
Source: On addressing racism in her writings in “Diana Evans: 'There's a ruthlessness in me towards writing'” https://www.theguardian.com/books/2018/mar/19/diana-evans-interview-ordinary-people in The Guardian (2018 Mar 19)
Source: On her family background that includes an immigrant parent in “Atlantics director Mati Diop: ‘As a mixed-race girl, there’s a visible and invisible side of you'” https://www.theguardian.com/film/2019/nov/09/atlantics-director-mati-diop-as-a-mixed-race-girl-theres-always-a-visible-and-invisible-side-of-you in The Guardian (2019 Nov 9)
Source: On addressing racism in her writings in “Diana Evans: 'There's a ruthlessness in me towards writing'” https://www.theguardian.com/books/2018/mar/19/diana-evans-interview-ordinary-people in The Guardian (2018 Mar 19)
Source: Tortured For Christ (1967), p. 58.
As quoted in "The Farewell writer-director Lulu Wang on the joys of laughing at human nature" in The Verge (17 July 2019) https://www.theverge.com/2019/7/17/20696611/the-farewell-writer-director-lulu-wang-interview-awkwafina
Complex https://web-beta.archive.org/web/20120128131906/http://www.complex.com/music/2012/01/lana-del-rey-2012-cover-story/page/1 (24 January 2012)
Source: There Was a Country: A Personal History of Biafra
“Its short history is a fever-chart of migrations”
"Los Angeles", p. 159
Exhumations (1966)
Context: California is a tragic country — like Palestine, like every Promised Land. Its short history is a fever-chart of migrations — the land rush, the gold rush, the oil rush, the movie rush, the Okie fruit-picking rush, the wartime rush to the aircraft factories — followed, in each instance, by counter-migrations of the disappointed and unsuccessful, moving sorrowfully homeward.
"John Hooper: Bishop and Martyr", p. 70
Light from Old Times (1890)