I was six when my mother taught me the art of invisible strength. It was a strategy for winning arguments, respect for others, and eventually, thought neither of us knew it at the time, chess games... "Come from the South, blow from the wind - poom! - North will follow. Strongest wind cannot be seen."

too much happiness always overflowed into tears of sorrow.

You have to be your own person. You can't let people's opinions determine how you think about yourself. There's a difference between identity and self-identity.

I saw what I had been fighting for: It was for me, a scared child, who had run away a long time ago to what I had imagined was a safer place. And hiding in this place, behind my invisible barriers, I knew what lay on the other side: Her side attacks. Her secret weapons. Her uncanny ability to find my weakest spots. But in the brief instant that I had peered over the barriers I could finally see what was finally there: an old woman, a wok for her armor, a knitting needle for her sword, getting a little crabby as she waited patiently for her daughter to invite her in.

Clichés are static, the emotion behind them long spent. If you are tempted to use them, here is a saying of my mother’s: Fang pi bu-cho, cho pi bu-fang. Basically that translates to: "Loud farts don’t stink, and the really smelly ones don’t make a sound." In other words: When you’re full of beans, you just blow a lot of hot air. If you want to have a real impact, be deadly but silent. Oh, also recognize the difference between a bad cliché and a good quotation. My mother’s saying is a good quotation. You should use it often.

He asked if he could recite a poem he had written that morning: 'You speak,' he said, 'the language of shooting stars, more surprising than sunrise, more brilliant than the sun, as brief as sunset. I want to follow its trail to eternity.

I would still like to have that luxury, to be able to just sit and draw for hours and hours and hours. In a way, that's what I do as a writer.