I assumed just from being around, all these years, that people would immediately glom on to, Well, it's a departure, and it's a dystopian kind of thing, and that's natural, of course. But it's surprised me - not even surprised me, but it's pleased me - how much people have been responding to the way the book was written.
Chang-Rae LeeI want the flashbacks to feel that once you're there they have their own unity, their own kind of atmospheric sensibility; I want the reader to be transported. The novel is a big, complicated, unknowable thing before it's written.
Chang-Rae LeeAs for what's the most challenging aspect of teaching, it's convincing younger writers of the importance of reading widely and passionately.
Chang-Rae LeeAnd it occurred to me that in this new millennial life of instant and ubiquitous connection, you don't in fact communicate so much as leave messages for one another, these odd improvisational performances, often sorry bits and samplings of ourselves that can't help but seem out of context. And then when you do finally reach someone, everyone's so out of practice or too hopeful or else embittered that you wonder if it would be better not to attempt contact at all.
Chang-Rae LeeI think because of these big issues of life and death that maybe sex feels like a crass question. But for Christ sake, this is a book that is so interested in an elemental human condition. And one of the ideas about surrender is an erotic surrender, too. These folks are surrendered by destiny; they surrender to each other in certain moments, but there is a lot of erotic surrender.
Chang-Rae LeeI did a lot of reading of first person accounts from Koreans and combatants and aid workers. And I spoke to relatives. A lot of wonderful photographs were made available to me from that period - 1950-1956 - and those were given to me by a Korean newspaper in Seoul. Ruined villages, refugees streaming through a river valley, GI's and orphans and orphanages, those tiny details that you can only see in a picture.
Chang-Rae Lee