Japanese Americans

"I had my dream Olympic skate [in the team event] and to me, I’ve been dreaming of that moment for such a long time, it made me feel like a superhero and superheroes save the day. And I wish I had said that we were all superheroes during the team event."

"It’s just skating, and I’ll survive, but at the same time, it’s hard because I’ve worked so long for this moment. It’s not the way I wanted it to go, but at the same time I’m telling everybody, you can fall and still get up and keep going."

"Every time I put myself on the ice I get nervous. And getting reps is really important to me when I feel under pressure. So even in exhibition I might not be as nervous as when I compete, but having the confidence that I can land it under the spotlights, and when I can see anything, is really important to me. So I just try to do it as much as I can."

"If we’re talking about purely historical content, I think having an understanding of one another definitely bridges certain gaps. I think this hate stems from fear, and if we can have that connection and historical factual sense of belonging and being here, I feel it would bridge certain gaps of hate and fear that we all live with today. At least we're trying to create progress in a larger way."

"I think we need people to be bold and brave. We need people to be conscious of what they're writing and the stories that they're telling. I feel like so many people are afraid about whether people will watch it, but the bottom line is our industry has proven that if it's good, people will watch it. If you find a good, compelling story, whether it's AAPI, multicultural or not, be brave to tell it. As far as the AAPI community is concerned, we as a community need to stand up, speak up and speak out much more. We need to be in the room where the decisions are made. We need to be in front of and behind the cameras, but also sharing our stories for the next generation. If you put all of those things together, we’ll have the progress that we need in order to create change."

"For the most part, the roles Asians can get aren't necessarily well-rounded, and more often than not, they're stereotypes. But that's all we have. And then we see each other all the time at auditions, because we're all going for the same role. I've made a lot of friends that way."

"I think I can say that I am more in touch with my Korean side because of my upbringing and strong Korean Mom. Also, for the past 10 years, I have been taking care of my Korean Grandmother more…so their Korean traits have influenced me in my life. However, that still doesn’t take anything away from my Japanese roots. I think both cultures have instilled in me the morals, values, customs and traditions I live by. I’m in touch with both sides…it’s not a sense of “meaning” but a sense of “being” that I am proud of."

"I’ve been fortunate to work with a lot of different people and we are all buddies from going to events and film festivals as you get to meet a lot of the same people. It’s kind of one big niche group that all knows one another. I’m just very fortunate to be a part of this industry and be a part of the Asian-American film family. Hopefully in the future we can all progress together and set a standard for Asian-Americans as well as how the mainstream looks upon us."

"No joke, it’s completely split down the middle. Half the people think I’m Japanese and the other half thinks that I’m Korean. The Koreans would want me to be Korean and the Japanese would want me to be Japanese. When I was in Korea, people just assumed I was Korean and when I was in Japan they assumed I was Japanese. And sometimes for the non-Koreans (or non-Japanese), I would get Chinese or general Asian."

"It's the transformation that drives me. I want to do it all and never want to be boxed into something as a particular type or style. I never want people to think they know me. I hope to build a repertoire that one can look at and say, from to role to role, 'Was that Brian Tee?'"

"Looking back, she draws parallels between the regimes of Hitler in Germany and Lenin in Russia and Trump — particularly regarding their mass appeal, scapegoating and manipulation of language. She references books, such as those by... Anne Applebaum and... Hannah Arendt... In explaining how social media can both be manipulated and manipulate us, she quotes... Jaron Lanier and... . ...She includes novelists... George Orwell for , F. Scott Fitzgerald for greed, Thomas Pynchon for paranoia, David Foster Wallace for irony and insincerity, Tom Wolfe and Philip Roth... The passages she pulls from Zweig about life... during Hitler’s rise are striking. So too is what she takes from Victor Klemperer... on the decay of language in the Nazi era. ...Kakutani lays a surprising measure of the blame for fake news on postmodernism. ...Where she might have tracked money and right-wing think politics ([e.g.,] ’s Dark Money), the role of race and racism ([e.g.,] Ta-Nehisi Coates’ Between the World and Me) or the widening gap between rich and poor (using Capital by Thomas Piketty) — postmodernism is instead in her sights throughout. ...[S]he credits "recruiting a real American to hold a sign depicting Clinton and a phony... quotation attributed to her" to postmodern "Surkovian stagecraft," rather than recognizing... antecedents in Nixon’s dirty tricksters."

