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Children are receptive to talking about gender creativity, confirming the importance of the book as a means to instigate this dialogue at an early age.

Vivek Shraya

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Vivek Shraya
Talking
Confirming
Means
Receptive
Book
Gender
Children
Dialogue
Mean
Importance
Early
Creativity
Age

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I couldn't write about love without writing about hate - specifically, how the experience of hatred embeds itself in the body and prevents love from entering or leaving.
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I used singing as a safety measure. I would pay attention to what songs the popular girls liked, learn those songs from the radio or library cassettes, and then accidentally sing or hum these songs in class. This would impress the girls, who would then defend me from the boys.
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When I do book readings, I always incorporate music or singing.
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Writing about racism requires a directness that writing a love story does not.
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I am more likely to get paid for my art if it's presented alongside a white artist, so the questions around value and agency arise: What choices should I make, or do I have to make, if I want to be compensated for my work? Why isn't my art valued on its own?
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As a brown artist, I have mixed feelings about my relationship to art and my responsibilities post-Trump.
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As a person of color, I know race can't be stripped from admiration or preference.
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I recently did a reading at an elementary school in Ottawa, and one of the children asked me if I was a girl. I said yes. Another child commented that I had a deep voice. I responded: Can girls have deep voices? There was a pause and then the group responded, Yes!
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My intention was never to write a trans novel - which is perhaps an effective strategy for writing a trans novel.
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Making music has been connected to one of my greatest heartaches, because my own music has never quite connected with audiences. But it was this heartache that pushed me to explore other artistic avenues, like writing and filmmaking, and I ultimately feel most at home in a multidisciplinary environment.
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I would love to see more dialogue around the responsibilities of art consumers - how can audiences better financially support artists we love, artists who are doing the work, so that artists have a more solid foundation upon which to make art?
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Should I be collaborating with artists of color solely because of their race and my politics? This question is weighted with my own worry that I have been invited to speak or collaborate solely because of my race, and not because of my abilities.
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My art career often feels less like an art career and more like a career in educating, usually by using my body.
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I have been and continue to be committed to art as a tool to ignite, comfort, and discomfort.
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I feel like I have had to catch up to the art I've made, and learn from the protagonists I have written, especially in relation to gender.
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In poetry, I didn't have to provide resolution. I could ask hard questions without feeling responsible for the answers.
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I have always considered the aesthetic of a project, including press photos, as a means to further the message of the art itself.
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Of course, I can't separate my queerness from my brownness - if anything, my queerness amplifies my brownness, and vice versa - but I spent so much of my early twenties trying to erase my differences, often without awareness of what I was doing.
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I continue to explore poetry.
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