Jessica Hagedorn Quotes

We all need money to live and continue to make our art. And sometimes these prizes and awards can be a sort of validation. But money and prizes don’t mean that the work you produce is going to be any good. Sometimes those accolades actually get in the way. The lean times are often when the good stuff happens. So, let’s not get fixated on fame and money. Write like you’re on fire, be fearless, dream and explore. (2022)

I'm not a writer who works off an outline. I don't do file cards. Some writers know where they're going when they sit down to write a novel. I know there are certain things I want to include, but I'm character driven and if the characters keep moving and living and growing on me, the story unfolds. It's like a puzzle which starts falling into place. But I never know where I'm going when I start.

…Research is always involved, to make sure details, language and atmosphere feel right. Then comes the hard work of a writer, which is the writing itself. One sentence leads to another and then another… You try to maintain focus and discipline, writing for as long as you can, everyday until you’re done with a draft. Then you go back and start revising and the mysterious creative process begins all over again. Each time you begin, you hopefully go deeper into your story and your characters and end up surprising yourself.

you can never see any of your characters as monsters; I think then you'd write a really terrible book. Everyone is a complicated and flawed human being (Callaloo, Fall 2008)

What I try to share with younger artists, not just writers, is you have to not be afraid. You have to try it. It’s our job. And do your homework while you’re at it. But don’t squash your imagination. I mean, my imagination is all I have. I mean, it’s unique to me, unique to you, unique to my students. They have their own, and they have to learn to trust it. (2019)

Defiant, naive, and passionate, we are sprouting up all over the Bay Area-artists of color who write, perform, and collaborate with each other, borders be damned. We are muralistas, filmmakers, musicians, dancers, painters, printmakers, small press publishers, playwrights, poets, and more poets. . . . San Francisco seems to be more a city of poets and musicians than anything else. Rock 'n' roll, R&B, the funk mystique of Oakland, the abstract seduction of jazz, and the glorious rants and chants of loup garous, gypsies, sympathetic cowboys, and water buffalo shamans: Al Robles, Ishmael Reed, Norman Jayo, Ntozake Shange, Victor Hernandez Cruz, Janice Mirikitani, Thulani Davis, David Henderson, Alejandro Murguia, Ed Dom, Alta, Serafin and Lou Syquia, Kitty Tsui, and on and on.... They are my teachers and peers, kindred spirits, borders be damned. A movement is afoot to assert ourselves as artists and thinkers, to celebrate our individual histories, our rich and complicated ethnicities.

if you get too specific the timelessness is lost. (1991)

My leaving was not of my doing; that was because of my parents’ breakup. But I was fortunate to be living in San Francisco. There was so much activity, so many activists, so many Filipinos fleeing, coming over. It was the perfect time for me to grow as an artist. I mean, we came in the ’60s—can you imagine? We hit the Summer of Love. There were all these political movements that opened my eyes. I met all these amazing young Filipino American poets who became my teachers. They were going to demonstrations, and I got involved. I was reading up on it, making connections. My God, my brain was vibrating! There was a coup d’état in Chile. There was war in El Salvador. People were making alliances, making connections, and I came to understand: It wasn’t just about us. It was about all these colonies—former colonies—that had the same people running shit, who were probably engineering all these coups. It was a harsh awakening for me and a lot of people like me. (2020)

I always had dreamed of writing a novel set in the Philippines—what I knew of it. I struggled for years while I was writing poetry, thinking, one day I’m going to write this book. But in what voice? I read Malaysian writers and Chinese writers and Indian writers until I stumbled upon the Latin American writers and I realized that that was it: the humor, the fatalism, the passion and irony (1991)

A lot of novels about the Philippines or set in the Philippines don't cut it at all because they don't capture the crazy quilt atmosphere and the hybrid ambiance that occurs twenty-four hours a day. Things happening all the time, and noise and crowds and beautiful animals and amazing flora. At the same time, pollution and urbanization and sophistication and, you know, the jungle. How do you do all that? You can't tell it in a traditional way because the language dies. And also the music of the language itself, the music of the streets. How do convey that chaos? So, once I decided to go with it as I found it, I relaxed because at the risk of alienating some readers, this was the way the novel had to be presented.

If I were to write with that agenda in mind, then I'd destroy the writing. No, I write really because I have to and if the writing also destroys some of those myths and subverts forms and makes people question the very idea of the writer, the woman, the Filipino American, the whatever, great! (INTERVIEWER: Where does art have to come from to accomplish those kinds of ends? If you set out directly to accomplish them, you probably wouldn't have writing that is, in your opinion, worth reading? So, where does it have to come from?) JH: It has to come from the deepest, deepest, deepest insides of your soul. And it's got to be brutally honest. It's like pornography. You know it when you are doing it and you know when you're bullshitting. You know when you're being self-conscious and contrived and forcing something to be there because you want to make sure that people get the point. You know when that's happening. But if you just really listen to yourself and to your characters, you don't go for the easy stuff.

Philippine literature—just like the Philippines itself—is complicated, and can’t be easily described or pinned down. Over 7000 islands make up the Philippines, and over a hundred languages and dialects are spoken!...(What common elements and themes do you see in Philippine writing? And what do you see in the pieces here?) JH: Yearning, and melancholy. Mordant humor, a certain kind of fatalism, love of the macabre and supernatural. A love of puns and a sense of irony. A reckoning with history and the colonial past. (2019)