"I'm an underdog person, so I align myself with those who seem to be not considered valuable in polite society"
About this Quote
There is a quiet provocation in calling yourself an "underdog person" and then aiming that loyalty at the people "not considered valuable in polite society". Hagedorn isn’t just declaring sympathy; she’s naming the social machinery that decides whose lives count and whose are background noise. "Polite society" lands with a double edge: it’s the dinner-party version of power, the kind that smiles while it excludes. By putting value in quotation marks without using them, she exposes respectability as a currency, not a moral truth.
The line also signals an artist’s method. For a playwright, alignment is aesthetic as much as ethical: whose voice gets stage time, whose slang and desire are treated as literature, whose messiness is allowed to be complex instead of cautionary. "Align myself" sounds political, even coalition-building, suggesting she’s not hovering above her subjects as a benevolent observer. She’s taking a side, and taking the heat that comes with it.
Context matters: Hagedorn emerges from diasporic, postcolonial, and urban American realities where immigrant bodies, brown bodies, queer bodies, and working-class lives have often been framed as either threat or decoration. Her intent is to reject the nice, sanitized narrative of belonging and instead dramatize the friction: glamour next to poverty, tenderness next to hustle, dignity inside the very people a so-called refined culture pretends not to see. The underdog here isn’t a sports metaphor; it’s a refusal of the seating chart.
The line also signals an artist’s method. For a playwright, alignment is aesthetic as much as ethical: whose voice gets stage time, whose slang and desire are treated as literature, whose messiness is allowed to be complex instead of cautionary. "Align myself" sounds political, even coalition-building, suggesting she’s not hovering above her subjects as a benevolent observer. She’s taking a side, and taking the heat that comes with it.
Context matters: Hagedorn emerges from diasporic, postcolonial, and urban American realities where immigrant bodies, brown bodies, queer bodies, and working-class lives have often been framed as either threat or decoration. Her intent is to reject the nice, sanitized narrative of belonging and instead dramatize the friction: glamour next to poverty, tenderness next to hustle, dignity inside the very people a so-called refined culture pretends not to see. The underdog here isn’t a sports metaphor; it’s a refusal of the seating chart.
Quote Details
| Topic | Equality |
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