Quotes about story

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Speech to the Cabinet (28 May 1940), quoted in Martin Gilbert, Finest Hour: Winston S. Churchill, 1939–1941 (London: Heinemann, 1983), p. 420
The Second World War (1939–1945)
Context: I have thought carefully in these last days whether it was part of my duty to consider entering negotiations with That Man. But it was idle to think that, if we tried to make peace now, we should get better terms than if we fought it out. The Germans would demand our fleet—that would be called 'disarmament'—our naval bases, and much else. We should become a slave state, though a British Government which would be Hitler's puppet would be set up—under Mosley or some such person. And where should we be at the end of all that? On the other hand, we had immense reserves and advantages. And I am convinced that every man of you would rise up and tear me from my place if I were for one moment to contemplate parley or surrender. If this long island story of ours is to end at last, let it end only when each one of us lies choking in his own blood upon the ground.

Orbit interview (2002)
Context: I like to be surprised. Fresh implications and plot twists erupt as a story unfolds. Characters develop backgrounds, adding depth and feeling. Writing feels like exploring.

Excerpt from Clapper's memoir Facts And Fears, quoted in [In 'Facts And Fears,' Ex-Spy Boss Clapper Comes In From The Cold, Badly Chilled, https://www.npr.org/2018/05/22/613107871/in-facts-and-fears-ex-spy-boss-clapper-comes-in-from-the-cold-badly-chilled, 27 July 2018, National Public Radio, May 22, 2018]

Interview at Achuka Children's Books
Context: I knew I was telling a story that would be gripping enough to take readers with it, and I have a high enough opinion of my readers to expect them to take a little difficulty in their stride. My readers are intelligent: I don't write for stupid people. Now mark this carefully, because otherwise I shall be misquoted and vilified again — we are all stupid, and we are all intelligent. The line dividing the stupid from the intelligent goes right down the middle of our heads. Others may find their readership on the stupid side: I don't. I pay my readers the compliment of assuming that they are intellectually adventurous.

Introduction
1920s, An Autobiography (1927)

Soldiers Three, The Story of the Gadsbys, In Black and White (1888).
Other works

The Paris Review interview (2010)
Context: Our education system has gone to hell. It’s my idea from now on to stop spending money educating children who are sixteen years old. We should put all that money down into kindergarten. Young children have to be taught how to read and write. If children went into the first grade knowing how to read and write, we’d be set for the future, wouldn’t we? We must not let them go into the fourth and fifth grades not knowing how to read. So we must put out books with educational pictures, or use comics to teach children how to read. When I was five years old, my aunt gave me a copy of a book of wonderful fairy tales called Once Upon a Time, and the first fairy tale in the book is “Beauty and the Beast.” That one story taught me how to read and write because I looked at the picture of that beautiful beast, but I so desperately wanted to read about him too.

Source: Zen and the Art of Motorcycle Maintenance (1974), Ch. 6
Identifying his "destroyed" personality as "Phædrus"
Context: Now I want to begin to fulfill a certain obligation by stating that there was one person, no longer here, who had something to say, and who said it, but whom no one believed or really understood. Forgotten. For reasons that will become apparent I'd prefer that he remain forgotten, but there's no choice other than to reopen his case.
I don't know his whole story. No one ever will, except Phædrus himself, and he can no longer speak. But from his writings and from what others have said and from fragments of my own recall it should be possible to piece together some kind of approximation of what he was talking about.

Narrator
A Child is Born (1942)
Context: I'm your narrator. It's my task to say
Just where and how things happen in our play,
Set the bare stage with words instead of props
And keep on talking till the curtain drops. …
It's an old task — old as the human heart,
Old as those bygone players and their art
Who, in old days when faith was nearer earth,
Played out the mystery of Jesus' birth
In hall or village green or market square
For all who chose to come and see them there,
And, if they knew that King Herod, in his crown,
Was really Wat, the cobbler of the town,
And Tom, the fool, played Abraham the Wise,
They did not care. They saw with other eyes.
The story was their own — not far away,
As real as if it happened yesterday,
Full of all awe and wonder yet so near,
A marvelous thing that could have happened here
In their own town — a star that could have blazed
On their own shepherds, leaving them amazed,
Frightened and questioning and following still
To the bare stable — and the miracle.

