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Of course, among the confused motives that spurred me toward being a writer was also the desire to look, to be above the trees and rooftops, beyond the Malaysian horizon that circumscribed my life.

Shirley Geok-lin Lim

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Shirley Geok-lin Lim
Age: 80
Born: 1944
Born: December 27
Journalist
Literary Critic
Writer
Malacca City
Life
Writer
Motives
Tree
Horizon
Courses
Motive
Course
Confused
Desire
Trees
Also
Toward
Spurred
Look
Among
Circumscribed
Looks
Beyond
Rooftops

More quotes by Shirley Geok-lin Lim

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Note, the reply will not be I write, an act that I have, after all, been performing since I was nine.
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People called me a tomboy. That was the term used then. I was very much someone who was comfortable in male clothing, and even later when I grew up, I was constantly wearing dungarees, wearing guy shirts.
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The problem of the female body is not something that I've studied, but my memoir does treat that theme.
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I was driven, as have been many writers, both by a repulsion of the childhood home's narrow confines and a desire to reach further, to keep desiring more of a future not yet imagined and not yet written down.
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The body in defense against male appropriation expresses itself through work in writing, and the work in writing produces the book. So it's a different form of creation and generation that may be viewed as creation without male contribution as a component or challenge.
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The inimitable writer Maxine Hong Kingston published a book in 2002 with the title To Be the Poet. However, in contrast to the transformatory distinctions Kingston makes between the conditions of being a prose writer and the poet, my multigenre impulses incline me to a broader transformation: to be a writer.
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I have some weak poems in that new collection, which is why I'm not ready to send the collection out yet.
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Writing a poem is unwriting a knot, like untying a shoelace that is clubbing your foot.
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John Milton famously claimed, Fame is the spur for the poet, and indeed when we consider the six years he spent writing Paradise Lost, and the additional years revising it, from 1664 to 1674, we may allow that spur.
Shirley Geok-lin Lim
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I was not - even the notion of could not seems to suggest a moment of recognition, but it was such a repressed dimension - I was not able to NOT wear a shirt like my brothers could. My brothers would, in the heat, run around shirtless, and I wouldn't do that, obviously.
Shirley Geok-lin Lim
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One should be able to teach adequately and feel good about it.
Shirley Geok-lin Lim
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The foot can march or it can dance, but it cannot stand still until end-stopped.
Shirley Geok-lin Lim
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In a way, this kind of insight or recognition often permeates the way I think of character, how I plot action, and the way in which I use imagery, seeing binaries as false.
Shirley Geok-lin Lim
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I do want to do the entire alphabet. There's in [Walker's Alphabet] a poem called A Life in that grouping. I was going to change that title to A.
Shirley Geok-lin Lim
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My recent retirement from full-time teaching to the status of research professor at University of California-Santa Barbara (UCSB) encouraged me to come out, so to speak.
Shirley Geok-lin Lim
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I came to realize this weird projection: you are much more passionate about hating something outside of you when you know that something is also in you.
Shirley Geok-lin Lim
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I think that's what, to me, also talks about the silences in my work - as a woman, a woman writer, when you say, no or you have to say, no so often to the writing occasion, those occasions don't really come back.
Shirley Geok-lin Lim
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I don't know where to place my body. Everyone notices that about me. I'm very restless.
Shirley Geok-lin Lim
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After Fifty Shades of Grey, I think my writing is pretty tame, isn't it?
Shirley Geok-lin Lim
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I'm in my 60s, and a cancer scare just makes you more aware of mortality.
Shirley Geok-lin Lim