Maxine Hong Kingston

"When you are a person who comes from a multicultural background it just means that you have more information coming in from the universe. And it's your task to figure out how it all integrates, figure out its order and its beauty. It's a harder, longer struggle. (1989)"

"There is a refusal to understand that an American can look like one of us and doesn't have to be white. (1989)"

"I was really shocked when I came out with my first book. At that time there were some Asian American men who were all we had of our literary community. And I expected, when my book came out, for them to say, welcome. Welcome to the community of artists. Because there are so few of us. So here's another one to add strength to our numbers. And, instead, the men just right away went into this big thing. It's a very crazy plot they have in their heads. Their assessment of the publishing industry is so wrong. (1989)"

"a lot of Chinese Americans get mad, because they say my experience is nothing like theirs. Of course, they may come from a different class of people; they come from a different generation of migration; they're a different generation American. There aren't enough books out there. If there were lots of books, then you could see the variety of people in the books, reflecting the variety of people in life. But since there aren't a whole lot of books... (1989)"

"(about visiting China for the first time) MHK: I did feel that I was going back to a place that I had never been. (1986)"

"The power of imagination leads us to what's real... it's a bridge toward reality. (1986)"

"I am creating part of American literature, and I was very aware of doing that, of adding to American literature. The critics haven't recognized my work enough as another tradition of American literature. (1986)"

"For fiction, we fantasize about what we would like to happen: I am making what I would like to happen happen. And so, this writing always feels new and going forward. If there is such a thing as reverse memory, maybe that's what I am getting into; because it seems to me, I'm writing the memory of the future rather than a memory of the past. (1986)"

"(What do you think about revenge?) MHK: I come from a culture where revenge is important. So many of the stories and operas I grew up on have that theme of revenge. I think has something to do with justice in our lifetime rather than justice in another reincarnation. But in American culture revenge is really questioned. Christianity says no revenge. The vengeance I will permit myself has to come in a new form. I wrote in The Woman Warrior that the Chinese idiom for "revenge" can also mean "reporting to five families." If you can find the words for an injustice and put it in some artistic shape, and let everyone know, then revenge has taken place. It has something to do with broadcasting the reputation of one that you want revenge against. Revenge cannot take the form of an eye for an eye, not like that. (1986)"

"(Your books are a lot about people's inhumanity to one another, so I wondered where you find comfort and balance?) MHK: I ask that of myself a lot: where are the sources of life so that you can renew yourself! I find help in nature. We should always remember to plop ourselves under the trees because every time I've ever done that I feel the earth giving me energy and the sky giving me perspective, and I come as close as I ever do to satori. Then I realize that life in the city cuts me up into pieces. I know that, and yet I don't leave it. All I have to do is go out into nature and it gives me strength to come back and work on. And I read-there are writers who give you life whether or not they write well, it's very odd. I feel that way about Anaïs Nin, who sometimes I don't think writes well. I re-read Orlando whenever I feel stuck, and I read poetry. (1986)"

"sometimes I think writing has nothing to do with me and that I shouldn't take credit for it. I feel that something comes from outside through me onto the typewritten paper. Often, I sit at the typewriter and compose stuff I didn't even know I knew. It happens all the time. It's not like I've decided what I'm going to write. (1977)"

"Growing up as I did as a kid, I don't see how I could not have been a feminist. In Chinese culture, people always talk about how girls are bad. When you hear that, right away it makes you radical like anything. (1977)"

"When I read Maxine Hong Kingston's memoir, The Woman Warrior, it struck me with particular force because of the warrior fantasies I had had in my childhood... At the heart of her drama is the tension between fantasy and insanity, balanced with exquisite skill."

"The Woman Warrior was a very important book in my life. I discovered it in 1977…in Amherst, Massachusetts. I was an undergraduate there...for a long time I was in despair. I thought, there was really no audience for my voice. And the narrator, the protagonist in The Woman Warrior, she was working hard to let her voice out. She had to wade through the contradictions of this dual culture, this heavy-duty heritage. If she had the power and the fortitude to continue her 'pressed duck' voice, to eke out that voice, I said, perhaps so must I continue my struggle."

"I love Maxine Hong Kingston. The Woman Warrior-what a wonderful book that was for me. That gave me permission to keep going with what I'd started with House on Mango Street."

"Asian American writers like Maxine Hong Kingston are aware of that too: that you can think in another language and borrow from its sensibility, from its syntax and idiomatic phrasing to add something new to the English language"

"The woman is exceptional."

"It's so important for an artist of any kind not to identify with a group. You know what I mean? (Int: And transgress those borders...) LYL: It's about transgression. So if the term Asian American empowers us, fine. But the minute it starts making us smaller than we are....They're going to have to deal with Maxine Hong Kingston the way they deal with Virginia Woolf or any other major writer. They're not going to be able to sweep her into a little ghetto. She has already exceeded those boundaries. They're going to have to deal with her as an equal. In this way, I'm speaking to the Anglo community. To the Asian American community, I would say, "Yes, she's one of us!" But, to the Anglo community, I would say, "Don't try to ghettoize us," because the writers who are among us have already equaled and surpassed many of the Anglo writers they send up the slag."

"Of course Toni Morrison's work has been important to me, and that of Maxine Hong Kingston. Both women have encouraged me to believe that I'm on the right track, and that we share something-that it's not so lonely, for there are other women and other people thinking and writing about the same sorts of things."

"The "unknown" is often depicted in racist literature as the "darkness" within a person. Similarly, sexist writers will refer to fear in the form of the vagina, calling it "the orifice of death." In contrast, it is a pleasure to read works such as Maxine Hong Kingston's Woman Warrior, where fear and alienation are described as "the white ghosts." And yet, the bulk of literature in this country reinforces the myth that what is dark and female is evil. Consequently, each of us-whether dark, female, or both-has in some way internalized this oppressive imagery. What the oppressor often succeeds in doing is simply externalizing his fears, projecting them into the bodies of women, Asians, gays, disabled folks, whoever seems most "other.""

"makes me feel seen:) The Woman Warrior by Maxine Hong Kingston. One of the first books where I saw my multiple identities—American, Chinese, daughter—on the page, and after all these years it’s still one of the most powerful."

"what I don't like is the word "fiction." I think it's a false word, and it's led to "non-fiction." I mean, you're either a storyteller, an inventor in language or event or whatever, or a poet of storytelling-or you're not I guess I'd use the example of Maxine Hong Kingston, who for The Woman Warrior got a non-fiction award. Well, that really got me sore, because that really was a great work of storytelling."

"Maxine Hong Kingston is one of our best writers."