We’re excited to see that Kazim Ali has a new poetry collection out, The Voice of Sheila Chandra. Named after a singer who lost her voice, the book weaves three long poems together to make a central statement that Ilya Kaminsky says is “far larger than the sum of its parts.” Sam Sax describes the collection as “part research document, part song, part deep excavation of the soul.” With that kind of ringing endorsement, this book is certain to be one we’ll enjoy.
Two-time contributor Luisa A. Igloria, who was recently named poet laureate of Virginia, also has a new book out this fall. Maps for Migrants and Ghosts explores the diasporic experience and brings in the poet’s own personal history, from the Philippines to her immigrant home in Virginia. We’re big fans of Igloria’s work here at LR, and we look forward to reading her latest.
Wave Books describes Srikanth Reddy’s Underworld Lit as “a multiverse quest through various cultures’ realms of the dead.” A serial prose poem, the book takes readers on a “Dantesque” tour from professor’s classrooms to Mayan underworlds and beyond. We’re excited to dip into this epic journey in verse and hope you’ll check it out, as well.
Issue 6 contributor Fiona Sze-Lorrain’sfourth book of original poems, Rain in Plural, just hit shelves last month. In this collection, she uses language to uncover questions of citizenship, memory, and image. We love Sze-Lorrain’s lush, musical sensibilities and have covered several of her previous books on the blog. If you’ve enjoyed her work in the past, you’re sure to enjoy Rain in Plural, too!
We hope you‘ll curl up with some of these picks this upcoming fall. What else is on your reading list? Share your recommendations with us in the comments or on Twitter, Facebook, or Instagram (@LanternReview).
Please consider supporting an independent bookstore with your purchase.
As an APA–focused publication, Lantern Review stands for diversity within the literary world. In solidarity with other communities of color and in an effort to connect our readers with a wider range of voices, we recommend a different collection by a non-APA-identified BIPOC poet in each blog post.
We at Lantern Review: A Journal of Asian American Poetry believe that Black lives matter. We stand in solidarity with the fight against police brutality and systemic racial injustice. We also acknowledge our own APA communities’ complicity in anti-Black racism and commit to working against it.
APAs not only should stand for Black lives—we must. Here are some resources and places that our community can start.
Letters for Black Lives | Developed in response to the shooting of Akai Gurley by Peter Liang, this tool for explaining to our APA elders and loved ones why Black lives should matter to us provides helpful scripts in multiple languages than can help to broach the difficult subject of endemic anti-Black racism within our communities.
26 Ways to Be in the Struggle Beyond the Streets| This pamphlet provides some sound advice about how to support protests and protestors even if you are not able to be on the ground in person. It also contains a helpful reminder to the API community to not allow our race or the model minority myth to be used as a wedge.
Talking About Race (Online Portal) | This educational site from the National Museum of African American History & Culture provides tools and information for helping educators, parents, and individuals committed to equity to engage in important and meaningful discussions about race.
Asian American Racial Justice Toolkit | This toolkit from the Asian Pacific American Labor Alliance, AFL-CIO, covers an enormous range of helpful topics but also includes a specific “For Black Lives” section that covers useful information and provides exercises and prompts to aid in discussion, engagement, and understanding.
Open Letter of Solidarity from the Asian Minnesotans Against Racism & Xenophobia Collaborative (via Coalition of Asian American Leaders)
What else can I do?
If you are able, consider attending a protest. If you are a non-Black Asian American, use your body (and your privilege) to protect others when you can. Call elected officials and write letters, sign petitions, wield your vote at the ballot box (and speak up against voter suppression). It’s also important to amplify Black voices. Buy books by Black writers, share their work online, and support Black-owned bookstores. If you teach, include work by Black writers in your curriculums and syllabuses year round. If you are a parent, have conversations about racial injustice with your children and read books by Black authors and that center Black protagonists’ stories. Make a donations to organizations like Cave Canem that support Black writers and artists. Be thoughtful in your own written and spoken language, whether formal or informal (including online). Do not appropriate Black culture or African American Vernacular English (AAVE); do not engage in or support literary blackface; do not put yourself at the center of conversations about police brutality or other issues that affect the Black community. Most of all, read, learn, listen, acknowledge your privilege, combat racism within yourself, and educate others in your community. We can—and must—work for change together.