Nobel Prize Lecture (1993)
Context: A dead language is not only one no longer spoken or written, it is unyielding language content to admire its own paralysis. Like statist language, censored and censoring. Ruthless in its policing duties, it has no desire or purpose other than maintaining the free range of its own narcotic narcissism, its own exclusivity and dominance. However moribund, it is not without effect for it actively thwarts the intellect, stalls conscience, suppresses human potential. Unreceptive to interrogation, it cannot form or tolerate new ideas, shape other thoughts, tell another story, fill baffling silences.

2010s, Farewell Speech (2017)
Context: !-- So the young people here and the young people out there: --> Do not ever let anyone make you feel like you don't matter, or like you don't have a place in our American story — because you do. And you have a right to be exactly who you are.
But I also want to be very clear: This right isn't just handed to you. No, this right has to be earned every single day. You cannot take your freedoms for granted. Just like generations who have come before you, you have to do your part to preserve and protect those freedoms. And that starts right now, when you're young.
Right now, you need to be preparing yourself to add your voice to our national conversation. You need to prepare yourself to be informed and engaged as a citizen, to serve and to lead, to stand up for our proud American values and to honor them in your daily lives. And that means getting the best education possible so you can think critically, so you can express yourself clearly, so you can get a good job and support yourself and your family, so you can be a positive force in your communities.

Source: Autobiography of a Brown Buffalo (1972), p. 100.
Context: Since I was about ten years younger than this crew of alcoholics, I just listened and filled their cups with cheap wine. After they’d had enough, I’d tell them of my escapades in Riverbank and in Panama where I’d worked with the Southern Baptist Convention and Jesus Christ to save the black souls of niggers, spics and Indians. I used to keep my eye on Harris when I told my stories. He had this nasty habit of pulling out a little notebook in the middle of a conversation and jotting down, as he said, “story ideas.” Later on, after I’d transferred to S. F. State and taken his writing course, he asked me if I wanted to read his first draft of Wake Up, Stupid! I kept it for a week and returned it to him at the next short story seminar. I only read the first paragraph. After that, I was no longer afraid of the intellectuals. I knew I could tell a better story.

Introduction to 'Junkyard Thoughts' in Isaac Asimov's Science Fiction Magazine (February 1986)
Context: Mr. Lafferty says, "I'm the fellow who, for more than a quarter century, has faithfully maintained the thesis that all writers should be funny-looking and all stories should be funny. Almost all of the evil in the world is brought about by handsome writers doing pompous pieces. But sometimes readers tell me that such a story of mine is not funny at all. 'Wait, wait,' I tell them. 'You're holding it upside-down. Now try it.' And sure enough it is funny if they get ahold of it right. This caution is especially applicable to the story 'Junkyard Thoughts.' Be sure you're not holding it upside-down or it will be merely bewildering."

A Conversation With The Legendary J.M. DeMatteis! (2004)
Context: I’ve realized over the years that, with rare exceptions, most writer’s block isn’t writer’s block at all: It’s necessary time that allows the unconscious mind to do its deep work. The great “Ah-Ha!” moments don’t usually come at the keyboard. They come when I’m lying on the floor, staring into space (or banging my head against the wall in frustration). All of a sudden the Unconscious Camera turns on, a movie starts playing in my head-and there it is: The Big Moment. Or the Whole Damn Story. And, in many ways, I had nothing whatsoever to do with it.

"To Juan at the Winter Solstice" from Poems 1938-1945 (1946).
Poems
Context: There is one story and one story only
That will prove worth your telling,
Whether as learned bard or gifted child;
To it all lines or lesser guards belong
That startle with their shining
Such common stories as they stray into.

