Quotes by: G. Willow Wilson
|G. Willow Wilson
G. Willow Wilson in 2009
||Gwendolyn Willow Wilson
August 31, 1982
New Jersey, United States
|Cairo, Air, The Butterfly Mosque, Alif the Unseen, Ms. Marvel
'Air' is very placeless - it's set in many different countries, and much of the story is about going places rather than being places. 'Air' is about travelers, and I'm a chronic traveler.
It took me a long time to square with the fact that none of my experiences are typical - I'm not a typical American, but I'm also not a typical Muslim.
A lot of my writer friends - some of whom are brilliant - work when the Muse calls them, for lack of a better description. You know, days of nothing, then this creative burst where they write for 36 hours straight fueled by caffeine and idealism.
We don't want to create a literary ghetto in which black writers are only allowed to write black characters and women writers are put on 'girl books.'
Some languages expand not only your ability to speak to different people but what you're able to think.
Sometimes, by using the most over-the-top, ridiculous plot device you can imagine, you get some interesting little conflicts and cool things that you might not otherwise have a chance to explore.
The Qur'an is in many ways far less concrete than the Bible, relying on the esoteric more often than the apparent.
The more you put out there, the more you have to resolve. 'Air' is the most literary comic I've written so far, and that poses problems.
Despite all the criticisms that have been leveled at the comics community, both in terms of fans and creators, I have always felt more comfortable and accepted in the comics community than I have in any other medium of publishing that I've had the pleasure of working in.
What we wanted to do was tell a story that felt relatable to anyone who's been a teenager. We haven't all been a second-generation Pakistani-American girl with superpowers, but we've all been 16 and awkward.
'Habibi' is a complex and unapologetic work of fantasy - no idle undertaking for readers of any faith or no faith at all, but one well worth the trouble.
Being a Muslim in America, I've noticed that there's a ton of crossover between the Muslim community and geekdom.
Thematically, in a lot of what I write, there's a sense of displacement, of being rooted in multiple places, and how that can tug at your identities and your wants and your goals.
My faith did not require beauty or belonging - the deeper I went into my practice, the less it required at all.
In the West, anything that must be hidden is suspect; availability and honesty are interlinked. This clashes irreconcilably with Islam, where the things that are most precious, most perfect and most holy are always hidden: the Kaaba, the faces of prophets and angels, a woman's body, Heaven.
I think all these pop cultural media often reflect conversations we're having in the real world at that moment in time. I think one of the big conversations we're having as a culture is we thought we'd solved sexism and racism, and we're realizing more and more that we haven't.
That's something the head scarf, in a symbolic way, is meant to do in Arabic culture: it defines your relationship to your husband and the men of your family differently than your relationship to the average guy on the street you've never met.
There is a certain danger in thinking about diversity in its own little box, as something that is somehow separate from 'normal' comic books and comics creators.
The first comic I ever read was an 'X-Men' themed anti-smoking PSA they gave out in health class when I was about 10.
I think that's a huge theme in superhero books across the board: When you have this massive power, how do you use it responsibly? When do you intervene? Those are the big questions.
I think lot of Muslims have gotten fatigued by the way Muslim characters, even 'positive' ones, are portrayed in the media.
There's a burden of representation that comes into play when there aren't enough representatives of a certain group in popular culture.