
On her career span in “There Is No Escape for, or From, Young Jean Lee” https://www.americantheatre.org/2014/10/29/there-is-no-escape-for-or-from-young-jean-lee/ in the American Theatre (2014 Oct 29)
Source: Memory, Sorrow, and Thorn, The Dragonbone Chair (1988), Chapter 12, “Six Silver Sparrows” (p. 177).
On her career span in “There Is No Escape for, or From, Young Jean Lee” https://www.americantheatre.org/2014/10/29/there-is-no-escape-for-or-from-young-jean-lee/ in the American Theatre (2014 Oct 29)
Paris Review interview (1996)
Context: Somewhere along the line, I don’t know just when, it seems to me I was able to manage the multifariousness of things and the unity of things so much more easily than I ever had before. I saw a continuous movement between the highest aspects of unity and the multiplicity of things, and it seemed to function so beautifully that I felt I could turn to any subject matter and know how to deal with it. I would know that there would be isolated facts and perceptions, that it would be possible to arrange them into propositions, and that these propositions could be included under a higher category of things — so that at some point there might be an almost contentless unity at the top of that sort of hierarchy. I feel that you don’t have to know everything to be a master of knowing, but you learn these procedures and then you can turn them toward any subject matter and they come out about the same. I don’t know when I saw for myself the mechanism of how it worked for me. Perhaps it was when I stopped using the word salient so much and began to use the word wikt:suasion.
“I don’t know why I ever helped you.”
“Because you like broken things.”
Variant: I don't know why I ever helped you."
"You like broken things.
Source: City of Heavenly Fire