Poetry for an Exhausted World: A Conversation with Chen Chen

A Conversation with Chen Chen. Photo of Chen Chen, poet wearing clear glasses and with short brown hair, slicked back. He wears a dark shirt with a grey suit jacket and is standing against a blurred background of apartment buildings.
Chen Chen (Photo by Paula Champagne)

Recently, I had the pleasure of talking with poet and professor Chen Chen about his upcoming poetry collection, Your Emergency Contact Has Experienced an Emergency, and how he envisions the poems in this manuscript as rest, fuel, and a tool for writing through trauma. Read on to learn more about his other collaborative projects, his experiences writing in quarantine, and more. (For more on Chen Chen, check out our previous interview with him in conversation with Margaret Rhee.)

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LANTERN REVIEW: Can you share with us a little bit about your upcoming second full-length poetry collection, Your Emergency Contact Has Experienced an Emergency, and what inspired you to embark on this project? How do you think the current sociopolitical landscape has affected or complicated your work?

CHEN CHEN: At this point, pretty much all the poems are written and in their final form. There might be one or two more poems the collection needs. Of course, I thought I was at this close stage last year. And then I kept writing new poems. And those poems influenced revisions on older ones. That’s how it goes. 

This second book explores some of the same subjects as my first: blood family, chosen family, immigration, sexuality, and how to be a person fully embracing every aspect of my experience and identity. The key difference between the first book and this one is now I’m examining these subjects from an older perspective, much more of an adult perspective—whereas before, I was interested in childhood and adolescence. I think Your Emergency Contact is a sadder and angrier book, and at the same time, a funnier one. That tonal shift or tonal deepening has a great deal to do with the current sociopolitical landscape. Writing in and about the Trump era has led me to deeper grief and outrage, as well as sharper humor. The humor is a coping device, but also a way into the difficult emotions. 

There’s a shift in setting, too. Your Emergency Contact grapples with what it meant to reside in West Texas—as a PhD student, as a young teacher, as a queer Asian American in a very conservative part of the country, a particularly conservative part of Texas. Some poems look at gun violence and gun culture. There are poems addressing the Pulse nightclub shooting, which took the lives of people who were (for the most part) queer and Latinx. These were deeply complicated poems to write, as I didn’t want to speak for anyone else, yet I needed to engage and process my own sense of grief regarding this violence. 

Ultimately, Your Emergency Contact is about an exhausted world, a world in which those I’ve relied on for care during crises are themselves experiencing calamity and depletion. The hope is that these poems create a space, however small and fragile, for the vital practice of recognizing marginalized people’s exhaustion. I’m tired. Those I love and those who love me are tired. Maybe these poems can offer some rest and some fuel. 

LR: Can you share with us the origins of your collaborative chapbook project GESUNDHEIT! with Sam Herschel Wein? Why did you decide to embark on this project?

CC: Sam and I started writing collaborative poems years ago. Part of the genesis of our friendship was realizing we had many shared poetic sensibilities. We both love humor and play. We’re both obsessed with pop culture and queer culture. It felt completely organic to write together. I’d send Sam a line over email, and he’d reply with the next line, and so on. These early attempts were not very good. But we had so much fun. We kept dreaming of a collaborative body of work. Eventually we decided that it would be a chapbook containing poems we had each written individually, plus a couple we wrote together in this trading-lines-back-and-forth fashion. Fun fact: originally the chapbook was called Scarves of My Gayborhood. (We might still use that title for something else!) 

As we put the chapbook together, it became apparent that friendship would be one of the major themes—in particular, queer friendship and how we grew to be part of each other’s chosen families. Sarah Gambito blessed us with the absolute best blurb, which includes this perfect summation of the work: “these gorgeous poems hold high the cherished intimacy that is activated in deep friendship.” I love that verb, activated; it speaks to how my friendship with Sam feels—active, empowering, full of action toward true mutual growth. GESUNDHEIT! is an ode to working together, playing together, discovering together. Rather than eliding or flattening out differences, the chapbook celebrates how we’re distinct poets and people, while simultaneously celebrating the conversations between us. 

LR: You are the coeditor and cofounder of literary journal Underblong. How has your role as coeditor and cofounder inspired and helped you in writing? What have been the biggest challenges? What have been the biggest rewards? 

