Jenny Zhang Quotes
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I grew up in a Chinese American enclave where the person who lived down the street had literally lived down the street from my mother in Shanghai.
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'Alphabet' by the late Danish poet Inger Christensen. It's a book-length abecedarian poem. It's an activist text but also a portal to wonder.
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I'm surely not the only one to notice we employ metaphors to make sense of the news. I always like to take note of who hides their origins and who shows them off.
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Faced with ostracization at school and confinement at home, I turned to karaoke.
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Even when I speak English to my parents, I'll say an English word differently to my Chinese parents and friends than I do to my English-speaking friends - you know, I'll pronounce 'McDonald's' differently, because it feels right, and that's what I'm used to.
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I hadn't ever worked with an 'editor' until I was 26 - although that could be partly chalked up to the MFA vs. NYC thing, where I came up through institutions that encouraged writers to write privately for a long, long time and not sully themselves with concerns about audience or the business side of writing.
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I seem to be drawn to these smaller forms, and I seem to be drawn to things that can be written and also read in one sitting.
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In my mind, scatological writing is a core of the English canon.
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I still catch myself trying to become the object someone imagines me to be, but then there are other times, when I am free, when I am fluent, when I am unimaginable, that I start to feel like somewhere out there is the decolonized love for me, somewhere out there, there is a love that doesn't let any of us be so lonely.
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Poetry was my dirty little secret when I was a fiction writer at Iowa, and then fiction became my dirty little secret when I started writing more poetry and working for 'Rookie'.
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I'd behave savagely if I had access to Bjoerk's closet.
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As a child, I would go days without speaking, and then suddenly I would scream until everyone was looking at me.
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Once I decided I was happy with something, I'd try to send it off into the world, and either someone would want it exactly as it was, or it would remain in my notebook/laptop, and no one would ever see it. This is probably why I didn't work with an editor until I was 26. The solipsism!
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When it comes to love, maturity often gets a bad rap - second love is boring; it's practical. It's what our parents feel for each other.
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I wish I had acted better. I wish I had been the kind of sister who was patient enough to show my brother the proper spelling for 'Power Rangers.'
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Coming out of the closet doesn't always mean liberation.
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When I was an undergrad at Stanford, there was a girl named Jennie Kim who worked for the school newspaper. Sometimes people would come up to me and talk to me about articles she had written. 'That one on getting a Brazilian was hilarious', some guy said, high-fiving me.
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Michael Derrick Hudson is not the first person to slip into the identity of a person of color to give himself some perceived advantage. He can slip back into his life and not walk around in this world as a person of color who endures racism.
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The historical legacy of 'The Best American Poetry' is they've had very few editors who were not white. They've had very few instances where they've selected poems by non-white poets.
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As you get older, you realize you're only the protagonist in your own story and a blip in someone else's life.
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Visibility doesn't always equal freedom.
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I know I am not the first woman to ask this, but how can I be both damaged and loveable? How do I become the protagonist of a story?
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When I was a graduate student at the Iowa Writers' Workshop for fiction writing, I felt both coveted and hated. My white classmates never failed to remind me that I was more fortunate than they were at this particular juncture in American literature.
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The 'New York Times' is not reviewing books by non-white people.