Quotes about making love
page 8

Jacques Ellul photo
Jason Graves photo

“My favorite aspect about horror music is you can literally write anything you want. You are limited only by your imagination! In fact, many times the more unique and completely original your music is, the better it works in the game and the more the developer loves it.”

Jason Graves (1973) American composer

Exclusive Interview: Composer Jason Graves Discusses Dead Space, F.E.A.R. 3 and Resistance: Burning Skies http://www.dreadcentral.com/news/33744/exclusive-interview-composer-jason-graves-discusses-dead-space-f-e-a-r-3-and-resistance-burning-skies (May 14, 2012)

Léon Bloy photo
Yvette Cooper photo
Aga Khan III photo

“It is for the Indian patriot to recognise that Persia, Afghanistan and possibly Arabia must sooner or later come within the orbit of some Continental Power — such as Germany, or what may grow out of the break up of Russia — or must throw in their lot with that of the Indian Empire, with which they have so much more genuine affinity. The world forces that move small States into closer contact with powerful neighbours, though so far most visible in Europe, will inevitably make themselves felt in Asia. Unless she is willing to accept the prospect of having powerful and possibly inimical neighbours to watch, and the heavy military burdens thereby entailed, India cannot afford to neglect to draw her Mahomedan neighbour States to herself by the ties of mutual interest and goodwill … In a word, the path of beneficent and growing union must be based on a federal India, with every member exercising her individual rights, her historic peculiarities and natural interests, yet protected by a common defensive system and customs union from external danger and economic exploitation by stronger forces. Such a federal India would promptly bring Ceylon to the bosom of her natural mother, and the further developments we have indicated would follow. We can build a great South Asiatic Federation by now laying the foundations wide and deep on justice, on liberty, and on recognition for every race, every religion, and every historical entity … A sincere policy of assisting both Persia and Afghanistan in the onward march which modem conditions demand, will raise two natural ramparts for India in the north-west that neither German nor Slav, Turk nor Mongol, can ever hope to destroy. They will be drawn of their own accord towards the Power which provides the object lesson of a healthy form of federalism in India, with real autonomy for each province, with the internal freedom of principalities assured, with a revived and liberalised kingdom of Hyderabad, including the Berars, under the Nizam. They would see in India freedom and order, autonomy and yet Imperial union, and would appreciate for themselves the advantages of a confederation assuring the continuance of internal self-government buttressed by goodwill, the immense and unlimited strength of that great Empire on which the sun never sets. The British position of Mesopotamia and Arabia also, whatever its nominal form may be, would be infinitely strengthened by the policy I have advocated.”

Aga Khan III (1877–1957) 48th Imam of the Nizari Ismaili community

India in Transition (1918)

Tatiana de la tierra photo

“I dreaded those public moments that highlighted the fact that I was a foreigner. Sometimes I sat at my desk, plotting my revenge. I would master the English language. I would infiltrate the gringo culture without letting on that I was a traitor. I would battle in their tongue and make them stumble. I would cut out their souls and leave them on the shore to be pecked on by vultures.”

Tatiana de la tierra (1961–2012) Latina writer and activist

On attending school after she immigrated with her family from Colombia to the United States in “tatiana de la tierra” ( Making Queer History https://www.makingqueerhistory.com/articles/2019/5/14/tatiana-de-la-tierra; 2019 May 14)

Tracy Chevalier photo

“I have huge respect for short stories—I just find them much harder to get right than a novel. A novel is a lot baggier and it gives you more leeway to go on for too long or to make mistakes. Whereas in a short story, every sentence, every word, matters—and that’s very hard. I think it’s easier to write too much than it is to write exactly the right thing.”

Tracy Chevalier (1962) American writer

On how she compares short story writing to novel writing in “An Interview with Tracy Chevalier” https://fictionwritersreview.com/interview/an-interview-with-tracy-chevalier/ in Fiction Writers Review (2019 Sep 23)

Luis J. Rodriguez photo
Diana Gabaldon photo

“I was a university professor and all of my degrees were in the biological sciences, so I did know my way around a library. That’s why I decided on historical fiction. It seems easier to look things up than to make them up. If it turned out I had no imagination, I could steal things from the historical record!”

