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“Well, being a working mommy is something I've always wanted to be. My mother is my biggest role model and she showed me how to do it right. She was very present in our lives and has a great career of her own. Same with my father. So I knew it was possible going in to stay closely connected to my children while also chasing big dreams.”

“I want to be the best role model I can be for my family. I want my husband and I to be the ones our kids look to for guidance, to be the great role models that I had with my parents growing up, so for as hard as we work, I want our kids to see us having fun. I want our kids to know that we have to feel our bodies. And nutrition is a huge part of that.”

“In terms of Iraq, al Qaeda valued Iraq because we destroyed a government it wanted destroyed and because we put soldiers on the ground and forces that they could attack. Al Qaeda is basically an insurgent organization that was formed on the model of the Afghan groups. And being bred in that war, they value a contiguous safe haven as much as anything else.”

“The documentary we are working on is about my mother, Bev Umehara, for whom our film company, Bev's Girl Films, is named after. It is a passion project that I have wanted to make since her unexpected passing in 1999. The film is about my mother's calling which came late in life, at 47, when she made the sudden transformation from a humble hardworking secretary and mother of four, into a labor activist, a respected union leader, and a role model for rank-and-file workers, women of color, and for all Asian Pacific Americans.”

“I met designers that are in the business for ten years in the movies, and their biggest complaint is things don't look anything like they were designed. Look at my drawing! But nobody ever sees the drawing, that's the thing. So I knew right from the beginning that I would design everything in 3D on my computer, and those models literally went to the machines. So every little radius on most of the vehicles you see there, I built with my mouse and keyboard.”

“Oddly, I think if you look at comic books, you look at the shelves in the store, it's predominantly male characters, historically. But if you look outside the window it's 52-percent female, and something odd is going on there. So I do think it's your responsibility as a writer, really, to create stuff that little girls can get into too. I want my daughters to have role models that are female.”

“The notion of the writer as a kind of sociological sample of a community is ludicrous. Even worse is the notion that writers should provide an example of how to live. Virginia Woolf ended her life by putting a rock in her sweater one day and walking into a lake. She is not a model of how I want to live my life. On the other hand, the bravery of her syntax, of her sentences, written during her deepest depression, is a kind of example for me. But I do not want to become Virginia Woolf. That is not why I read her.”

“When I was young, I went to college, had a teacher who was, had been a student of Trilling's at Columbia, this was in California. And he, I started reading him around that time, and then I went to Columbia as well, Trilling was still teaching there, I took a course with him. He was not a great teacher, but he was, when I was younger, he was a good model for the kind of criticism I wanted to do, because he thought very dialectically.”

“I think that the ideal of young womanhood as it's seen in pop culture specifically is a really kind of vapid, conceited, concerned with money and looks kind of thing that you'll see in a lot of reality shows. And I think that's really damaging, not just because it's a terrible role model to put forth, but that it also puts across this idea to the American public that this is what young women are like, that this is what all young women in America are like.”

“In a way, that's also a recognition that Dante needs Virgil and that the Inferno needs the Aeneid and that the epic needs a model and that for Dante to write this great poem he needs someone to come before him and he turns to Virgil's text, especially book six where Aeneas goes down into the underworld. And for me, that's a model of the poet's relationship to previous poetry, to another poetry as calling out for guidance.”

“I didn't ever consider poetry the province exclusively of English and American literature and I discovered a great amount in reading Polish poetry and other Eastern European poetry and reading Russian poetry and reading Latin American and Spanish poetry and I've always found models in those other poetries of poets who could help me on my path.”

“One day I went to the manager and I asked him whether his model was working and he said, "Well, haven't you seen how many customers we have in this store?" And yes indeed I had. I mean it was definitely attracting a lot of customers, even attracting tourist buses that would land up at this store and people would go through the store and marvel at all the options, even sometimes take photographs of the various aisles.”