It’s now a good solid month or two into the new academic year, and just in time to get ahead of that mid-semester slump, the fourth issue of Lumen is dropping on Friday! Following up on Lumen No. 3, in which Iris shared some of her favorite middle-grade and YA books for young APA readers, in Lumen No. 4, Mia writes about books for younger children that she has enjoyed reading and sharing with her family. Here’s a sneak preview of some of her thoughts on the matter:
”It’s a privilege to raise children in a literary landscape that includes such a wealth of talented APA children’s authors. . . . As a parent, I want nothing more than for my children to read books that enrich the imagination, that broaden their capacities for empathy, and that expand their worlds to include unfamiliar places and ways of living, while also affirming their lived experiences and the experiences of those around them. “
If you’re not already subscribed to Lumen, you’re in luck! Not only are there four more days to subscribe before the newsletter hits inboxes this Friday, October 5th, but we are also celebrating by randomly giving away a copy of Mia’s new book, Isako Isako, to one of our subscribers. All you have to do to enter is the following:
Be subscribed to Lumen by 11:59 pm PDT on Thursday, October 4th. (If you’re not yet a subscriber, you’ll need to sign up first, but existing subscribers are also eligible to enter!)
Leave us a comment on this blog post with your name and the title of a contemporary kids’ or teen book by an APA author that you wish you’d had as a kid. (It can be a picture book, an early reader book, a middle-grade book, or YA book of any genre.) [UPDATE on 10/4/18: We’re now expanding the giveaway to our social accounts, too! See today’s posts on our Instagram, Twitter, and Facebook accounts for instructions specific to each. Lumen subscribers can enter more than once, on more than one platform (as well as on the blog)—so fire away! We look forward to hearing from you.]
Lumen subscribers may enter as many times as they like—each new comment that is left with a book title will count as one entry (though the same person may not repeat the same book’s title for more than one entry). After the giveaway closes, we’ll randomly choose one winner amongst the entries and will get in touch via the email address with which the winner is subscribed to Lumen.
[UPDATE on 10/5/18: Congratulations to Rachelle Cruz, our randomly chosen giveaway winner! Rachelle shared with us on Instagram that she wishes she’d had Ellen Oh’s Spirit Hunters when she was a kid. Thanks for the recommendation, Rachelle—we can’t wait to check out this spooky, October-appropriate tale. We’ll be in touch soon to coordinate sending you your prize copy of Isako Isako.]
We hope you’ll discover a new title or two to share with your favorite little ones in Lumen No. 4. In the meantime, we look forward to hearing about the books you wish you’d had when you were a kid!
Happy New Year! It’s hard to believe that 2017 is already here. In the past, we’ve made an annual tradition of listing some of our favorite reads of the year before the holidays begin. But this season, as we find ourselves staring down the barrel of a year that promises to hold significant changes for our nation with a mixture of apprehension and resolve, we’ve decided to do things a little differently. And so, rather than a list of holiday reading recommendations, here are a few books by some of LR’s friends and past contributors that inspired us in 2016 and that we hope will inspire you to take heart, to speak up, to fight harder, and to dream and make art with even greater passion in the coming year.
We are so proud to have published an excerpt of the manuscript that eventually became this collection in our sixth issue. In Power Made Us Swoon, Saito uses persona to probe family legacies of trauma, immersing herself in the history of Japanese American internment during WW II. Saito’s speaker is transitory, transcendent in the resolve that propels her to continually return to the artifacts of memory, and to inhabit sites and stories in search of narrative, lyric, image. In a time when more than one public figure has attempted to erase the trauma of internment in service of grotesquely racist and xenophobic rhetoric, this powerful collection seems prescient indeed.