Diana Gabaldon (1952) American author

On how library research helps her write accurately in “Caught Between Two Worlds – Diana Gabaldon Interview” https://www.scotsmagazine.com/articles/diana-gabaldon-outlander-inspiration/ in The Scots Magazine (2018 Mar 2)

Ernest King photo
Natalie Wynn photo
Natalie Wynn photo
Natalie Wynn photo
Natalie Wynn photo

“So basically what I think is that in a free society, different people will have lots of different sexual lifestyles. Some people will want to settle down and get married, and that’s fine. Some people will wanna have a fucking baby, and that’s also fine—someone needs to have the fucking babies. But some people won’t want to do that: some people will wanna dip their balls in hot wax and pour wolf’s milk all over a stranger’s face, and that’s fine, too. Some people won’t want to have sex or romantic relationships. Point is, all these things carry emotional risks: you’ve got heartbreak, loneliness, excruciating boredom—this is just the human condition. And no matter what you do, you have to take emotional risks. But as a society, we could make sex less risky for women by ending rape culture and slut-shaming, and instituting all-you-can-eat birth control. Hence, you know, feminism. And there are also things that we can do as individuals to be safer, kinder, and more responsible. If you do choose to have casual sex, things are gonna go a lot better for you and your partners if you try to remain honest, open and communicative about what your intentions are. And for God’s sake, use a condom—do not get pregnant or get anyone else pregnant. That’s a real downer, this… echoing God’s act of creation by bringing new life into the world. It’s disgusting!”

ContraPoints, Feminism Did Not Destroy Atheism https://www.youtube.com/watch?v=klfH9QaEcqY (2016), Is Casual Sex Bad for Your Soul? https://www.youtube.com/watch?v=qKrbvLkbHu8 (2017)

Brian W. Aldiss photo
Baruch Spinoza photo
Jeff Flake photo
Alvin C. York photo
Ramsey Clark photo
Lupe Ontiveros photo

“It’s their continued perspective of who we are. They don’t know we’re very much a part of this country and that we make up every part of this country.”

Lupe Ontiveros (1942–2012) Mexican-American actress

On the challenges facing Latino actors in “Lupe Ontiveros, Respected Actress and Activist Dies at 69” https://remezcla.com/culture/lupe-ontiveros-respected-actress-and-activist-dies-at-69/ in Remezcla

“It’s a 21st-century play…The overarching theme is, how do we find peace in the present? Through love, understanding and learning about our cultural and religious differences.”

On her play Paloma in “Playwright reaches into past for a better future” https://www.abqjournal.com/118454/playwright-reaches-into-past-for-a-better-future.html in the Albuquerque Journal (2012 Jul 15)

Derek Parfit photo

“Certain actual sleeping pills cause retrograde amnesia. It can be true that, if I take such a pill, I shall remain awake for an hour, but after my night’s sleep I shall have no memories of the second half of this hour. I have in fact taken such pills, and found out what the results are like. Suppose that I took such a pill nearly an hour ago. The person who wakes up in my bed tomorrow will not be psychologically continuous with me as I was half an hour ago. I am now on psychological branch-line, which will end soon when I fall asleep. During this half-hour, I am psychologically continuous with myself in the past. But I am not now psychologically continuous with myself in the future. I shall never later remember what I do or think or feel during this half-hour. This means that, in some respects, my relation to myself tomorrow is like a relation to another person. Suppose, for instance, that I have been worrying about some practical question. I now see the solution. Since it is clear what I should do, I form a firm intention. In the rest of my life, it would be enough to form this intention. But, when I am no this psychological branch-line, this is not enough. I shall not later remember what I have now decided, and I shall not wake up with the intention that I have now formed. I must therefore communicate with myself tomorrow as if I was communicating with someone else. I must write myself a letter, describing my decision, and my new intention. I must then place this letter where I am bound to notice it tomorrow. I do not in fact have any memories of making such a decision, and writing such a letter. But I did once find such a letter underneath my razor.”

Source: Reasons and Persons (1984), pp. 287-288

Derek Parfit photo
Cheech Marin photo

“It is a very physically and mentally torturous process. It goes 18-20 hours a day, and if you’re stoned during that whole period, you’re not going to make a good movie, because you just won’t have the stamina to physically and mentally do that. And it’s every day. So we didn’t get stoned making the record, never stoned on stage. But we were very disciplined artists about what we were doing. It didn’t magically happen. Well, it did magically happen, but not without effort.”

