Robin

“The empress—the most important woman in the world—is confined to the Great Within. Women like those who live in the Garden of Fragrant Delights and the Mansion of Golden Light may be among the most elite in China, but we’re also the most constrained, having lived our entire lives in the inner chambers in first our parents’ homes, then our husbands’. Concubines and servants get glimpses of the outside world, but they are bought and sold. Common women—those married to farmers, butchers, and shopkeepers, those who labor in silk factories or sort tea leaves, and those who fall under the category of the Three Aunties and Six Grannies—may work in the outside world of men, but they can’t avoid the hardships that come as a result.”
― Lisa See, Lady Tan's Circle of Women

“Over the course of those long hours in the booth, I sometimes had the unpleasant sensation that of all the people in the room below, of all the people in the city itself, the former president was the person I knew best. In those moments, out of what I can only describe as an excess of imagination, he became the person whose perspective I occupied. I flinched when the proceedings seemed to go against him, I felt quiet relief when they moved in his direction. It was disquieting in the extreme, like being placed inside a body I had no desire to occupy. I was repulsed, to find myself so permeable. With increasing frequency, I avoided looking down into the courtroom, I concentrated on the notes on the page before me, on the words being spoken into my earpiece.”
― Katie Kitamura, Intimacies

“the paintings opened up a dimension that you did not normally see in photographs, in these paintings you could feel the weight of time passing. I thought that was why, as I stood before a painting of a young girl in half-light, there was something that was both guarded and vulnerable in her gaze. It was not the contradiction of a single instant, but rather it was as if the painter had caught her in two separate states of emotion, two different moods, and managed to contain them within the single image. There would have been a multitude of such instants captured in the canvas, between the time she first sat down before the painter and the time she rose, neck and upper body stiff, from the final sitting. That layering—in effect a kind of temporal blurring, or simultaneity—was perhaps ultimately what distinguished painting from photography. I wondered if that was the reason why contemporary painting seemed to me so much flatter, to lack the mysterious depth of these works, because so many painters now worked from photographs.”
― Katie Kitamura, Intimacies

“In Olga’s heart there was a pin-sized hole of infinite depth that made every day slightly more painful than it needed to be. She thought of it, this hole, as a birth defect. The space where, in a normal heart, a mother’s love was meant to be.”
― Xóchitl González, Olga Dies Dreaming