Women Authors From The United States

"Youth can be a great asset. When you’re young, if you have what is called a ‘crazy’ dream, no one is going to question it...Instead, if you are sincere and willing to do the work that prepares the way for your journey, others will often be inspired by you and partner with you to help you achieve your dreams."

"In urban culture, funeral directors have a certain level of prestige. They're right up there with preachers and politicians. They wear suits and drive Cadillacs and Lincolns. In the era of segregation, running a funeral home was one of the only ways that African-American men could legally make money and rise up…"

"There are only two ways to live your life. One is as though nothing is a miracle. The other is as though everything is a miracle ... I'm going with B, everything."

"My wife gave me a gift at the end of her column when she left me that empty space, one I would like to offer you. A blank space to fill. The freedom and permission to write your own story. Here is your empty space. What will you do with your own fresh start?"

"…I had to be in a different frame of mind to be able to deal with those families who were grieving, and a lot of emotions. But the rule was that I wasn't allowed to cry or be emotional regardless of what I saw on a day-to-day basis. So if it was a baby, if it was a homicide, if there was someone who died naturally, a cute, little old lady, I wasn't allowed to cry."

"For anyone trying to discern what to do with their life: pay attention to what you pay attention to. That's pretty much all the info you need."

"I want more time with Jason. I want more time with my children. I want more time sipping martinis at the Green Mill Jazz Club on Thursday nights. But that is not going to happen. I probably have only a few days left being a person on this planet."

"I tend to believe whatever you decide to look for you will find, whatever you beckon will eventually beckon you."

"I know what they’re thinking. ‘You’re clearly queer, you’re dressed like a child, you have tattoos.’ They have this impression that a person that looks like me…I try not to be like ‘You’re fucking racist!’ or whatever, but they’re probably thinking, There’s no way you belong on the screen. And I’m so happy to shatter that forever."

"I wish that more young people, especially less affluent people of color, would realize that we’ve been making stories forever, we’ve been creating rich characters. If we can ignore the pressure to tell a story the way “they” want to hear it and just tell it the way it is, we’ll continue to grow in the industry and have greater power."

"I think this is part of the female gaze…We are used to being watched, so why not watch ourselves, and why not enjoy it? Watching each other, excluding the visage of men—I can enjoy my sexuality."

"The word literature enters the room with its nose in the air. But get it in a corner, ask the right questions, and it will reluctantly fess up to its humble origins. It hails from the Latin 'litterae,' you whisper in your date's ear. It puts on a big act, but it literally just means 'things made of letters."

"Oral tradition is really how Chicano literature came to be. I was not exposed to the written word, but I had the greatest teacher. I always tell people that my mother was my inspiration because she was the best chismosa, and she had the best stories. And if anyone taught me about drama, it was my mother because she knew how to tell a story. And my grandfather also told stories. One of the reasons why I waned to be a writer was because I was fascinated by stories of La Llorona, supernatural stories and things like that and I love hearing chisme (gossip)…"

"In the beginning I felt like I wasn’t represented on stage or on film. As Latinos, we have been told in every which way that we don’t matter, that we are invisible — especially people who are indigenous, people who value their Native American roots. We’ve been eradicated, made invisible, and that’s one way that we’ve been disempowered. So, I realized the most powerful thing you can do is to own your humanity…"

"I became the protagonist of my story and the protagonist of my life. I realized we’ve all been left out of this story. We are always the supporting characters, and we have to say no. My job is to show people that everyone belongs in the theater, everyone belongs making films, everybody has something important to teach someone else. And that’s why stories are so important."

"I just keep my head down and try to accomplish what my parents set out for me: that there wasn't anything I couldn't do. But I also look up periodically and think, "Who else can I pull along?" Because it's a failure if I'm up here by myself."

"I really want to keep my mind open to all possibilities. If I make up my mind in advance what I believe about something ... I stop listening. We all stop listening once you've made up your mind … I want to be curious. I want to maintain my curiosity about what the answers to the question might be. And I want to hold out for the possibility that someone will surprise me."

"…I have a flat spot right in the front of my head from trying to break down walls my entire career, forcing diversity of thought and opinion into newsrooms and onto the air. Whatever else you do with your lives, I hope you remember to fight those battles, too."

"A privileged position can help you to think that you are entitled to everything, and are above others. Reverse that and you can see how it isn’t true."

