
“I believe that if you’re going to take the past seriously as a setting for fictional work, you have to try your best to bracket out the present and let the story play out in its own terms.”
“I often say that music is my mirror. In the beginning, it reflected all the intensity of my emotions—the sadness, the longing—but over time, it has shifted and become more flexible, helping me find a sense of belonging.”
“Certain words carried reverence, certain scenes needed to be dealt with in the spirit of sacredness, and for those I let the Arabic stand, because of the power I perceive in it. I wanted the English text to bear that haunting, [for it] to be ghosted by other languages, allowing their turns of phrase to slip in with all their awkwardness. At some point you ask yourself: what do we write for, if not to say, this is how it felt to me—can you see it?”
“If we’re trying to reflect the truth and question of how we live now in our art, the urgent thing right now for me is for us to sense in an embodied way how our attention and viewing of ‘others’ are being captured, distracted and gamified.”
“It took me so long to finish this project, that I ended up working on it through some major life events, like getting married and becoming pregnant. I brought every side and season of myself to this work, and I think that shows.”
“I’ve tried to write things in a way that I perceive would be popular or more ‘publishable’, but have determined that fostering and embracing my natural voice is actually what works best.”
Interviews
“For me, sustainability is always beyond just fabric. It's about how I can sustain my business, my team, myself and my mental health so I can do this for the long run, especially being a mum as well.”
“I don’t have the nerve to go back through the novel to examine its sentences; it would feel too close to being confronted with past crimes.”
"If the empire crushes Palestine, no one wins—we’re all doomed. Which is why when we say ‘A free Palestine frees the world’, it is because a free Palestine frees the world. That’s why this fight is so important."
“Being who I am, namely Australian Chinese and female—two distinct drawbacks in mid-20th-century Australia, especially in the small apple isle of Tasmania—I grew up totally outside the norm in white assimilationist Australia, when those with non-Anglo-Celtic backgrounds were expected to merge with the majority and forget their own cultural backgrounds.”
“Writers seem to come into their literary prime, so to speak, later than other artists because it can take time and long years of lived experience to create something fresh and moving on the page.”
“Art is expressed in so many different ways and forms—you’re wearing a piece of art when you’re wearing my silk, but I see it as more of a design that’s made from pieces of art.”
“Working in telly, it’s astonishing how much writers’ rooms feel like the engine rooms of cultural production—whose stories we [decide to] tell determines whose humanity we value. I think the centrality of cis straight white characters in our major narratives facilitates a grave dearth of empathy in this colony.”
“So much of what we live is complicated or conflicted, and based in feeling, and not in words. Language allows us to get very close to saying what we mean, but to me it always falls just short.”

screens | Curated by Adolfo Aranjuez

Notes
Playlist
To celebrate the publication of Liminal interviewee and Comic Sans collaborator Rachel Ang’s I Ate the Whole World to Find You, we’re sharing an excerpt from the first chapter of the book.
