We're always observing, and we're cautious people. We really want attention, but at the same time, we're ashamed of wanting attention. All those bizarre qualities of being outside are necessary for being a writer.
Min Jin LeeRead
I've often felt like an outsider, not necessarily because I'm Korean, an immigrant, or female. I think writers are odd people.
Interpretation
The quote expresses the feeling of being an outsider and the unique perspective that comes with being a writer.
Min Jin Lee reflects on the identity of being an outsider, suggesting that it is not solely defined by race, immigration status, or gender, but rather by the inherent oddity that often accompanies the writing profession. This perspective highlights the complexity of identity and societal perceptions, as well as the ways in which individuals may feel disconnected or different from the norm.
In practice
During a panel discussion on writing, this quote could be used to illustrate how unique experiences shape a writer's voice.
We're always observing, and we're cautious people. We really want attention, but at the same time, we're ashamed of wanting attention. All those bizarre qualities of being outside are necessary for being a writer.
Twenty-five million people who live in North Korea are denied freedom in every respect of their lives. In short, they are hostages. Imagine 25 million hostages.
My father was born on Christmas Day in 1934. He grew up in what is now part of North Korea. When the Korean War began, my father was 16, and he found passage on an American refugee ship,thinking he'd be gone for just a few days, but he never saw his mother or his sister again.
I think it's not an accident that you don't have that many Asian American women writers who are breaking out. I don't think it's an accident that you don't have that many Asian American writers, either women or men. I don't think that immigrants are encouraged to become artists. That's very gendered and racialized and ethnicized.
Koreans are worried about the Japanese right-wing people, who tend to be against foreigners. But the Koreans in Japan aren't even foreigners. They are essentially culturally Japanese. If a family has lived in Japan for three generations, it's absurd to see them as foreigners.
Education is a beautiful, liberating thing, but I think that tying in education and status, and the need to do well at every cost, is toxic.
I must identify myself with Africa. Then I will have an identity.
My mixed-race background made me a broad person, able to relate to different cultures. But any woman of colour, even a mixed colour, is seen as black in America. So that's how I regard myself.
American? Indian? I don't know what these words mean. In Italy, it is all about blood, family, where you come from. I'm asked where I am from. I'm from nowhere; I always was, but now I am happy knowing it.
I live on the margin of just about everything. I'm a marginal person, and I think that is where I've become comfortable. I'm marginally there in my native life. I can do as much as I can, but I'm always German, too, you know, and I'm always a mother. That's my first identity, but I'm always a writer, too.
I knew that I was trans when I was three years old. Well, I didn't know 'trans' because I didn't know there was a word for it, but I just knew that in my head and my heart that I was supposed to be a girl.
There's always someone asking you to underline one piece of yourself - whether it's Black, woman, mother, dyke, teacher, etc. - because that's the piece that they need to key in to. They want to dismiss everything else.
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