Feminists From The United States

"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)"

"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)"

"I have this motto which is, Pay attention and tell the truth. And in telling the truth, sometimes you tell it fictionally, sometimes you tell it nonfictionally."

"I don't want to regurgitate. Writing should be constantly an act of creation and going forward into the new."

"If we imagine characters, can we cause them to appear in the real world? What if I could strongly write peace, I can cause an end to war."

"In the whole dark universe, I've met you at this bit of fire, and we speak with each other, and listen to each other. All of life and the war led up to this present time of being here with you. (p209)"

"remembrance and that happiness are mourning, too, transformed."

"I don't like hearing non-Chinese people say to a Chinese person, "Well now I know about you because I have read Maxine Hong Kingston's books." Each artist has a unique voice. Many readers don't understand that. The problem of how "representative" one is will only be solved when we have many more Chinese American writers. Then readers will see how diverse our people are."

"I do believe that our lives and our art go together. Who I am and what I write are the same...I feel that the writing process doesn't just begin when you are putting words on paper. It begins in the living that you do before, and I feel powerful enough now so that I can set up my daily living circumstances in order to support me and support my art."

"The only way to get any work done-without polling everybody, as in a statistical study in sociology-is to give your own peculiar vision; because that's what's interesting, the way one person sees the world. It's up to other people to ask themselves whether they think like that or not. And if they don't think like you, that should be very exciting to them. They would read about something that they are completely unfamiliar with... I was just in Hong Kong and I loved seeing Chinese who were different from myself. To think of the possibility of another way of being Chinese or being a human being is much more exciting than to see someone just like me."

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

"What's crazy is the idea that revolutionaries must shoot and bomb and kill, that revolution is the same as war. (p305)"

"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)"

"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)"

"Those critics who do not explore why and how this book is different but merely point out its difference as a flaw have a very disturbing idea about the role of the writer. Why must I 'represent' anyone besides myself? Why should I be denied an individual artistic vision?"

"Do I have to explain why 'exotic' pisses me off, and 'not exotic' pisses me off? They've got us in a bag, which we aren't punching our way out of. To be exotic or to be not-exotic is not a question about Americans or about humans. Okay, okay. Take me, for example. I'm common ordinary. Plain black sweater. Blue jeans. Tennis shoes ordinaire. Clean soo mun shaven. What's so exotic? My hair's too long, huh? Is that it? It's the hair? (p308)"

"The way I've looked at it is that I want to write about myself and other people in the truest way possible. To write a true autobiography or biography, I have to know what the other person dreams and how her imagination works. I am less interested in dates and facts."

"Once upon a time, a man, named Tang Ao, looking for the Gold Mountain, crossed an ocean, and came upon the Land of Women. The women immediately captured him, not on guard against ladies. When they asked Tang Ao to come along, he followed; if he had had male companions, he would've winked over his shoulder. (first lines)"

"When I write I also claim America in a literary way, in an artistic way. When people claim countries, it's usually thought of as conquering them in war. I'm claiming America in a pacifist way, in an artistic way."

"To say we are inscrutable, mysterious, exotic denies us our common humanness, because it says that we are so different from a regular human being that we are by our nature intrinsically unknowable. Thus the stereotyper aggressively defends ignorance. Nor do we want to be called not inscrutable, exotic, mysterious. These are false ways of looking at us. We do not want to be measured by a false standard at all."

"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)"

"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'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)"

"He repeated himself so often that some of what he said seeped into the ears. (p190)"

"Ocean people are different from land people. The ocean never stops saying and asking into ears, which don't sleep like eyes. Those who live by the sea examine the driftwood and glass balls that float from foreign ships. They let scores of invisible imps loose out of found bottles. In a scoop of salt water, they revive the dead blobs that have been beached in storms and tides: fins, whiskers, and gills unfold; mouths, eyes, and colors bloom and spread. Sometimes ocean people are given to understand the newness and oldness of the world; then all morning they try to keep that boundless joy like a little sun inside their chests. The ocean also makes its people know immensity. (p90)"

"If people are listening, you can feel this intense concentration, and it builds a level of trust…I can be vulnerable in a way that I otherwise wouldn’t be able to be if I was just talking. There’s something about music and electricity and the free-flowing, less-contained aspect – it’s like being in the ocean. What’s the inside and what’s outside?"

"When I was growing up in the seventies, there were more open spaces. There weren't McMansions really. L.A. always had an interesting array of architecture in the houses. Like one would be a ranch house, another could be a Tudor house. It is fitting that there are all these different styles that almost were predetermined by L.A. being a place where different people moved."

