If you’ve been acculturated to believe that you have certain obligations - familial, social, human - if multitasking has been your forte and that’s what’s been praised and rewarded, where do you find the single-mindedness, the selfishness to do something like art?
We have such a tendency toward the segregation of cultural products… It can be counterproductive both to the literary enterprise and to people’s reading, because it can set up barriers. Readers may think, ‘Oh, I’m a straight man from Atlanta and I’m white, so I won’t enjoy that book because it’s by a gay black woman in Brooklyn.’
Going to my twenty-fifth college reunion last May, there was a panel—the writers panel—and the guy was moderating says, ok, I’m going to ask each of you a really difficult question, and his really difficult question for me was, what’s it like being married to James Wood, and I asked, is this the point where you want me to get up and walk out of the room?
The Church isn’t why I’m a writer, but it’s probably a part of it.
Before she is an individual, a shaman is foremost a vehicle for receiving and expressing the grief and indignation of the people within society.
Not only is hair a part of the body, but because it continues to grow for a time after death, it was considered a symbol of life and spiritual power. Likewise, hair to me is an element of mystery and an intriguing subject that rouses my imagination.
The subjects in my work appear as unidentified ghosts or monsters that can’t be said to be of this world. I’ve decided to call them incarnations.
via Images from an Unfathomable Place- Guernica / A Magazine of Art & Politics
TAGS: Hyon Gyon Park, interview, art, Sara Yu, translation
I often transcribe my Japanese titles into English and it feels as though I’m creating a password or code.
I fundamentally don’t believe that we can punish a crime by perpetuating it. I don’t think the government can decide who lives and who dies, especially where we have such problems with racism. That was the case that broke me.