Vietnamese Americans

"I wanted to go to college to be a journalist and follow in my dad's work. And then I became an actor."

"Whenever I meet someone new, I always extend a hand and say, 'Hi I'm Lana Condor... Condor like the ugly endangered bird.' I like to see how people react to that and if they laugh and, indeed, know what a condor is... chances are we're going to get along just fine!"

"When you do action stuff and sci-fi stuff, you have a lot to hide behind - the hair and the makeup and the special effects. But when you play a normal girl, it's challenging because you have to trust yourself."

"My parents would dress us up in traditional Vietnamese clothing to go to school for heritage day. We have a Vietnamese nanny that my parents wanted us to have so we could stay in touch and know where we came from."

"I truly believe the reason why there is a demand for rom-coms is because humans, whether its conscious or subconscious, have a need to feel happy and to see love."

"What if the Internet breaks tomorrow? Then you'd realize that you're a human being, and you're not validated by what other people think of you - it's how you think of yourself."

"When you're the only woman of color, and you walk into a room of people who don't look like you, most of them with blond hair and blue eyes, it's disheartening. The weirdest part is that I walk in and assume they think I'm auditioning to play a different role than them, but I'm going out for their same role."

"No one writes each other letters anymore, but I think there's something so special about receiving a really heartfelt letter, still."

"A lot challenges me! Not psyching myself out, not doubting myself, not comparing myself to others... all of that challenges me. But inevitably, challenges are put into our lives so that we may grow and become the best version of who we are meant to be."

"Tell all the fans that I completely adore them, and tell them I say, 'Thank you so much', for their love and support; and that I miss them terribly, and hopefully I get to see them or they get to see me up on the screen soon. And send my love, definitely."

"She is one of the fearless people I ever met. She's just thoughtful about life and I am just gonna miss her a lot."

"She came over as a refugee from Vietnam, escaping from Vietnam War. Her family came over by a boat, things that we could not fathom. Then they had to come here and learn a whole new language, and just integrate themseleves to America."

"Each one of us has to take responsibility for reality, and present it so that kids will grow up familiar with that and say, OK. I've seen that before. I'm not afraid of it."

"Lynda Carter played Wonder Woman and was one of the first female superheroes. It gives me more of an encouragement that we can be strong and can do whatever a guy can do."

"I was in school studying civil engineering. A guy approached me on the street and said that I had a interesting look-very exotic. He told me I should try to be in the industry."

"To all the people out there, you know just live out your dreams, if you dream something, just pursue it and do it because if you can put your mind to it you can do basically anything and everything you want to. I mean look at me, I came from a country that was falling apart because of communism and escaping to America, not knowing the language and then not learning it from beginning, and overcoming that and where I am now, you know it just shows you that if you put your mind to it you can do anything you want to."

"I find joy in the celebration of Mass. Joy in sharing the Word of Life and the Bread of Life. There is joy in my heart when I witness the love united in marriage, and in pouring saving waters on the heads of little ones. My joy is in conveying to sinners God's forgiveness and in praying with the dying as they prepare to meet their Lord and Savior."

"…as an actor, I never am attracted to just playing a physicality or a bit – just having a disability or an accent or something isn’t attractive to be because it can kind of be like a party trick. When you’re dealing with a character who’s disabled, that’s somebody’s life. That’s somebody’s reality, so you need to treat it with a lot of respect and profundity and not to turn it in to a gimmick, like a ‘bit’..."

"The most important thing was making sure she came across as a human being. We can all have many different sides, some that ask more of you in terms of identity than others. For me, I didn’t want her accent or her disability to be the most interesting things about her, but I did look into some real life female activists and took a lot of inspiration from those amazing women. I was also inspired by Flannery O’Connor; I grew up in Louisiana and you would always see pictures of her with her canes, as she suffered from Lupus, but continued doing amazing work."

"… it is a character that is potentially provocative, but I don’t think that it was intended that way. That comes in with whatever baggage the audience brings in to the movie-viewing experience… There have been so many other movies where an Asian character has been under-served or just been sort of a background character…"

"…When you have that sort of background, being an actor in Hollywood is like the wildest, most far-fetched occupation that you can think of and I kind of fell into acting because I was initially interested in writing when I was younger and I went to college initially thinking that I was gonna major in creative writing and that didn’t work out. I ended up studying film instead because I thought it was also another form of storytelling…"

"Journalism is just very structured…One day I turned in a story and [an editor] said to me, ‘You can’t compare inanimate objects with animate objects,’ and I realized I had to leave."

