Yellowface Rf Kuang Quotes

Reading lets us live in someone else’s shoes. Literature builds bridges; it makes our world larger, not smaller.

Writing is the closest thing we have to real magic

Reading should be an enjoyable experience, not a chore.

Writing is the closest thing we have to real magic. Writing is creating something out of nothing, is opening doors to other lands. Writing gives you power to shape your own world when the real one hurts too much.

Not every girl has a rape story. But almost every girl has an “I’m not sure, I didn’t like it, but I can’t quite call it rape” story.

But the best revenge is to thrive.

What more can we want as writers than such immortality? Don't ghosts just want to be remembered?

This industry is built on silencing us, stomping us into the ground, and hurling money at white people to produce racist stereotypes of us.

It's like pressing a bleeding sore repeatedly, trying to see how far you can go with your tolerance for pain, because if you know the limits of it, you gain some sense of control over it.

Awards don’t matter—at least, I am told this constantly by the people who regularly win them.

The cultural constructions are clear: so many Chinese ghosts are hungry, angry, voiceless women. In taking Athena's legacy, I've added one to their ranks.

Every writer I know feels this way about someone else. Writing is such a solitary activity. You have no assurance that what you’re creating has any value, and any indication that you’re behind in the rat race sends you spiraling into the pits of despair. Keep your eyes on your own paper, they say. But that’s hard to do when everyone else’s papers are flapping constantly in your face.

The truth is fluid, there is always another way to spin the story.

But Twitter is real life; it's realer than real life, because that is the realm that the social economy of publishing exists on, because the industry has no alternative.

Life is so short. Why do we build up these walls?

which is why revulsion for Rupi Kaur’s poetry has become a millennial personality trait.

Every time she tried to branch out to new projects, they kept insisting that Asian was her brand, was what her audience expected. They never let her talk about anything other than being an immigrant, other than the fact that half her family died in Cambodia, that her dad killed himself on the twentieth anniversary of Tiananmen. Racial trauma sells, right? They treated her like a museum

Most of the accounts that participate so clearly do not care about the truth. They’re here for the entertainment. These people love to have a target, and they’ll tear apart anything you put in front of them.

For the first time since I submitted the manuscript, I feel a deep wash of shame. This isn’t my history, my heritage. This isn’t my community. I am an outsider, basking in their love under false pretenses. It should be Athena sitting here, smiling with these people, signing books and listening to the stories of her elders.

(I thought about posting a phone screenshot of my statement drafted in the Notes app, but Notes app apologies have become a genre in and of themselves, and not a very respectable one.)

I would have liked Allie better if she were a shy, bookish type I could have taken on shopping sprees at indie bookstores instead of an iPhone-addicted, TikTok-obsessed basic bitch in training.

I've written myself into a corner. The first two-thirds of the book were a breeze to compose, but what do I do with the ending? Where do I leave my protagonist, now that there's a hungry ghost in the mix, and no clear resolution?

I wonder if that’s the final, obscure part of how publishing works: if the books that become big do so because at some point everyone decided, for no good reason at all, that this would be the title of the moment.

Maybe it was Highlander Syndrome—I’ve read about that before, the way members of marginalized groups feel threatened if someone else like them starts finding success.

It’s hard, after all, to be friends with someone who outshines you at every turn.

Who has the right to write about suffering?

I dub historical exploitation novels: inauthentic stories that use troubled pasts as an entertaining set piece for white entertainment.

I need to create. It is a physical urge, a craving, like breathing, like eating; when it’s going well, it’s better than sex, and when it’s not, I can’t take pleasure in anything else.

Publishing gossip, it turns out, is a lot of fun when you’re speculating about other people’s misfortune.

and who thought that Asian identification boiled down to being annoyingly obsessed with bubble tea and BTS were diluting the radical force of the diaspora canon.

But that's what I need right now: a child's blind faith that the world is so simple, and that if I didn't mean to do a bad thing, then none of this is my fault.

