Top 98 Quotes & Sayings by Chang-Rae Lee - Page 2

Usually, when you're talking about work with other writers it's because something seriously bad is going on with your work and you've absolutely thrown out a lifeline and you're hoping that someone will help you with something. Either there's some bad feeling you have about the work, or sometimes it's not specific - just kind of solidarity.

By definition it uses and plays and delights in time. It delights in the interlacing of chronologies and the consequences of that interlacing. And those have personal and psychological expressions in a character. Aside from other issues of writing, psychological characterization is what narrative can do best.

I'm more interested in the psychic intricacies that they build up and try to run away from, and how they self-construct. A lot of my work is about self-construction. Here, it's those folks who are deeply wounded and bewildered. They're not just victims of trauma; they've been shaken so forcefully that they don't quite know how or where to stand.

I rarely talk about work with writers, and I love getting together with writers. I think writers are great to get together with, because we can talk about everything. I think that's why I enjoy it. Writers tend to be pretty open-minded, and pretty profane and loose. They have fun minds.

I want the flashbacks to feel that once you're there they have their own unity, their own kind of atmospheric sensibility; I want the reader to be transported. The novel is a big, complicated, unknowable thing before it's written.

Like most people, Im fascinated by characters who are completely flawed personalities, riven by anguish and doubt, and are psychologically suspect.

To be honest, Im not that much of a reader of Korean fiction, since so little is translated.

I think that's great - I just try not to be one of those people. I find the more I think about it, the less free I feel when I write and when I work.

There is secrecy and betrayal but that's more part and parcel of the kind of anguish that the people go through. And maybe that's modes of survival, rather than modes of consciousness.

I really try to forget. I only look at my old works if there's an interview and someone asks me about it. Otherwise, it's not even in the rearview mirror.

I did feel a little afraid, as you say, the complete liberty and "elasticity" of it. But I found that I liked some of the things that it availed me of in terms of emotion and tonal stuff. I came to find it appealing.

I had a visceral connection to the period [of Korean War]. By visceral I suppose I mean emotional. But every fiction requires so much that is not that so I did a lot of other research and a lot of thinking, a lot of struggling there.

It's just a weird idea to me because each book is a complete universe unto itself, so why would I want this other universe from this other galaxy that has nothing to do with mine? That's how I really feel about it. Let's be honest - I'm still the writer, so certain things will be common denominators. But that I just want to keep natural and not studied.

It's not that I don't enjoy other people, but what I find with writers is this back and forth. And also, there's no need to talk about work.

I don't think that stuff is gone - I just don't want to dwell on it. There's a difference. As I said, I think we all have tendencies as writers, and I think we all have experience that we bring as readers to each project.

For each of us has a perch on the tree. After we are gone, that perch is marked by a notch, permanent, yes, but with its edges muting over time, assuming the tree is ever growing. Years from now someone can see that you were here, or there, and although you had little conception or care for the wider branching, in the next life there might be a sigh of wonder at how quietly flourishing it all was, if never majestic.

Before I had published anything, I still hung out with people who liked to write. None of us had published, so there was no talk about the business, and there was probably a lot more angsty talk back then. But these days maybe there are some more laments about the culture, but I would say no.

I try to be aware of what I'm concerned about, aware of how I feel about myself in the world, aware of how I feel about the issues of the day, but I guess I don't want to write essays in my head about my craft and maybe it's because I teach and talk about craft of other writers as a reader. I feel the moment I start doing that is when it's going to kill me.

Imagination might not be limitless. It's still tethered to the universe of what we know.

Don’t sanctuaries become prisons, and vice versa, foremost in the mind?

Yeah, and the language the "we" has, and the character the "we" has. Because that was the part of the book that I didn't plan out, but the part that I was most curious about as I was writing. You know what you're doing, but you're sometimes still sort of curious as you're writing it.

The past, as you suggest, is absolutely present at all times and the present is born from the past. I wouldn't want to suggest that the past determines the present.

I think the action is ninety-three percent, and the consideration is peppered throughout but pretty short... Once I start it, I feel as though I don't want to look over my shoulder too much. I want to trust the preparations I've made.

You can be affected by a person because of something particular they said or did but sometimes how a person was, a manner of being, that gets most deeply absorbed, and prompts you to revisit certain parts of your life with an enhanced perspective, flowing forward right up to now.

When I'm describing wartime activities or violence I don't want to be too ornate, to prettify the picture. Once we trace them to the present, the prose becomes denser.

For at some point, each of us will be asked to embody what we feel and know.

We can skip through a lot of the stuff people might ask about the writing of the book, and so their comments always start well, well down into the nitty-gritty.

Some writers are writing one great, big book and just taking all these different avenues towards it. They might seem on the outside to be different, but they're really not. And that's a different kind of mindset. I don't know why it is, but I just feel like I really want to escape myself as much as I can - myself as the artist, or as the writer, or as the thinker - with each new project, because one, it's just boredom, but also, I guess I just feel most comfortable starting a new book if I just feel a little in the dark about it.

It's not that I wrote those details, but photos can give you the confidence that you have a real feel for the landscape. Then you can invent with a solid kind of faith, and recreate a feel and flavor of the time, and, one hopes, a tonality, a sense of that time having been lived by those characters.

Maybe someone's who's a different kind of writer [would think otherwise] - someone who'd be just as comfortable writing essays on what their novels are about. Sometimes you feel like certain novelists are like that.

I wanted to present a sweep and scope of larger events, and a grander backdrop, but most important was to set against that a very singular, real and modest people struggling with every day and human struggles.

For if there is ever a moment when we are most vulnerable, it’s when we’re closest to the idea of the attained desire, and thus farthest from ourselves, which is when we’ll tread through any flame.

One of the things my friends would tell you is that I hang out with a lot of non-writers - just regular people like bankers and teachers, and I actually try to steer our talk away from my work when I get together with them.

I think their pasts are treated with a voice that sees their role as those of innocents. That's reflected in the past time sequences. They're less "written."

A tale, like the universe, they tell us, expands ceaselessly each time you examine it, until there’s finally no telling exactly where it begins, or ends, or where it places you now.

I did a lot of reading of first person accounts from Koreans and combatants and aid workers. And I spoke to relatives. A lot of wonderful photographs were made available to me from that period - 1950-1956 - and those were given to me by a Korean newspaper in Seoul. Ruined villages, refugees streaming through a river valley, GI's and orphans and orphanages, those tiny details that you can only see in a picture.

All of my books really do look at that to degrees of difference. Technically, I do enjoy the flashback! But not just for informational material.

I think because of these big issues of life and death that maybe sex feels like a crass question. But for Christ sake, this is a book that is so interested in an elemental human condition. And one of the ideas about surrender is an erotic surrender, too. These folks are surrendered by destiny; they surrender to each other in certain moments, but there is a lot of erotic surrender.