I don't think that stuff is gone - I just don't want to dwell on it. There's a difference. As I said, I think we all have tendencies as writers, and I think we all have experience that we bring as readers to each project. Chang-Rae Lee More Quotes by Chang-Rae Lee More Quotes From Chang-Rae Lee For sometimes you can't help but crave some ruin in what you love. Chang-Rae Lee ruins helping sometimes As for what's the most challenging aspect of teaching, it's convincing younger writers of the importance of reading widely and passionately. Chang-Rae Lee reading teaching challenges It is 'where we are' that should make all the difference, whether we believe we belong there or not. Chang-Rae Lee differences should believe Historical novels are about costumery. I think that's the magic and mystery of fiction. I don't want to write historical fiction but I do want the story to have the feel of history. There's a difference. Chang-Rae Lee historical-novels writing thinking Obviously loss of family is huge and critical, but I think really it's more about losing a sense of family. The horror of that kind of incompleteness. Writing this book, I tried not to think about my father, which does no one any good fictionally. I did try to imagine not just the horror of that moment, but the horror of having witnessed it, and the lifelong void. And I think that's what's so frightening. Chang-Rae Lee writing father book So my first book I had no experience having written a book, but each book is a little snapshot of who you are at that moment, accrued all through time, so I accept that. Chang-Rae Lee snapshots book firsts And it occurred to me that in this new millennial life of instant and ubiquitous connection, you don't in fact communicate so much as leave messages for one another, these odd improvisational performances, often sorry bits and samplings of ourselves that can't help but seem out of context. And then when you do finally reach someone, everyone's so out of practice or too hopeful or else embittered that you wonder if it would be better not to attempt contact at all. Chang-Rae Lee hopeful practice sorry I try to be aware of what I'm concerned about, aware of how I feel about myself in the world, aware of how I feel about the issues of the day, but I guess I don't want to write essays in my head about my craft and maybe it's because I teach and talk about craft of other writers as a reader. I feel the moment I start doing that is when it's going to kill me. Chang-Rae Lee issues writing trying The truth, finally, is who can tell it. Chang-Rae Lee In this difficult era the most valuable commodity is the unfailing turn of the hours and how they retrieve for us the known harbor of yesterday. Chang-Rae Lee commodity eras yesterday We have hopes and make plans, and if they are dashed or waylaid, we naturally rationalize and redraw the map to locate ourselves anew. Or else we brood and too firmly root. Very few can step forward again and again in what amounts to veritable leaps into the void, where there are no ready holds, where little is familiar, where you get constantly stuck in the thickets of your uncertainties and fears. Chang-Rae Lee maps roots littles I'd always wanted to write something about the Korean War because of my heritage. My father lost his brother during the war, and I fictionalized that episode, which was told to me very briefly without much detail. Chang-Rae Lee brother war father What hasty preparations we make for our future. Think of it: it seems almost tragic, the things we're sure we ought to bring along. We pack too heavy with what we hope we'll use, and too light of what we must. We thus go forth misladen, ill equipped for the dawn. Chang-Rae Lee preparation light thinking For no matter the shadows of an age, the picture of a young couple in love, we are told, speaks most luminously of the future, as the span of that passion makes us believe we can overleap any walls, obliterate whatever obstacles. Chang-Rae Lee wall couple believe What if loving something means you should mostly feel frustrated and thwarted? And then a little ruined, too, by the pursuit? But you keep coming back for more? Chang-Rae Lee what-if frustrated mean I had a visceral connection to the period [of Korean War]. By visceral I suppose I mean emotional. But every fiction requires so much that is not that so I did a lot of other research and a lot of thinking, a lot of struggling there. Chang-Rae Lee struggle war mean Part of writing a novel is being willing to leap into the blackness. You have very little idea, really, of what's going to happen. You have a broad sense, maybe, but it's this rash leap. It's like spelunking. You kind of create the right path for yourself. But, boy, are there so many points at which you think, absolutely, I'm going down the wrong hole here. And I can't get back to the right hole. I'm not going to be able to get this section back to the right hole - so I'm just going to have to cut it. Chang-Rae Lee cutting writing boys For if there is ever a moment when we are most vulnerable, it’s when we’re closest to the idea of the attained desire, and thus farthest from ourselves, which is when we’ll tread through any flame. Chang-Rae Lee flames desire ideas Imagination might not be limitless. It's still tethered to the universe of what we know. Chang-Rae Lee limitless imagination might I did a lot of reading of first person accounts from Koreans and combatants and aid workers. And I spoke to relatives. A lot of wonderful photographs were made available to me from that period - 1950-1956 - and those were given to me by a Korean newspaper in Seoul. Ruined villages, refugees streaming through a river valley, GI's and orphans and orphanages, those tiny details that you can only see in a picture. Chang-Rae Lee village reading rivers