A finalist for the National Book Award, Sharif’s Look captures the anxieties of our time, illuminating the frightful spectre of language mutated in the mouth of war. The collection recasts terms from the Department of Defense’s Dictionary of Military and Associated Terms to perform a kind of documentary acrobatics that shows how language and experience are imbricated in times of war. “I am attempting my own // mythmaking,” Sharif says, in an elegant, urgent argument about how the private and public, the immigrant and emigrant, and the civilian and military are realities that cast shadows, chiaroscuro-like, on each other.
One of the first poets whose work we published, Ocean Vuong has a distinctly masterful voice that sings and flits through this finely-tuned collection. At once delicately intimate and intensely raw, Night Sky with Exit Wounds powerfully stitches together—no, choreographs—feathered fragments of memory and the legacies of war and displacement onto a document of the speaker’s coming-of-age journey, a rich odyssey of survival and self-discovery as seen through the lens of language and text. In the context of the troubling conversations about refugees that have swirled to fever pitch of late, Vuong’s singular voice rises to bear poignant, timely witness.
“I’m that person who can’t stop looking,” Wong writes, and indeed, hers is the writing of an eye—or an “I”—that is attuned and attentive, a poetry startled into mystery, one into which perception floods, impressions overlaid and juxtaposed to encapsulate everything from the cosmic to the kitchen. The language in Overpour is filled with riddles and slips, steeped in undergrowth, and inhabited by mushrooms, carnations, and sweaters. The poems are songs, tasting the strangeness of language, its slippages and shifts in meaning, and embedded music.
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Of course, there are so many others that we could list—starting with the books and chapbooks that we featured on the blog in 2016. Janine Joseph’s Driving Without a License seems especially prescient right now in the context of the fraught conversations about immigration happening in our country, while Sun Yung Shin’s voice in Unbearable Splendor provides critical witness for the Asian American adoptee community in the wake of the unjust deportation of Adam Crapser. Meanwhile, Timothy Yu’s 100 Chinese Silences, Jai Arun Ravine’s The Romance of Siam: A Pocket Guide, and Pat Rosal’s Brooklyn Antediluvian model unique modes of resistance, writing back in satire and song. Nor are they alone in doing so among the titles that we have written about this year. Here is the full list:
Radio Heart(Finishing Line Press, 2015) and Yellow(Tinfish Press, 2011) by Margaret Rhee [Read our dual interview with Rhee and Chen Chen here.]
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We hope that 2017 is a year filled with brighter things for our community, despite all apparent expectation—glimmers of illumination in the midst of struggle, moments of delight that surprise us in the thick of the ever-present work. As you labor on, may these books, and the many others like them (c.f. also Bryan Thao Worra’s extensive roundup of books by API poets published in 2016, and Hyphen magazine’s 2016 poetry favorites), be touchstones to you. Return to them when the work feels weary; keep their words and images pressed to your skin like small talismans kept in a coat pocket, warm and smooth to the touch. May language serve you well this year, and may your own words in turn be infused with strength and truth and beauty, lantern-glow against the ever-quickening dark as we stride into the months ahead.
It’s with great excitement that we announce the publication of Sun Yung Shin’s most recent poetry collection, Unbearable Splendor(Coffee House Press, 2016). Among other books, Shin is the author of Rough, and Savage (Coffee House Press, 2012) and winner of the 2008 Asian American Literary AwardSkirt Full of Black(Coffee House Press, 2007), which Craig Santos Perez reviewed in Lantern Review’s Issue 1. For more on Sun Yung Shin, check out thispost on her poem “Until the Twenty-Second Century,” which appeared in our 2011 Poems for Monday Mornings series.
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In this post, we’re pleased to feature an excerpt from the opening pages of Unbearable Splendor, a collection of poems, essays, and hybrid works characterized by bold, flexible experiments in form. The work draws from a wide range of historical, mythological, and literary sources, including figures like Antigone, Asterion, and Pinocchio, demonstrating a deep concern with matters of origin: the etymology of words, the logic of replication and reproduction, and the ways these processes are interrupted by both natural and uncanny means. Shin examines technologies of artificial reproduction as well, staging them as interventions in her exploration of what it means to reproduce and to be reproduced. From this investigation of cloning, cyborgs, surrogacy, and adoption, Shin weaves a narrative of language and history that represents a striking new way of understanding identity.
