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what I wanted to do was... I was going to write against the minimalist novel in order to write a global novel. The reason I was thinking of a global novel was that I began to notice that every city that I went to anywhere in the world is a cosmopolitan city. You come to Beijing, London, anywhere, and you are surrounded by people from all over the world. Every country has had its diaspora and everybody is going everywhere, and so in order to write a story about any city, any American city or any other city, you have to be able to write characters from every cultural background. A story of a city is also the story of all the people on the entire planet.

When the peace demonstrations turned violent, and doves and hawks were using the same tactics-revolutionary and governmental provocateurs infiltrating parades and vigils, Governor Ray Gun ordering the National Guard and helicopters to tear-gas and shoot up People's Park and Berkeley (they killed James Rector, and blinded an artist)-Wittman Ah Sing and Taña made up their minds to leave America. (first lines)

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Maybe it comes from living in San Francisco, city of clammy humors and foghorns that warn and warn-omen, o-o-men, o dolorous omen, o dolors of omens-and not enough sun, but Wittman Ah Sing considered suicide every day. Entertained it. (first lines)

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When we Chinese girls listened to the adults talk-story, we learned that we failed if we grew up to be but wives or slaves. We could be heroines, swordswomen. Even if she had to rage across all China, a swordswoman got even with anybody who hurt her family. Perhaps women were once so dangerous that they had to have their feet bound. (p19)

When I write most deeply, fly the highest, reach the furthest, I write like a diarist-that is, my audience is myself. I dare to write anything because I can burn my papers at any moment. I do not begin with the thought of an audience peering over my shoulder, nor do I find my being understood a common occurrence anyway-a miracle when it happens.