Morgan Parker Quotes

I think there's something that's fascist [in Donald Trump's election], and something that I think we could probably learn from, in terms of the energy in the world right now.

I've been thinking a lot about folks denying what has happened in history, or just not acknowledging it.

I try to convey what it feels like and sounds like and smells like and looks like inside of my particular skin, to move through the world as a black American woman in her mid-twenties.

I wanted [the book 'There are More Beautiful Things Than Beyoncé?'] to be colorful. I wanted it to be evocative. I wanted a figure of a black woman that the reader has to confront.

Sometimes it's just rejecting stereotypes, sometimes it's creating work. Sometimes it's just blocking out the noise.

There's something about us using the word fascism and thinking about, "What is it? What does it mean, and what are the tenets of it?" I've been thinking a lot about folks denying what has happened in history, or just not acknowledging it. I think there's something that's fascist, and something that I think we could probably learn from, in terms of the energy in the world right now.

Mickalene [Thomas] is an artist that I have admired for a long time. So much of her work inspires me - I spend time looking at her work when I'm writing. I feel like we're working toward the same themes, and I see our work in conversation, whether we know it or not.

I don't claim to say, "All black women are like me," because they're not.

I spent a lot of time trying to layer upon layer upon layer as I wrote. I think that's often the fear of a writer, that little nuances won't get picked up.

There's so much about the strong black woman stereotype that makes us forget that we do need and deserve help and care.

And I would stop and take you in, all of you, and when our eyes lock we'd just stare into each other's souls and all of the lost time would come out in the shape of a big smile, a few tears and a tight hug that feels like...I don't know, it would feel like home.

I always say that my artist statement is to not be afraid to talk about the messiness - the unpleasant feelings and happenings around my life. I also try to convey what it feels like and sounds like and smells like and looks like inside of my particular skin, to move through the world as a black American woman in her mid-twenties. Language from songs and TV shows feel integral because it helps to create the environment and describe the full picture.

I think often if people don't have a lot of experience with a particular type of person or a particular type of brain, they can make dangerous assumptions. That's one of the reasons that I'm so interested in contradicting and troubling held thoughts about black women.

Since the election [of Donald Trump], I've been thinking about a lot of theory. Lots of [Michel] Foucault and [Karl] Marx, thinking about different systems, thinking about power. Trying to figure out what I can take and learn from history as a tool for getting through whatever is happening right now, which feels very significant and major.

My friends and I have all been super motivated to work and to do the work that we need to and want to and think should be in the world.

I struggle with depression and anxiety, and I have since I was a teenager. I spent a good chunk of time being very ashamed of that. Now I feel committed to talking about it and trying to normalize it as much as I can.

It's been interesting to look back on those works [I've done previously] and see all the things that Beyoncé has done and become for us in the meantime, because back then, folks were like, "Why Beyoncé? I don't get why she is kind of the symbol for black womanhood."

In grad school, a friend and I gave ourselves the task of writing poems in the voice of Beyoncé and Lady Gaga after they did the collaboration for "Telephone." I just kind of kept going. That was quite a while ago - Beyoncé meant something very different then than she does now.

The book [There are More Beautiful Things Than Beyoncé?] is quite complex, and I was worried that it would be marketed as one-sided or flat, and I knew that Mickalene's [Tomas] work would be able to encompass all the many states of being that are in the book.

Where I would usually backspace, I stop and say, "You know what? This is important, that I say how I feel and don't sugarcoat it, and don't avoid it."

After a while, being so honest and so vulnerable on the page ends up affecting my own kind of self possession in the world, because I am not afraid of myself and my own thoughts. I think so much of being a woman, of being a social being, of being polite, is quieting those thoughts. There's so much we try not to say as we go through the day. There's a lot of tempering and self-editing. It is a relief to make writing that space where I don't need to do that.

