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'm an actor. Since I was a teenager, I have had to play different characters, negotiating the cultural expectations of a Pakistani family, Brit-Asian rudeboy culture, and a scholarship to private school. The fluidity of my own personal identity on any given day was further compounded by the changing labels assigned to Asians in general.
I'd much rather people knew me as a good tennis player than as an aboriginal who happens to play good tennis. Of course I'm proud of my race, but I don't want to be thinking about it all the time.
I don't know what I am if I'm not a woman.
The mark of a Scot of all classes [is that] he ... remembers and cherishes the memory of his forebears, good or bad; and there burns alive in him a sense of identity with the dead even to the twentieth generation.
I understand if everyone looking at me is seeing a Jew and seeing me as a kind of 'other.' But I can't be expected to see myself that way. That is, to me, Jewish is the normal way to be; it's not a type of being.
I was a mixed black girl existing in a westernized Hawaiian culture where petite Asian women were the ideal, in a white culture where black women were furthest from the standard of beauty, in an American culture where trans women of color were invisible.
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