Educators From The United States

"One of the things he (Thích Nhất Hạnh) says is that we don't know how to feel peace. We don't understand the joy that is peace. We think that it's boring. And that is an aesthetic and a social perception. He is dealing with many of these same problems we are facing, and I just know he has some answers. (1991)"

"These struggles have got to result in happy endings for all, and the readers must learn not to worship tragedy as the highest art any more. (1990)"

"I travel a lot, and I know that I communicate very well in person, on one to one, but the books say things in a better way than I can get verbally, and also it works so efficiently, with those books getting out all over the world. (1990)"

"I think that feminist writers have been writing with power and pride, but I am suggesting that we have to invent new images and ways of power. So far the world thinks of power as violence, that power comes from a gun. We must create a new kind of drama in which there is drama, but it's nonviolent. And this has barely been thought of. (1990)"

"what I want is to give people questions (which I think are very creative things) and then when people wrestle with them and struggle with them in their own minds and in their own lives, all kinds of exciting things happen to them. I don't want people to throw the responsibility back to me. (1990)"

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

"I hope when artists write new characters, we invent new archetypes and they are visions of ways that we can be...What we need to do is to be able to imagine the possibility of a playful, peaceful, nurturing, mothering man, and we need to imagine the possibilities of a powerful, nonviolent woman and the possibilities of harmonious communities and if we can just imagine them, that would be the first step toward building them and becoming them. (1990)"

"("A friend once described Woman Warrior as convoluted.") MHK: Oh, I'm very proud of being convoluted. I try to be convoluted. Life is convoluted. I know there are some people who have a certain expectation of a linear kind of story where everything is explained to them and it goes at a slower pace and it's more of an accessible, popular kind of writing style. If they expect that, then they can't get into a more complicated book. I think that people like that miss out on something because they are not willing to work harder."

"it's like a habit. I have to eat, I have to breathe, I have to write."

"I want to write about something you can't find in research. Research can only, oh, I guess, confirm some of the small details, like what kinds of clothes these people wore and you can see the big historical things that happened. But what I want to say, I can't find through research. There's a feeling that I have, or there are feelings, the way people are in certain circumstances. I feel that it comes from the heightened moments in all our lives when we are really aware of what it feels like to be a person or what life is all about. You don't feel it too often, but every once in awhile you feel it. I want to put that feeling into writing or I want to write words so that when somebody reads it, they can have that feeling. And all the details are only components to get to this feeling. It's sort of a heightened awareness so that you know what it means to be human."

"it takes a whole life to organize and demonstrate and it takes another whole life to get writing done. The problem is making the day stretch from one point to another."

"I feel so bad sometimes thinking of this great oral tradition, and along comes somebody like me who writes it down. People go to the library and pull out a book and say, "Here's the authentic story." It's not! That was only the odd person who came along, like Homer, and wrote it down. It's the same thing with the Chinese. Most of the tradition was oral and then someone came along and wrote it down."

"Children, everybody, here's what to do during war: In a time of destruction, create something. A poem. A parade. A community. A school. A vow. A moral principle. One peaceful moment. (Epilogue)"

"You go into the subconscious by not writing and then you make it normal consciousness by writing. Then you rewrite until you are working almost mechanically: the grammar and the structure all mental and rational. But now comes the time for not doing any writing. I mean to get far into the subconscious, where there are not word sequences."

"While I love young people, I like to talk to people my own age. I feel very lucky when we get together and there are middle-aged people and they still have their art, their writing, their acting. That's exciting. Like there is still life and the business of time and taking that away from them has not stopped them from being youthful."

"part of the tension in my writing is that the oral tradition is very different from the written, and I see the oral tradition as being very alive, very immediate. It has the impact of command; it has the impact of directly influencing action. Also the oral stories change. A story changes from telling to telling. It changes according to the needs of the listener, according to the needs of the day, according to the interest of the time, and the story can be different from day to day. So what happens when you write it down? Writing is so static. The story will remain as printed for the next two hundred years and it's not going to change. That really bothers me, because what would really be neat would be for the words to change on the page every time, but they can't. So the way I tried to solve this problem was to keep ambiguity in the writing all the time."

