https://lithub.com/learning-from-shame-r-f-kuang-on-diaspora-language-and-writing-young-protagonists/
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“I started writing the Poppy War trilogy when I was a teenager, and everyone’s a teenager.”
“Taipei Story is interested in severing the entitlements of blood or ethnicity from language ability.”
“Literary Hub » Learning From Shame: R.F.”
“Were you thinking about the way that we look back at this sort of time and say, “Oh my God, what was I doing?” R.F.”
“There’s something similar going on with bilingualism.”
“Kuang is, in the best sense, a literary chameleon.”
“Adam Dalva author interview bilingualism diaspora East Asia interview language R.”
“A grandparent dying is such an intense experience, the repository of family history being lost.”
“Language doesn’t come in your blood.”
“David Sedaris has a wonderful essay about learning French where he talks about shame almost as a kink.”
“Those are productive things.”
“Kuang on Diaspora, Language and Writing Young Protagonists What Weimar Berlin’s Most Famous Plays Revealed About Artistic Freedom What Peatlands Can Teach Us About Time “Get Out.” Advice on Teaching High School From the Late, Great Frank McCourt Literary Hub Created by Grove Atlantic and Electric Literature Masthead About Sign Up For Our Newsletters How to Pitch Lit Hub Advertisers: Contact Us Privacy Policy Support Lit Hub - Become A Member If you buy books linked on our site, Lit Hub may earn a commission from Bookshop.org , whose fees support independent bookstores.”
“And the worst part is she thinks she has a grasp on it.”
“I’m more Chinese than you.”
“He is the Senior Fiction Editor of Guernica Magazine and serves on the board of the National Book Critics Circle.”
“And so I opened the novel when she’s landing in Taipei Taoyuan Airport.”
“And yet the lead has this thought, paraphrasing, that you actually don’t get that much social mileage out of a grandparent dying.”
“When I was in Taiwan, I was taking classes and I just kept thinking, “You’re not my mom.”
“I just turned 30 this year, and I went back a decade and wrote somebody on the cusp of adulthood.”
“I feel that way, especially in French.”
“And I think a lot of heritage speakers feel that way, because they might’ve come from context where most of the people that they ever spoke that language around was a family member.”
“But the only way that you get better is by making mistakes.”
“AD: I was fascinated by the way you write about gossip in this book, and it feeds into what we’re talking about with how we construct identity.”
“I’m interested in people for whom identity, especially racial, cultural identity, is a card that you play to establish that you have the upper hand, that your word ought to be given more weight.”
“That involves a lot of assumptions about what we get to be included in and what stories we ought to have access to.”