"I had no idea how lonely it would be to sit in my cave and type, for years and years. I have developed a totally new personality where I talk to myself and play with my hair for entertainment. The surprise is that after much frustration and exhaustion, I do manage to finish a novel."

"They're told to gather the stories of their parents and grandparents and to honor their cultural history. And yet, as they're born in the United States, they don't identify with Vietnam and feel strongly that these are not their roots, so how can they lose them?"

"Vietnamese is so lyrical, and 80% percent of it is derived from Chinese, which is a language built from pictures not words. So this format and voice came out of that desire."

"As writers, of course we’re interested in human beings, human stories, human trauma, and all that is very compelling for readers. But when we write these powerful stories about individual people, we have the illusion that we’ve made a difference. And of course we have—people read the books, they’re touched emotionally by these kinds of stories, and that’s great. But to the extent that the stories that we’re telling are about people who are weaker, in some way—they come from a small country, or a forcibly removed population, they’re underrepresented collectively—individual stories don’t change the conditions that produce those refugees in the first place…"

"In his book Nothing Ever Dies: Vietnam and the Memory of War, Viet Thanh Nguyen writes that immigrant communities like San Jose or Little Saigon in Orange County are examples of purposeful forgetting through the promise of capitalism: "The more wealth minorities amass, the more property they buy, the more clout they accumulate, and the more visible they become, the more other Americans will positively recognize and remember them. Belonging would substitute for longing; membership would make up for disremembering." One literal example of this lies in the very existence of San Francisco's Chinatown. (p 196)"

"It's taken me a long time to understand how deeply traumatic that was, that that experience remains an invisible brand stamped between my shoulder blades. And in many ways, I've been - I spent a lifetime trying to make sense of what that trauma has meant to me."

"Implicitly, the novel insists that a true war story has to take into account not just combat and soldiers, but civilians, the home front, and the military-industrial complex. For me, war is more than guns and shooting. That’s the spectacle that distracts us from how pervasive war is throughout a society and how it makes all of us complicit through things like paying taxes and watching horrifying images on TV without doing anything to stop them from happening…"

"Fiction and nonfiction accomplish very different things, but they can overlap. I wanted my fiction to seem nonfictional, and my nonfiction to seem fictional. At the same time, in fiction I could say things I couldn’t get away with in nonfiction without footnotes. And in nonfiction, I could make things explicit that I couldn’t say in fiction because of the viewpoint of my protagonist."

"I follow in this tradition because I believe literature matters, and in this book I insist that Asian American literature literally embodies the contradictions, conflicts, and potential future options of Asian American culture"

"Two stereotypes I’ve seen is that autistic people are geniuses. Some autistic people have average intelligence and I think don’t think that’s right to say they all are because those who aren’t might feel disappointed. Another is that autistic people lack empathy or heartless."

"Escaping from Vietnam is a huge. It takes a massive amount of bravery, but starting over in a foreign country with a foreign language with no money with everyone depending on you, with racism and sexism, that’s something else entirely. That’s something that she never spoke to me about. I think she did that because she was protecting me. She wanted me to stay innocent. All I saw was her accomplishments, and I thought it was easy — that it was easy to be an immigrant and start over in a place that isn’t entirely kind to you. With this book, I wanted to illustrate that missing part of the story that she didn’t tell me, because it’s important and it might be even harder than escaping from Vietnam."

"I want to believe that I can be a main character, I can be a leading character in my life, that I can have a happily ever after, that I can find true love, and I can get married, and conquer, and be happy…"

"As I researched, I ran into this very interesting thing where autism seems to display differently in women than in men ... women have learned to mask their autism, and they learn to copy their peers, and they learn to mimic…"

"...you realize that grief is perhaps the last and final translation of love. And I think, you know, this is the last act of loving someone. And you realize that it will never end. You get to do this to translate this last act of love for the rest of your life. And so, you know, it's - really, her absence is felt every day. But because I'm becoming an author again in another book, it's doubly felt. And ever since I lost her, I felt that my life has been lived in only two days, if that makes any sense. You know, there's the today, where she is not here, and then the vast and endless yesterday where she was, even though it's been three years since. How many months and days? But I only see it in - with one demarcation. Two days - today without my mother, and yesterday, when she was alive. That's all I see. That's how I see my life now."