"If a woman is going to write a Book of Peace, it is given her to know devastation. ("Fire" opening line)"

"The images of peace are ephemeral. The language of peace is subtle. The reasons for peace, the definitions of peace, the very idea of peace have to be invented, and invented again. (Epilogue)"

"Humans are basically good. That's why it takes so much training to march march march kill kill kill kill. ("Earth" p269)"

"I am looking for a language of peace. I am trying to rewrite a book of peace. And so maybe that is fighting for the soul, not just of Chinese American people, but the human soul. I want the human soul to be one where people care for one another and where people cherish and nourish and value one another, and I am trying to think of ways of conflict resolution that have to do with talking or hugging or something, whereas his idea of conflict resolution is to kill each other. (1991)"

"There's a redemption that takes place in art (1990)"

"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)"

"It seems to me that the biggest challenge for Chinese theater is to cultivate an audience, which would make possible long-running shows. A show that only runs for a few months, tops, fails to generate enough revenue to pay back the investment required to create it. A Chinese Broadway or West End may help to build an audience, but more theaters alone probably will not achieve this goal."

"In terms of theater, I think the musical is closer to the heart of American popular culture than at any time since the 1950s. Plays, on the other hand, seem less influential than before—particularly with the rise of quality television—and only enjoy long runs on Broadway when they behave like musicals such as Harry Potter and Warhorse. I believe the digital age, in general, has enhanced the value of all live events, including sporting events, concerts—and theater."

"I was one of the Asian American theatre people who protested the casting of Jonathan Pryce as the Eurasian pimp in the musical MISS SAIGON when it came to Broadway, as an example of “Yellow Face” casting.. The intensity, vehemence, and anger I felt, on both sides of that issue, left me shaken for many years afterwards. So I wrote FACE VALUE, a comedy of mistaken racial identity, to explore the question, “What does it really mean to ‘play’ another race?” As noted above, FACE VALUE became an infamous flop, but the idea of doing a comedy of mistaken racial identity stayed with me for the next fifteen years or so. Eventually, I found another way to realize this notion with YELLOW FACE."

"In 1980, Chinese-Americans were certainly considered perpetual foreigners to America, even more so than today. In addition, Asians, in general, were regarded as poor, uneducated, and manual laborers—cooks, waiters, laundrymen—an image which has turned 180 degrees in my lifetime."

"…Borders, as everyone should know, are not geographical locations alone, they are made by humans, and some suffer while others live off their fellow men and women. The way some characters speak and explain themselves also reveals what social borders the characters have forged for themselves or how they have suffered because of borders, be they linguistic, cultural, social, racial, etc."

"… People say to do research; my research is reading and talking and listening to people. I've always found that to be very instructive for me. If it convinces the reader—and you were just very kind with all the things you just said; goodness, it was so affirmative! But that's what I want to do, convince the reader that the writer knows what he is talking about or presenting or showing, whether it's food or dress or motive, expression, just make it as realistic as possible. Not real but realistic."

"There is a playwright named David Hwang; he's written a play called FOB which is a wonderful play...Chinese are so interested in food, and he saw it and I saw it, and it means that we both are authentic. Just a little detail like that."

"Whenever I’m to translate from Spanish to English, I always stop to think of the what but, just as importantly, of the how I’m going to translate what is said by the characters or what is in the narration. If I used an adage, an axiom, a proverb, a maxim, etc., there are always equivalents but as said previously, one mustn’t translate literally, word for word, because that doesn’t work. One has to analyze what is in the original to make the point with an equivalent adage or axiom; if there’s none, there must be something close to the original, and I’ll go with that. What one looks for is meaning…."

"When I wrote Arranged Marriage, many of the women in that book were isolated...That isn’t so for women coming here now. They have access to generations of wisdom, from recipes to how to bring up children to husband problems. There are also fewer chances of abuse, because domestic abuse flourishes in isolation. We are seeing less abuse, at least in the newer generation. There is more accountability."

"It has definitely influenced my writing. I put appropriate Bengali words in among the English ones because I want that weaving of languages. Concepts from Bengali are sometimes difficult to translate but I want them to have a role. It’s complicated. How do you bring them in without putting little explanatory notes? How do you write so you are at once inviting everyone into your book but also creating a special texture that people of your language background would especially appreciate?"

"Food is an important symbol. It’s particularly important for immigrants as the one thing they hope to be able to carry forward that’s relatively easy to recreate, although it was much harder in the early days when there weren’t many Indian groceries. Immigrants learned to make substitutions, like using Bisquick for gulab jamuns, tricks like that. I’m interested in food in my personal life, too. But food exists on many levels in my books. It reflects changes in our culture as we take shortcuts in how we cook our food, how it remains a comfort regardless."

"I spent childhood vacations with my grandfather in a little village three hours outside of Kolkata. At night, he would bring me and my cousins together, light a kerosene lamp, because there was no electricity, and tell us wonderful stories from folktales, fairy tales, and epics. Sometimes he’d tell family stories, or make up ghost stories. I enjoyed it at the time but didn’t realize what an effect it would have on me. It made me understand the power of storytelling, and how, through stories, so much is communicated and passed on from generation to generation."