CC: Underblong is a labor of love and laughter and the longest FaceTime calls with my coeditor and cofounder, Sam. Recently we brought on a fantastic managing editor, Catherine Bai, who’s helping us stick to our goals and to a better timeline for assembling our issues. We also brought on five wonderful new readers, Aerik Francis, Albert Lee (李威夷), Angelina Mazza, Cassandra de Alba, and Juliette Givhan. We’re ecstatic to welcome these new team members, or “blongees,” as we affectionately call them, and one of our main activities this fall has been working to make sure everyone gets to know each other. We’ve already been so lucky to work with readers E Yeon Chang (장이연), Emma William-Margaret Rebholz (a.k.a. Billy), and Mag Gabbert. Mag also serves as our fabulous interviews editor. I just had to shout out the whole team because they’ve been integral to the journal’s success and ongoing vibrancy or “blonginess.” Each team member has expanded our notion of what the journal can be. 

Sam and I started the journal because we wanted to do something different from what we’d seen in the literary landscape. We wanted a journal that wasn’t afraid to break with so-called “professional” conventions and decorum. We wanted a journal that embraced poems about butts, poems about glitter, poems that speak back to racism and imperialism, poems that listen deeply to urgent cultural currents, poems that reimagine the future and insist on a more livable now. We envisioned Underblong as a space not only for publishing work that we feel pushes the boundaries but also as a space for us, as editors, to be as wacky and imaginative as we need. I think this freedom is reflected in each issue’s editors’ letter, in the “what we like” page, in the call for submissions page, in the website design, in the response letters to submissions, and in the overall vibe of the journal. And we wanted, from the very start, to center the voices of queer and trans Black writers, queer and trans writers of color. With each issue, we try to deepen our commitment. 

My role has inspired my writing in all sorts of ways. I’m inspired by the work we publish. I’m inspired by the conversations about submissions. I’m inspired by the cover art. I’m inspired by responses from those who read the journal. I’m blown away by the support and enthusiasm folks have expressed for Underblong. That’s the biggest reward: seeing how the work we publish reaches people. For instance, how often the poems in Underblong inspire others to write their own. Another giant reward is, of course, getting to publish work we completely believe in, especially poetry by lesser-known writers—and most especially to be the first (or among the early ones) to publish an exciting voice. 

The biggest challenges all have to do with time management. I teach undergraduate classes and also work with MFA students. I have my own writing projects. I have time commitments when it comes to my beautiful partner and my beautiful friends. Sam and I started Underblong with the goal of publishing two issues a year. It’s been one issue a year, and we’ve always struggled to release issues when we say we’re going to. I’m hopeful that will change with this next issue (scheduled for December) and with next year’s issues. 

LR: In other interviews, you’ve talked about being a manic reviser. Can you tell us a little more about your revision process?

CC: It’s taken me a long time, but I really have come to love revision, as utterly frustrating as it can be sometimes. I’ve come to see the challenge as an invitation to continue discovering something through the act of writing. I cherish the surprise of finding something out about myself or about the world—something strange and sparkling I couldn’t have known without writing that exact poem. 

Often, a first draft is merely the skeleton of what the poem ultimately needs to become. I know there’s placeholder language I’ll have to replace with excitement. I know there’s flatness I’ll have to transform into a mountain full of swaying trees or a sea roaring with all its sea-ness. And most frequently, in my poem drafts, there’s humor that starts off as just a silly riff on a stray thought or as a jumping-off point—and I know I’ll have to make the laugh as necessary as the lament. I’ll have to find that balance between tickling and truth telling. But first, I try to give myself complete permission to goof off, to experiment, to generate and generate. 

I usually overwrite and then pare away. I like having a wide field of material to work with; from the field I whittle things down to the row that’s most alive, then tend to each stalk, each bulb, each petal. Sometimes I overwhittle and then have to zoom out again, add back a detail I’ve cut, or write something fresher in its place. Maybe the poem actually needs to be a whole wide field and not just one row. The unpredictability can be maddening or glee inducing; I tend to oscillate between the two states while revising. A poem can start off as six pages, then shrink to one, then grow into three. 

LR: How have you been engaging with writing poetry and the poetry community since quarantine?

CC: I haven’t written a lot of poetry during this time. Actually, I’ve been writing more prose. I was asked by Spencer Quong at Poets & Writers to contribute short essays for an online series called “Craft Capsules.” My essays have ended up being sort of unconventional—a weird mix of craft commentary and personal writing. That’s just how I had to write them. I guess I was getting tired of being asked to produce prose along the lines of neat, easily digestible article or column writing. I needed to break out of those boxes. Fortunately, Quong and Poets & Writers have been very supportive of me doing things more my own way. Quong has also provided immensely thoughtful editorial feedback on all the essays. These pieces would be such a mess without his critical input and super-smart line edits. 