On his Interesting times….(3 February 2010) http://www.patrickrothfuss.com/blog/2010/02/interesting-times.html
Official site
Context: I really don't go in for talking about current events on the blog. The main reason for this is the fact that I am profoundly out of touch with the outside world. I don't have cable and I don't watch the news. On the rare occasion I miss the news and feel the need to absorb some fearmongering bullshit, I just drop a tab of acid and read a Lovecraft story. There's less pretense that way.

Prelude
Middlemarch (1871)
Context: Some have felt that these blundering lives are due to the inconvenient indefiniteness with which the Supreme Power has fashioned the natures of women: if there were one level of feminine incompetence as strict as the ability to count three and no more, the social lot of women might be treated with scientific certitude. Meanwhile the indefiniteness remains, and the limits of variation are really much wider than any one would imagine from the sameness of women's coiffure and the favorite love-stories in prose and verse. Here and there a cygnet is reared uneasily among the ducklings in the brown pond, and never finds the living stream in fellowship with its own oary-footed kind. Here and there is born a Saint Theresa, foundress of nothing, whose loving heart-beats and sobs after an unattained goodness tremble off and are dispersed among hindrances, instead of centring in some long-recognizable deed.

"The Great Good Man" (1802).
Context: How seldom, friend! a good great man inherits
Honor or wealth, with all his worth and pains!
It sounds like stories from the land of spirits
If any man obtain that which he merits,
Or any merit that which he obtains.
.........
Greatness and goodness are not means, but ends!
Hath he not always treasures, always friends,
The good great man? Three treasures,—love and light,
And calm thoughts, regular as infants' breath;
And three firm friends, more sure than day and night,—
Himself, his Maker, and the angel Death.

Address to the people in Chittagong (23 March 1948)

Bill Moyers interview (2002)
Context: We always write stories of tragedies because that's how we reach our human depth. How we get to the other side of it. We look at the cruelty, the darkness and horrific events that happened in our life whether it be a miscarriage or a husband who is not faithful. Then you find this ability to transcend. And that is called the passion, like the passion of Christ. You could call this the passion of Frida Kahlo, in a way.
When I talk about passion, and I'm not a religious person, but I absolutely am drawn and attracted to the power of religious art because it gets at that most extreme emotion of the human experience.

As quoted in "The Scoreboard: Best I’ve Seen, Clemente Says of Jerry May," by Les Biederman, in The Pittsburgh Press (Tuesday, July 18, 1967), p. 59
Baseball-related, <big><big>1960s</big></big>, <big>1967</big>
Context: “I do not read too much these days about Jerry May, but he is worthy of a story. He is the best defensive catcher I have seen in my 13 years with the Pirates. In fact, I have not seen many better defensive catchers anywhere in my time in baseball. A story now would do him good, make him feel appreciated. How you say, the time is appropriate?" Clemente always knew May could catch but May has opened his eyes in the formidable way he blocks the plate with a runner and the ball both bearing down on him. "He’s a take-charge catcher. He bosses the player throwing the ball – I tell you, that kid amazes me."

शिक्षा (Education)

Falsehood in Wartime (1928), Introduction
Context: War is fought in this fog of falsehood, a great deal of it undiscovered and accepted as truth. The fog arises from fear and is fed by panic. Any attempt to doubt or deny even the most fantastic story has to be condemned at once as unpatriotic, if not traitorous. This allows a free field for the rapid spread of lies. If they were only used to deceive the enemy in the game of war it would not be worth troubling about. But, as the purpose of most of them is to fan indignation and induce the flower of the country's youth to be ready to make the supreme sacrifice, it becomes a serious matter. Exposure, therefore, may be useful, even when the struggle is over, in order to show up the fraud, hypocrisy, and humbug on which all war rests, and the blatant and vulgar devices which have been used for so long to prevent the poor ignorant people from realizing the true meaning of war.