But now, I see, author efforts have nothing to do with a book’s success. Bestsellers are chosen. Nothing you do matters. You just get to enjoy the perks along the way.

She’s using the pen name Juniper Song to pretend to be Chinese American. She’s taken new author photos to look more tan and ethnic, but she’s as white as they come. June Hayward, you are a thief and a liar. You’ve stolen my legacy, and now you spit on my grave.

Writing is the closest thing we have to real magic. Writing is creating something out of nothing, is opening doors to other lands. Writing gives you power to shape your own world when the real one hurts too much. To stop writing would kill me. I'd never be able to walk through a bookstore without fingering the spines with longing, wondering at the lengthy editorial process that got these titles on shelves and reminiscing about my own. And I'd spend the rest of life curdling with jealousy every time someone like Emmy Cho gets a book deal, every time I learn that some young up-and-comer is living the life I should be living. Writing has formed the core of my identity since I was a child. After Dad died, after Mom withdrew into herself, and after Rory decided to forge a life without me, writing gave me a reason to stay alive. And as miserable as it makes me, I'll cling to that magic for as long as I live.

This is what I love about writing - it offers us endless opportunities to reinvent ourselves, and the stories we tell about ourselves. It lets us acknowledge every aspect of our heritage and history.

I don't need to impress him. I'm impressive enough as is.

Reading let's us live in someone else's stories. Literature builds bridges; it makes our world larger, not smaller.

We must make space for the subaltern voices, the suppressed narratives.

I’m a work of art. All construct. I’m Athena Del Rey.

I’ve labored for years to learn my craft. Perhaps the core idea of this novel wasn’t mine, but I’m the one who rescued it, who freed the diamond from the rough.

We have one of those skin-deep friendships where you manage to spend a lot of time together without really getting to know the other person.

personality makeover. Or maybe not. The more I think about it, the more this sounds like the plots of Ratatouille and Mulan combined.

But isn't that what ghosts do? Howl, moan, make themselves into spectacles? That's the whole point of a ghost, is it not? Anything to remind you that they're still there. Anything to keep you from forgetting.

We should do this more,” she keeps saying. “Junie, honestly, how have we never done this before?” “I don’t know,” I say, and then in an attempt to be deep, “Maybe we were afraid of how much we’d like each other.

Don't we all want a friend who won't ever challenge our superiority, because they already know it's a lost cause? Don't we all need someone we can treat as a punching bag?

It all reeks of desperation, but I can't look away. It's the only thing linking me to the only world I have any interest in being at part of.

But I can't quit the one thing that gives meaning to my life. Writing is the closest thing we have to real magic. Writing is creating something out of nothing, is opening doors to other lands. Writing gives you power to shape your own world when the real one hurts too much. To stop writing would kill me.

I want what Stephen King has, what Neil Gaiman has. Why not a movie deal? Why not Hollywood stardom? Why not a multimedia empire? Why not the world?

The night I watch Athena Liu die, we’re celebrating her TV deal with Netflix. And this will become, in time, my story once again.

Neither of my parents are, um, Asian.” I want to die. I want to open the car door and roll out onto the highway and be obliterated by oncoming traffic.

Since the most annoying symptom of anxiety is refusing to believe the obvious and rational explanation

So that night it’s only Athena and me at a loud, overpriced rooftop bar in Georgetown. She’s flinging back cocktails like she has a duty to prove she’s having a good time, and I’m drinking to dull the bitch in me that wishes she were dead.

Reading lets us live in someone else's shoes. Literature builds bridges; it makes our world larger, not smaller.

Watching someone warp your image and tell your story however they choose, knowing you have no power to stop it? No voice? That's how we all felt, watching you. Pretty awful, huh?

Two wrongs don't make a right, obviously, but the internet is very bad at recognizing this.

Athena never personally experienced suffering. She just got rich from it.

It’s about wishing you knew who your parents were. It’s about needing things from your parents you’ll never get.

Writing gives you power to shape your own world when the real one hurts too much.

