linguistic barrier), he finds himself totally unable to play any meaningful role in his new society. The democracy into which he has arrived provides him with physical safety but renders him socially insignificant. And the lack of significance is what no writer, exile or not, can take.”
The Condition We Call Exile, or Acorns Aweigh (1987)
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