"I don't wanna think that I'm influential or an icon or blah blah blah blah...Ultimately, I feel most confident when I'm just working. Thinking about ideas. That's how I'm most comfortable. Or performing in a group situation."

"Well, it sort of bothers me that if a man is doing it, then it's fine. Like, if a woman had Bob Dylan's voice, how far would she have gotten? Or Leonard Cohen? And men can get away with saying more things that are—I don't know, it's kind of like, everyone could sit around and pat each other on the back. And that's not very interesting."

"I never think of myself as famous anyway, like, if anything, it’s barely famous."

"I don’t, really. I mean, the one thing is more women playing music. That allows you to have different personalities, so it kind of cuts through the clichés about how women are perceived. But I don’t really think things in the mainstream have changed so much. In the underground, it seems like there’s a lot more women involved in the scene, which mostly comes out of male record collectors, so it was surprising in the late ’80s to start seeing more girls and women involved with experimental music as that scene grew. That’s pretty cool.”"

"I like a certain amount of tension in music…I like the kind of music that maybe makes you think about the status quo."

"The image a lot of people have of me as detached, impassive, or remote is a persona that comes from years of being teased for every feeling I ever expressed."

"Your life is hard to change. But at the same time, I've also always felt that I'm the same person now as I was at five, so I've been sort of reaching out to that too, in a way."

"It was the tip of the iceberg…There’s some unseen wall of faceless men that I have to climb over…as if on a mission."

"Historically, working-class women and women of color have been excluded from intellectual work. This exclusion must be challenged. Working-class women, women of color, and other historically silenced women must be enabled to participate as subjects as well as objects in feminist theorizing."

"…A quality public education also aims to cultivate a knowledgeable public that holds fast to broader ethical principles of equity and fairness. But an educated public requires not just information, but also skills of critical thinking that enable its members to make informed decisions. A good public education equips people with skills of critical analysis so that they can tell the difference between so-called fake news and reputable professional journalism…"

"I think that feminism has the potential to be extremely radical, if it recognizes the power of women's work in sustaining families and communities. Feminism must do a better job of cultivating the radical potential of what women can and already do in their everyday lives as sisters, mothers, teachers, daughters and wives. Changes and public policies and workplace conditions in the public sphere to make them more amenable to women are extremely important. But radical change in two institutions that touch all women, the so-called private sphere institutions of families and communities, is equally if not more significant…"

"Challenging power structures from the inside, working the cracks within the system, however, requires learning to speak multiple languages of power convincingly."

"…In the United States and similar multicultural societies, media representations of women differ depending on varying combinations of race, gender identity, ethnicity, class and citizenship status. The white middle-class heterosexual woman holding US citizenship is held up as an ideal type for women from other groups. This is an ideal, a representation, a social construction and not an actual category of people…"

"Racism didn't magically go away just because we refuse to talk about it. Rather, overt racial language is replaced by covert racial euphemisms that reference the same phenomena-talk of "niggers" and "ghettos" becomes replaced by phrases such as "urban," "welfare mothers," and "street crime." Everyone knows what these terms mean, and if they don't, they quickly figure it out."

"…In the United States, the dominant discourse is shaped by intersections of race, class, gender, sexuality, and nation as systems of power. In my work, I have investigated how racism, sexism, class exploitation, and heterosexism operate to shape the lived experiences of different social groups. Black women’s experiences were the point of entry into these larger questions of power and knowledge, but African-American women’s experiences are not the endpoint…"

"Oppressed groups are frequently placed in the situation of being listened to only if we frame our ideas in the language that is familiar to and comfortable for a dominant group. This requirement often changes the meaning of our ideas and works to elevate the ideas of dominant groups."

"Social conditions that spur large numbers of people into action are ignored in favor of a Hollywood version of history focusing on one conquering hero. Since a movement for social change is embodied in its leader, death of the leader means death of the movement."

"There is a misconception that because I have worked in the entertainment industry that this would be something I would be familiar with. But even though I had been on my show for I guess six years at that point, and working before that, I have never been part of tabloid culture. I have never been in pop culture to that degree and lived relatively quiet life, even though I focus so much on my job. So that was a really stark difference out of the gate. And I think we were just hit so hard at the beginning with a lot of mistruths that I made the choice to not read anything, positive or negative, it just didn’t make sense. So instead we focused all of our energies on nurturing our relationship."

"Of course it’s disheartening. It’s a shame that that is the climate in this world to focus that much on that or that that would be discriminatory in that sense. But I think, you know, at the end of the day I’m really just proud of who I am and where I come from and we have never put any focus on that. We have just focused on who we are as a couple. So when you take all those extra layers away and all of that noise, I think it makes it really to just enjoy being together and tune all the rest of that out."