I'm not a designer, I'm a sifter. I can sift everything, all the time. My sift level lines keep shaking all the time for everything that is around.
I was nine when I first knew I wanted to be a writer, in particular, a poet.
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.
We need a complete ban on soft money, which is sort of an enveloping problem, and a ceiling on the amount of money that can be spent on a given race.
Money is the root of all good.
The hate of favourites is only a love of favour. The envy of NOT possessing it, consoles and softens its regrets by the contempt it evinces for those who possess it, and we refuse them our homage, not being able to detract from them what attracts that of the rest of the world.
The main reason for the colossal objects is the obvious one, to expand and intensify the presence of the vessel - the object.