"I think there are three possible scenarios for the future of Chinese writing, in all of which the government plays a major role. In the first, and at present apparently the least likely scenario, the government abandons its hostility to an expanded role for Pinyin and instead fosters a climate of digraphia and biliteracy in which those who can do so become literate in both characters and Pinyin, and those who cannot are at least literate in Pinyin. This is essentially a reversion to the Latinization movement of the 1930s and 1940s, when Mao Zedong and other high Communist Party officials like Xu Teli, the commissioner of education in Yan'an, lent their prestigious support to the New Writing. Such a change within the governing bureaucracy would in all likelihood result in an explosion of activity that might end in Pinyin ascendancy in use over characters in less than a generation."

“eformers seeking to speed China's modernization by modernizing the writing system through a policy of digraphia have to contend not only with the natural attachment of Chinese to their familiar script but also with chauvinistic and mindless claims for its superiority.”

“The concept of ideographic writing is a most seductive notion. There is great appeal in the concept of written symbols conveying their message directly to our minds, thus bypassing the restrictive intermediary of speech. And it seems so plausible. Surely ideas immediately pop into our minds when we see a road sign, a death's head label on a bottle of medicine, a number on a clock. Aren't Chinese characters a sophisticated system of symbols that similarly convey meaning without regard to sound? Aren't they an ideographic system of writing? The answer to these questions is no. Chinese characters are a phonetic, not an ideographic, system of writing… Here I would go further: There never has been, and never can be, such a thing as an ideographic system of writing.”

“In human history it seems that the idea of using a pictograph in the new function of representing sound may have occurred only three times: once in Mesopotamia, perhaps by the Sumerians, once in China, apparently by the Chinese themselves, and once in Central America, by the Mayas. The idea that was independently conceived by these three peoples was taken over, as were at times even the symbols themselves, though often in a highly modified form, by others who made adaptations to fit a host of totally different languages. One of the major adaptations, generally attributed to the Greeks, was the narrowing of sound representation from syllabic representation to phonemic representation , after an earlier stage of mixed pictographic and syllabic writing .”

“The term "ideographic" has been used not only by those who espouse its basic meaning but also by others who do not necessarily accept the concept but use the term out of mere force of habit as an established popular designation for Chinese characters. I find, to my chagrin, that in my previous publications I have been guilty of precisely this concession to popular usage without being aware of the damage it can cause. As a repentant sinner I pledge to swear off this hallucinogen. I hope others will join in consigning the term to the Museum of Mythological Memorabilia along with unicorn horns and phoenix feathers.”

“With regard to the principle , it matters little whether the symbol is an elaborately detailed picture, a slightly stylized drawing, or a drastically abbreviated symbol of essentially abstract form. What is crucial is to recognize that the diverse forms perform the same function in representing sound. To see that writing has the form of pictures and to conclude that it is pictographic is correct in only one sense -- that of the form, but not the function, of the symbols. We can put it this way:”

“nfatuation with characters still pervades American classrooms and holds back essential improvement in instruction.”