"…some characters would be more androgynous by nature and maybe by nurture. But as I’ve continued to write, I’ve made it a point, for my own growth, to write from the point of view of both men and women. I’m also interested in how some women can be unsympathetic to women’s issues, especially as they grow older and attain positions of power over other women. That relationship between women, and the power struggle that ensues, is interesting. I want to explore the fact that things are not as simple as saying, okay, men are the bad guys, they’re the only villains…"

"I did not think I had a story to tell…Moving to a very different culture and learning to live on my own made me see the world much more clearly…. I thought about India more than I had ever before. I realized what I appreciated about it; the warmth, the closeness of extended family, the way spirituality pervades the culture. But I also recognized problems [with regard to] how women are often treated."

"I write, in the main, about the U.S. side of the Rio Grande. That I include the Mexican side is natural and inevitable; that I don’t overload it, however, is because I want to present an American literature that was (historically) founded by the neighboring country as seen by its linguistic contribution. To have ignored Mexico would have been a blunder and to have larded it heavier, my work would not have been an American literature, it would have been something else; as to what, I don’t know, but Mexico, in some parts and in some ways, had to be included…"

"Joy and life exist nowhere but the present."

"This novel was born out of a combination of visits I paid to Kolkata and my own musings on family secrets (yes, my family has some!). It struck me that that's an element that transcends culture and country -- the family secret, things we consider shameful or dangerous and keep hidden from outsiders. And what a burden this can become. I was also musing on how the inability to live in amity with difference can cause so much strife and grief, both in the larger political arena and in the home. All these came together in Oleander Girl."

"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)"

"Of course, I'm an ethnic writer, and only benighted people see ethnics as not partaking of the macrocosmic. And only Chinese Americans who are very mad would kick an admirer of Henry James and William Carlos Williams out of our family"

"I want English professors to put my books on regular reading lists. An American writer. We have worked hard for fairness in the job market and housing and schooling, and our art should not be segregated out. Readers ought not to have boring preconceptions of what a story is about just because its author is "ethnic." "Ethnic writer" and "feminist writer" have been used dismissively."

"It's always important to tell the truth because if you don't, there are all kinds of terrible social and psychological consequences. There are implosions and crazinesses that take place when you keep important energies and forces locked up inside of yourself. I think that some of our truths are things that are not dealt with in standard autobiography. I think that dreams are very important to women-and important to everybody's psyche-and to have access to those dreams is a great power. Also visions that we have about what we might do, also prayers-that's another "silent, secret" kind of thing. I think part of what we have to do is figure out a new kind of autobiography that can tell the truth about dreams and visions and prayers. I find that absolutely necessary for our mental and political health. I think the standard autobiography is about exterior things, like when you were born and what you participate in-big historical events that you publicly participate in-and those kinds of autobiographies ignore the rich, personal inner life. I feel that it's a mission for me to invent a new autobiographical form that truly tells the inner life of women, and I do think it's especially important for minority people, because we're always on the brink of disappearing. (1990)"

"I've heard that before, from writers who say that I get them going again. It makes me feel that in my life I am at the source of life and words. I feel that I'm sort of standing over this hole in the universe, and it's all pouring in. I can be a conduit. The people who read my work feel more alive, and they can work. I feel like that about other writers that make me keep going. When I read Virginia Woolf's Orlando or William Carlos Williams's In the American Grain, I can feel like I'm dying, or I'm stuck, both in life and in work. I read those books, and then I start flowing again. I'm happy that I can do that for other people. (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)"

"I feel that I break through pigeonholes of what's fiction and what's nonfiction, of what an autobiography is. (1990)"

"One of the first things I ever noticed and loved about reading is that words can get through all kinds of barriers; they can get through skin color and culture. It's so easy to read and go through all kinds of struggles with an author. I love the way, when we read, we actually take on the mind of the person that we're reading. (1990)"

"I've heard people say, "Why don't you write about rich, successful Chinese American people? Why don't you write real role models?" I think I do write about the great emotional, psychological struggles. I'm not that interested in writing Horatio Alger stories. I think of myself as somebody who's been given a gift of an amazing literary voice, and so I want to be the voice of the voiceless. I'm not that interested in being the voice of a wealthy, corporate Chinese American executive. (1990)"

"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)"

"Historically, the United States and China have been the world’s largest contributors to greenhouse gas emissions, and it will depend on those countries to show leadership and commitment to combatting the rise of CO2 in Earth’s atmosphere."