"I was drawn to journalism because of the need to be the necessary voice - not to force my opinions on others but to broaden the stage for the debate…"

"I can only speak for myself, but as an actor i wasn’t like, “I’m going to challenge the way people see Latin people.” I was just happy to get roles. I tried to find new material in characters, but I wasn’t post-race about it or anything like that. I was just looking at it as just work. I wasn’t framing myself, so I wasn’t framing characters. Now I see the importance of playing [certain types of] characters. I’m not necessarily choosing characters that go against stereotypes, I’m choosing characters that you don’t even have time to question where they would fit in. Or what box they would fit into."

"I’m the most peaceful when I go to Hawaii because I fit in there as a biracial or “hapa” person. No one there questions my Asian-ness, and in fact, I feel my ethnicity is embraced and accepted…"

"In any professional setting, I’m a fish out of water on many levels, not just racially and culturally but also in the work I do, which involves many artistic disciplines…"

"While I’m proud to take risks artistically in my work, at the same time, I’ve had older generations of Taiwanese and Taiwanese Americans who have chastised me for peddling (a phrase I hate) “pain-porn” because I have told my mom’s war-torn story. What a hurtful thing to say to someone who is speaking from the heart and basically laying out the facts of a person’s life. I’ve also had white Americans shaking their fingers at me saying “You’re a bad daughter!”…"

"If you are looking for a sense of justice, that’s not what I’m doing. I’m telling many truths. I don’t have to represent."

"I have to say though it’s made it easier for white people to seek me out because I am half-white to ask me what they would be afraid to ask a mono-racial Asian American. I generally have intriguing, sometimes difficult, conversations with people about race…"

"The outsiders. I’m interested in the people that don’t necessarily fit and the thing that gives you permission to be uncomfortable. I like dark work because you’re forced to learn about certain things…"

"Even if they are not guilty of anything and are not convicted of a crime, because of the draconian bail system and the fact that they are poor and can’t make bail, they can sit on that island for three years. I just got so much clarity that we’re doing it to adults, you know, we’re doing it to children. And they’re all, you know, black and brown…"

"The performance obviously is the main reason you’re going to the theater, but what’s unique about this medium and hopefully the audience we’re attracting is the diversity. I have a diverse group of characters on that stage. If they’re just performing for one kind of people it’s not the same experience for the audience themselves, so I really want to think of it as, yes you’re going to a one-person show, but you’re also a participant in a hundred person show."

"But every time I look at myself and think, oh, my body's not OK or my worth in value are determined by my appearance and my marketability, I'm kind of engaging in one form of this same narrative. So writing this work has been really cathartic and humbling for me."

"It’s much easier to conjure characters strictly from your imagination than to have to think about whether you’re representing people in a truthful way. These characters are purely fiction—they’re inspired by people I met—which I think gave me a certain amount of leeway that I wouldn’t have had otherwise were it a verbatim piece."

"We go in and try to be completely transparent with them: I am not a journalist, I’m a playwright, and I’m developing a piece that is creative and not going to be solely based on their lives but inspired by conversations that we have."

"The thing is, I can’t control that built-in bias because it’s going to exist. What I can do is reflect the world through my very unique prism and perhaps people will be able to relate. I can’t control how it’s received, nor do I want to control how it’s perceived. What I want is for people to go into the theatre and in some way their perception is shifted, so that if they do enter with their biases, perhaps they won’t leave with them."

"It's a long story filled with intrigue and interfaith guilt. But, you know, you know, my black relatives, my white relatives, the people who you meet in my shows are these amalgamated versions of people I really knew. And I had to learn to code switch, as we call it now, just to like get dinner."

"My motto when I was writing this was ‘replace judgment with curiosity’."

"[All of the characters] are composites. You’re looking at what could be. There’s theatrical truth to it, which is: maybe this isn’t verbatim, but it’s within the realm of possibility…"

"In theatre, people do that all the time. There’s always going to be somebody who wants their own sense of justice, especially with this. They have their own sense of justice that explains if someone else’s is true. Speak for me, speak to me. I want you to tell me who did what. We don’t know who did what within those individual moments. Who was right? Who was wrong? Whatever that means. It’s not, for lack of a better term, that black and white."

"It needs to be a team effort and until straight dudes are expected to roll up their sleeves and get to work…I’m over being asked about what men need to do."

