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by Mollie Weisenfeld
These poets’ experiences come across in their work, which can be fraught, censored, but above all, vital to seeing through new lenses and into different worlds.
by Evelyn Somers
“I want to know what took my character there, and I care very much how he fares after he pulls in the drive. Perhaps these moments are where I live as a person.”
by Terry Hong
“I was trying to be subversive in not mentioning any character’s ethnicity … that’s how endemic the whole ethnic literature box was back then, this expectation that any Asian American story deal with discrimination or identity or diaspora. It’s still like that in many ways.”
by Athena Kildegaard
“The concept struck me—a work of art designed to immerse the viewer inside history, a precursor both to the modern movie theater and the learning museum.”
by Shoba Viswanathan
In Leslie Jones’s comedy and performance we see a seamless blend of the political and the personal . . . Lorne Michaels told the New Yorker, “I tell Leslie all the time, ‘You’re everything we weren’t looking for.’ When someone’s funny, they’re funny.”
by Wendy Besel Hahn
“It’s true that you can’t go home again, but it’s not necessarily home’s fault. You’ve changed too much. Home expects you to be who you once were and can’t quite recalibrate to your new self. It’s exhausting and unfair to expect your people to know all of this.”