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Overall there may be less censorship in America than in China, but censorship and self-censorship are not only from political pressure, but also pressures from other places in a society.

Yiyun Li

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Yiyun Li
Age: 52
Born: 1972
Born: November 4
Journalist
Screenwriter
University Teacher
Writer
Peking
Self
China
Pressure
Places
Society
Less
Political
Pressures
Also
Overall
America
Censorship

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The boy will remain a son and never become a father. He will be forgotten by the crowd once his blood is rinsed clean from the ground his sister will think of him but soon she will forget him, too. He will live on only in Han's memory, a child punished not for his own insincerity but someone else's disbelief.
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But loneliness is as delusive a belief in the pertinence of the world as is love: in choosing to feel lonely, as in choosing to love, one carves a space next to oneself to be filled by others - a friend, a lover, a toy poodle, a violinist on the radio.
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In film, you have to present everything on the screen so it's the opposite of what I usually do with storytelling. It forced me to think about how people walk, where they sit at that moment. With Princess of Nebraska, it was just fun to watch because the movie was so far from the story. It was very much a different story.
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Some people in China don't look at freedom of speech as an abstract ideal, but more as a means to an end.
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There are people who are willing to work within the system, and people who don't want to work with the system at all.
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It is a Chinese tradition that everyone has to be in everyone else's life.
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Chinese people don't care about freedom, but they do care about justice.
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One easy mistake to make with the first novel is to expand the short story. Some things are better as a story you cannot dilute things into a novel. I think the first hundred pages of a novel are very important. That's where you set things up: the world, the characters. Once you've set that up, it'll be much easier.
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You can write about a country without taking a stand, but you cannot write about a country without noting that there's history, and that there's politics going on. To me, that's the same if you write about America. You don't have to write about politics, but the politics have to be present in the characters.
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Every place is a good place, only time goes wrong.
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Only the smaller fish pay for the goverment's face-lift. The big ones - they just become bigger and fatter.
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No one is immune from either taking the wrong action or not taking action at all, but the sense that something is completely out of a person's control is stronger in China.
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I would never describe a cloud as 'fluffy'—in Chinese or in English.
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Horrible that you could write in a language so well, but have nothing meaningful to say.
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Everybody contributes something to the system, and everybody suffers from the system.
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She wonders if this is what people call falling in love, the desire to be with someone for every minute of the rest of her life so strong that sometimes she is frightened of herself.
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A real dreamer must have a mutual trust with time.
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Almost all of the stories in The Matchmaker, the Apprentice, and the Football Fan are told in the first person, yet, depending on the angle and distance of the narrator, they exert different effects. The best are those in which the speaker never poses as an objective outsider. (...) Other stories are damaged by the urge to distance the narrator.
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Why do I write about China? That is a very good question. I think there are questions about China that I haven't been able to answer. The reason I write is that there are questions to which I want to find answers - or I want to find questions beyond those questions.
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I think the isolation in China also has to do with people's memories being wiped out, collective memories as well as individual memories, by the fact that the recent history has been constantly rewritten and revised.
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