But if the Kingdom is dead, we still need those things. We can't live without those things because it's too bleak, it's too bare and we don't need to. We can find a way of creating them for ourselves if we think in terms of a Republic of Heaven.
This is not a Kingdom but a Republic, in which we are all free and equal citizens, with — and this is the important thing — responsibilities. With the responsibility to make this place into a Republic of Heaven for everyone. Not to live in it in a state of perpetual self-indulgence, but to work hard to make this place as good as we possibly can.
Surefish interview (2002)

(29 January 2005)
Unfit for Mass Consumption (blog entries), 2005
Context: At some point, I stopped and made the following note to myself: I have never finished a story. I'm beginning to see that now. I don't think that there's ever a point where a story or novel is just exactly right. There are only finer and lesser degrees of refinement, and even those are probably subjective. You might think it's perfect for a time, but read it a year or five years later, and you'll see you were mistaken. There's always something I can make better, every time I read one of my stories. Usually there are dozens of somethings. And I once thought this wasn't true, that a story reached a certain point and beyond that point you were only changing things, making them different, not making them better. Indeed, I thought, beyond a point, you risk screwing it all up. I don't think that anymore. You risk screwing it all up right from the start, and no story is ever as perfect as it can be. Perfection is always one or two polishes away from the writer.

Interview for InConversation http://www.abc.net.au/rn/inconversation/stories/2007/1998485.htm (16 August 2007), by Robyn Williams, Australian Broadcasting Corporation
Context: One of my complaints is that you've got far more scientists than ever before but the pace of discovery has not increased. Why? Because they're all busy just filling in the details of what they think is the standard story. And the youngsters, the people with different ideas have just as big a fight as ever and normally it takes decades for science to correct itself. But science does correct itself and that's the reason why science is such a glorious thing for our species.

Black Boy (1945)

As quoted in "V.S. Pritchett's Century" (1990) by Martin Amis; later included in Visiting Mrs. Nabokov and Other Excursions (1993) by Martin Amis, p. 272
Context: I found people were telling stories to themselves without knowing it. It seemed to me that people were living a sort of small sermon that they believed in, but at the same time it was a fairy tale. Selfish desires, along with one or two highly suspect elevated thoughts. They secretly regard themselves as works of art, valuable in themselves.

Preface
The Origin of the Universe (1997)

Opposition to the slave trade did come in time, in the principles of the American Revolution, but not before slavery had formed deep roots in the economy and polity of the United States. The foreign slave trade was outlawed by the United States in 1808, and it was made a capital crime in 1820, but the trade continued right up until the Civil War. It is good however to remind ourselves that no black slave was sold to a white slave trader, on the west coast of Africa, who had not already been enslaved by a black African. Slavery was an equal opportunity employer!
2000s, God Bless America (2008), Slavery and the Human Story

" In Time of 'The Breaking Of Nations'" http://www.victorianweb.org/authors/hardy/poems/breaking.html (1915), lines 1-12, from Moments of Vision (1917); the title is derived from lines of Jeremiah 51:20: "Thou art my battle ax and weapons of war: for with thee will I break in pieces the nations."
Context: p>Only a man harrowing clods
In a slow silent walk
With an old horse that stumbles and nods
Half asleep as they stalk.Only thin smoke without flame
From the heaps of couch-grass;
Yet this will go onward the same
Though Dynasties pass.Yonder a maid and her wight
Come whispering by:
War's annals will cloud into night
Ere their story die.</p

Facebook remarks (21 April 2011) http://www.facebook.com/permalink.php?story_fbid=10150164249167771&id=46678187770
Context: I change my story by changing what I believe about myself. When I clean up the lies I believe about myself, the lies I believe about other people change. Every time I change myself, my whole story changes to adapt to the new main character.

The Usurpation Of Language (1910)
Context: Though science makes no use for poetry, poetry is enriched by science. Poetry “takes up” the scientific vision and re-expresses its truths, but always in forms which compel us to look beyond them to the total object which is telling its own story and standing in its own rights. In this the poet and the philosopher are one. Using language as the lever, they lift thought above the levels where words perplex and retard its flight, and leave it, at last, standing face to face with the object which reveals itself.

