Yiyun Li Quotes

Every place is a good place, only time goes wrong.

Even the most innocent person, when cornered, is capable of a heartless crime.

But loneliness is as delusive a belief in the pertinence of the world as is love: in choosing to feel lonely, as in choosing to love, one carves a space next to oneself to be filled by others - a friend, a lover, a toy poodle, a violinist on the radio.

To write about a struggle amidst the struggling: one must hope that the muddling will end someday.

Mrs. Pang was once a nanny for me, and she spoils me the way I imagined kindhearted women would spoil an orphan, loving me for whom I am, exactly the opposite of my mother, whose love I have to earn with great effort and with little success.

Your characters are always your children. And while you are writing, you're keeping them safe. Now they're ready to go into the world and it's sad. I'm happy with the way the novel came out but all the characters' ending really saddened me.

What a long way it is from one life to another: yet why write if not for that distance; if things can be let go, every before replaced by an after.

A real dreamer must have a mutual trust with time.

Only the smaller fish pay for the goverment's face-lift. The big ones - they just become bigger and fatter.

She wonders if this is what people call falling in love, the desire to be with someone for every minute of the rest of her life so strong that sometimes she is frightened of herself.

What is revolution except a systematic way for one species to eat another alive?

The boy will remain a son and never become a father. He will be forgotten by the crowd once his blood is rinsed clean from the ground; his sister will think of him but soon she will forget him, too. He will live on only in Han's memory, a child punished not for his own insincerity but someone else's disbelief.

I would never describe a cloud as 'fluffy'—in Chinese or in English.

Almost all of the stories in The Matchmaker, the Apprentice, and the Football Fan are told in the first person, yet, depending on the angle and distance of the narrator, they exert different effects. The best are those in which the speaker never poses as an objective outsider. (...) Other stories are damaged by the urge to distance the narrator.

The decaying that had dragged on for too long had only turned tragedy into nuisance; death, when it strikes, better completes its annihilating act on the first try.

Regarding heroism, I grew up in a culture where you learn about heroes and heroines all the time. In a way, when you call someone a hero or heroine, it's the same as calling them a villain.

In film, you have to present everything on the screen so it's the opposite of what I usually do with storytelling. It forced me to think about how people walk, where they sit at that moment. With Princess of Nebraska, it was just fun to watch because the movie was so far from the story. It was very much a different story.

One easy mistake to make with the first novel is to expand the short story. Some things are better as a story; you cannot dilute things into a novel. I think the first hundred pages of a novel are very important. That's where you set things up: the world, the characters. Once you've set that up, it'll be much easier.

I always tell my students to go back after a hundred pages and rewrite from the beginning. It's really harder if you've already finished four hundred pages and realize the first hundred aren't working.

I think our eyes are trained to look for what we want to see.

There are people who are willing to work within the system, and people who don't want to work with the system at all.

It is a Chinese tradition that everyone has to be in everyone else's life.

Horrible that you could write in a language so well, but have nothing meaningful to say.

I think the isolation in China also has to do with people's memories being wiped out, collective memories as well as individual memories, by the fact that the recent history has been constantly rewritten and revised.

If I didn't self-censor, I would be in jail, and then I wouldn't be effective at all.

There is a certain amount of politeness here in America, which is probably more than just politeness.

Chinese people don't care about freedom, but they do care about justice.

Why do I write about China? That is a very good question. I think there are questions about China that I haven't been able to answer. The reason I write is that there are questions to which I want to find answers - or I want to find questions beyond those questions.

Some people in China don't look at freedom of speech as an abstract ideal, but more as a means to an end.

No one is immune from either taking the wrong action or not taking action at all, but the sense that something is completely out of a person's control is stronger in China.

Everybody contributes something to the system, and everybody suffers from the system.

You can write about a country without taking a stand, but you cannot write about a country without noting that there's history, and that there's politics going on. To me, that's the same if you write about America. You don't have to write about politics, but the politics have to be present in the characters.

In China, your freedom is always limited, but this limitation applies to almost everyone. If someone does injustice to you, though, you have to find a way to avenge yourself - even by illegal measures. In a sense, injustice is more personal. This idea has always been in Chinese history. I think we read about freedom of speech, or lack of freedom of speech, in China so often. But I don't think people here in America think about how justice, or the idea of justice, is so important in a Chinese setting. It's probably more important than freedom of speech in the Chinese mindset at this moment.

Overall there may be less censorship in America than in China, but censorship and self-censorship are not only from political pressure, but also pressures from other places in a society.