“Any decision I made about what or what not to include was based on what I thought best served the work, not what was best understood by the industry or by a hypothetical audience.”
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“It has also made me understand the deep connection between Western and Eastern music. There is no difference between how we use sound to express ourselves, whether the basis is on [the] 12-tone or pentatonic [scale].”
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“Over the past year, it has been somewhat strange and frustrating to see Southeast and South Asian voices—and the specific ways in which we experience racism as distinct from our East Asian counterparts—left out of the discussion of anti-Asian racism.”
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“I am constantly reminded that our collective knowledge structures about writing (and many other things) are fundamentally inherited from hegemonic powers still at play today.”
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“This sense of un-belonging within myself and in my immediate environments prompted me to explore this segmented cultural identity. I was curious about how much of our identity is ours to dictate.”
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Annie Huang speaks to Liminal about 20/20, their new comic about one week in January 2020.
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Lin Jie Kong and Jennifer Wong talk to us about Chopsticks or Fork, a love letter to Chinese restaurants in regional Australia—and the families who keep them running.
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‘In this book, I wanted to explore two main questions: what is love, and what is abuse—emotional, physical and spiritual?’
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“A lot of what I’m trying to access in the music I make is the kind of ecstatic and fantastical states that allow us to disrupt the mundane and the everyday and be able to imagine ourselves in that kind of beyond.”
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“I hope Still Alive makes some contribution to a cultural and political sea change in this country, away from policies that exploit racism and fear. Ultimately we need to dismantle and overturn the entire immigration and ‘border protection’ system if we are to ever treat people humanely.”
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“I feel decolonisation cannot be simply the removal or negation of coloniality, but rather more the thinkability of something new, or to put it another way, a capacity to begin in some not (pre)determined way.”
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“We hope audiences will walk away from the show feeling invigorated to keep pushing for a world where someone like Poona could be Prime Minister.”
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“I tend to write freely when I feel that the room is buzzing with something impossible and strange, something that makes me so small compared to it.”
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“In the current climate, with Asian hate on the rise, I find that I’m trying to seek support from people who have had the same experiences as I have, whether that be in ‘real life’ relations, or in the books I read.”
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‘I spent the earlier part of my twenties pendulum-swinging between wanting kids and not wanting kids, and in that period of time I started writing comic vignettes of a queer woman around my age, hanging out with a young kid who’s in her care.’
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“Often I feel like I am simply speaking to ghosts—across time, across pages, across my own knowledges.”
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“You have to push in; you cannot wait to be invited. In the words of Viet Thanh Nguyen, ‘Writers from a minority, write as if you are the majority. Do not explain. Do not cater. Do not translate. Do not apologize.’"
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“I think about where I’m writing from and who I’m writing to most of the time. The alternative is far worse. What is authenticity anyway?”
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“…when I’m being creative it’s [a form of] venting. So I can focus on something else, rather than traumatic things. And that way I have something I can control.”
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“We’re not here to fix white publishing’s problems, we’re here to support each other and try to create the world we want to work in.”
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