Jess Row Quotes

Black culture is very difficult to explain to people who don't have any direct contact with it.

There's an enormous difference between normative white masculinity and normative black masculinity.

I was relatively isolated from people of color. My parents are too old to be Baby Boomers; they had me later in life. So we didn't listen to any black music at all in the house, not even Ben E. King.

You think about every piece of idiomatic speech adopted by white men over the past ten or twenty years; virtually all of it comes from hip-hop.

I had a lot of expectations placed on me because I was already having some success with my short stories. That was not a good situation to be in. That by itself took a long time to overcome.

It was always a false assumption that white American writers cannot write novels about race unless they're approaching it from a very oblique angle.

The gestures and the swagger and the attitude of black men is imitated everywhere in American culture, but people still find black men intolerable.

Hong Kong has been the place where the memory of Tiananmen Square lives on; Hong Kong people have become more and more committed in their resistance to authoritarian government, and also, not surprisingly, committed to safeguarding their culture and heritage as something distinct and worth preserving.

The politics of transgender identity are really complicated. And the debate over how much of gender is biological and how much of it is socially constructed is a very complex debate.

There is something very quiet and reserved and pessimistic about Obama's temperament that is deeply un-American. There are those people who claim, "Oh, he wasn't born here" - all that is nonsense.

My parents didn't really restrict my movement, so I got involved in the underground music scene and the activism scene; I was doing some volunteering in food relief. I spent a lot of time throughout the city in poor areas, even though my family lived in a wealthy area.

Hip-hop is mostly what I listen to, other than jazz. I've given up on pop music and indie rock.

Because of all the cosmetic services like skin whitening and hair bleaching, there is a lot that people can do to change their appearance without having actual surgery. It's quite common in Thailand and Korea and Japan.

It's only when an American steps outside of their own culture that you see how integral it is.

I've spent my entire adult life teaching at colleges of various kinds, all of them very different from Yale, and I have a fairly cynical perspective on what elite institutions - and the privileges they embody - represent in America.

Most Americans have a sense of what the blues is. But in Hong Kong, they have no sense of the blues.

Only when you leave do you appreciate what binds American people and our cultural experience together.

Prajna is insight into the world. And a lot of that insight has to do with karma and the way karma affects our lives.

There's been a lot of talk about black men and the presence and absence of black men in positions of power in American culture.

I was raised with opera and very white-bread folk music like The Kingston Trio. That was about as daring as it got. So when I discovered hip-hop as a teenager, at first it made no sense to me at all.

Narrative stories are nothing but models of karma and causality - how one thing leads to another. And a lot of narrative fiction is about causality that we don't immediately understand.

For me, there's a very clear parallel between the practice of insight in Buddhism and what's called prajna - the insight that arrives through meditation.

I never really had novel-writing instruction like people do in MFA programs.

The truth is that an intellectual life is available to almost anyone, almost anywhere, if they work hard enough and are given some kind of access point.

Not unlike gender reassignment surgery, someone determines that they are of a different race on the inside and they wish to surgically correct that.

The impact of black music and black art forms on American culture is really difficult to appreciate.

Yale's endowment became a metaphor for the kind of training it offered its graduates, namely, how to exploit the global marketplace, and technology, for your own interests, while maintaining a smokescreen of virtuous intent.

That became my aesthetic - a very Chekhovian, American realist aesthetic in the tradition of Raymond Carver, Richard Ford, and Tobias Wolff. The perfectible, realist story that had these somewhat articulate characters, a lot of silence, a lot of obscured suffering, a lot of manliness, a lot of drinking, a lot of divorces. As my writing went on, I shed a lot of those elements.

I had observed people whose identity crises around race seemed analogous to other people's identity crises around gender.

The hip-hop that I really connected with was Public Enemy, KRS-One, Ice Cube, and N.W.A. That late '80s and early '90s era. The beginning of gangster rap and the beginning of politically conscious rap. I had a very immature, adolescent feeling of, "Wow, I can really connect with these people through the stories they're telling in this music."