A Quote by Mary H.K. Choi
The thing about living in New York as a writer is that you hit that age where it feels like everyone has a book all at the same time. It's like that one year where you're invited to twenty weddings.
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The thing about living in a place like Nebraska is there aren't that many people, so your circle of acquaintances is going be much more diverse. Everyone would go to the same bar, like the local politicians and construction workers. The class intersections were fascinating to me. And of course there's a whole other conversation about what a huge source of growth it was for me in terms of understanding people and the world in a way that I hadn't in New York. I used to say that L.A. is essentially New York with yards.
To write a story about New York that only deals with people in your age and socioeconomic bracket, that feels dishonest to me. So much of New York comes from everyone bumping into each other.
The thing about California is that it's kind of a dream, and I started to feel like I was living in a dream. I still feel like that. Because of that I think I've been able to realize a lot of things that were just ideas. When I was living in New York City, it's such a rat race, it's so competitive and everything is so concrete and in your face all the time. If you're like, "I'm gonna be a writer!" Everybody's like, "Yeah, you and all the other assholes on the subway." There isn't a lot of space for the detached, free-floating movement of the imagination.
One thing about Los Angeles is it feels like it's not new. It feels like it's already been built, and it's deteriorating, except for the places they're trying to make nicer. But in general, you drive all through the city, and the city feels like it was new a long time ago.
England is my home. London is my home. New York feels like, if I have to spend a year living in an unfamiliar city, this is a pretty lovely one to spend a year in, but I will be going home at the end of it, certainly.
Now that the most interesting matter of identity is not what place someone was born in, but what point in time they are from - where they sit in relation to time. Age has become much more divisive than place. With the Internet and globalization, a twenty-year-old in New York has far more cultural references in common with a twenty-year-old in Nebraska than they do with a thirty-year-old who lives next door. National identity is what they trick you with when they want your feet in their army boots or your taxes in their bailouts.
The thing about not being historically a mainstream writer is that everyone feels like you're theirs: you're their friend.
New York is kind of like L.A. If I walk around, not everyone is going to notice me because not everyone watches football, especially in New York. But I feel like everyone in Jersey is a Jets fan, and I always get recognized here.
Every time I start off a book or a story I feel like I'm developing a new style or approach for that individual story alone, and it sometimes feels as if readers are looking for the same style/approach from the same writer over and over again, which hasn't helped me in the publishing biz.
I always had this romantic notion of living in New York. I just felt like, everyone could be different and weird and whatever they are in New York.
I started performing music about the age of 16. I lived in Brooklyn, New York, and this thing called the Flatbush Fair comes once a year. That was my first time on stage.
People love discovering you. The thing about not being historically a mainstream writer is that everyone feels like you're theirs, you're their friend.
I had a pretty poor self-image for a long time. I broke into acting as a model in New York. I was never anything like a "supermodel," but I made a living at it for a couple years. The thing was, I was convinced that I was tricking everyone into thinking I was attractive.
I like New York, man - I ain't gonna front. The only thing I probably don't like about New York is that, coming from the South, people aren't hospitable. You tell somebody 'Hi,' and they look at you like you're out your freaking mind.
Look, there's no denying that comics have moved dramatically into the mainstream in North American culture in the last 10 years, and for someone like me who's always tried to make a living at it, it's been great, I'm very grateful for it. But at the same time, it's not a subculture-y thing anymore; it's something that's in the New York Times and the New Yorker.
I've never been to the Oscars, but if I was ever invited to the Oscars, I would have this weird paranoia of terrorism. It just feels like The Poseidon Adventure, everyone in their tuxes. Somehow, I feel like the whole time I would be looking for where the nearest exit was, and in a cold sweat about some kind of man-made disaster, like a terrorist strike or something. It seems like such a scary, claustrophobic proposition.
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