Asian Americans

"I was just telling myself to do nothing more and nothing less, and just telling myself to breathe because in that moment I literally felt like I was going to puke, I was so nervous. My normal is good enough, so I don't do anything more or anything less, I just have to do what I normally do."

"I just didn’t want to see myself fall back. I don’t want to disappoint my coaches or my parents."

"I love the poet Kwame Dawes, and I always come back to this quote of his: “We are political by our noise and by our silence.” What we choose to be excited about is political. For the longest time, I’d kind of cringe, thinking I’m not bold enough to be political. His words really helped me own the power of my own enthusiasm. Think of how many things weren’t championed by the publishing world in the ’80s and ’90s. Think of how many things weren’t even encouraged. It’s not that there weren’t Asian Americans writing literature or writing about nature. The publishing houses chose not to publish them. That’s a political statement, too….So for anybody who says, Oh, I don’t want to get too political here—we’re all political. You’re political by what you champion and what you stay quiet about."

"Aimee Nezhukumatathil, who uses poetry to write of the wonders of the natural world. She writes about being brown in white America, about being a daughter, a wife, a mother, of being a woman making sense of her own skin."

"…It was very purposeful that I included animals that I’ve never touched, never looked into their eyes. We should be able to care for creatures outside of [our immediate vicinity]. We should be able to care about plants and animals and people that we’ve never seen before."

"… I still think of that 8-year-old girl who loved sitting on the floor of her library, reading about animals and plants. How excited I was to read new nature books. Every time, turn to the back cover, and it was always a White guy. I never saw someone like me. I might have started thinking, maybe outdoors is not for me [if it wasn’t for] my parents, who showed me what it means to have a garden and how much fun it was to memorize the constellations. So it was weird, because I was internalizing what I saw as a lover of pop culture, but what my parents modeled was different…"

"One thing I discovered, when I was doing reading for this [collection], is that one of the roots of the word wonder means to smile. Wonder is wanting to know more about others, with a smile. It’s that joy. And I don’t know if this sounds Pollyannaish, but you don’t have to teach a kid to wonder…"

"When writing, I often feel like I’m having an out-of-body experience in which I’m as ageless, sexless, classless, raceless as I can ever humanly get…I have to forget myself so I can be fully committed to understanding my character’s motivations in a way that isn’t facile or boxed in…"

"Having grown up watching Hong Kong movies with gorgeous Chinese leads and casts, I didn’t feel starved of representation the way I might likely have felt if I had grown up Asian American in the US, or as a minority race in Singapore…"

"Change is effected by instruments of the state directly—and quickly—on the sociophysical body of the city itself. As the inhabitants of this body, these modifications rub off on us, whether we are aware of their effect on us or not, whether our class cushions us less or more…"

"My responsibility, as an author, is to the novel I am writing, nothing more and nothing less. How that novel comes about to me is a mysterious thing that then becomes a rigorous process, and the balances that I do worry about keeping are narrative, aesthetic, or technical. I’m not willing or able to see myself as any one nationality or ethnicity or gender or sexuality or species when I write, I am just an amorphous storyteller whose personal biography is moot…"

"…Historically, musical theatre is a genre that doesn’t have a wide palette; its subjects have been very white. Thank God for Hamilton, (and In the Heights before that) for breaking down some of those doors! Before them, Zoot Suit got slaughtered when it moved to Broadway because it was too sophisticated and ahead of its time. The critics were condescendingly saying: “Don’t these people know that this is not a musical?” Actually, no one said it was a musical; it is a play with music!..."

"As I mature as an artist and human being, what wants to “express” itself through any of the areas I love: acting, directing, writing, singing, teaching and storytelling—all of it has a mind and heart of its own now! My task now is to stay out of the way and let it have its way with me! It’s a “beginner’s mind” with every encounter!"

"At the end of the day, I don’t think it had anything to do with my age; I was successful because I could speak intelligently about the products, and because I had, at the end of the day, a really high-quality product. Obviously, there was some initial pushback from customers due to my age, but it just got to the point where I found my niche and got into a rhythm."

"There’s just so much unknown information exotic ingredients, so my hope is to educate the reader, and take them on this journey to procuring and exploring these exotic ingredients around the world—from Serbia to meth heads in Oregon."

