Frases de Amy Tan

Amy Tan Foto
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Amy Tan

Fecha de nacimiento: 19. Febrero 1952
Otros nombres: Amy Tanová

Amy Tan , nacida el 19 de febrero de 1952, es una escritora de Estados Unidos que explora las relaciones entre madres e hijas y lo que significa ser parte de la primera generación de asiáticos americanos. En 1993, la adaptación cinematográfica de su trabajo más popular, El club de la buena estrella, llegó a ser un éxito comercial. Wikipedia

Obras

„En el transcurso de los años me contó siempre la misma historia, con excepción del final, cada vez más oscuro, que arrojaba largas sombras sobre su vida, y, finalmente, también sobre la mía.“

—  Amy Tan

Se refiere a la historia sobre su vida en China que la madre contaba a la hija.
Fuente: Capítulo I del Club de la Buena Estrella.

„Siempre que estoy con mi madre, siento como si tuviera que pasar todo el tiempo evitando minas terrestres.“

—  Amy Tan, The Kitchen God's Wife

Texto original en inglés: «Whenever I'm with my mother, I feel as though I have to spend the whole time avoiding land mines.»
Fuente: Tan, Amy. The Kitchen God's Wife. Editorial Penguin, 2006. ISBN 978-11-0100-715-0.
Fuente: Capítulo I, The shop of the gods, de The Kitchen God's Wife.

„¿Qué es el pasado si no aquello que elegimos recordar?“

—  Amy Tan, libro The Bonesetter's Daughter

The Bonesetter's Daughter

„Vergüenza es caerte cuando nadie empuja.“

—  Amy Tan, The Joy Luck Club

The Joy Luck Club

„Quiero que nuestro amor sea tan grande que nos duela por dentro“

—  Amy Tan, libro The Valley of Amazement

The Valley of Amazement

„¿Acaso el odio no es un simple resultado del amor herido?“

—  Amy Tan, The Joy Luck Club

The Joy Luck Club

„Yin people ring the bells, saying, "Pay attention." And you say, "Oh, I see now." Yet I'm a fairly skeptical person. I'm educated, I'm reasonably sane, and I know that this subject is fodder for ridicule. … To write the book, I had to put that aside. As with any book. I go through the anxiety, "What will people think of me for writing something like this?" But ultimately, I have to write what I have to write about, including the question of life continuing beyond our ordinary senses.“

—  Amy Tan

SALON Interview (1995)
Contexto: I've long thought about how life is influenced by death, how it influences what you believe in and what you look for. Yes, I think I was pushed in a way to write this book by certain spirits — the yin people — in my life. They've always been there, I wouldn't say to help, but to kick me in the ass to write.... Yin people is the term Kwan uses, because "ghosts" is politically incorrect. People have such terrible assumptions about ghosts — you know, phantoms that haunt you, that make you scared, that turn the house upside down. Yin people are not in our living presence but are around, and kind of guide you to insights. Like in Las Vegas when the bells go off, telling you you've hit the jackpot. Yin people ring the bells, saying, "Pay attention." And you say, "Oh, I see now." Yet I'm a fairly skeptical person. I'm educated, I'm reasonably sane, and I know that this subject is fodder for ridicule.... To write the book, I had to put that aside. As with any book. I go through the anxiety, "What will people think of me for writing something like this?" But ultimately, I have to write what I have to write about, including the question of life continuing beyond our ordinary senses.

„I don't see myself, for example, writing about cultural dichotomies, but about human connections. All of us go through angst and identity crises. And even when you write in a specific context, you still tap into that subtext of emotions that we all feel about love and hope, and mothers and obligations and responsibilities.“

—  Amy Tan

SALON Interview (1995)
Contexto: Other Asian-American writers just shudder when they are compared to me; it really denigrates the uniqueness of their own work. I find it happening less here partly because people are more aware now of the flaws of political correctness — that literature has to do something to educate people. I don't see myself, for example, writing about cultural dichotomies, but about human connections. All of us go through angst and identity crises. And even when you write in a specific context, you still tap into that subtext of emotions that we all feel about love and hope, and mothers and obligations and responsibilities.

„My sister Kwan believes she has yin eyes.“

—  Amy Tan, The Hundred Secret Senses

The Hundred Secret Senses (1995)
Contexto: My sister Kwan believes she has yin eyes. She sees those who have died and now dwell in the World of Yin, ghosts who leave the mists just to visit her kitchen on Balboa Street in San Francisco.
"Libby-ah," she'll say to me. "Guess who I see yesterday, you guess." And I don't have to guess that she's talking about someone dead.

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