Holidays in Hell (1989)

Source: All Tomorrow's Parties‎ (2003), Ch. 38 : Vincent Black Lightning, p. 191
Context: If Skinner couldn't tell Fontaine a story about something, Fontaine would make up his own story, read function in the shape of something, read use in the way it was worn down. It seemed to comfort him.
Everything to Fontaine, had a story. Each object, each fragment comprising the built world. A chorus of voices, the past alive in everything, that sea upon which the present tossed and rode. When he'd built Skinner's funicular, the elevator that crawled like a small cable car up the angled iron of the tower, when they old man's hip had gotten too bad to allow him to easily climb, Fontaine had a story about the derivation of each piece. He wove their stories together, applied electricity: the thing rose, clicking, to the hatch in the floor of Skinner's room.

Interview appearing at reel.com (10 July 1999)
Context: I'd just love to see a great love story, and nobody makes them anymore. You have great actresses like Cate Blanchett — she's fabulous in Pushing Tin and Elizabeth — and you don't use them.

Book One : The Church of the Conquerors, "The Priestly Lie"
The Profits of Religion (1918)
Context: When the first savage saw his hut destroyed by a bolt of lightning, he fell down upon his face in terror. He had no conception of natural forces, of laws of electricity; he saw this event as the act of an individual intelligence. To-day we read about fairies and demons, dryads and fauns and satyrs, Wotan and Thor and Vulcan, Freie and Flora and Ceres, and we think of all these as pretty fancies, play-products of the mind; losing sight of the fact that they were originally meant with entire seriousness—that not merely did ancient man believe in them, but was forced to believe in them, because the mind must have an explanation of things that happen, and an individual intelligence was the only explanation available. The story of the hero who slays the devouring dragon was not merely a symbol of day and night, of summer and winter; it was a literal explanation of the phenomena, it was the science of early times.

The Paris Review interview (1982)
Context: My Zen master, because I’ve studied Zen for a long time, told me that every one (and all the stories weren’t written then) of the Mary Poppins stories is in essence a Zen story. And someone else, who is a bit of a Don Juan, told me that every one of the stories is a moment of tremendous sexual passion, because it begins with such tension and then it is reconciled and resolved in a way that is gloriously sensual. … A great friend of mine at the beginning of our friendship (he was himself a poet) said to me very defiantly, “I have to tell you that I loathe children’s books.” And I said to him, “Well, won’t you just read this just for my sake?” And he said grumpily, “Oh, very well, send it to me.” I did, and I got a letter back saying: “Why didn’t you tell me? Mary Poppins with her cool green core of sex has me enthralled forever.”

Afterpiece : a hidden inscription on the Sigil of Scoteia (and so spelled, in a peculiar modification of Roman capital letters)
The Cream of the Jest (1917)
Context: James Branch Cabell made this book so that he who wills may read the story of mans eternally unsatisfied hunger in search of beauty. Ettarre stays inaccessible always and her lovliness is his to look on only in his dreams. All men she must evade at the last and many ar the ways of her elusion.

Interview with Don Swaim (1986)
Context: I write short stories. They may appear big in size, but when you consider it, they're four or five novels in one. … In return for picking up one of my books, I'm trying to give them value for their money. … the goal of writing any book is to create the illusion that what you are reading is reality and you're part of it.

Social Law in the Spiritual World (1904)
Context: Mysticism has been for the most part sporadic. It has found an exponent now here, now there, but it has shown little tendency toward organizing and it has manifested small desire to propagate itself. There have been types of mystical religion which have persisted for long periods and which have spread over wide areas, but in all centuries such mystical religion has spread itself by a sort of spiritual contagion rather than by system and organization.
It has broken forth where the Spirit listed, and its history is mainly the story of the saintly lives through which it has appeared. The Quaker movement, which had its rise in the English Commonwealth, is an exception. It furnishes some material for studying a "mystical group" and it supplies us with an opportunity of discovering a test and authority even for mystical insights

New Theories of Everything (2007), Ch. 1, p. 6

Horatius, st. 70
Lays of Ancient Rome (1842)
Context: When the goodman mends his armor,
And trims his helmet's plume;
When the goodwife's shuttle merrily
Goes flashing through the loom;
With weeping and with laughter
Still is the story told,
How well Horatius kept the bridge
In the brave days of old.