An excerpt from “Valley, Uncanny”
Don’t let the name fool you: a black hole is anything but empty space.
—NASA’s website, Astrophysics page, Focus Areas, Black Holes
Where’s the hole’s end?
—김혜순 Kim Hyesoon, “A Hole”
A valley makes a kind of hole. A hole open on two sides. Korea—an island on three sides. South Korea—an island: water, water, water, DMZ. North Korea—water, water, DMZ, the People’s Republic of China.
I was a hole and I brought it, myself, to 미국 mi guk “beautiful country,” America, the United States. I carried a train of holes—holes of smoke, holes of sky. Holes of water, holes of rice milk. I was an uncanny guest. Two years old. A week after arrival from Korea, a brother, born in America, asked, “When is she going back?” Like the heavenly maiden with too many children to carry, to many holes to go back t(w)here.
There is a limit to canniness, but not to being uncanny—it is infinite, 무한, mu han.
Happy Friday, APA poetry lovers! We have an exciting bit of news to share with you this morning: in exactly a week, we’ll be heading up to San Francisco to be a part of one of the biggest APA arts events in the Bay. This year, Lantern Review is delighted to have the opportunity to copresent the literary arts showcase for Kearny Street Workshop‘s annual APAture festival, featuring poet Jade Cho, author of In the Tongue of Ghosts (First Word Press, 2016).
Now in its fifteenth season, APAture, whose name plays on the photography term “aperture,” takes as its mission the goal of amplifying APA artists and giving them a stage on which to provide focus and context to their work. Fittingly, this year’s theme, “Here,” was chosen to emphasize, among other things, “the importance of APA space and community” (in the organizers’ words), even as the festival itself provides a space for investigation and celebration of the intersection of arts and social justice, innovation and disruption.
For us at LR, as we continue to ease into this new, Bay Area based season of our existence, the word “here” has never felt more relevant. Before our relaunch this past spring, “here” for us quite literally meant nowhere. Mia lived on one coast, while I (Iris) bounced around from the Midwest to the East Coast to the South, and our contributing staff writers lived everywhere in between. We often used to tell people who asked that we were “based on the internet.” But when we restarted LR early this year after a cross-country move that serendipitously brought us together in the Bay Area, “here,” for the first time, became somewhere. And in the months that have followed, the experience of getting to dwell within the space of a real, physical “here” has been wonderful. From getting to host our first physical NPM collaboration in SF, where we witnessed the words and voices of six local APA poets filling up the space of the American Bookbinders Museum; to finally having the ability to sit down face to face with local LR community members for casual meals and creative exchange on a regular basis—the moments of focus provided for us in this last year by receiving from existing local community spaces and building up new ones have been havens; little islands of light dotting the everyday shoals of the necessary things we do in order to keep the lights on. “Here,” for so many years, was whatever we made of it. But at least for this small, precious sliver of current time, having a “here”—a home base, a place in which to let LR dwell and take root—has been invaluable.
Throughout our history at LR, place and awareness of the liminality of “home space” for APA writers has been of utmost concern to us—it’s why we founded LR in the first place. And so, we’re beyond honored to partner with KSW, a storied organization that has been a crucial part of our new “here” and that has worked for years to build and facilitate “home space” for APA arts community in the Bay, to copresent the literary arts showcase at APAture 2016: Here.
A multi-day festival featuring more than sixty up-and-coming Asian Pacific American artists in fields such as comics and illustration, film, literary arts, music, performing arts, and visual arts, APAture will take place from September 30th through October 15th at various locations throughout San Francisco. We encourage you to check out as many of the showcases and performances as you can, but in particular, we hope you’ll come join LR next Friday at the literary showcase, where Oakland-based featured poet Jade Cho will mesmerize with powerful work that explores diaspora, race, gender, ghosts, and the intersections of power and privilege. It will definitely be a can’t-miss event, and we are beyond excited to get to be there, saying a few words about LR and community and hanging out at our little table.