"Everything I've learned in these nine years has been self taught — that's not to say I've had a lot of help along the way in terms of meeting so many amazing people in this industry. But I have always loved cooking, and I grew up cooking with my grandfather and my mother, and entertaining and cooking for people was always such of strong importance. And so I’ve just applied that same passion for food to truffles."

"I’ve never considered myself a strong reader or writer. When I was younger, I had some hardships with reading and writing, and I never thought of myself as someone who could pull this off. To a degree it was challenging. In my everyday life, I’m pretty private and reserved, so the hardest part was taking personal emotion and putting it on the page and putting myself out there…"

"Once I wrote poems, I found that I was able to piece together individual moments that would, I’d hoped, sometimes compound. The line was the most important thing to me—that and the music it produced."

"I wanted the book to inhabit quieter moments, and to be about these smaller interactions that reflect the way life often is. A tidy, definitive ending wouldn’t have been right for this book or the people in it; I wanted to leave the suggestion that life goes on, for all of these characters, even after the last page."

"People are so obsessed over this question of what is and isn’t autobiography—and I think the question is especially popular with people who don’t read much fiction, because a novel seems so mysterious: “Where did this story come from?…"

"Nonfiction requires logic and more careful thinking; sometimes I have to remind myself to be less self-conscious when I’m writing fiction. You have to turn off the part of your brain that tells you things don’t make sense or aren’t any good. Whereas that voice can be useful in nonfiction writing."

"Memory is everywhere, in the ways we think of ourselves and tell our stories. There are certain kinds of people who have more of a sense of who they are and their whole life story."

"Writing was my way to make sense of the world outside and inside my home. Despite the recollections of the adults in my life, I don't think I was a terribly articulate child. Writing was a way to give wings to the inchoate emotions and feelings inside of me."

"I always share this advice with my writing students: Tell the story of one person so deeply and completely, that in the act of going deep into that one person, something magical happens, and it becomes a universal story."

"I think I was politicized at age five, once I started noticing the beggars on the streets, and children my age who had to rummage through dumpsters looking for food. But since I grew up in a middle-class milieu where we were always told that "that's just how things are," it never occurred to me that the social order could be changed, much less that I could play a role in changing it. It was only in my teenage years that I understood things about class and inequity and how there was nothing inevitable about it. **On when she became politicized in "AN INTERVIEW WITH THRITY UMRIGAR" in BookSlut (January 2012)"

"We often hear all this rhetoric of “spare the rod and spoil the child,” discipline and punishment, and I just don’t believe in that. In all my years I haven’t come across an adult who, because they got an excess of love as a child, grew up to be a not-so-nice person. In fact, I believe exactly the opposite is true. And this isn’t rocket science, but I think that parents for understandable reasons sometimes forget that…"

"I think it’s relative to the story you’re writing. Some novels are filled with summary and some are filled with scenes. Others are a beautiful, confusing mix, of course. Ultimately, I wanted to write a novel that I’d want to read later."

"Fiction is something that I've always wanted to write. I think that I give myself a break when I write fiction. And that's not to take anything away from people that write fiction, because I know that it's just as taxing, and there's so much involved with that. But for me, I write poems because I have to, and I write stories because I want to. When I'm writing stories, I tend to write stories when, like right now, I'm writing a lot of stories because I'm trying to get away from this collection of poems. It's just killing me. But, that's kind of what it is for me."

"The setting, with all of its contradictions, is crucial. The land provides a deceptive promise of freedom, yet also presents itself as a burden. I’m drawn to these contradictions. They feed the emotional intensity of the novel…"

"…Short stories still require a similar amount of lead-up time (sometimes they spend several years in my head) but once I sit down to write I finish within a few days, and have never needed to redraft or heavily revise. I love short stories. They are perfect, crystallized moments. Snapshots of life…"

"…You might think it’s harder to come up with something from the ground up. And funnily enough, real-life settings seem to have their mystical way of kind of…working out. If you need an alley for something to happen and you’re thinking of a particular place, strangely enough, you usually find it. You usually find something workable that you can do. There’s a little less pressure, I will say, having made up something, versus trying to do justice to the place that actually exists."

"…I can’t get away from violence and gore. Every fantasy I write will be dark, and disturbing in places. That’s what I like in my fantasy."

