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To be honest, Im not that much of a reader of Korean fiction, since so little is translated.

Chang-Rae Lee

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Chang-Rae Lee
Age: 59
Born: 1965
Born: July 29
Academic
Novelist
University Teacher
Writer
Seoul Teukbyeolsi
Reader
Fiction
Honest
Since
Littles
Little
Much
Translated
Korean

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What if loving something means you should mostly feel frustrated and thwarted? And then a little ruined, too, by the pursuit? But you keep coming back for more?
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For sometimes you can't help but crave some ruin in what you love.
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No place is perfect, but I admire Oahu for its offering of the tropical and the urban, and then its Asian-inflected culture and cuisines.
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What hasty preparations we make for our future. Think of it: it seems almost tragic, the things we're sure we ought to bring along. We pack too heavy with what we hope we'll use, and too light of what we must. We thus go forth misladen, ill equipped for the dawn.
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I rarely talk about work with writers, and I love getting together with writers. I think writers are great to get together with, because we can talk about everything. I think that's why I enjoy it. Writers tend to be pretty open-minded, and pretty profane and loose. They have fun minds.
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As for what's the most challenging aspect of teaching, it's convincing younger writers of the importance of reading widely and passionately.
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By definition it uses and plays and delights in time. It delights in the interlacing of chronologies and the consequences of that interlacing. And those have personal and psychological expressions in a character. Aside from other issues of writing, psychological characterization is what narrative can do best.
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I had a visceral connection to the period [of Korean War]. By visceral I suppose I mean emotional. But every fiction requires so much that is not that so I did a lot of other research and a lot of thinking, a lot of struggling there.
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So my first book I had no experience having written a book, but each book is a little snapshot of who you are at that moment, accrued all through time, so I accept that.
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One of the things my friends would tell you is that I hang out with a lot of non-writers - just regular people like bankers and teachers, and I actually try to steer our talk away from my work when I get together with them.
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I really try to forget. I only look at my old works if there's an interview and someone asks me about it. Otherwise, it's not even in the rearview mirror.
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When I'm describing wartime activities or violence I don't want to be too ornate, to prettify the picture. Once we trace them to the present, the prose becomes denser.
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You can be affected by a person because of something particular they said or did but sometimes how a person was, a manner of being, that gets most deeply absorbed, and prompts you to revisit certain parts of your life with an enhanced perspective, flowing forward right up to now.
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In this difficult era the most valuable commodity is the unfailing turn of the hours and how they retrieve for us the known harbor of yesterday.
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Before I had published anything, I still hung out with people who liked to write. None of us had published, so there was no talk about the business, and there was probably a lot more angsty talk back then. But these days maybe there are some more laments about the culture, but I would say no.
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Most people dont think about race as much as I do. They dont have to.
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Imagination might not be limitless. It's still tethered to the universe of what we know.
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All of my books really do look at that to degrees of difference. Technically, I do enjoy the flashback! But not just for informational material.
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A tale, like the universe, they tell us, expands ceaselessly each time you examine it, until there’s finally no telling exactly where it begins, or ends, or where it places you now.
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It is 'where we are' that should make all the difference, whether we believe we belong there or not.
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