G. Willow Wilson Quotes
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If you love things or ideas or people that contradict each other, you have to be prepared to fight for every square inch of intellectual real estate you occupy.
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Despite all the criticisms that have been leveled at the comics community, both in terms of fans and creators, I have always felt more comfortable and accepted in the comics community than I have in any other medium of publishing that I've had the pleasure of working in.
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Ninety percent of the comic books I've written in the past had little or nothing to do with Islam.
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There is a certain danger in thinking about diversity in its own little box, as something that is somehow separate from 'normal' comic books and comics creators.
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It seems like whenever you write about Muslims, people assume that you're writing about the Quran, you are writing about the Prophet Muhammad. There's no sense that Muslims are capable of individualism, that they're capable of making mistakes that are somehow not connected to Islam.
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I tend to deal with characters who are sort of at that same point of wrestling with, 'Who am I going to be as an adult? What do I believe? How am I defining myself in the context of my culture and my peer groups, my family?'
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In the West, anything that must be hidden is suspect; availability and honesty are interlinked. This clashes irreconcilably with Islam, where the things that are most precious, most perfect and most holy are always hidden: the Kaaba, the faces of prophets and angels, a woman's body, Heaven.
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The Qur'an is in many ways far less concrete than the Bible, relying on the esoteric more often than the apparent.
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We think of divinity as something infinitely big, but it is also infinitely small - the condensation of your breath on your palms, the ridges in your fingertips, the warm space between your shoulder and the shoulder next to you.
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The 'Islam vs. the West' dialogue ceased to be about real people a long time ago.
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The first comic I ever read was an 'X-Men' themed anti-smoking PSA they gave out in health class when I was about 10.
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To me, writing an ongoing series feels like driving a freight train downhill. All you can do is steer and pray.
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The Qur'an is God's property, not mine.
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The transition between life in red-state America and life in the Arab capital was at times overwhelming because of the traditional segregation of men and women in many public and private settings.
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Sometimes, by using the most over-the-top, ridiculous plot device you can imagine, you get some interesting little conflicts and cool things that you might not otherwise have a chance to explore.
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In many countries in the Middle East - and this is changing in the wake of the Arab Spring - but for a long time, censorship of books and film was a very big deal. There were books you couldn't buy; things with political content would be censored, but there were some genres of books and film that the censors just didn't understand.
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To me, a staircase looks like a series of dark and light horizontal stripes, which is exactly how you'd draw a staircase. So I know how the image is going to look on the page.
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I think every Muslim woman has to feel the world out for herself.
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'Butterfly Mosque' came out of the emails I wrote to family and friends back home after moving to Egypt.
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Out-marriage is an issue religious groups have been wrestling with for some time. Of course men and women fall in love. Of course it's not always convenient to their respective cultural and spiritual norms.
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Thematically, in a lot of what I write, there's a sense of displacement, of being rooted in multiple places, and how that can tug at your identities and your wants and your goals.
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When I am in Egypt, I am along for the ride - I am a privileged outsider, but an outsider nonetheless.
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So many people are of mixed heritage; everyone is from somewhere else.
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'Lost' seems to be the inverse of 'Air': It explores dispossession and identity by forcing a bunch of people into one invented landscape instead of using many invented landscapes to keep people apart.