Children S Authors

"And even the most pleasant of dreams could be painful under the light of the morning sun."

"It was a beautiful day to grow up."

"Jenna Blake was still alive because she'd been willing to risk looking stupid."

"Kreske had more authority, but he was a moron."

"A caffeinated Jenna is bad for everyone. -"

"Instead, it had slipped into her subconscious, and worked its way beneath her skin. -"

"And then music. Wind chimes. And the sound of someone playing a violin. A fiddle. Or maybe just the music of a little dragon's wings. Maybe."

"He was still as kind as he had always been, but there was a distance in his eyes now that made her want to cry."

"Strangewood was never silent. It was never supposed to be. There was such life and color in the wood and in the creatures who lived there that silence would be tantamount to death. It was very silent in Strangewood."

"Will you not come home, brother? you have been long away, It's April, and blossom time, and white is the spray; And bright is the sun, brother, and warm is the rain, - Will you not come home, brother, home to us again?"

"Out beyond the sunset, could I but find the way, Is a sleepy blue laguna which widens to a bay, And there's the Blessed City -- so the sailors say -- The Golden City of St. Mary."

"Quinquireme of Nineveh from distant Ophir, Rowing home to haven in sunny Palestine, With a cargo of ivory, And apes and peacocks, Sandalwood, cedarwood, and sweet white wine."

"And in the ghostly palm-trees the sleepy tune Of the quiet voice calling me, the long low croon Of the steady Trade Winds blowing."

"I must down to the seas again, to the lonely sea and the sky, And all I ask is a tall ship and a star to steer her by, And the wheel's kick and the wind's song and the white sail's shaking, And a grey mist on the sea's face, and a grey dawn breaking."

"I have seen flowers come in stony places And kind things done by men with ugly faces, And the gold cup won by the worst horse at the races, So I trust, too."

"Life Loves to change, wrote poet John Masefield, in the cobbled town of Ledbury, Herefordshire, Elizabeth Barrett Browning's town too. ... I felt drunk on general coziness... thinking of Elizabeth, whose "father never spoke to her again," once she had a child (what was his problem?), and Masefield, who suffered intense seasickness yet wrote about going down to the sea as if it were his favorite act ... Life loves to change-but some of us want to stay."

"I loved Swinburne and Masefield and all the other great sea poets."

"What is this creature, Music, save the Art, The Rhythm that the planets journey by? The living Sun-Ray entering the heart, Touching the Life with that which cannot die?"

"Then watchers of the life of man will know How spirits quickened in this ended reign, Till what was centuries stagnant 'gan to flow And what was centuries fettered moved again; How with this Ruler entered into rest The country's very self from slumber stirred, To charity as guide and hope as guest And ventured to a nobler marching word."

"I, who am dead, have ways of knowing Of the crop of death that the quick are sowing. I, who was Pompey, cry it aloud From the dark of death, from the wind blowing. I, who was Pompey, once was proud, Now I lie in the sand without a shroud; I cry to Caesar out of my pain, "Caesar beware, your death is vowed.""

"My blood did leap, my flesh did revel, Saul Kane was tokened to the devil."

"From '41 to '51 I was my folk's contrary son; I bit my father's hand right through And broke my mother's heart in two."

"What have I done, or tried, or said In thanks to that dear woman dead? Men triumph over women still, Men trample women's rights at will, And man's lust roves the world untamed. * * * * O grave, keep shut lest I be shamed."

"In the dark womb where I began My mother's life made me a man. Through all the months of human birth Her beauty fed my common earth. I cannot see, nor breathe, nor stir, But through the death of some of her."

"Oh some are fond of Spanish wine, and some are fond of French, And some’ll swallow tay and stuff fit only for a wench; But I’m for right Jamaica till I roll beneath the bench, Says the old bold mate of Henry Morgan."

"The moon came white and ghostly as we laid the treasure down, There was gear there’d make a beggarman as rich as Lima Town, Copper charms and silver trinkets from the chests of Spanish crews, Gold doubloons and double moidores, louis d’ors and portagues"

"It's a warm wind, the west wind, full of birds' cries; I never hear the west wind but tears are in my eyes. For it comes from the west lands, the old brown hills, And April's in the west wind, and daffodils."

"My sister Kwan believes she has yin eyes. She sees those who have died and now dwell in the World of Yin, ghosts who leave the mists just to visit her kitchen on Balboa Street in San Francisco. "Libby-ah," she'll say to me. "Guess who I see yesterday, you guess." And I don't have to guess that she's talking about someone dead."

"Everyone must dream. We dream to give ourselves hope. To stop dreaming — well, that’s like saying you can never change your fate. Isn’t that true?"

"I don't feel the need to be a role model, it's just something that's been thrust upon me. Teachers and a lot of Asian-American organizations, for example, say to me, "We need you to come and speak to us because you're a role model." ... Placing on writers the responsibility to represent a culture is an onerous burden. Someone who writes fiction is not necessarily writing a depiction of any generalized group, they're writing a very specific story."

"Other Asian-American writers just shudder when they are compared to me; it really denigrates the uniqueness of their own work. I find it happening less here partly because people are more aware now of the flaws of political correctness — that literature has to do something to educate people. I don't see myself, for example, writing about cultural dichotomies, but about human connections. All of us go through angst and identity crises. And even when you write in a specific context, you still tap into that subtext of emotions that we all feel about love and hope, and mothers and obligations and responsibilities."

