Marilyn Chin Quotes

Food is celebratory, but its flip side is hunger and deprivation. Spiritual deprivation and hunger in the new country are important motifs of ethnic American literature. Hunger in the "gold" country, in the land of the plenty is almost obscene, so there always that doubleness in my work when I write about food.

I was raised by my grandmother who spoke Toisan, a very ancient language. I see myself as part of the minority tribe. I align myself more with people like Kafka, with his weird dialect. I see myself as an outsider on many levels even if we are Han.

Henry Louis Gates told me that I must assert that I am first and foremost a poet, not just an activist poet. My work encompasses activist poetry but also does a lot more than protest. I am reinventing bicultural forms. I am an innovator: the creator of the Chinese-American quatrain, of the lyric manifesto, of erotic haiku and remix sonnets!

it has to do with Du Bois’s idea of double consciousness: you inherit a set of values at home, and have to embrace another set of values when you walk out of home. You are appreciated if you are more assertive at school. On the contrary, you are supposed to be obedient at home. It’s about balancing the two worlds. My poetry is about negotiating many worlds, the past and the present, as well as the East and the West. “Inner cultivation” and outer despair. The sublime and the ridiculous.

It’s important to have a transnational readership. To not have borders, to have one’s poetry travel well. I celebrate my Americanness. I celebrate my Chinese-ness. I celebrate my transnational identity.

I feel that I'm a conduit for many voices. Historical voices, ancient voices, contemporary feminist voices. Women's voices mostly.

I retired from my tenured job early partly because I would like to devote more time to writing poetry. The ancients did that too, they retreated to the countryside and “cleanse from the mud” of the academy and “palace art”. They retreated into the woods to hear their own voice again. Of course, these were rich privileged aristocratic poets. Some were forced exiles like Du Fu, who wrote some of his best works in his later years. In angst, of course. He felt abandoned. However, as we all know, he became the greatest poet of China.

Just as I think it's impossible to keep Chineseness pure, I think it's also impossible to keep whiteness pure. I think everything must merge, and I'm willing to have it merge within me, in my poetry.

As a poet I believe I need to work in both Eastern and Western paradigms; I need to know both traditions.

I am always fighting against the stereotype of the subservient female maiden. I want to shake up the assumptions about being a Chinese-American woman. We all must champion women’s and children’s rights in the world. The little brown girl is still the most vulnerable person in the room.

I believe that I am a poet of the body and of the mind and of the soul! to mimic Whitman.

When we were young, we have to memorize those texts from Tu Fu and others. And my grandmother used to carry me on my back and chant to me Chinese poems and sayings. The first kind of poetry I heard was Chinese poetry, and it ingrained in my ear, even though English is my main language. I can hardly read Chinese. The Chinese poem was ingrained in me when I was very young. You can hear the Cantonese language in my work. The Chineseness is in the DNA of my work. I can’t divorce it from my work. I can’t say I forget it. it’s there. Bei Dao’s generation was not trained in that tradition. They didn’t go to university to study wenyanwen or ancient poetry. They were imitating the West. I tried to read Chinese poetry every day, because I think it’s important for my aesthetics.

I hope my work will prompt someone to consider or study more about Chinese poetry.