Only when you leave do you appreciate what binds American people and our cultural experience together. — Jess Row Copy Share Image
I had a lot of expectations placed on me because I was already having some success with my short stories. That was not a… — Jess Row Copy Share Image
Most Americans have a sense of what the blues is. But in Hong Kong, they have no sense of the blues. — Jess Row Copy Share Image
Narrative stories are nothing but models of karma and causality - how one thing leads to another. And a lot of narrative fiction is… — Jess Row Copy Share Image
You think about every piece of idiomatic speech adopted by white men over the past ten or twenty years; virtually all of it comes… — Jess Row Copy Share Image
That became my aesthetic - a very Chekhovian, American realist aesthetic in the tradition of Raymond Carver, Richard Ford, and Tobias Wolff. The perfectible,… — Jess Row Copy Share Image
The politics of transgender identity are really complicated. And the debate over how much of gender is biological and how much of it is… — Jess Row Copy Share Image
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… — Jess Row Copy Share Image
Hong Kong has been the place where the memory of Tiananmen Square lives on; Hong Kong people have become more and more committed in… — Jess Row Copy Share Image
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… — Jess Row Copy Share Image
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. — Jess Row Copy Share Image
Prajna is insight into the world. And a lot of that insight has to do with karma and the way karma affects our lives. — Jess Row Copy Share Image
The gestures and the swagger and the attitude of black men is imitated everywhere in American culture, but people still find black men intolerable. — Jess Row Copy Share Image