"One relative felt that the story of my grandmother should not have been revealed. My grandmother was the woman (in The Kitchen God's Wife) who had been raped, forced to be a concubine, and finally killed herself. My mother, though, got equally angry at the relative and said, "For so many years, I carried this shame on my back, and my mother suffered, because she couldn't say anything to anybody." And she said, "It's not too late; tell the world, tell the world what happened to her." And I take her mandate to be the one that is in my heart, the one that I should follow."

"I've long thought about how life is influenced by death, how it influences what you believe in and what you look for. Yes, I think I was pushed in a way to write this book by certain spirits — the yin people — in my life. They've always been there, I wouldn't say to help, but to kick me in the ass to write. ...Yin people is the term Kwan uses, because "ghosts" is politically incorrect. People have such terrible assumptions about ghosts — you know, phantoms that haunt you, that make you scared, that turn the house upside down. Yin people are not in our living presence but are around, and kind of guide you to insights. Like in Las Vegas when the bells go off, telling you you've hit the jackpot. Yin people ring the bells, saying, "Pay attention." And you say, "Oh, I see now." Yet I'm a fairly skeptical person. I'm educated, I'm reasonably sane, and I know that this subject is fodder for ridicule. ... To write the book, I had to put that aside. As with any book. I go through the anxiety, "What will people think of me for writing something like this?" But ultimately, I have to write what I have to write about, including the question of life continuing beyond our ordinary senses."

"People look at me as this very, I don't know, Confucius-like wise person — which I'm not. They don't see all the shit that I've been through."

"Reading for me was a refuge. I could escape from everything that was miserable in my life and I could be anyone I wanted to be in a story, through a character. It was almost sinful how much I liked it. That's how I felt about it. If my parents knew how much I loved it, I thought they would take it away from me. I think I was also blessed with a very wild imagination because I can remember, when I was at an age before I could read, that I could imagine things that weren't real and whatever my imagination saw is what I actually saw. Some people would say that was psychosis but I prefer to say it was the beginning of a writer's imagination. If I believed that insects had eyes and mouths and noses and could talk, that's what they did. If I thought I could see devils dancing out of the ground, that's what I saw. If I thought lightning had eyes and would follow me and strike me down, that's what would happen. And I think I needed an outlet for all that imagination, so I found it in books."

"External success has to do with people who may see me as a model, or an example, or a representative. As much as I may dislike or want to reject that responsibility, this is something that comes with public success. It's important to give others a sense of hope that it is possible and you can come from really different places in the world and find your own place in the world that's unique for yourself."

"I was writing for businesses. I think my mother was a little skeptical in the beginning, but fortunately, as a free-lance writer I was successful almost immediately. And so she was very proud, because she measured success in terms of money, which is what I started to do as well. My goal then, became to increase the amount of money that I made each month. Not simply each year, but each month — I mean, talk about pressure — to have more billable hours each month. So that by the end of my third year of being a free-lance writer, I was billing 90 hours a week. I had no time to sleep. I had no life. People said I was crazy, that I was a workaholic. And I couldn't understand how it was that I had these wonderful clients, and I was making all this money, and I wasn't happy and I didn't feel successful. That's when I started to write fiction."

"Today, great writers from minority groups in the U.S. are finding their voice in the wonderful, rich imagery of magic realism. Writers such as Louise Erdrich, Toni Morrison, Alice Walker, and Amy Tan all have a unique, rich way of writing that can be described as magic realism. These women are among those who have broken away from the style of writing that defines most of the fiction coming from industrialized countries: that pragmatic, minimalist style and way of facing reality in which the only things one dares talk about are those things one can control. What cannot be controlled is denied."

"I loved the early Amy Tan and her novel The Joy Luck Club."

"A further measure of the importance of the feminism of women of color was the tremendous efflorescence in their fiction. The writings of Toni Morrison, Sandra Cisneros, Amy Tan, and Louise Erdrich, among others, played a major role in bringing the feminist message and perspective to the masses of American women."

"(Q: Can you name some contemporary writers whose work you admire?) Erdrich: ...Amy Tan's novels The Joy Luck Club, The Kitchen God's Wife..."

"Now that I'm angry at Harold, it's hard to remember what was so remarkable about him."

"I saw what I had been fighting for: it was for me, a scared child..."

"That was the night, in the kitchen, that I realized I was no better than who I was... And I no longer felt angry at Waverly. I felt tired and foolish, as if I had been running to escape someone chasing me, only to look behind and discover there was no one there."

"Then you must teach my daughter this same lesson. How to lose your innocence but not your hope. How to laugh forever."

"On the third day after someone dies, the soul comes back to settle scores. In my mother's case, this would be the first day of the lunar new year. And because it is the new year, all debts must be paid, or disaster and misfortune will follow."

"I have always known a thing before it happens."

"It is because I had so much joy that I came to have so much hate."

"I wanted my children to have the best combination: American circumstances and Chinese character. How could I know these things do not mix?"

"Why are you attracted only to Chinese nonsense?"