I met her last summer on a moonlight boat trip.
I'm much more comfortable in pants and shirts, running around. There was a typical construction about womanhood when I was growing up that I rejected.
That desire to reach further is also where I ended my memoir, in 1994 in California, perhaps ironically, looking out to the Pacific and back to Asia, toward the not-yet-written.
Sometimes, in my published complaints about not being a writer, I have recalled the prospect - the yearning to be a writer - as it first formed for me.
These commonplace categories - wife, mother, housewife, teacher - are in fact teleological referents. They gesture to profound states of being that animate, absorb and saturate the subject, like indelible dyes spilled repeatedly over a plain fabric. No matter if the fabric is sturdy or delicate, translucent or opaque, those dyes will stain. They will color the days and years and life.
When someone asks me now, "What do you do?" I will be able to say, "I am a writer. "
Even my novels offer passages in which the major character is imagined as a writer. In Joss and Gold, Li An is a business writer who edits her company's weekly public relations magazine. And in Sister Swing, Suyin writes human interest stories for a free, local community paper, The Asian Time.
Freedom is an abstract offshoot. You can't describe freedom. How can you describe it? I tried and I failed.
What it taught me was forgiveness. It taught me that when people present themselves in a certain way, there's probably some back story or issue or reason for the way that they are. It's not you. It's them. And a lot of times, its about something that's completely out of their control
Thinking in generations also means enabling our young to have a decent standard of living.
He rarely smoked, but once in a while, like now, when his world had been shaken, his woman nearly killed in front of his eyes, and he’d watched a house consume a man and spit him out, he figured a drag or two were appropriate.