Amy Tan Quotes

My father in the film - which we probably haven't seen in previous movies, and in British Asian movies you could probably count on one hand - he says exactly why, actually why he's frightened for his daughter. He came to this country, England, and had a bit of a crappy time.

And then it occurs to me. They are frightened. In me, they see their own daughters, just as ignorant, just as unmindful of all the truths and hopes they have brought to America. They see daughters who grow impatient when their mothers talk in Chinese, who think they are stupid when they explain things in fractured English. They see that joy and luck do not mean the same to their daughters, that to these closed American-born minds "joy luck" is not a word, it does not exist. They see daughters who will bear grandchildren born without any connecting hope passed from generation to generation.

How to Be an American Housewife is filled with dreams and love-the kinds that come true and those that don't. Margaret Dilloway is wise and ironic. She has created wonderful characters who never, in spite of hardships, stop finding ways to love each other.

My mum thought my TV and film addiction was laziness. If you're an immigrant, you know you'll never be an accepted part of society, but you hope your children will be, and you try to make them essential to the community in a practical way - being a doctor or a lawyer. Acting was beyond their comprehension.

Once you start listening to the comics, be they Jewish, Muslim, Italian, Filipino or whatever, the material often springs from the same source - the overbearing mom, the parents who want you to marry from within your community. That's why the 'Ethnic Show' works so well.

Like so many other young South Asians in America, I am the product of two cultures whose conflicting values pull at me with equal urgency. Never have I felt as torn between the two as I do about the question of marriage.

I was my mother's translator until I was probably 12 years old, and I remember how people looked at her.

How we dwelt in two worlds the daughters and the mothers in the kingdom of the sons.

The difference between being Mexican and being Chinese, as I can see it, is that when you go to Harvard from a Chinese family, the whole family goes to Harvard. When you're a Mexican and you go to Harvard, you betray the family.

I think there's always an expectation when you're a first generation, especially a first-generation Nigerian, of sort of being a doctor or a lawyer or an engineer. And so, you know, sort of my initial pursuits into the arts and that I was going to pursue film as a career didn't confuse them, but it was definitely something that they were scared about.

It seems to be typical of life in America ... that the second generation has no time to talk to the first.

I don't think I would be a writer if I had stayed in Chile. I would be trapped in the chores, in the family, in the person that people expected me to be.

Thank God I have four sons. The mother/daughter relationship is one of mankind's great mysteries, and for womankind, it can be hellaciously complicated. My mother and I are quintessential examples of the rewards and frustrations, and the joys and infuriations it can yield.

I know more than anyone the divergent views about my father.

I'm the only one in my family with an American accent.

My stories deal with multicultural situations as well as multigenerational settings.

I've moved around so much my whole life, and I've gotten so used to being the Other in situations - the foreigner, the outsider. The first time I've ever felt like there was no separation between me and the other elements was in music.

I don't know any woman who has a simple relationship with their mother or with their daughter.

Women as mothers grapple with corresponding contradictions. The adoration they feel for their grown daughters, mixed with the sense of responsibility for their well-being, can be overwhelming, matched only by the hurt they feel when their attempts to help or just stay connected are rebuffed or even excoriated as criticism or devilish interference.

I wanted to explore Korean-American characters. And 'Columbus' did address that. The father-son dynamic felt very real to me.

You're trying to grow up, and you don't want to be like your parents, and that gets mixed up with being Korean... They brought their values from Korea, and I accepted them because I didn't know anything more. But as I grow older, I feel more Korean every year; it's very strange.

I always feel like people misunderstand the difference between an Asian story and an Asian-American story. That's completely different, too. I have friends who grew up in Asia, and our experiences are so different. Even though we might look the same, I feel like being Asian and then being Asian-American is completely different.

One of the hard things coming from an immigrant family - or any family that doesn't believe in the arts - is that you have to disappoint your parents. That's hard for people to do if you're a good kid.

With 'To All the Boys,' it's not an Asian rom-com. We tried to tell the coming-of-age story of a 16-year-old girl who just happens to be Asian.

My mother came from Japan, and I really didn't understand her often. Now that I'm older, I do.