G. Willow Wilson Quotes
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I think every Muslim woman has to feel the world out for herself.
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I keep setting the bar higher for myself in terms of what I'm trying to accomplish.
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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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It's patently impossible for a Muslim character to represent 'all Muslims.'
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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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I think all these pop cultural media often reflect conversations we're having in the real world at that moment in time. I think one of the big conversations we're having as a culture is we thought we'd solved sexism and racism, and we're realizing more and more that we haven't.
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I have younger friends who are in this pinch where they feel they've been counted out before they've had a chance to prove themselves. They've inherited a lot of debt - not just student debt but environmental debt, political debt. They really feel squeezed.
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Superheroes don't often get their powers in one fell swoop. It's like superhero puberty.
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An ambitious, surreal tale of the love between a young Arab girl sold into marriage and the orphan boy she adopts, 'Habibi' spans multiple eras of conflict and change, stretching the lifetimes of its two protagonists over many centuries.
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There's a burden of representation that comes into play when there aren't enough representatives of a certain group in popular culture.
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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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In 2003, as a 21-year-old convert to Islam, I moved from Colorado to Cairo to see what life was like in a Muslim country.
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As a writer and a mom, I wish I could split into two or three different people so I could be with my kids all day, write all day, and go out and do the interviews all day. Multiplicity woman!
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My career is a black comedy of sorts. I spent a lot of time explaining myself to various different groups. But more and more, I'm finding that the desire to communicate, which all these audiences share, is a powerful thing.
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When we read fiction, we want to get outside of ourselves and are able to see from a perspective we haven't seen through before. That can be very powerful.
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Comic book readers tend to be pretty secular and anti-authoritarian; nothing is above satire in their eyes.
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So many people are of mixed heritage; everyone is from somewhere else.
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That's something the head scarf, in a symbolic way, is meant to do in Arabic culture: it defines your relationship to your husband and the men of your family differently than your relationship to the average guy on the street you've never met.
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I think comics are really part of The Zeitgeist. They reflect back to us the issues that we're concerned about in the time they are written.
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Real tolerance means respecting other people even when they baffle you and you have no idea why they think what they think.
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Most people know Muslims in their community but don't realize it.
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Leaving your country at a tender age really rearranges the way you perceive the world. So I feel marginally attached to many places rather than deeply attached to any one place.
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'Habibi' is a complex and unapologetic work of fantasy - no idle undertaking for readers of any faith or no faith at all, but one well worth the trouble.
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A lot of my writer friends - some of whom are brilliant - work when the Muse calls them, for lack of a better description. You know, days of nothing, then this creative burst where they write for 36 hours straight fueled by caffeine and idealism.