A Quote by ZZ Packer

Be wary of feeling as through there is not enough room at the table. Oftentimes a female Chinese-American might feel as through she is in competition with another Chinese-American woman writer of the same generation. A writer friend of mine calls it the "There Can Only Be One ..." syndrome. This isn't "Survivor." The more good writers, of all walks of life and all ethnicities and persuasions, the better.
There's the fact that American fiction is basically the most apolitical fiction on the globe. A South American writer wouldn't dare think of writing a novel if it didn't allude to the system into which these people are orchestrated - or an Eastern European writer, or a Russian writer, or a Chinese writer. Only American writers are able to imagine that the government and the corporations - all of it - seem to have no effect whatsoever.
Oh, I love labels, as long as they are numerous. I'm an American writer. I'm a Nigerian writer. I'm a Nigerian American writer. I'm an African writer. I'm a Yoruba writer. I'm an African American writer. I'm a writer who's been strongly influenced by European precedents. I'm a writer who feels very close to literary practice in India - which I go to quite often - and to writers over there.
The writer in me can look as far as an African-American woman and stop. Often that writer looks through the African-American woman. Race is a layer of being, but not a culmination.
Few [books] get translated and the ones that do have trouble making it into the mainstream. It's more likely that Americans will discover another culture through an American writer rather read a writer from that culture.
My experience of Chinese culture is indirect, through echoes. When I approach the cashier at my local Chinese supermarket, they switch to English before I've even said a word. They somehow know that I'm not quite Chinese enough.
Oh, I love labels, as long as they are numerous. I'm an American writer. I'm a Nigerian writer. I'm a Nigerian American writer. I'm an African writer. I'm a Yoruba writer. I'm an African American writer.
There's still only maybe three female writers or two female writers to 10 guys in any kind of writer's room.
It feels as though a very disproportionate number of main characters are writers, because that's what the writer knows. Fair enough. But nothing bothers me more in a movie than an actor playing a writer, and you just know he's not a writer. Writers recognize other writers. Ethan Hawke is too hot to be a writer.
The writer is a spiritual anarchist, as in the depth of his soul every man is. He is discontented with everything and everybody. The writer is everybody's best friend and only true enemy-the good and great enemy. He neither walks with the multitude nor cheers with them. The writer who is a writer is a rebel who never stops
I'm an immigrant writer, or an African writer, or an Ethiopian-American writer, and occasionally an American writer according to the whims and needs of my interpreters.
Social media changed Chinese mindset. More and more Chinese intend to embrace freedom of speech and human rights as their birthright, not some imported American privilege. But also, it gave the Chinese a national public sphere for people to, it's like a training of their citizenship, preparing for future democracy.
But the writer who endures and keeps working will finally know that writing the book was something hard and glorious, for at the desk a writer must try to be free of prejudice, meanness of spirit, pettiness, and hatred; strive to be a better human being than the writer normally is, and to do this through concentration on a single word, and then another, and another. This is splendid work, as worthy and demanding as any, and the will and resilience to do it are good for the writer's soul.
William Maxwell's my favorite North American writer, I think. And an Irish writer who used to write for 'The New Yorker' called Maeve Brennan, and Mary Lavin, another Irish writer. There were a lot of writers that I found in 'The New Yorker' in the Fifties who wrote about the same type of material I did - about emotions and places.
You know how someone - something - surprises you. You wake up a little bit. That's done through Chinese cuisine - for example, through dishes of artifice. That's a whole sub-tradition in Chinese cuisine. To create a dish that comes to the table looking like one thing but actually is something else.
I was probably 34 when I got my first on-camera acting job, and it was through a friend of mine, who was working as a writer on the show, and I've never been more frightened in my life.
At the beginning of my career as a writer, I felt I knew nothing of Chinese culture. I was writing about emotional confusion with my mother related to our different beliefs. Hers was based in family history, which I didn't know anything about. I always felt hesitant in talking about Chinese culture and American culture.
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