"Nationalism, tribalism, dislocation, fears of social change, and the hatred of outsiders are on the rise again as people, locked in their partisan silos and filter bubbles, are losing sense of shared reality and the ability to communicate across social and sectarian lines."

"This is not to draw a direct analogy [to] the overwhelming horrors of the World War II era but to look at some of the conditions and attitudes... that make a people susceptible to demagoguery and political manipulation, and nations easy prey for would-be autocrats. To examine how a disregard for facts, the displacement of reason by emotion, and the corrosion of language are diminishing the very value of truth, and what that means for America and the world."

"[I]t's not just fake news either: it's also fake science (manufactured by climate change deniers and anti-vaxxers), fake history (promoted by Holocaust revisionists and white supremicists), fake Americans on Facebook (created by Russian trolls), and fake followers and "likes" on social media (generated by bots)."

"The Washington Post calculated that Trump] made 2,140 false or misleading claims during the first year in office—an average of 5.9 a day. His lies... are only the brightest blinking light of many warnings of his assault on democratic institutions and norms. He routinely assails the press, the justice system, and the civil servants who make our government tick."

"If a novelist had concocted a villain like Trump—a larger-than-life, over-the-top avatar of narcissism, mendacity, ignorance, prejudice, boorishness, demagoguery, and tyrannical impulses... [one] would likely be accused of extreme contrivance and implausibility. ...less like a persuasive character than some manic cartoon artist's mashup... But the more clownish aspects of Trump ...should not blind us to the monumentally serious consequences of his assault on truth and the rule of law, and the vulnerabilities he has exposed in our institutions and digital communications."

"[I]n many aspects [Trump] is... an extreme, bizarro-world apotheosis of many of the broader, intertwined attitudes undermining truth today, from the merging of news and politics with entertainment, to the toxic polarization... to the growing populist contempt for expertise. ...creating the perfect ecosystem in which ... could fall mortally ill."

"For decades now, objectivity—or even the idea that people can aspire toward ascertaining the best available truth—has been falling out of favor. ...This has been going on since a solar system of right-wing news sites orbiting around Fox News and consolidated its gravitational hold over the Republican base, and it's been exponentially accelerated by social media, which connects users with like-minded members and supplies them with customized news feeds that reinforce their preconceptions, allowing them to live in ever narrower, windowless silos."

"[[Relativism|[R]elativism]] has been ascendant since the s began in the 1960s. Back then, it was embraced by the , eager to expose the biases of Western, bourgeois, male dominated thinking; and by academics promoting the gospel of postmodernism... Since then, relativistic arguments have been hijacked by the populist Right, including creationists and climate change deniers who insist that their views be taught alongside "science-based" theories."

"Truth is a cornerstone of our democracy. ...[T]ruth is one of the things that separates us from an ...."

"Alongside [the] optimistic vision of America as a nation that could become a shining "city upon a hill," there's also been a dark, irrational counter-theme in U.S. history, which has now reasserted itself with a vengeance—to the point where reason not only is being undermined but seems to have been tossed out of the window, along with facts, informed debate, and deliberative policy making. Science is under attack, and so is expertise of every sort—be it expertise in foreign policy, national security, economics, or education."

"[T]hese were grievences exacerbated by changing demographics and changing social mores that had some members of the white working class feel increasingly marginalized; by growing income inequalities accelerated by the financial crisis of 2008; and by forces like globalization and technology that were stealing manufacturing jobs and injecting daily life with a new uncertainty and ."

"Trump and nationalist, anti-immigrant leaders on the right in Europe... would inflame... feelings of fear and anger and , offering s instead of solutions..."

"The assault on truth and reason that reached fever pitch during the first year of the Trump presidency had been incubating for years on the fringe right. Clinton haters... and Tea Party paranoids who claimed that environmentalists wanted to control the temperature of your home and the color of your cars... hooked up, during the 2016 campaign, with Breitbart bloggers and alt-right trolls. And with Trump's winning of the Republican nomination and the presidency, the extremist views of his most radical supporters—their racial and religious intolerance, their detestation of the government, and their embrace of conspiracy thinking and misinformation—went mainstream."