More information about the festival can be found here. Tickets can be purchased here.
Even if you can’t make the festival, we hope you’ll check out the KSW website for more information about its programs and outreach throughout the year, or that you might even consider helping to financially support APAture via its current IndieGoGo campaign. KSW and APAture are vital pillars of the APA arts scene in the Bay Area, and their tireless work has been integral in making the notion of a home space for APA artists in the Bay possible since 1972.
So how about it: Will you come be a part of our “here” by joining us at the APAture literary arts showcase next Friday? We certainly hope that your answer will be “yes”!
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This post was produced in partnership with Kearny Street Workshop. For more information about the APAture festival or about KSW itself, we invite you to check out their website at www.kearnystreet.org. For information about next Friday’s featured performer, Jade Cho, please visit her online at jadecho.tumblr.com.
In honor of Banned Books Week 2016, the Lantern Review Blog has solicited a list of recommended reading from its friends, former staff, and past contributors. These are titles that our community has identified as works too important not to be read; that is, books that ought to be defended, rather than challenged and/or removed from bookstores, libraries, and classrooms. Join us and the rest of the book community as we celebrate the right to express and to seek ideas through literature. And don’t forget to leave a comment below, if you’d like to contribute to this list of books that you believe we deserve the freedom to read!
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Corona by Bushra Rehman (Sibling Rivalry Press, 2013)
“Corona is a dark comedy featuring Razia Mirza, a young Pakistani woman from Queens, NYC. When a rebellious streak leads to her excommunication from her Muslim community, she decides to go on the road, but it doesn’t take her long to realize traveling as a Muslim woman is quite different than traveling as Jack Kerouac.” —Bushra Rehman
culebra by Roberto Harrison (Green Lantern Press, 2016) “Roberto Harrison’s tercets investigate, uncover, the ways in which a landscape, a history can embody the mythos of an animal. In this case, the snake: ‘The Kuna Indians of Panama make their molas in pairs. According to this tradition, things arrive in the world in pairs, so as to create a third from the union. As we are limited in our binary thinking, the snake points away toward the integral through a triad, toward a more whole understanding of the world. It knows the silence of death in the ground of the living. It heals as it sees with his tongue and symbolizes an alternative way of knowing.’ ” —Mg Roberts
Johnny Got His Gun by Dalton Trumbo (Bantam Books, 1984) “Set in the aftermath of World War I, Johnny Got His Gun is a scathing commentary on the realities of war and raises troubling questions about taking extraordinary measures to prolong life when someone does not wish to live. The main character, Joe Bonham, lives as a prisoner in his own body, having lost his arms, legs, and all of his face after being caught in the blast of an artillery shell.” —Kathleen Hellen
Lettres philosophiques (1734) by Voltaire (University of Oxford, 2017) “This book of twenty-five letters by Voltaire has been translated as Letters on England (Penguin Classics) and Letters Concerning the English Nation (Oxford World’s Classics), among other editions. My favorite letters are the ones about Newton and Descartes, British tragedy, and Pascal’s Pensées.” —Fiona Sze-Lorrain
Opening Up: A Guide to Creating and Sustaining Open Relationships by Tristan Taormino (Cleis Press, 2008) “Opening Up is an excellent introduction to polyamory, the practice of having multiple romantic relationships at the same time with the knowledge and consent of all involved. The percentage of people who practice some form of ethical non-monogamy has been growing rapidly in recent years and polyamory has been called a lifestyle choice, a sexual orientation, and a relationship orientation.” —Clara Changxin Fang
Pinoy Poetics: A Collection of Autobiographical and Critical Essays on Filipino and Filipino American PoeticsEdited by Nick Carbo (Meritage Press, 2004) “Pinoy Poetics was long overdue when it was released in 2004. A collection of autobiographical poetics by Filipino and Filipino American authors, it remains fresh today. Even as many of the book’s poets since has received major awards, Pinoy Poetics remains unique in representing the concerns and interests of Filipin@ poets, which are often reduced or elided in categories like ‘Asian American,’ ‘poets of color,’ et al.” —Eileen R. Tabios