I was also asked by Swati Khurana to write flash fiction for a new series at The Margins, the online magazine of the Asian American Writers’ Workshop. Though I think of the piece I wrote as basically a lyric essay or an extended love poem, it’s been really lovely to see folks read it as a flash story. My first fiction publication! And Swati, as an editor, was also incredibly generous and insightful with feedback. 

It’s been scary, writing and publishing in a genre I’m less experienced with and comfortable in. I did study creative nonfiction in graduate school; indeed, during my PhD, it was my secondary genre. I love reading creative nonfiction of all types. But as a writer, I feel very much at home in poetry. Poetry, including prose poetry, feels like how my brain works. Straight-up prose feels like trying to walk around in someone else’s brain. Or like spending a week at someone else’s apartment. I’m intrigued and I learn a lot, but by the end of the week I’m eager, I’m more than ready to return to my apartment. 

My literal apartment is where I’ve been spending most of my time this year. It’s been difficult, much more difficult than I anticipated. I thought I’d be sad but still fine since I’m an introvert. But I’ve realized that becoming a part of poetry communities over the last several years has turned me into a bit more of an extrovert. I need people. I need conversations with people who also wildly love this wild thing called poetry. In 2020 I’ve had many of those conversations over Zoom, and they’ve been nourishing—but still not the same as in-person interactions. 

I miss the literal nourishment of sharing food with poets. The metaphorical nourishment of conversation alongside the food on the table is magical. There’s something about sharing a meal with fellow poets and talking not about poetry but about the food. I mean, poets have a special craving for words, and that comes out no matter the topic, though my favorite non-poetry topic is food. Or gay sex. 

LR: You teach at Brandeis University. What is the most rewarding thing about teaching poetry?

CC: The most rewarding thing is getting to hear students say, “I didn’t know you could do that in a poem!” This exclamation has happened after reading Ilya Kaminsky’s Deaf Republic, with its two-act play structure and its use of sign language. It has happened after reading Mary Jean Chan’s Flèche, with its experimentation with formatting and its use of Chinese script. It has happened after reading Sarah Gambito’s Loves You, with its recipes as poems and poems as recipes. It has happened after reading Diana Khoi Nguyen’s Ghost Of, with its stunning triptychs of family photographs, body-shaped poems, and erasure poems with body-shaped cutouts. It has happened after reading Patricia Smith’s Incendiary Art, with its mix of documentary and surrealist poetics. Students come in thinking that poems have to look and sound a certain way. It’s such a fun honor to get to show students that poetry is a laboratory, and they get to be innovators, too. 

For the final project in my poetry workshops at Brandeis I ask students to invent their own poetic forms. They always end up doing the most incredible things—playing with white space, with punctuation, with diction and syntax, with imagery, with typography, etc., etc. I’m always wowed beyond what I thought was my capacity for being wowed. 

LR: In your interview with AAWW, you speak about finally realizing that queerness and Chinese identity can come together to form an intersectional identity. In fact, writing about these identities is central to your work. For me, also as a queer Chinese person, I find it hard to write about traumatic events tied to my identity. How do you go about approaching trauma at the intersection of these identities?

CC: I let myself write as slowly as I need to. Sometimes in graduate school it was hard to stick to a slow process because I had to turn in poems on a much faster schedule (though deadlines can also be helpful; they keep me from endlessly tinkering and staying in my own head). Ultimately, I believe that each writer has their own pace. And for marginalized writers, it’s important to question why one is writing about trauma. How much of that comes from a white gaze, from the expectation that one should be writing about trauma, about suffering? I think it’s crucial that one has one’s own reasons for writing about these subjects. 

One of my main reasons is I want to examine the narratives that I’ve inherited—my father tells me one narrative for immigrating to the United States; my mother tells me another. I want to understand better why my parents have these different accounts. Another main reason is I’m invested in complicating the stories I’m used to telling about myself and my past. Why do I talk about my coming out to my family in this way? Why not another way? So the poems aren’t about constructing one neat picture of my experiences; they’re about giving myself a multiplicity of interpretations, a liberating complexity. Slowness is essential for writing this way. I have to first do some personal work, some deep emotional work, to process the traumatic events. Then I write. 

Often it’s messy, and I do relive some of the trauma, but the poems can’t be a pure reliving of the trauma. If it starts to be that way, I have to take a step back. I have to take time. I have to slow down further and protect myself. I’m not interested in subjecting myself to remembering over and over the worst things that have happened to me for the sake of a white audience—for the sake of any audience, really. 