Cheech Marin (1946) American comedian, actor and writer

On how there’s a misconception that he’s like his stoner character in “Cheech Marin and Tommy Chong Are Not Their Characters: ‘It’s All for the Love of the Art’” https://www.thewrap.com/heres-the-biggest-misconception-about-cheech-and-chong/ in The Wrap (2018 Sep 14)

Dolores Huerta photo
Andy García photo
Benjamin Bratt photo
Jessica Alba photo

“I am a born builder. I grew up pretty fearless with an understanding that if you want something in life, you have to be creative in going about achieving it. You’re not always going to have an easy path to success, but if it’s important enough you’ll figure out a way to make it work.”

Jessica Alba (1981) American model, free-diver and businesswoman; TV and film actress

On being driven even at an early age in “Jessica Alba on Being Brave, Dealing With Self-Doubt and Overcoming Major Breakdowns” https://www.entrepreneur.com/article/315948 in Entrepreneur (2018 Jun 29)

Marjorie M. Liu photo
Esai Morales photo
David Henry Hwang photo

“It seems to me that the biggest challenge for Chinese theater is to cultivate an audience, which would make possible long-running shows. A show that only runs for a few months, tops, fails to generate enough revenue to pay back the investment required to create it. A Chinese Broadway or West End may help to build an audience, but more theaters alone probably will not achieve this goal.”

David Henry Hwang (1957) Playwright

On how to cultivate Chinese theater in the United States in “DAVID HENRY HWANG ON THEATRE, TRUMP, AND ASIAN-AMERICAN IDENTITY” https://thetheatretimes.com/david-henry-hwang-on-theatre-trump-and-asian-american-identity/ in Theatre World (2019 Mar 15)

“Making art, any art, you are in some way trying to imitate life, and the ways in which that succeeds or fails is fascinating to me…”

Naomi Iizuka (1965) American dramatist

On art versus life in “Berkeley world premiere for Naomi Iizuka play” https://www.sfgate.com/performance/article/Berkeley-world-premiere-for-Naomi-Iizuka-play-3271229.php in SF Gate (2010 Mar 4)

Fernando Botero photo

“Some people love my work, some people hate it…You can’t be liked by everybody. There has been opposition in some places. I represent the opposite of what is happening in art today. But I don’t complain. It hasn’t hurt my career. I’m happy to have the success I have had.”

Fernando Botero (1932–2023) Colombian artist

On the reactions to his work in “Botero: ‘You Can’t Be Liked By Everybody’” https://www.artnews.com/art-news/artists/fernando-botero-says-you-cant-be-liked-by-everybody-2155/ in ARTnews (2013 Jan 30)

Norman Angell photo

“It is not the facts which guide the conduct of men, but their opinions about facts; which may be entirely wrong. We can only make them right by discussion.”

Norman Angell (1872–1967) British politician

As quoted in American Railway Engineering Association : Proceedings of the Annual Convention, Volume 51 (1950), p. 815; also quoted in Forbes Book of Quotations: 10,000 Thoughts on the Business of Life (2016), edited by Ted Goodman

Frank Chin photo

“That this play is the first play by an Asian American at our existence, is proof of the great success white racism has had with us. America might love us. But America’s love is not good. It’s racist love. I don’t want it.”

Frank Chin (1940) American writer

On his play The Chickencoop Chinaman (as quoted in the book Notable Asian Americans http://smithsonianapa.org/wp-content/uploads/sites/8/2009/10/chin-frank.pdf)

Lupita Nyong'o photo
Baruch Spinoza photo
Noah Levine photo

“As we walk the path of Refuge Recovery, we gradually uncover a loving heart.”

Noah Levine (1971) American Buddhist teacher

Refuge Recovery (2014)

Noah Levine photo
Helena Roerich photo
Helena Roerich photo
Helena Roerich photo
Helena Roerich photo
John Pilger photo
Tressie McMillan Cottom photo

“I want to be able to show up and raise the hell at the precise right moment that might tip the scales in a way that will make something a little more clear, or a little bit more just, for people I care about…”

Tressie McMillan Cottom American writer, sociologist, and professor

On what her writing goals are in “Dr. Tressie McMillan Cottom: Raising Really Good Hell for People Who Cannot” https://www.guernicamag.com/dr-tressie-mcmillan-cottom-raising-really-good-hell-for-people-who-cannot/ in Guernica Magazine (2019 Mar 20)

Jericho Brown photo

“A metaphor is a sign of desperation when we need another world to describe what we are feeling. Metaphors are about desperation and safety. We call out to metaphor because a metaphor makes us feel safe.”

