A Quote by Helen Oyeyemi
I think I started writing about identity, and I used to believe that identity is the story. But now I'm not so much subscribed to that. I mean, with 'Mr. Fox,' it has a feminist agenda as well. And so, as I sort of been away from writing about identity, I still feel that kind of tug of roots and, you know, cultural background.
Related Quotes
The identity of just one thing, the "clash of civilization" view that you're a Muslim or a Hindu or a Buddhist or a Christian, I think that's such a limited way of seeing humanity, and schools have the opportunity to bring out the fact that we have hundreds of identities. We have our national identity. We have our cultural identity, linguistic identity, religious identity. Yes, cultural identity, professional identity, all kinds of ways.
Why would one's identity be a matter of feelings? I think that that's a misuse of terms, philosophically. Identity is mind independent. It's something that is objective, regardless of how you feel. So, the term gender identity seems to me to be something of an oxymoron. It's not really about one's identity. It's rather a matter of one's self-perception or one's feelings about oneself.
Entering into writing a poem is an emotional endeavor for me as well as a spiritual and creative one. Having to write those poems for the inauguration, I started asking deeper questions about my cultural identity, and my connection to America.
I feel I've always been writing about self-identity. How do we become who we are? So I'm just writing from experience what's concerned me.
Critics stopped being relevant when they stopped writing to inform and contextualize, and when they started writing to signal who they are, to display their identity by their stance on what they are writing about. Criticism should never be about the critic, but thats what it has become, and that’s why no one cares about them anymore.
So many people that we met had some sort of connection to the [Olympics] games. Some story about how they volunteered there, or some sort of memory of it. It still is in the cultural memory and identity of these cities as much as it is in the physical and architectural memory. It's where these two things overlap, I think, that we're trying to explore with the photos.
We can never know, for the good reason that writing is the destruction of every voice, every origin. Writing is that neuter, that composite, that obliquity into which our subject flees, the black-and-white where all identity is lost, beginning with the very identity of the body that writes.
The narrative constructs the identity of the character, what can be called his or her narrative identity, in constructing that of the story told. It is the identity of the story that makes the identity of the character.
I've realized that a lot of people come to me because of what's called identity. In the sense of "he's like me" - more like identification. Identity is one of those nonsense words: it's been used so much it doesn't mean anything. As individuals, we don't want to stay the same; identity means sameness, and we don't want to be the same, we want to keep changing, we want to grow, we want to become something else. We want to evolve. So when people come to me, it's about resonance - it goes back to that word.
What does it mean to be an American today? The question of that is always pointing at now. It allows someone to say what lens that will be through. A lot of my work has been about identity in different ways. Part of that for me falls into the question of gender identity certainly but also about what it means to be an American theater artist.
What "Make America Great" means is it doesn't mean race, and it doesn't mean gender, and it doesn't mean sexual orientation, and it doesn't mean anything identity politics related that seems to appeal to the Democrat Party. It's about a culture. It's about an identity. It's about an idea - the American idea, the American ideal.
I don't feel like my films are about gender; they are about identity - but a different slant on identity.
I've been writing all my life. Even though I didn't have sort of careerist aspirations as a writer, it was very much my identity.
There was no real strategic decision about editorial tone. It was kind of a write whatever you want to write, and we'll see how it goes. I think that we lucked out in that all of the women who started writing at Feministing.com were really funny, and I don't think that's something people are used to seeing or hearing when they read feminism. You know, you think feminism and you kind of think academic, women's studies, dry, humorless; there are all of these stereotypes that go along with what feminist thought is and what feminist writing is.
I give you the chameleon, whose ability to blend itself into the background tells you all you need to know about the roots of ecology and the foundations of a personal identity
You have an absolute freedom in Mexican writing today in which you dont necessarily have to deal with the Mexican identity. You know why? Because we have an identity... We know who we are. We know what it means to be a Mexican.
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