As quoted by Felice Friedson, Iranian Crown Prince: Ahmadinejad's regime is "delicate and fragile" http://www.rezapahlavi.org/details_article.php?article=459&page=2, August 12, 2010.
Interviews, 2010

"Alex Jones is in a Death Battle" https://www.youtube.com/watch?v=W5lGpU-OnAs, The Alex Jones Show, January 29, 2017.
2017

2015

Source: The Book of Ram, p. 3

English Prose Style (1928)
Literary Quotes

Ogden's Nut Gone Flake (Small Faces album, 1968)

On giving his book That Reminds Me folkloric elements in “Derek Owusu: ‘Mental health issues that people find scary aren’t being talked about’” https://www.theguardian.com/books/2019/nov/02/derek-owusu-that-reminds-me-stormzy-mens-mental-health in The Guardian (2019 Nov 2)

Escape, and Other Essays (1915)

On A Kestrel for a Knave
Barry Hines Interview: Homecoming Hero

Barry Hines 1970 interview

On writing characters in “We Read To Challenge Ourselves: An Interview With Mariko Tamaki” https://comicsalliance.com/mariko-tamaki-pride-week-interview/ in Comics Alliance (2016 Jun 24)

"String Theory: Where are we now? https://arxiv.org/abs/hep-th/0004075 arXiv preprint hep-th/0004075 (2000). (quote from pp. 9–10)

On her film If Beale Street Could Talk (for which she won Best Supporting Actress) in “Regina King on fighting white supremacists in Watchmen: 'My community is living this story'” https://www.theguardian.com/tv-and-radio/2019/oct/16/regina-king-beale-street-watchmen-superhero-hbo-dc-comics-oscar-actor in The Guardian (2019 Oct 16)

On how mothers are typically portrayed in “Alfre Woodard Redefines Black Motherhood On Screen In ‘Juanita’” https://shadowandact.com/alfre-woodard-redefines-black-motherhood-on-screen-in-juanita in Shadow and Act (2019 Mar 11)

Black God's Kiss (1934); p. 16
Short fiction, Jirel of Joiry (1969)

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)

On his writing preferences in “An Interview with Luis J. Rodriguez” https://www.epl.org/an-interview-with-luis-j-rodriguez-2/ (Evanston Public Library; 2011)

Source: U.S. Navy at War, 1941-1945: Official Reports to the Secretary of the Navy (1946), p. 77

ContraPoints, Miscellaneous, Contrapoints Is De-Radicalizing Young, Right-Wing Men https://www.youtube.com/watch?v=2Nrz4-FZx6k (Vice News, 2019)

Bradbury Talk Likely to Feature the Unexpected (1994)

Source: On writing a comic versus a novel in “Marjorie Liu on the Road to Making Monstress” https://www.theatlantic.com/entertainment/archive/2017/09/marjorie-liu-monstress-interview/539394/ in The Atlantic (2017 Sep 14)

On her views of the romance genre in “Marjorie Liu: Making a Monstress” https://www.guernicamag.com/making-a-monstress/ in Guernica (2016 Feb 15)

On reading in “Marjorie Liu: Making a Monstress” https://www.guernicamag.com/making-a-monstress/ in Guernica (2016 Feb 15)

On the tropes that she employs often in “AN Interview with Elizabeth Acevedo” https://www.washingtonsquarereview.com/new-page-21 in Washington Square Review

Source: The Story of Jesus (1938), Chapter 1

On making the film 12 Years a Slave in “LUPITA NYONG’O” https://www.interviewmagazine.com/film/lupita-nyongo in Interview Magazine (2013 Nov 5)

On writing characters in “Interviews with authors at EMWF: Uzma Jalaluddin” https://theontarion.com/2018/09/13/interviews-with-authors-at-emwf-uzma-jalaluddin/ in The Ontarion (2018 Sep 13)

On people of color not having the freedom to live sheltered lives 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)

