"What does it mean to be free?"
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“Ouyang Yu is full of shit."
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"For diasporic poets, to write is to trouble the past."
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"At precisely the time that Barthes was relishing Flaubert’s interminable corrections as a turning to zero where ‘writing is the book’s goal, not publication’, and ‘ellipsis now acquires the vertigo of expansion’, Said rejected the infinitude of the signifier-in-play by insisting on an entry point to language."
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"The archive is infinite. One could get lost in an unfolding of the past, in the shadows and darkness, in the dust that rises and falls, becomes mud."
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“Yes, life is always beginning and its living is well underway.”
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“Whether a mere mortal or scorned prince, writing out of a burning desire to rebuke all those who have wronged you and to have the last, conclusive word is a Sisyphean task.”
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“Our empathy, mundane joys, eruptive eros, and constructed language may dismantle oppressive modern/colonial systems. These are not survival tactics. Carlo asks where the dignity in pure survival tactics is; I respond, there is none.”
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“Here arises the greatest weapon against the regime: the imagination as something it cannot control, the product of which is this very book expressing it.”
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“Srinivasan persists in a philosophical approach that holds the love of a logically sound, elegantly composed argument as the highest value…”
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“I suppose it is because alienation has a narrative cure—one that we can rehearse and resolve, over and over again. Oppression, by contrast, does not.”
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“Dredge’s focus on the horror of the sublime is both its strength and its downfall, as it presents a colonial and survivalist relationship to nature, rather than centring humanity’s place in the wider ecosystem.”
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“It is through the ubiquity of food and cuisine that the multiplicities and histories of Asian identities finds expression and elucidation, becoming both a link to the past and a connection to ‘home’, anchoring people—migrants or otherwise—to traditions and family.”
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‘If hell is other people then the flop era is no-one.’
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‘Without question, the seminal text of our times is Bluey.’
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‘The order in which we notice things can be just as significant as what we are seeing.’
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‘There is always a distance that Chang is perpetually reaching across and never arriving; mirroring the structure of memory.’
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‘To Roy, deviation is the point. The real story is in the margins.’
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‘If travel dislodges us from our usual strictures, what might we then become? If we go together, who might we then become to each other?’
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‘Once disassembled, what is a dancer?’
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