"The language in a casting call is like, "all-American" is white. "Beautiful but doesn't know it" is white. And then usually it'll be like "open to all ethnicities" is when you know that that is a role that they can envision someone not white doing it. But it's like, all the roles should be open to ethnicity. Do you know what I mean?..."

"…We carry ourselves different — maybe we tell our jokes in a different way or a different style — and we were beating ourselves up in allowing that patriarchal energy to affect our self-esteem. And then I was like, "Yeah, I'm good at this job.""

"This show will hit that sweet spot between educational and charmingly ignorant,” Robinson said in a statement. “Who doesn’t love that? Well, all older black people who struggled and marched for my rights. But besides that, everyone else does!"

"The shift that's occurred this time around "wasn't by happenstance," Brittany Packnett Cunningham, an activist and a writer, told me, nor is it only the product of video evidence. "It has been the work of generations of Black activists, Black thinkers, and Black scholars"-people like Angela Davis, Kimberlé Crenshaw, Michelle Alexander, and others-"that has gotten us here. Six years ago, people were not using the phrase 'systemic racism' beyond activist circles and academic circles. And now we are in a place where it is readily on people's lips, where folks from CEOs to grandmothers up the street are talking about it, reading about it, researching on it, listening to conversations about it.""

"The political strategy of divide, demonize and conquer has worked for centuries in the United States — since the days of slavery — to keep poor and working people angry at (and fearful of) one another rather than uniting to challenge unjust political and economic systems."

"What has changed since the collapse of Jim Crow has less to do with the basic structure of our society than with the language we use to justify it. In the era of colorblindness, it is no longer socially permissible to use race, explicitly, as a justification for discrimination, exclusion, and social contempt. So we don’t. Rather than rely on race, we use our criminal justice system to label people of color “criminals” and then engage in all the practices we supposedly left behind. Today it is perfectly legal to discriminate against criminals in nearly all the ways that it was once legal to discriminate against African Americans. Once you’re labeled a felon, the old forms of discrimination—employment discrimination, housing discrimination, denial of the right to vote, denial of educational opportunity, denial of food stamps and other public benefits, and exclusion from jury service—are suddenly legal. As a criminal, you have scarcely more rights, and arguably less respect, than a black man living in Alabama at the height of Jim Crow. We have not ended racial caste in America; we have merely redesigned it."

"I think it is precisely the existence of a relative few wealthy, successful African Americans like Barack Obama, Oprah Winfrey, and Colin Powell, and even Herman Cain, that creates this mirage of great racial progress even as a system like mass incarceration exists in which millions of poor folks of color are trapped in a permanent undercaste. I think that the existence of Black folks who can be offered as proof that “if you just try hard enough you can make it,” really creates, helps to immunize a system of mass incarceration from serious critique. The appearance that if you try hard enough you can make it, makes it difficult even for many Black folks to view our nation as one that would readily create and sustain a caste-like system again…"

"When we look back over the course of our nation’s history, what we see again and again almost like clockwork are these predictable efforts by the wealthy elite to use race as a wedge. To pit poor whites against poor people of color for the benefit of the ruling elite. Many people don’t realize that even slavery as an institution—the emergence of an all-Black system of slavery—was to a large extent the result of plantation owners deliberately trying to pit poor whites against poor Blacks. And ensure that poor whites would not join in any kind of resistance, movement, struggle, or revolt with poor Blacks…"

"For children, the era of mass incarceration has meant a tremendous amount of family separation, broken homes, poverty, and a far, far greater level of hopelessness as they see so many of their loved ones cycling in and out of prison. Children who have incarcerated parents are far more likely themselves to be incarcerated…"

"Certainly youth of color, particularly those in ghetto communities, find themselves born into the cage. They are born into a community in which the rules, laws, policies, structures of their lives virtually guarantee that they will remain trapped for life."

"We need to recognize the destructive role played by the media in fanning the flames of the "Black-Jewish Conflict." Cornel West, bell hooks, Richard Green, Barbara Christian, Henry Louis Gates, Marian Wright Edelman, Nell Painter, Albert Raby....Why are these names not as well known outside the African American community as the names of Louis Farrakhan or Leonard Jeffries? Are they, in their diversity and dynamism, less representative of the African American community?"

"We discover through genetics or the genome or through culture, through migration and so forth, anthropology that racist dont exist, biologically, that you can't box people up in little boxes according to race."