Poems can be healing, but they can’t be the only form of healing I rely on. If I overrely on poems for my mental health and well-being, poetry becomes a toxic force. It’s similar to overrelying on a romantic relationship for all one’s needs. I need to take care of myself outside of writing, then step back in. For weeks I might write just one more stanza. For months I might work on other kinds of poems. For years I might have no firm idea of where a poem grappling with trauma is headed. I trust, though, that if I’m doing this for the right reasons, the right language will come. 

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Chen Chen is the author of When I Grow Up I Want to Be a List of Further Possibilities (BOA Editions), which was longlisted for the National Book Award for Poetry and won the Thom Gunn Award for Gay Poetry, among other honors. He has received a Pushcart Prize and fellowships from Kundiman and the National Endowment for the Arts. With Sam Herschel Wein, he runs the journal Underblong. He teaches at Brandeis University as the Jacob Ziskind Poet-in-Residence.

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Cover of SIMULACRA by Airea D. Matthews

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Airea D. Matthews, Simulacra (Yale, 2017)

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 book by a non-APA-identified BIPOC poet in each blog post.

Six Questions for LR Editorial Intern Karen Zheng

Photo of Karen Zheng by Ray Ren (Poet with short hair and brown-rimmed glasses, wearing a black-and-white striped buttoned shirt and standing in front of a background of ivy)
LR Editorial Intern Karen Zheng (Photo by Ray Ren)

This fall, we’re privileged to welcome Karen Zheng onto the LR team as our editorial intern! Karen is a first-generation, queer, Chinese American undergraduate student at Dartmouth College studying English and creative writing (poetry). She is interested in exploring her intersectional identity in her creative work and, in her free time, hosts and produces the podcast Mx. Asian American. Karen will be helping us out behind the scenes with getting Issue 8.2 ready for publication, prepping social media content, and contributing to the blog. As you’ll be hearing from her from time to time, we thought we’d take a minute to help you get to know her. Read on to learn about Karen’s love for Ocean Vuong’s and Jericho Brown’s work, the activities that help her recharge when she’s not studying or writing, and more.

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LANTERN REVIEW: Tell us a little bit about yourself. How did you come to poetry? 

KAREN ZHENG:  I started writing poetry in middle school. In seventh grade, we were studying Langston Hughes and Edgar Allan Poe. One of the assignments in that unit was to write our own poems. I remember we were studying Hughes’s “Mother to Son” and analyzing the crystal stair. We had to write something that was similar, using the same metaphor of stairs. After I wrote a draft and showed it to my teacher, Ms. Mickish, she told me that I had talent and encouraged me to pursue poetry further. Ever since then, I’ve been writing. 

LR: What obsessions drive your writing and other creative work? 

KZ:  One of my poetry professors, Vievee Francis, always talks about a poet’s obsession, something that the poet always goes back to, writes about, and thinks about. For me, my obsessions lie in my Asian Americanness, queerness, and other childhood trauma that came with the intersectionality of those two identities. I also dabble in other creative work like podcasting and dancing. In my podcast, I aim to highlight others in the Asian American community as role models because I never had those growing up. 

LR:  What are your favorite poets, poems, or poetry collections of the moment?

KZ:  Ocean Vuong is my all-time favorite poet. His memoir, On Earth We’re Briefly Gorgeous, is so painfully beautiful. Other poets that I really enjoy are Danez Smith, Victoria Chang, Chen Chen, Matthew Olzmann, Terrance Hayes, Illya Kaminsky, Tyehimba Jess, and Jericho Brown. Recently, I’ve been obsessed with Jericho Brown’s The Tradition.

LR: Go-to karaoke song? 

KZ:  I’m actually the mic hogger at karaoke, but I usually only sing Chinese songs. I always have to sing《其实都没有》by 杨宗纬.

LR: Self-care is so important for creatives, especially during these times! What’s your favorite self-care tip? 

KZ: “Relax” is probably the best tip in general. I have trouble relaxing. I get restless during breaks. Reminding myself it’s okay to watch a few more episodes of a show, to journal, to draw, to color, or to space out every once in a while is crucial. Allowing myself to indulge in these activities really helps me to refuel and recharge. 

LR: Who are your APA role models? What are your hopes for the future of APA lit? 