The Argonautsby Maggie Nelson (Graywolf Press, 2015) “I wish I’d had a wise aunt like Maggie Nelson to talk to when I was growing up, or this book. I’ve read few better meditations on love: and death, and pregnancy, friendship, motherhood, birth, family, gender, the pain of losing love, loving a parent who’s dying, love and sex, loving anal sex… The first paragraph will make people want to ban this book. And it gets better after that so we need to protect it.” —JoAnn Balingit
The Butcher’s Wife by Li Ang (Peter Owen Publishers, 2002) “Set in a Taiwanese village in the 1930’s, this is a harrowing morality tale of violence and patriarchy. It’s the most frightening, gory book on the oppression of women I’ve ever read.” —Joseph O. Legaspi
When the Chant Comes by Kay Ulanday Barrett (Topside Press, 2016) “When the Chant Comes is a love song for all the ‘queer hungry parched kids,’ for those who gather in many tongues, for those whose bodies hold memory across ocean and scar, for those who desire and deserve rest and dream.” —Ching-In Chen
It may still officially be summertime, but for those of us who balance our writing lives with scholarship and/or teaching, it’s already time to hang up the vacation gear and dust off the books in preparation for a new academic year. Thus far in this summer’s series of reading recommendations, we’ve brought you a couple of short critical reflections that have teased out thematic similarities between some recent collections by #ActualAsianPoets, but this month, in honor of back to school, we’re highlighting a three recent anthology titles (or to be technical, two anthologies and one edited collection of critical prose) that feature #ActualAsianPoets and that we think would be wonderful editions to the classroom this semester.
Weaving together poetry, prose, and visual art, Kuwento, whose title means “story” in Tagalog, explores the notion of myth as told and retold by voices from the Philippine diaspora. Writes coeditor Melissa R. Sipin in a blog post on Kweli, “It is with this book we hope the invocation of the past is somehow answered, somehow quelled, somehow excavated, and thus reborn—reborn in our own terms, in our own myths, in our own kuwentos.” Containing selections by M. Evelina Galang, Oliver de la Paz, Sarah Gambito, Joseph Legaspi, Barbara Jane Reyes, Brian Ascalon Roley, Aimee Suzara, Eileen Tabios, Nick Carbó, and others, Kuwento appears to be both thoughtfully curated and expansive in its scope. We’d be eager to see it added to syllabuses for Asian American or Filipino Literature courses and workshops on the undergraduate or graduate levels. As with other groundbreaking anthologies such as How Do I Begin? (the seminal Hmong American anthology that we reviewed a few years ago) or Indivisible(the first anthology of South Asian American poetry, which we reviewed here and here), Kuwento could also likely work well in a community workshop context and perhaps even (in excerpted form) for younger students.
In this slim but mighty volume, Timothy Yu brings together four critical essays by female Asian American literary scholars, each of which focuses on a different pioneering Asian American women poet. Exploring the life and work of Myung Mi Kim, Nellie Wong, Mei Mei Berssenbrugge, and Bhanu Kapil, Nests and Strangers draws together thoughts on both the biographies and aesthetic impulses of each poet in order to better understand the import (and impact) of each of their poetry. It would be a wonderful resource for an advanced undergraduate seminar, especially for one focused on feminist poetics or Asian American literature.
Though not specifically an Asian American literature-focused anthology, Family Resemblance encompasses a diverse selection of literary voices, including a number of notable Asian American and Pacific Islander ones (e.g., Kazim Ali, Jenny Boully, Craig Santos Perez). The notion of hybridity is, of course, one that we explored in some depth in our fifth issue, and especially when contextualized with the metaphor of inheritance, as in this anthology, formal hybridity has unmistakable thematic resonances for scholars and students of ethnic studies and postcolonial studies. Personally recommended by our associate editor, Mia, Family Resemblance would fit well into almost any workshop setting (especially one exploring experimental or nontraditional forms) and would also be a wonderful means by which to diversify a syllabus and open doors for deeper consideration of issues of race, class, and gender in the university classroom.