MRS. LIU IS GORGEOUS. IT’S TRUE WHAT THEY SAY—ASIAN WOMEN don’t age. She must be in her midfifties by now, but she doesn’t look a day over thirty.

writing is fundamentally an exercise in empathy. Reading lets us live in someone else’s shoes. Literature builds bridges; it makes our world larger, not smaller.

But I’ve no clue what I have to offer her—I don’t possess anywhere near the clout, the popularity, or the connections to make the time she spends with me worthwhile.

My refuge was books, when I didn't like the world around me. I would read

And they don’t get that film is a totally different medium, and requires different storytelling skills,” says Justin. “It’s a translation, really. And translation across mediums is inherently unfaithful to some extent. Roland Barthes. An act of translation is an act of betrayal.

I sometimes wonder how my work would be received if I pretended to be a man, or a white woman. The text could be exactly the same, but one might be a critical bomb and the other a resounding success. Why is that?

We screamed back and forth a little more, relishing the other's presence at the other end of the line, for it was so nice to know someone who understood this exact dream, who knew how mere words can become sentences can become a completed masterpiece, how that masterpiece can rocket you into a wholly unrecognizable world where you have everything - a world you wrote for yourself.

People always describe jealousy as this sharp, green, venomous thing. Unfounded, vinegary, mean-spirited. But I’ve found that jealousy, to writers, feels more like fear. Jealousy is the spike in my heart rate when I glimpse news of Athena’s success on Twitter—another book contract, awards nominations, special editions, foreign rights deals. Jealousy is constantly comparing myself to her and coming up short; is panicking that I’m not writing well enough or fast enough, that I am not, and never will be, enough. Jealousy means that even just learning that Athena’s signing a six- figure option deal with Netflix means that I’ll be derailed for days, unable to focus on my own work, mired by shame and self-disgust every time I see one of her books in a bookstore display.

I’m trying to funnel this awfulness into something lovely. My salacious roman à clef will become a horror novel. My terror will become my readers’ terror. I will take my fugue state of delirious panic and compost it into a fertile bed of creativity—for aren’t all the best novels borne from some madness, which is borne from truth?

The original draft made you feel dumb, alienated at times, and frustrated with the self-righteousness of it all. It stank of all the most annoying things about Athena. The new version is a universally relatable story, a story that anyone can see themselves in.

I don’t have yellow fever. I’m not one of those creepy dudes who write exclusively about Japanese folklore and wear kimonos and pronounce every loan word from Asian languages with a deliberate, constructed accent. Matcha. Otaku. I’m not obsessed with stealing Asian culture—I mean, before The Last Front, I had no interest in modern Chinese history whatsoever.

There are no Cinderella stories - just hard work, tenacity, and repeat attempts at the golden ticket.

She was mortal after all, they're thinking. She was just like us. And in destroying her, we create an audience; we create moral authority for ourselves.

But that’s what I need right now: a child’s blind faith that the world is so simple, and that if I didn’t mean to do a bad thing, then none of this is my fault.

I am, in fact, rather astounded by my mental resilience.

Alt-right free-speech proponents have made me their cause célèbre. I and my pretty, Anglo-Saxon face have become the perfect victim of the left-wing fascist cancel-culture mob.

It’s not like I took a painting and passed it off as my own. I inherited a sketch, with colors added only in uneven patches, and finished it according to the style of the original.

I’m amazed by how good I look, especially in the photos we took outside. During golden hour I come off as nicely tanned, which makes me look sort of racially ambiguous.

If publishing is rigged, you might as well make sure it’s rigged in your favor.

I don't create so much as I collect,' explained the poet. 'The world is already so rich. All I do is distill the messiness of human life into a concentrated reading experience.

that’s the fate of a storyteller. We become nodal points for the grotesque. We are the ones who say, “Look!” while everyone peeks through their eyes, unable to confront darkness in full force. We articulate what no one else can even parse. We give a name to the unthinkable.

I can't ignore the damage. I have to track the exact trajectory of the hurricane, because knowing the precise moment it'll hit and where will make things hurt less. At least, my brain is convinced this is so.

