A Quote by Audre Lorde
There's always someone asking you to underline one piece of yourself - whether it's Black, woman, mother, dyke, teacher, etc. - because that's the piece that they need to key in to. They want to dismiss everything else.
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What I do is creative. It doesn't seem like that when I'm playing a piece that was written in the past, but the score is just the outline and everything in it is relative. The key is to make this piece written by someone else belong to you and then connect to the audience.
Look, we don't have the luxury of not dealing with China. There are real complexities to the relationship, whether it's the adversarial piece, whether it's the competitive piece, whether it's the cooperative piece.
You want to take yourself seriously, and you want to make something that you hope will have resonance with the audience. You want to bring your perspective and what you consider your talent to that piece of work, and you move forward in that direction. Sometimes that's easy, and sometimes it's met with resistance because you're dealing with situations where, for everybody else, it's a piece of business.
I grew up around so many beautiful things. My mother's jewelry and purses - they're very much statement pieces. Again, that sort of over-the-top Russian thing where it looks like treasure. I always say to my husband, you don't ever have to get me another piece of jewelry. When your mother is this amazing woman, a North Star, sometimes you want a simpler presentation of yourself.
My writing is definitely influenced by and speaks to African-Americans because that is who I am. I'm black. I'm a black woman. I'm a black mother, wife, churchgoer, etc. I am the legacy of slavery.
It's great fun if you get a good piece of writing and you can pretend to be someone else, tell a story that needs to be told, make some kind of connection. I've always fancied myself as a leading man, but I really doubt whether anyone else sees me that way.
Bringing together disparate personalities to form a team is like a jigsaw puzzle. You have to ask yourself: what is the whole picture here? We want to make sure our players all fit together properly and complement each other, so that we don't have a big piece, a little piece, an oblong piece, and a round piece. If personalities work against each other, as a team you'll find yourselves spinning your wheels.
'Bum's Rush' is a piece about timing, and everything that's in the piece needs to be with the piece. If people are missing, or marking, or unable to use their voices, the impulses that prompt the action are lost, and its logic crumbles.
I don't just want a piece of you and a piece of your life. Even if you were able, which you are not, to give me the biggest piece, that is not what I want. I want all of you and all of every part of you and your day.
But there’s a part of me that wonders what it would be like to be the most important person to someone else, to always feel like you were missing a piece of yourself when he wasn’t near you.
I thought of the structure as musical. The first piece, for instance, contains the names/subject matter of every person to come in the book. Like a piece of music with themes, etc.
The size of your key ring is the size of your headaches. Si Redd once told me, "Every time you buy something you sell a piece of yourself." Why? Because you have to maintain it, to insure it, to worry about it. So the more you buy, the more you sell a piece of yourself and pretty soon you get so thin you can't do anything. So get rid of all those things and get back to the basics. Everybody has his own basics: it's what he enjoys. Si Redd told me I would "arrive" when I got down to one key. Still working on that!
I try to write each piece in the language of the piece, so that I'm not using the same language from piece to piece. I may be using ten or twenty languages. That multiplicity of language and the use of words is African in tradition. And black writers have definitely taken that up and taken it in. It's like speaking in tongues. It may sound like gibberish to somebody, but you know it's a tongue of some kind. Black people have this. We have the ability as a race to speak in tongues, to dream in tongues, to love in tongues.
My mother said to me, 'Why do you have to call yourself a dyke? Why can't you be a nice lesbian?' 'Because I'm not a nice lesbian, I'm a big dyke.'
I always talk about if you want to be an artist, you have to be authentic because people can tell bullshit a mile away. There is nothing wrong with creating a character, standing behind that character, and that being an authentic performance piece, because that's a piece of art as well. But if you want to be an artist in any form, you have to know to come with it.
There's an old saying: 'No piece of writing is ever finished, it's just abandoned.' But my own rule is: No piece of work is done until you want to kill everyone involved in the publishing process, especially yourself.
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