'Alpha' is a very fast-moving book. It doesn't lend itself to laborious introspection and the navel-gazing that some stories can fall prey to.
I represent the mixed race community, which I think gets left out a lot. I always describe myself as being mixed race.
'Slacker' is so not about navel-gazing.
I've always felt mixed race. Or as my music teacher said during a lesson: 'You are a mulatto.' I always felt there were white people, black, and then people like me in the middle.
I look white to a lot of people. And I'm not. I'm African-American. I'm mixed. I like to call myself Mulatto because that definition fits. So, you know, I've dealt with the conflict my whole life between how I look and my actual ethnic and racial identity.
I am in a mixed race marriage myself, and I have a mixed race son....The racial perception interest is probably always going to be there to some extent.
I try not to be super self-referential about my work because it becomes like navel gazing at a certain point.
My experience is that the universal is the personal. If you can get past your navel-gazing into the deepest part of yourself as a writer, you find everyone - we're all there.
I do think women are unfairly judged by their physical appearance, but I don’t think it had anything to do with being mixed-race. In my opinion, mixed-race people are the most beautiful.
Producing is the antidote to acting. Producing is practical problem solving all day long. As opposed to endless self-obsession and navel gazing.
We live in a time where there's a great deal of navel-gazing with the devices that we have that occupy so much of our time... many subjects of history are lost.
Speaking as a mixed-race woman, there aren't many historical stories about people like me.
Mixed-race blacks have an ethical obligation to identify as black - and interracial couples share a similar moral imperative to inculcate certain ideas of black heritage and racial identity in their mixed-race children, regardless of how they look.
There was a time when people had the decency to wait until they were approaching 50 to have a mid-life crisis. Now it seems many thirtysomethings find themselves succumbing to existential navel-gazing.
Most books that come out with a comedy label seem to be, Eric [Wareheim] and I could have written, "This is our story, and this is who we are," and sort of this navel-gazing, narcissistic approach to comedy we're seeing these days.
I'm not going to let Defense Distributed go into a pro-social NGO territory. "We should really have more women on the board." That's navel-gazing and destructive ultimately. You have to have a kind of white-hot core identity. So far, I'm in touch with it.