Jericho Brown (1976) American writer

On how he employs metaphors in “Jericho Brown: ‘Poetry is a veil in front of a heart beating at a fast pace” https://www.theguardian.com/books/2018/jul/28/jericho-brown-book-interview-q-and-a-new-testament-poetry in The Guardian (2018 Jul 28)

Meena Kandasamy photo

“I have been in an abusive marriage. Violence can come from love, from a very intimate person. Violence can come from all sorts of crazy situations. What are you going to do? You have to deal with it when it strikes.”

Meena Kandasamy (1984) Indian poet

On facing abuse head on in “Meena Kandasamy interview: ‘I don’t know if I’m idiotic – or courageous’” https://www.independent.co.uk/arts-entertainment/books/features/meena-kandasamy-interview-i-don-t-know-if-i-m-idiotic-or-courageous-9238644.html in the Independent (2014 Apr 6)

Isabel Quintero photo
Isabel Quintero photo

“This negation of our existence, and the omitting of our stories and histories, is one of the reasons I write — I write to exist. We cannot escape our past; our past determines what choices we make for the future. It determines how we act, how we see ourselves…”

On the absence of people of color in her school curriculums in “‘My Writing is My Activism’: An Interview with Isabel Quintero” https://lareviewofbooks.org/article/my-writing-is-my-activism-an-interview-with-isabel-quintero/ in Los Angeles Review of Books (2017 Feb 1)

Sally Wen Mao photo

“Visibility is not enough—we need actual complexity. Visibility can quickly turn into invisibility when the stories that make us visible actually reduce our humanity and complexity. This is especially true if we prop up token stories—tokenism is a big problem when it comes to the film industry—or any industry…”

Sally Wen Mao Chinese-born American poet

On certain stories about Asian people being recycled in “HIJACKING THE NARRATIVE: A CONVERSATION WITH SALLY WEN MAO” https://theadroitjournal.org/2019/03/21/hijacking-the-narrative-a-conversation-with-sally-wen-mao/ in Adroit Journal (2019 Mar 21)

Laila Lalami photo

“They’re supposed to be the people who support you, who love you no matter what, and the reality is they’re the first people who teach you to cast doubt on yourself, they’re the first people who sometimes don’t have your back…”

Laila Lalami (1968) American writer

On families not always being a bedrock of support in “Migrant State of Mind: A Q&A With Novelist Laila Lalami” https://www.thenation.com/article/laila-lalami-interview-the-other-americans/ in The Nation (2019 Apr 23)

Gregory Pardlo photo

“I often start with a question as big and unwieldy as why do we have children – or what are we investing in when we love and raise our children; it’s a process of looking for structures – images or rhetorical figures – that will contain my questions.”

Gregory Pardlo (1968) American writer

On writing poetry in “Gregory Pardlo: How I Write” https://www.writermag.com/writing-inspiration/author-interviews/gregory-pardlo-how-i-write/ in The Writer (2019 Jul 17)

Blair Imani photo

“It really was harmful because it makes it feel for women, for LGBTQ folks, for even white men too, that there are only these tokens and that’s not the case. What it does is reinforce white supremacy, it reinforces patriarchy. It’s harmful to everyone, not just the people who are being erased.”

Blair Imani (1993) American activist

On how only certain historical figures are highlighted during celebratory months in “A Conversation with Blair Imani” https://www.readitforward.com/author-interview/a-conversation-with-blair-imani/ in Read It Forward

Vimalakirti photo

“Therefore, you should be revulsed by such a body. You should despair of it and should arouse your admiration for the body of the Tathagata. Friends, the body of a Tathagata is the body of Dharma, born of gnosis. The body of a Tathagata is born of the stores of merit and wisdom. It is born of morality, of meditation, of wisdom, of the liberations, and of the knowledge and vision of liberation. It is born of love, compassion, joy, and impartiality. It is born of charity, discipline, and self-control. It is born of the path of ten virtues. It is born of patience and gentleness. It is born of the roots of virtue planted by solid efforts. It is born of the concentrations, the liberations, the meditations, and the absorptions. It is born of learning, wisdom, and liberative technique. It is born of the thirty-seven aids to enlightenment. It is born of mental quiescence and transcendental analysis. It is born of the ten powers, the four fearlessnesses, and the eighteen special qualities. It is born of all the transcendences. It is born from sciences and superknowledges. It is born of the abandonment of all evil qualities, and of the collection of all good qualities. It is born of truth. It is born of reality. It is born of conscious awareness. Friends, the body of a Tathagata is born of innumerable good works. Toward such a body you should turn your aspirations, and, in order to eliminate the sicknesses of the passions of all living beings, you should conceive the spirit of unexcelled, perfect enlightenment.”