On her book When I Hit You in “Meena Kandasamy: ‘If I was going to write my life story, I would condense that marriage to a footnote’” https://www.theguardian.com/books/2019/nov/25/meena-kandasamy-interview-exquisite-cadavers in The Guardian (2019 Nov 25)

On her book My Papi Has a Motorcycle in “Q & A with Isabel Quintero and Zeke Peña” https://www.publishersweekly.com/pw/by-topic/childrens/childrens-authors/article/80000-q-a-with-isabel-quintero-and-zeke-pe-a.html in Publishers Weekly (2019 May 9)

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)

On telling the histories of Uruguay and Argentina in “A Conversation with Carolina De Robertis on Immigration, Sexuality, and the True Origins of the Tango” https://lareviewofbooks.org/article/conversation-carolina-de-robertis-immigration-sexuality-true-origins-tango/ in Los Angeles Review of Books (2016 Apr 20)

On writing and history in “Interviews: Carolina de Robertis” https://bookpage.com/interviews/24365-carolina-de-robertis-fiction#.Xebr8_lKjcs in BookPage (2019 Sep 3)

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)

On who gets to “gaze” or be “gazed upon” 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)

On her work being translated into several languages in “Samanta Schweblin: There’s No Place Like Home, Including Home Itself” https://lithub.com/samanta-schweblin-theres-no-place-like-home-including-home-itself/ in LitHub (2019 Jan 15)

On the staying power of literature in “Samanta Schweblin on Revealing Darkness Through Fiction” https://lithub.com/samanta-schweblin-on-revealing-darkness-through-fiction/ in LitHub (2017 Jan 12)

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)

On the authenticity of “untold stories” in “Mouths Full of Earth: An Interview with Kapka Kassabova” https://www.theparisreview.org/blog/2017/09/12/mouths-full-of-earth-an-interview-with-kapka-kassabova/ in The Paris Review (2017 Sep 12)

On her need to escape even at a young age in “THE SRB INTERVIEW: Kapka Kassabova” https://www.scottishreviewofbooks.org/free-content/the-srb-interview-kapka-kassabova/ in Scottish Review of Books (2018 Feb 10)

On becoming an unknowing pioneer in the romance genre in “Interviews: Beverly Jenkins” https://bookpage.com/interviews/19354-beverly-jenkins-romance#.XflqF-lKjcs in BookPage (Feb 2016)

On writing about various types of relationships in “Interviews: Beverly Jenkins” https://bookpage.com/interviews/24085-beverly-jenkins-romance#.Xflpo-lKjcs in BookPage (2019 May 28)

On how physics fits into his works 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)

On choosing a story writing method in “7 QUESTIONS WITH JON PINEDA” https://hyphenmagazine.com/blog/2018/06/7-questions-jon-pineda in Hyphen Magazine (2018 Jun 7)

On his film Shine in “INTERVIEW: David Zayas Talks To Me about ‘SHINE’” https://www.ramascreen.com/interview-david-zayas-talks-to-me-about-shine/ in Rama’s Screen (2018 Oct 1)

The Pageant of World History vs. Wikipedia: The Case of Mussolini https://www.econlib.org/archives/2012/06/the_whitewash_o.html (Jun 20, 2012)

Nobel Prize acceptance speech (1950)

On the appeal of his writings in “Interview | Benjamin Zephaniah” https://www.thelondonmagazine.org/interview-benjamin-zephaniah/ in the London Magazine (2018 Mar 5)

Source: An Ethic for Christians and Other Aliens in a Strange Land (1973), p. 48

Source: An Ethic for Christians and Other Aliens in a Strange Land (1973), pp. 47-48

On being able to tell different stories about the Korean American experience in “’So Many Stories to Tell’: A Conversation with Maurene Goo” https://lareviewofbooks.org/article/so-many-stories-to-tell-a-conversation-with-maurene-goo/ in Los Angeles Review of Books (2018 Aug 22)

On her creation process in “Q & A with Jen Wang” https://www.publishersweekly.com/pw/by-topic/childrens/childrens-authors/article/81155-q-a-with-jen-wang.html in Publishers Weekly (2019 Sep 12)