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For those of you who are teachers, what diverse books are you including on your syllabuses this term, and what are some APIA-focused anthologies or critical collections you’ve taught that you’ve found to be especially successful? And if you’re a student, what are your dream APIA lit reading assignments for an inclusive workshop or literature course experience? We’d love to hear from you! Please tell us in the comments or chat with us about it on Twitter, Facebook, or Instagram (@LanternReview).
Happy August to all of our readers, and to everyone who’s headed back to school soon, we wish you a smooth transition and a fulfilling academic year!
This month, our Summer Reads include Rajiv Mohabir’s The Taxidermist’s Cut(Four Way Books, 2016) and Kenji C. Liu’s Map of an Onion (Inlandia Books, 2016), two remarkable debut collections that feel so fully conceived, so urgently and articulately expressed, that one hesitates to call them “debuts,” as these are clearly two poets who have been at this for longer than the term “first book” implies. Deeply theorized, expertly crafted, and placed squarely in conversation with the poets’ respective family histories, cultures, and discourses of science and post-colonialism, these works draw the reader into a thoroughgoing investigation of what it means to be human, delivered into a specific time, body, and cultural milieu. These poems are the maps they have fashioned for themselves, forging a poetics of reckoning in pursuit of generational and lived truth.
In The Taxidermist’s Cut, Rajiv Mohabir’s lines, both sinister and lovely, function as cuts that reveal and divide, shimmering with the erotics of violence. Transfixed, one finds oneself unable to look away, arrested by the elegance of the language and the way, when held to the skin, it causes the body to shiver with pleasure. The line, the body, the text, the means by which bodies make and destroy themselves; “Pick up the razor. // It sounds like erasure.” Formally, the couplet features prominently throughout, raising the question of what’s joined, what’s split, what adheres together and what pulls apart. Stitched through with found text from Practical Taxidermy, The Complete Tracker, and other taxidermy-related manuals, the poems confront the body with a mixture of scientific detachment and intimacy, as the life of the body—its homoerotic desire, its violation—is rendered in acute detail. Members of Mohabir’s family, past and present, drift in and out of The Taxidermist’s Cut, as, marked by a pilgrim poetics of wandering, the book moves through the West Indies, the South, boroughs of New York City, reckoning with memory, desire, and histories of conquest and slavery. These poems are breath caught from the throat, blood cut from a wound—the cry that follows, in pleasure, in pain, indistinguishable from song.
Kenji C. Liu’s Map of an Onion, a work deeply textured by memory and place, maps its own set of explorations beyond and within cartographies of language, national borders, and the body. Like Mohabir’s, Liu’s subjectivity is shaped by multiple histories and homelands, all impressed upon a poet who writes with deep sensitivity to the pre-colonial realities of place, drawing us into greater awareness of what it means to be American, immigrants, humans. “Ghost maps are hungry maps,” he writes, tracing lineages and interlocking histories through time. It’s a mapmaking of the self, a “search translated between my family’s four languages.” Marked in places by profound longing (“Home is on no map, and explorers / will never find it. That time has passed”) the poems, in their searching, take us from Mars to Moscow, suburban New Jersey to the World War II Philippine jungle. The book itself, neatly sized and beautifully produced, fits compactly in the reader’s hand and brings to the body an awareness of itself as a artifact translated across cultures, yet possessing a language all its own. Map of an Onion, too, concerns itself with the act of incision, especially of paper, “the surgery of documents” cutting ruthlessly across land, sea, and families. What binds and what breaks—folded, torn. “Taste your own / luscious // fissures,” the poet says, the places where selves meet; the sinew, cartilage, and tendon of bodies that are bound and, simultaneously, transcendent.
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What books are on your summer reading list? We’d love to hear about them! Leave us a comment below or share your best recommendations with us on Twitter, Facebook, or Instagram (@LanternReview).