"Trump, who launched his political career by shamelessly promoting birtherism and who has spoken approvingly of the conspiracy theorist and Alex Jones, presided over an administration that became, in its first year, the very embodiment of anti-Enlightenment principles, reputing the values of rationalism, tolerance, and empiricism in both its policies and its modus operandi—a reflection of the commander-in-chief's erratic, impulsive decision-making style based not on knowledge but upon instinct, whim, and preconceived (and often delusional) notions of how the world operates."

"Trump made no effort to rectify his ignorance of domestic and foreign policy... His former chief strategist Stephen Bannon has said the Trump only "reads to reinforce"... [W]ritten versions of the president's daily brief... he reportedly rarely if ever reads. Instead, the president seems to prefer getting his information from Fox News—in particular, the sycophantic morning show Fox and Friends—and from sources like Breitbart News and the National Enquirer. He reportedly spends as much as eight hours a day watching television..."

"Some absurd details are unnerving rather than merely comical... Trump's proclivity for chaos has not been contained by those around him but has instead infected his entire administration. ...given his disdain for institutional knowledge he frequently ignores the advice of his cabinet members and agencies, when he isn't cutting them out of the loop entirely."

"Combined with Trump's subversion of long-time alliances and trade accords and his steady undermining of democratic ideals, the carelessness with which his administration treated foreign policy led to world confidence in U.S. leadership plummeting in 2017 to a new low of 30 percent (below China and just above Russia) according to a Gallup pole."

"The Trump White House's preference for loyalty and ideological lock-step over knowledge is on display throughout the administration. Unqualified judges and agency heads were appointed because of , political connections, or a determination to undercut agencies that stood in the way of Trump's massive deregulatory plans benefiting the fossil fuel industry and wealthy donors."

"Donald Trump has battled many a journalist, but he has not yet faced as eloquent and coruscating an authority as Michiko Kakutani, the fearless book critic of The New York Times for three and a half decades, who left the paper last year to write The Death of Truth: Notes on Falsehood in the Age of Trump."

"Michiko Kakutani, the New York Times revered chief book critic, announced she was stepping down from her post... after 38 years, marking the end of a career that inspired both admiration and fear in the hearts of the writers whose books she reviewed. Kakutani was America’s most powerful literary critic, someone who... wielded immense influence over the careers of both budding and established novelists."

"[T]he Times chief daily book critic announced that she would be leaving her regular reviewing post after thirty-eight years at the paper, marking the end of a literary era. Her assessments of novels and memoirs, works of history, biography, politics, and poetry have guided generations of American readers, and the prospect of getting a Kakutani review has been the hope and fear of more writers than could possibly be counted... What made her scary to writers made her reliable to readers... Her name long ago entered the lexicon as a verb (“to be Kakutanied”), a signifier of the ultimate cultural prestige."

"In some ways. I do want to do something very different with each book…I think this book is linked to the first but approaches it in a completely different way. The first book was much chillier, more remote. And intentionally so. I don’t think it was a book that anyone loved and I didn’t love it either. It was not a book that was meant to inspire love in the way that I think this one is."

"Part of this book is an homage to the way my friends and I live: lives without children, without marriage, lives you rarely see depicted in popular art, unless as a punch line or a tragedy, lives not considered by many to be full, legitimate adulthood. And yet when I was growing up, my parents always had a diversity of friends, some of whom lived different kinds of lives themselves…And they had many friends who had chosen this other path of adulthood, who weren’t married, who didn’t have children, whose lives didn’t resemble their own. So this sort of life never seemed like anything less-than to me. The loneliness of living the life I do comes from the fact that so many people do think it’s a lesser existence, a purgatory of true adulthood."

"…I know plenty of people who have been at the helm of various creative galleries, or production companies, and have never felt the need to behave poorly. It’s just a lazy justification. And as someone who has managed to go 25 years without conflating sex with power, or bullying my colleagues, I find it particularly offensive."