We’re just suggesting the right credentials, so that readers take me and my story seriously, so that nobody refuses to pick up my work because of some outdated preconceptions about who can write what. And if anyone makes assumptions, or connects the dots the wrong way, doesn’t that say far more about them than me?

Okay, yes, I know how bad this looks. Like Taylor Swift, I had no intention of becoming a white supremacist Barbie. Obviously I'm not a Trumper—I voted for Biden! But if these people are hurling money at me, is it wrong of me to accept? Should we not celebrate scamming cash from racist rednecks whenever we get the chance?

I’ve torn that from her. I’ve denied a mother her daughter’s final words. If I tell her the truth now, Mrs. Liu will at least get those words back. She’ll see the effort that occupied the last years of Athena’s life.

I feel like a meme of a clueless white person. The wildest thing about all this is that even now I cannot stop composing. I'm trying to funnel this awfulness into something lovely. My salacious roman à clef will become a horror novel. My terror will become my readers' terror. I will take my fugue state of delirious panic and compost it into a fertile bed of creativity — for aren't all the best novels borne from some madness, which is borne from truth? Perhaps, if I can capture all my fears and constrain them safely on the page, this will rob them of their power. Don't all the ancient myths tell us that we gain control over a thing once we name it?

It will surely become one of the most talked-about books in the industry, and when it does, my name will be ruined forever. I will always be the writer who stole Athena Liu’s legacy. The psycho, jealous, racist white woman who stole the Asian girl’s work.

It’s going to be fine,” he says. “These things always feel like the end of the world when they’re happening. But they’re not. Social media is such a tiny, insular space. Once you close your screen, no one gives a fuck. And you shouldn’t, either, all right?

A writer needs to be read. I want to move people's hearts. I want my books in stores all over the world. I couldn't stand to be like Mom or Rory, living their little and self-contained lives with no great projects or prospects to propel them from one chapter to the next. I want the world to wait with bated breath for what I will say next. I want my words to last forever. I want to be eternal, permanent; when I'm gone, I want to leave behind a mountain of pages that scream, Juniper Song was here, and she told us what was on her mind.

Have you ever wondered the mechanics of popularization? How does someone go from being a real person, someone you actually knew, to a set of marketing and publicity points, consumed and lauded by fans who think they know them, but don't really, but understand this also, and celebrate them regardless?

God, I miss my high school days, when I could flip my notebook open to an empty page and see possibility instead of frustration. When I took real pleasure in stringing words and sentences together just to see how they sounded. When writing was an act of sheer imagination, of taking myself away somewhere else, of creating something that was only for me.

They call The Last Front a “white savior story.” They don’t like that I’ve shown valor and bravery by white soldiers and missionaries; they think it centers the white experience. (But those men did exist. One missionary, Robert Haden, drowned trying to save a Chinese man when the steamship Athos was torpedoed by German submarines. Doesn’t his death matter, too?)

My book even gets chosen for a national book club run by a pretty white Republican woman who is mostly famous for being the daughter of a prominent Republican politician, and this gives me some moral discomfort, but then I figure that if the book club reader base is largely Republican white women, then wouldn’t it be good for a novel to broaden their worldviews?

I bask in imagining my critics’ crestfallen faces as they realize that simply being Asian doesn’t make them historical experts, that consanguinity doesn’t translate into unique epistemological insight, that their exclusive cultural snobbishness and authenticity testing are only a form of gatekeeping, and that when it all comes down to it, they haven’t a fucking clue what they’re talking about. I’ve

I don’t know,” I murmur. “Honestly, Mr. Lee, I don’t know if I was the right person to tell this story.” He clasps my hands tighter. His face is so kind, it makes me feel rotten. “You are exactly right,” he says. “We need you. My English, it is not so good. Your generation has very good English. You can tell them our story. Make sure they remember us.” He nods, determined. “Yes. Make sure they remember us.