I think that fear came from, "Okay, I'm going to have Beyoncé in the title, and people are just going to think, it's Beyoncé poems. It's light and fun." I was kind of super-conscious of that. It's kind of like this weird trick I'm playing, where you're like, "What an interesting, fun cover, and then the name Beyoncé." Then you open it, and it's just about my depression. All of it belongs together.

It's always hard for me to find a therapist who is a black woman or even a woman of color. It's something that we've always been told is not for us. It's top down.

Art movements are always linked to some kind of turmoil. We can look at history and see that [political turmoil is] fertile ground for art. I also think that it gives artists something, a way of kind of processing. My friends and I have all been super motivated to work and to do the work that we need to and want to and think should be in the world. Hard times are really a fire under your ass to prioritize and think, "Okay, how can I challenge myself to put something in the world that wasn't there that can reach other folks and help them to process"?

I really hope that people feel permission to talk about their own troubles, but also to celebrate themselves.

Аrt movements are always linked to some kind of turmoil.

I always say that my artist statement is to not be afraid to talk about the messiness - the unpleasant feelings and happenings around my life.

So much of my writing process is trying to eliminate any kind of shame or fear of the thoughts that I'm having.

I don't claim to say, "All black women are like me," because they're not. One type of black woman can exist, but also another kind can exist. I also really hope that people feel permission to talk about their own troubles, but also to celebrate themselves. Sometimes I feel as though I'm trying to take a hit for the team so that other people then can move forward. I'm like, "Look, I just laid out all of my stuff, so what's the worst that can happen"?

Hard times are really a fire under your ass to prioritize and think, "Okay, how can I challenge myself to put something in the world that wasn't there that can reach other folks and help them to process?"

Language from songs and TV shows feel integral because it helps to create the environment and describe the full picture.

It's hard for black women to ask for help. We think we don't need it. We're used to being in pain and living with it.

I don't think that there are as many black women or women of color becoming psychiatrists, so we can't find them and then we feel looked at and studied and that's part of what is damaging to us. It's hard to find therapy that is actually a tool for your own liberation. I think we can be really distrustful.

We can look at history and see that [political turmoil is] fertile ground for art.

There's something about us using the word fascism and thinking about, "What is it? What does it mean, and what are the tenets of it?".

I'm working on a young adult novel. I've been working on it for a while, because I don't know how to write a novel and I'm teaching myself. For that reason, I've been reading a lot of YA [young adults], which I never have before. It's totally new to me.

I think that we need to make it our goal to define freedom for ourselves.

So much of my writing process is trying to eliminate any kind of shame or fear of the thoughts that I'm having. Where I would usually backspace, I stop and say, "You know what? This is important, that I say how I feel and don't sugarcoat it, and don't avoid it." In my experience when I do try to avoid something, it makes its way into the work anyway. To be in front of it and just make friends with it is easier for me.

So much of the world and the systems that we live within are made to keep us from feeling like we're free. The way that black women in American came to be is just diametrically opposed to being free.

We kind of have to rewrite our own stories and our own ways of being free.

There was something about Beyoncé that felt like a vessel, I guess, that I could kind of impose all of these feelings and thoughts onto. I was drawn to a little bit of a dichotomy between the glamour and celebrity and the very deep and complex legacy of black women, and what that means in terms of performance.

Sometimes I feel as though I'm trying to take a hit for the team so that other people then can move forward. I'm like, "Look, I just laid out all of my stuff, so what's the worst that can happen?".

I liked the idea of using this mega-star [Beyoncé ] to talk about all those things on the tiny scale of my life.

I also think that [political turmoil] gives artists something, a way of kind of processing.

I'm not reading any kind of fantasy [for young adults] or Hunger Games or anything like that. It's more just like geeks with crushes. It's very sweet, and I'm enjoying how honest they are, and I'm enjoying the humanity in them.

I guess the only thing I'd say is it ['There are More Beautiful Things Than Beyoncé?'] shouldn't be read as "Beyoncé is not beautiful."

In my experience when I do try to avoid something, it makes its way into the work anyway. To be in front of it and just make friends with it is easier for me.