Quotes from Cathy Park Hong

Hollywood is still so racist against Asians that when there's a rare Asian extra in a film, I tense up for the chinky joke and relax when there isn't one.

Unless we are read as Muslim or trans, Asian Americans are fortunate not to live under hard surveillance, but we live under a softer panopticon, so subtle that it's internalized, in that we monitor ourselves, which characterizes our conditional existence.

Asians lack presence. Asians take up apologetic space. We don't even have enough presence to be considered real minorities. We're not racial enough to be token. We're so post-racial we're silicon. I recited my poems in the kazoo that is my voice.

In 1968, students at UC Berkeley invented the term Asian American to inaugurate a new political identity. Radicalized by the black power movement and anti-colonial movement, the students invented that name as a refusal to apologize for being who they were.

For many immigrants, if you move here with trauma, you're going to do what it takes to get by. You cheat. You beat your wife. You gamble. You're a survivor and, like most survivors, you are a god-awful parent. Watching

In Pryor, I saw someone channel what I call minor feelings: the racialized range of emotions that are negative, dysphoric, and therefore untelegenic, built from the sediments of everyday racial experience and the irritant of having one's perception of reality constantly questioned or dismissed. Minor feelings arise, for instance, upon hearing a slight, knowing it's racial, and being told, Oh, that's all in your head.

Because minor feelings are ongoing, they lend themselves more readily to forms and genres that are themselves serial, such as the graphic novel (the Hernandez Brothers, Adrian Tomine) or the serial poem (Wanda Coleman, Solmaz Sharif, Tommy Pico) or the episodic poetic essay (Bhanu Kapil, Claudia Rankine), but also, and more increasingly, are seen in literary fiction (Paul Beatty, Ling Ma).

In the past, I was encouraged to write about my Asian experience but I still had to write it the way a white poet would—so instead of copying a white poet, I was copying a white poet copying their idea of an Asian poet.

2017 study found that the ideology of America as a fair meritocracy led to more self-doubt and behavioral problems among low-income black and brown sixth graders because, as one teacher said, "they blame themselves for problems they can't control.

If the indebted Asian immigrant thinks they owe their life to America, the child thinks they owe their livelihood to their parents for their suffering. The indebted Asian American is therefore the ideal neoliberal subject. I accept that the burden of history is solely on my shoulders; that it's up to me to earn back reparations for the losses my parents incurred, and to do so, I must, without complaint, prove myself in the workforce.

A fascinating little-known fact about the Korean War is that an American surgeon, David Ralph Millard, stationed there to treat burn victims, invented a double-eyelid surgical procedure to make Asian eyes look Western, which he ended up testing on Korean sex workers so they could be more attractive to GIs.

The reason why so many white men date Asian women is that they can get better-looking Asian women than they can get white women because we are easier to get and have lower self-esteem.

but men who feign helplessness—which Oberlin specialized in—can be just as manipulative as alpha males because they use their incompetence to free themselves of menial tasks that are then saddled onto women.

Already, "woke" is a hashtag that's now mocked, when being awake is not a singular revelation but a long-term commitment fueled by constant reevaluation.

Whiteness has already recruited us to become their junior partners in genocidal wars; conscripted us to be antiblack and colorist; to work for, and even head, corporations that scythe off immigrant jobs like heads of wheat. Conscription is every day and unconscious.

Patiently educating a clueless white person about race is draining. It takes all your powers of persuasion.

I didn't study the performances of Guillermo Gómez-Peña because I needed a sample of the "Chicano experience" like a vitamin supplement. I studied these writers and artists because they were the most interesting thinkers.

In other words, can I apologize without demanding your forgiveness?

My ninth-grade teacher told us that we would all fall in love with Catcher in the Rye. The elusive maroon cover added to its mystique. I kept waiting to fall in love with Salinger's cramped, desultory writing until I was annoyed.

I always thought my physical identity was the problem, but writing made me realize that even without myself present, I still couldn't rise above myself, which pitched me into a kind of despair.

The ethnic literary project has always been a humanist project in which nonwhite writers must prove they are human beings who feel pain.

There is no immediate emotional release in the literature of minor feelings. It is cumulative. Change is measured in the internal "waverings of the mind" or in shape-shifting personae.

In our efforts to belong in America, we act grateful, as if we've been given a second chance at life. But our shared root is not the opportunity this nation has given us but how the capitalist accumulation of white supremacy has enriched itself off the blood of our countries. We cannot forget this.

One characteristic of racism is that children are treated like adults and adults are treated like children. Watching a parent being debased like a child is the deepest shame. I cannot count the number of times I have seen my parents condescended to or mocked by white adults.