Offline, writers are all faceless, hypothetical creatures pounding out words in isolation from one another. You can't peek over anyone's shoulder. You can't tell if everyone else is really doing as dandy as they pretend they are. But online, you can tune into all the hot gossip, even if you're not nearly important enough to have a seat in the room where it happens. Online, you can tell Stephen King to go fuck himself. Online, you can discover that the current literary star of the moment is actually so problematic that all of her works should be canceled forever. Reputations in publishing are built and destroyed constantly online.

Uninspired colonizer trash, one reads. Another iteration of the white woman exploitation sob story formula: copy, paste, change the names, and voila, bestseller, reads another. And a third, which seems way too personal to be objective: What a stuck-up, obnoxious bitch. Brags too much about being a Yalie. I got this during a Kindle sale, and you can bet I made sure to get every one of the two hundred and ninety-nine cents I spent back.

People always describe jealousy as this sharp, green, venomous thing. Unfounded, vinegary, mean-spirited. But I’ve found that jealousy, to writers, feels more like fear. Jealousy is the spike in my heart rate when I glimpse news of Athena’s success on Twitter—another book contract, awards nominations, special editions, foreign rights deals. Jealousy is constantly comparing myself to her and coming up short; is panicking that I’m not writing well enough or fast enough, that I am not, and never will be, enough.

Sensitivity readers are readers who provide cultural consulting and critiques on manuscripts for a fee. Say, for example, a white author writes a book that involves a Black character. The publisher might then hire a Black sensitivity reader to check whether the textual representations are consciously, or unconsciously, racist. They’ve gotten more and more popular in the past few years, as more and more white authors have been criticized for employing racist tropes and stereotypes. It’s a nice way to avoid getting dragged on Twitter, though sometimes it backfires—I’ve heard horror stories of at least two writers who were forced to withdraw their books from publication because of a single subjective opinion.

We soften the language. We take out all references to “Chinks” and “Coolies.” Perhaps you mean this as subversive, writes Daniella in the comments, but in this day and age, there’s no need for such discriminatory language. We don’t want to trigger readers. We also soften some of the white characters. No, it’s not as bad as you think. Athena’s original text is almost embarrassingly biased; the French and British soldiers are cartoonishly racist. I get she’s trying to make a point about discrimination within the Allied front, but these scenes are so hackneyed that they defy belief. It throws the reader out of the story. Instead we switch one of the white bullies to a Chinese character, and one of the more vocal Chinese laborers to a sympathetic white farmer. This adds the complexity, the humanistic nuance that perhaps Athena was too close to the project to see.

The hardest part is keeping track of all the characters. We change almost a dozen names to reduce confusion. Two different characters have the last name Zhang, and four have the last name Li. Athena differentiates them by giving them different first names, which she only occasionally uses, and other names that I assume are nicknames (A Geng, A Zhu; unless A is a last name and I’m missing something), or Da Liu and Xiao Liu, which throws me for a loop because I thought Liu was a last name, so what are Da and Xiao doing there? Why are so many of the female characters named Xiao as well? And if they’re family names, does that mean everyone is related? Is this a novel about incest? But the easy fix is to give them all distinct monikers, and I spend hours scrolling through pages on Chinese history and baby name sites to find names that will be culturally appropriate.

I think it's very dangerous to start censoring what authors should and shouldn't write.' ... 'I'd hate to live in a world where we tell people what they should and shouldn't write based on the color of their skin. I mean, turn what you're saying around and see how it sounds. Can a Black writer not write a novel with a white protagonist? What about everyone who has written about World War Two, and never lived through it? You can critique a work on the grounds of literary quality, and its representations of history--sure. But I see no reason why I shouldn't tackle this subject if I'm willing to do the work. And as you can tell by the text, I did do the work. You can look up my bibliographies. You can do the fact-checking yourself. Meanwhile, I think writing is fundamentally an exercise of empathy. Reading lets us live in someone else's shoes. Literature builds bridges; it makes our world larger, not smaller. And as for the question of profit--I mean, should every writer who writes about dark things feel guilty about it? should creatives not be paid for their work?