Chinese - Actress | June 22, 1987 -
The reader who likes my stories, I think they would see the violence on the surface, but I think they would also see a deeper violence - the one that's not as showy or as immediately arresting, but kind of the more unsolvable violence that lurks underneath.
Jenny Zhang
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That's what people expect: They don't want to read a slight novel. People don't want to waste their time on anything less than 'great.'
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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 think being a writer is being heavily attuned to the absolute absurdity of things you take for granted, and I think that having actual parents who lived through the Cultural Revolution who are also interested in literature, they're also very attuned to those moments.
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In my mind, scatological writing is a core of the English canon.
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Early in my life, without any supporting evidence, I fretted over what I believed was my fate: accidentally becoming an international pop star. The pages of my diary were filled with hypothetical ethical dilemmas.
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While I was growing up in Flushing, Queens, we socialized exclusively with other Chinese immigrants. I was forbidden to make contact with nonapproved, non-Chinese peers outside school. That was fine with me.
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Faced with ostracization at school and confinement at home, I turned to karaoke.
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Our culture is bloodthirsty for stories about women in pain; we hunger for women to expose their traumas and to be rescued by the love of a good man.
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Coming out of the closet doesn't always mean liberation.
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Visibility doesn't always equal freedom.
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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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