Chapter 2 http://www.fodian.net/world/0475_02.html
Vimalakirti Sutra, Robert Thurman's translation, 1991

Antonio Fresco photo

“I know paper straws are better for the environment and I’m all for that. But for the love of everything that is under the sun, can we agree that paper straws actually SUCK more than the person using them? We gotta do better than this!”

Antonio Fresco (1983) American DJ, music producer, and radio personality

Twitter statement about environmental impact of plastic straws. https://twitter.com/djantoniofresco/status/1199086440031956993 (25 November 2019)

Arundhati Roy photo
Adlai Stevenson photo
William Harcourt photo

“Urban planning is a long history of cities (and their planners) seeing, and deliberately not seeing, the people who live in them. Working in city planning makes me consider the city as an organism, as a machine for living in…”

Arkady Martine (1985) Science fiction author

On how being a city planner affects her writing in “Questions For Arkady Martine, Author Of 'A Memory Called Empire'” https://www.npr.org/2019/04/07/710356506/questions-for-arkady-martine-author-of-a-memory-called-empire in NPR (2019 Apr 7)

Narendra Modi photo
Plutarch photo
Ho Chi Minh photo
Ho Chi Minh photo
Ho Chi Minh photo
Samanta Schweblin photo

“I learned to write reading North American literature, I love your literature, but I have this feeling that if a country only reads its own literature, it will run out of oxygen.”

Samanta Schweblin (1978) Argentine writer

On her encouraging that Americans read literature beyond their country in “Samanta Schweblin on Revealing Darkness Through Fiction” https://lithub.com/samanta-schweblin-on-revealing-darkness-through-fiction/ in LitHub (2017 Jan 12)

David Chariandy photo

“The past is not yet past. When things happen, the only way we can make sense of it is by telling the story about the past – realising where prejudices come from. And the point would be not only to spin a story about racial violence but to tell how our ancestors have bravely and creatively overcome these things.”

David Chariandy (1969) Canadian writer

On the past and prejudices in “David Chariandy: ‘To make sense of prejudice, tell the story of the past’” https://www.theguardian.com/books/2019/apr/14/david-chariandy-ive-been-meaning-to-tell-you-father-advice-to-daughter in The Guardian (2019 Apr 14)

Maylis de Kerangal photo

“I love when a crucial novel leaves a trace in my memory. In this, its ending plays a significant part—creating a wake effect that is never erased.”

Maylis de Kerangal (1967) French writer

On the writings that she favors in “Maylis de Kerangal by Jessica Moore” https://bombmagazine.org/articles/maylis-de-kerangal/ in Bomb Magazine (2015 Dec 15)

Maylis de Kerangal photo

“I began to think about its double nature: on the one hand you have an organ in your body and on the other you have a symbol of love. From that time I started to pursue the image of a heart crossing the night from one body to another. It is a simple narrative structure but it’s open to a lot of things. I had the intuition that this book could give form to my intimate experience of death.”

Maylis de Kerangal (1967) French writer

On the heart as the focus for her book Mend the Living in “‘What is a heart? You have an organ in your body and you have a symbol of love’” https://www.theguardian.com/books/2017/apr/28/maylis-de-kerangal-interview-wellcome-prize-writing in The Guardian (2017 Apr 28)

“Once you have suffered sufficiently, the idea of making up John and Jane and having them do things together seems utterly ridiculous…”

Rachel Cusk (1967) British writer

On feeling that writing fiction was fake and embarrassing in “Rachel Cusk: 'Aftermath was creative death. I was heading into total silence'” https://www.theguardian.com/books/2014/aug/24/rachel-cusk-interview-aftermath-outline in The Guardian (2014 Aug 24)

Liu Cixin photo

“As to the future of humanity, I’m essentially an optimist. I believe that with the advancement of technology, mankind has a hopeful future. But this optimistic view is based on reason: on one hand, whether the future will be bright or be dark depends largely on the choices we make today.”