"One of the things my editor and I did fight about…is the idea of how much a reader can take. To me you get nowhere second guessing how much can a reader stand and how much can she not. What a reader can always tell is when you are holding back for fear of offending them. I wanted there to be something too much about the violence in the book, but I also wanted there to be an exaggeration of everything, an exaggeration of love, of empathy, of pity, of horror. I wanted everything turned up a little too high…"

"There are other ways an entertaining novel can contribute to the common good. Violence can be portrayed but not glorified. Vicious characters don’t have to be cool. Kindness and ethical behavior can be virtues instead of vulnerabilities. Intelligence can triumph over guns. Cruelty, misogyny, drug use, violence, sociopathic tendencies don’t have to be celebrated."

"Almost everyone, at one time or another, has been bullied, harassed, put down, hurt or suffered prejudice with no means of striking back. The vigilante gives us a vicarious way of getting justice. Of retaliating. Of getting revenge. The latter are perhaps not politically correct or realistically possible, but in our fantasies and in our fiction, they’re righteous, and satisfying…"

"I wanted to create a character who didn’t routinely resort to violence and wasn’t courageous by virtue of wielding a gun. I wanted to show someone who was powerful and incisive who could face down the bad guys without becoming a bad guy himself. I wanted a hero who was ethical, thoughtful, and just."

"I was this murky, fringe kid. I wasn't black, I wasn't white, and I'm way far from being Japanese…So I'm always on the edges, watching, listening, but not really in the mix."

"All through my childhood, I wanted to be a novelist. I stopped writing at various points because I would get frustrated because there were things I didn’t know how to do. I didn’t know how to move a story through time. Pacing. My character would enter a room and need to get across the room to the action, and I would walk her ploddingly across the room. I didn’t know how to move the plot along quickly and efficiently through time…"

"More recent writers who have knocked me dead include Roberto Bolaño, Ruth Ozeki, Sabrina Vourvoulias, Isabel Quintero and N. K. Jemisin."

"I lived most of my life feeling like an outsider. I remember in second grade being bullied, taunted and beaten up. I am bicultural, biracial – my mother is Japanese and my father is caucasian. I grew up in Connecticut; it was a fairly white culture and I grew up thinking I was Japanese. Then when I went to Japan I realised that I was American. That was shocking but also a wonderful completion, realising that I was neither here nor there but occupied some liminal space, neither in one culture or the other. That's a great vantage point."

"As a writer you wait around for inspiration; this book is about what happens when a character taps a writer on the shoulder and calls her into being; it's about the character creating a novelist."

"We’re afraid of saying the word “suicide” and talking about it. Certainly the word suicide has a kind of energy that is frightening, and people can be afraid of talking about it. Why is it that we forget we were adolescents once? I don’t forget that. Writers need to keep that part alive in order to write. What’s important (for adolescents) is that you have a lifeline; it can be your friends, it can be your family, church, writing practice, a teacher, your cat, your gerbil. And little by little, the hormones subside and you develop coping skills and you develop passions and things that are really worth living for, and you get through that difficult period."

"Much of the time, we’re still looked at as foreigners, despite being here for four or five generations. This gives an overview of our experiences, how varied they are. Really, I want Asian Americans to look at ourselves, to be proud of our heritage. For non-Asians, I just want to inform. . . . Of course, I hope everybody is entertained along the way."

"I never interviewed someone so that I could put his story in the film. There is no specific person that I had in mind when I was writing the script. It just seemed that when I was ready to put it together, my head was filled with so many stories and people that it just flowed out. I almost didn’t have to think, just feel."

"I try to get everybody to enter my world real quickly. I think the audience starts to see that it’s a person going through a struggle, (and) with each performance piece, the exchange just keeps growing."

"I would always approach a show from the perspective of what I wanted to say historically, politically and socially. I examine the Asian American experience through my eyes and my perceptions. One thing I can tell you is that people who come to one of my shows, will leave the theater with a totally different perspective of the Asian American male…"

"My father's Japanese and my mother's half Spanish, half Cuban, but I grew up in a household where we spoke English. I learned about my family in bits and pieces. There are things that still peek out in the telling, like my father's sister will tell me something he neglected. I think you find out about the mysteries of your origins in unexpected ways."