"…Knowing the end. Knowing the rest. I like unanswered questions, and I don’t really believe in endings…"

"The reasons that I stayed in theater are very personal. I think Asian-American stories can be best served in a place where you can tell them the most, and for me, where I can see that happening is in novels and in plays, because it's more easily done. In plays, anyone can do it, so the opportunities to tell Asian-American stories are infinite…"

"I have never felt that Hollywood is mine, and I've never felt like the King of Hollywood. I've always felt lucky to be included... to be invited to the party. I guess because I've never expected my career to be as successful as it has been – I'd still be acting for free in Dallas, Texas if La Bamba had never come along. This has always been my love and my passion – my work – and so to be doing it at the level I'm doing, I'm quite happy…"

"There's so much Aztec in the Chicano culture that you feel in California and even here in New Mexico. But the rest of South America has so many European blends. Europe is really the old continent and corrupt. I think that that's what makes Mexico so much more interesting."

"Immediately after you get into that stage of relaxation, think of a situation before you were ten years old. Let's just say there's somebody sick in your house, and you go into your memory to see what happened. When I do that, I remember the kind of shoes I was wearing. You remember your favorite shirt, your favorite dresses and things that you wore and how it felt. That someone was sick in your house absolutely connects you to whatever relationships you had. You don't really "think" about it. In this way, what comes out is really true."

"The term "Hispanic," to me, encompasses everybody that has a history, a background with the Spanish Language. The problem with the label is that "Hispanic" is going to be stretched and stretched to cover a whole range of things-Chicanos in the Southwest, Puerto Ricans in New York, Cubans in Miami-until I don't know what good the label is…"

"A smart-alecky boy threw a pebble at me and said “This isn’t the Mexican bus stop. You have to go to the Mexican bus stop…I had never experienced racial tension, but in La Jolla we saw incredible—to us—prejudice."

"As a director, I was able to journey into these plays, find myself, and realise the worlds the playwrights have written…I find my inspiration and my passion in other writers and their versions of this country and this world."

"The dramaturgy of audiences and communities is crucial: how they think, how they hear stories, how they relate to the theatre…That was an interesting curve. Not having lived in the Midwest, I found that it’s segregated, it’s tribal."

"I probably am a playwright first, and a director second. But, since I do a lot of directing sometimes, it's an almost equal thing. Writing is very exciting to me because I'm able to control the world that I want to create. And, as a director, you go into another world, and you kind of help flesh out a world that other people have created..."

"Once you wrap your brain around playing your age, it's a very, very positive thing…"

"My overall philosophy was to continue to do good work, to expand my range, and to show that range. I think Hollywood can certainly try to put you into boxes. My entire career has been somewhat of a reflection of my college theater experience, and that was, I did everything. Not only did I do Shakespeare and Molière, but I did Mamet and John Patrick Shanley; contemporary playwrights. I was writing in college, I was directing in college, and when I got to Hollywood, I tried to continue that. I think my first three roles in Hollywood are somewhat indicative of that. You’ve got 'La Bamba,' then 'Stand and Deliver,' then 'Young Guns.' All three films are very different, and all three characters are extremely different."

"When I did La Bamba and Stand and Deliver, I marched with Cesar Chavez and fasted with him. Whatever I have directed, I've flipped roles to be more inclusive of ethnic, female and LBGQ performers. This is a flag I've waved from the beginning. I got into the door and kept my foot in it so others could come in behind me."

"I was put on a diet when I was 10. My mother said that women with smaller mouths are attractive, so keep my mouth small, don't talk or laugh so loud. I was taught to observe and listen. I burnt time burning calories when I could have been thinking about other things."

"For me to deal with my own anxieties about it and my friends' anxieties, I can create art. That's how I feel better about things... ["Quiet"] was just a way of giving people some space to feel love and hope in this time of fear mongering."

"The rhetoric [during the 2016 presidential election] that was used to describe women really enraged me, and just kind of brought me back to those feelings of when I was younger. I was told I needed to "sit properly," and I need to "speak less" and "smile more" and "lose weight" and just be this perfect little girl."

"When I first released the song [Quiet], I put on my site like, "I'm a survivor of abuse and anorexia and this is my song in response to it." And so when the song went viral, it became "the anti-Trump song," it was like a really political thing. And I'm so glad I stuck to the truth...I was like I'm not going to try to please others and say, oh yeah, this is not political. I just stuck with what it really was, my truth."

"The message that really pisses me off is like, "Well, women in the Middle East are getting their genitalia cut, so you should just shut up." That is completely wrong. The point is we're not all truly free until we're all free, and the women who have mouthpieces need to speak up for the women in other places, and for men too."