Liu Cixin (1963) Chinese science fiction writer

On his hopes for mankind in “In the Author’s Universe: Interview with Sci-Fi Author Cixin Liu” https://vocal.media/futurism/in-the-authors-universe-interview-with-sci-fi-author-cixin-liu in Vocal (2016)

“Most trained actors can pick up a scene and give it a good sturdy first read, but a few coaching sessions does not a trained actor make - a lesson which has stayed with me ever since.”

Belita Moreno (1949) American actress

On what she has learned working as an acting coach in “Belita -- Not ‘Benny’ – Moreno” http://latinola.com/story.php?story=8908 in ¡LatinoLA! (2010 Sep 12)

Robert Sheckley photo
Robert Sheckley photo
Robert Sheckley photo

“You simply can’t throw strangers together at random and expect the fiery, quick romance to turn into love. Love has its own rules and enforces them rigidly.”

Robert Sheckley (1928–2005) American writer

Gray Flannel Armor (p. 9)
Short fiction, Notions: Unlimited (1960)

Newton Lee photo
Newton Lee photo
Newton Lee photo
Jaquira Díaz photo

“The world isn’t kind to black and brown girls, or black and brown women, especially when they come from working-class communities or from poverty. My girls taught me that it’s possible to make our own families, to find our families. They helped me believe in love and friendship and hope. But more than anything, after they had girls of their own, it was their girls who taught me the most important lessons: they helped me see the girl I was…”

Jaquira Díaz Puerto Rican writer

On the lessons her “home girls” taught her in “‘Either Hyper-Visible or Invisible’: An Interview with Jaquira Díaz” https://lareviewofbooks.org/article/either-hyper-visible-or-invisible-an-interview-with-jaquira-diaz/ in Los Angeles Review of Books (2019 Oct 29)

Ivan Krylov photo
Constance Marie photo

“Family to me is foundation. It’s the people that you can call on whether you love them or hate them. When push comes to shove, they’re there for you...”

Constance Marie (1965) actress

On how she defines family in “An Interview with Constance Marie” https://www.pbs.org/americanfamily/behind2.html (PBS; 2004)

Vinayak Damodar Savarkar photo
Daniella Monet photo

“I think I was just a very skinless person…And I had this terrible need to confess; and I still do it…It’s a bid to be loved, in some way.”

Hilton Als (1961) writer, critic

On writing in a confession manner in order to broadcast intimacy in “Hilton Als: ‘I had this terrible need to confess, and I still do it. It’s a bid to be loved’” https://www.theguardian.com/books/2018/feb/02/hilton-als-interview-pulitzer-prize-criticism-white-girls in The Guardian (2018 Feb 2)

William Faulkner photo
William Faulkner photo
William Faulkner photo
William Faulkner photo
William Faulkner photo
Chi­ma­man­da Ngo­zi Adi­chie photo

“I don’t think sexism is worse than racism, it’s impossible even to compare…It’s that I feel lonely in my fight against sexism, in a way that I don’t feel in my fight against racism. My friends, my family, they get racism, they get it. The people I’m close to who are not black get it. But I find that with sexism you are constantly having to explain, justify, convince, make a case for.”

Chi­ma­man­da Ngo­zi Adi­chie (1977) Nigerian writer

On why sexism is at times a more difficult argument for her than racism in “Chimamanda Ngozi Adichie: ‘This could be the beginning of a revolution’” https://www.theguardian.com/books/2018/apr/28/chimamanda-ngozi-adichie-feminism-racism-sexism-gender-metoo in The Guardian (2018 Apr 28)

Vanessa Hua photo

“Characters, even though they’re minor, shouldn’t be a device. No person should be a device to move the plot along. That’s when you run into problems with stereotypes. I strive, in my journalism and my fiction, to make characters as complex and complicated as they are in real life…”

Vanessa Hua American journalist and writer

On how she writes characters in “Motherhood and Migration: An Interview with Vanessa Hua on ‘A River of Stars’” https://lareviewofbooks.org/article/motherhood-and-migration-an-interview-with-vanessa-hua-on-a-river-of-stars/ in Los Angeles Review of Books (2018 Sep 13)

Abimael Guzmán photo