It’s the season of travel. Schools are out, the weather is warm, and all over the country, people are preparing for journeys to faraway locations—vacations to new and unfamiliar destinations, but also often returns to the places that they identify as home. Of course, for the immigrant and the child of diaspora, “home” is an inherently complicated construct, riddled through with ghosts—of war, of imperialism, of other kinds of trauma—and with the specters of displacement and isolation and the feeling of perpetual rootlessness. In this June installation of Editors’ Corner, we’re featuring two recent collections by Asian American poets that explore this fraught relationship to geography, migration, and the notion of home.
Melody Gee’s The Dead in Daylight(Cooper Dillon, 2016), her followup to her debut collection (which we previously reviewed here), parses the map of family geography with finely tuned musicality and a delicate and beautifully precise attention to image. In its pages, the reader drifts through an imaginative pastiche that splices together scenes from the domestic and the natural (from the garden to the living room to the hungry sea that laps at the seams of the collection and consumes the speaker’s mother in the final poem) and moves fluidly between the realms of the living, the dead, and the interstitial territory of memory and dream that lies between. At once origin story and narrative of perpetual departure and return, The Dead in Daylight digs undaunted into the wreckage of generational memory, recalling inherited histories of loss and longing and building around them delicate, earthbound constructions: beautiful, otherworldly houses of paper and bone, mud and salt, ink and flesh, that gather together the scattered geographical detritus of the immigrant lens together under their rooves—motherhood and labor, revolution and famine, rituals of birth and burial, the land and the ghosts that inhabit it. The poet intuits the fertile lyric possibility nestled within the silences and undocumented blips in a familial narrative that reaches across continents and generations, and like her speaker, who returns again and again to the garden, she tenderly plants them in earth, where they put down roots and bloom like the speaker’s asclepia (or milkweed plants, favorite flower of the migratory monarch) in “Of What Next,” planted in the faith that what she has buried will one day “call over / butterflies” (16), a crop of brilliant homecomings alighting at journey’s end.
If Gee’s book grapples with a poetics of excavation by rooting, a burrowing into the earth in search of blood and filament with which to anchor the diasporic body, then Singaporean-French-American poet Fiona Sze-Lorrain’s latest collection, The Ruined Elegance(Princeton, 2015), can be said to point its gaze skyward, engaging in a magpie-like poetics of investigation by assemblage, a searching for new meanings and identities under the vast, universal canopy that hangs above the ruins of language, of history, of justice, of place and identity. The poems in Sze-Lorrain’s collection comprise a deftly curated gallery that takes on images of trauma and war (from a survivor’s account of Ravensbruck to scenes from the Cultural Revolution and from apparently contemporary political prison camps) by overlaying and skillfully collaging them together with ideas and images borrowed from European and Asian cultural touchstones. From the classical musical form of the partita (though not one of Bach’s, the poet is careful to note) to Magritte’s iconic The Son of Man to Joseon brush paintings and translated text borrowed from Chinese poets Zhang Zao and Gu Cheng, Sze-Lorrain carefully builds up layers of meaning and beauty around the rubble of written texts and oral narratives that have been erased by the violence of totalitarianism, the fickleness of memory, and the existential complexity of diasporic identity. She allows the ruins to become a kind of aesthetic in themselves, taking the absences as a kind of new form—startling and intentionally unbeautiful among the threads of the shimmering fabric that she weaves about and beneath them, stitching them together as a practitioner of kintsugi, a Japanese technique in which a shattered vessel is repaired by inlaying gold into the veins created by the cracks and missing pieces, might construct a new type of pot out of something once broken. It is here, in the glinting interstices of these carefully rejoined pieces, that Sze-Lorrain’s migratory speaker makes her home: “I want to honor / the invisible,” she says (5), and later, to “turn this ruined thought / into a poem” (45).
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What books are on your summer reading list this year? We’d love to hear about them! Leave us a comment below or share your best recommendations with us on Twitter, Facebook, or Instagram (@LanternReview).