"When I lost my mother, I thought, there's no point. Everything I have done, I'd done for her. I went to school for her. She gave me no pressure. You know, and it's important for me to say this because, you know, there's a stereotype of the Asian tiger mom. My mother was never such a mother. She said, whatever you want to do, as long as you're happy, you can do it. And worse comes to worst, she points to the desk. She works in a nail salon. She points to the desk beside her. There's always an empty desk in the salon. She says, you can sit down right here, and then we'll work together. So I had ultimate freedom to explore. And I think for me, you know, that freedom really was all to serve her. It was, how do I help my mother get out of the projects? Every immigrant has that dream."

"I was very dirty back then. Even now, I’ll look back on those days and think: ‘God, you were disgusting.’"

"All of these people in the industry kept on telling me: ‘You’re likable and you’re cute, or whatever, but the jokes are really dirty and you’d get booked a lot more, and you’d be a lot more appealing if they were clean’…Maybe people were half-laughing, half-cringing at my jokes. But if you’re successful, people should be too busy laughing to cringe."

"Maybe it’s because women feel they want to maintain some mystery that they’re not gross, to be more attractive or something. For me it’s all part of intimacy. That’s how I define intimacy – living closer and being more honest, closer to what your real desires are – and it’s exciting."

"I see kids and how young they really are and I cannot imagine them coming on a boat by themselves, going to another country to work and be separated from their parents. It really humbles me and makes me grateful and it gave me a huge sense of…It’s part of my identity and gave me a very strong work ethic."

"I think [if you] consume mainstream pop culture and don’t activate a search for any other niche outlets then you can fall into this feeling that you are inferior."

"You know, it's tough when you have to wait around for other people to write something for you, because there's no precedent for someone who looks like you to play certain characters, right? So it's such a unique character that I've been dying to see and put on camera for a long time, that [Park] plays. And that's something for me that's really personal."

"...Not at all. It’s interesting. I was an Asian-American studies major in college. For a long time, I thought I would go into academia and become an Asian-American professor, and then I fell in love with stand-up comedy. I never set out to specifically speak about representation though — it’s so hard to even just make a joke. I do whatever is first and foremost funny and interesting. Sometimes that happens to concern Asian-American identity, but not a lot of it. But it is something I will always be interested in."

"I want to have it all. I want to have a family, a career, and a side piece."

"The stories, at first, were folklore. My grandmother would tell a ghost story, then she would say: oh, that was after the napalm. So through cycles of these stories, that world started opening and as a child I would ask: what’s napalm? They ploughed on. It was almost intoxicating for them to create a mythology of their lives, because they were so powerless. They were all women. The men were gone; they did their harm and were gone. And they were empty hands, had no English, were powerless everywhere else. But when it was time to tell the story, they held everything."

"I think that might not have been enough, were it not for me being my family ’s only hope. Because they were also dying, in a different way: financially, mentally. And I thought, I can’t die. Literally I can’t die."

"When I really assess Western culture in how it grapples with other bodies and other ecologies of thinking, at the end of the day, my response is: please catch up. And I do mean – please – because we want you to catch up, we want you to be here, because where you’re at is a quicksand that’s killing you."

"The incredible thing that I can never quite understand was how they were able to kick them all out. The men had access to jobs, money, a patriarchal presence in the world, and even though they had troubles too, as immigrants and refugees, we come from a patriarchal tradition in the old country just as deeply rooted as in the west. In some cases, when men are talking to each other, women aren’t supposed to even be in the room. So that was what they were coming out of. And to think divorce?! These things were still taboo where they came from. And they all really did it."

"We’re talking about a claim to storytelling. We are taught that a valid or useful education is one in medicine, science, bioengineering. That storytelling, or the ‘liberal arts’, are defunct or fading. Yet, in the Fortune 500 companies, in the Googles, the Amazons and the Facebooks, they’re obsessed with storytelling. So you can have technology, but it’s moot if you do not have a story to provoke it. We also see this in political campaigns. They’re all about manipulation of story. I agree with you a hundred per cent, the urgency of the moment now is to create new myths.This is also informed by Buddhism, because Buddhist practice is so interested in lucid dreaming. Monks constantly practice lucid dreaming. If you can be aware that you are dreaming, then you can also be aware that you are being foggy or ignorant in the living stage. This sharpens your ability for discernment, and the capacity to look at the world more clearly. Buddhism is very clear to me because it is this feeling, above all else – above even the object – that matters. So reading is not about the book, it’s about the transition of the thought, orchestrated through language, into the brain. That’s why it’s so real to us. I think that’s very true to how we live: sometimes the feeling is much more than the world can support. That’s why myth-making, like you said, is where we’re going. That’s the future."