KZ: Honestly, there are so many role models out there. All the poets I just mentioned, those who are doing nonprofit work, entrepreneurs, fitness influencers, etc., etc. Here, I’d like to talk about the Asian Hustle Network. Asian Hustle Network is a Facebook group where hustlers, young professionals, entrepreneurs, creatives, and business owners from the Asian American community can come together and share their stories. Everybody there is so inspiring. It gives me hope for the community to continue growing and changing the world. My hope for the future of APA literature is for us to break into the “canon” and have APA literature be taught in schools, inspiring and influencing future generations. 

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We hope you’ll join us in warmly welcoming Karen to the LR team. We’re excited to have her on board this semester and can’t wait for you to hear more from her soon!

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Cover image: SEEING THE BODY by Rachel Eliza Griffiths

Seeing the Body by Rachel Eliza Griffiths (Norton, 2020)
Please consider supporting a BIPOC-owned indie 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.

Behind the Book: Soham Patel Talks Writing EVER REALLY HEAR IT

Header image. At the top left, the LR logo, a black circle with the white letters "L" and "R" inside. Beside it, the text "Behind the Book: Soham Patel + ever really hear it." Beneath this header text are two images: a photo of Soham Patel (a poet with shoulder-length,  wavy dark hair, dressed in a green sweatshirt with a brown-and-silver zipper detail on her left shoulder) against a parchment-textured background with faint printed text on it, and, to its left, the cover of EVER REALLY HEAR IT (collage image of a silhouetted human finger covered in peeling patches of gold foil, standing against an image of purple streaks against a black background and inky splotches and smears on a white background; text reads: "ever really hear it; soham patel").
EVER REALLY HEAR IT & Soham Patel (Author Photo: Chuck Stebelton)

In “Behind the Book,” we chat with authors of new or recent collections about craft, process, and the stories behind how their books came into being. For this installment, we spoke with poet Soham Patel about punctuation, music, the rituals of preparation that surround her writing practice, and the James Baldwin story that inspired her gorgeous second collection, ever really hear it (Subito, 2018).

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LANTERN REVIEW: Where and how do you like to work when you write? What rituals help you to persist when you come to the page?

SOHAM PATEL: In my writing practice, I attempt to balance a fair amount of discipline and play. I like to write poetry in my home. My poetics believes that we embody language when we come to the page, so in terms of rituals I have several that persist: like these days, it’s making sure I do, even for just a few minutes, some kind of meditative exercise—like walk the dog or some yoga, even if it is just one concentrating breath to declutter my mind and detox my body. I also like to tidy up my home and then read as a way of honoring the work that’s been done before mine and has brought me to this privilege of being able to write. So today, for example, I skimmed these interview questions, folded some laundry and swept the floor, then reread James Baldwin’s short story “Sonny’s Blues” before sitting down to write this.

LR: ever really hear it takes its title from a James Baldwin quote: “All I know about music is that not many people ever really hear it.” And, in fact, music, sonics, and performance are a central motif of the book. Why music? Can you tell us a bit about how you came to choose music as a connecting thread?

SP: The protagonist in “Sonny’s Blues” utters this sentence in the final scene while he’s watching Sonny play jazz music onstage at a nightclub in Harlem. Baldwin writes so beautifully about music’s power, its ability to be both a cure and a force that could break you into a bunch of pieces. Sometimes we burst into song like we burst into tears or laughter. When I was growing up, music was ever present because my family spent a lot of time in cars, where my parents would play their tapes from India between songs my sister and I asked to listen to on the local radio stations. Music is a mystery to me in terms of just how its power works—to change a mood, for example, and how it works on a disciplinary level because I don’t know how to read it. ever really hear it was born from my thesis at the University of Pittsburgh MFA, where I was using my time to explore these questions I had about music through poetry. Ben Lerner taught us about how Jack Spicer believed the poet was transmitting messages from radio static. Poetry was a chance to interrogate lyric’s limits and the possibilities of the speaker in many contexts.

LR: Many of the poems in the book are headed by a series of four colons in lieu of titles. And, in fact, the colon becomes much more than a punctuation mark throughout the book—it’s a linkage for analogous terms, a break, a permeable membrane, a connecting track, a beat or rest in the line of the lyric, a musical notation in and of itself. Can you tell us more about the thought that went into this choice? Why the colon, and how did you settle upon the internal grammar of its usage throughout the book as you were putting the project together?

SP: The project—as a book—for me is, most importantly, a made thing. Most of the poems are meant to sit on one page so that the physical act of the turning of the page becomes a part of the pause that occurs while moving through the book. There are five poems towards the beginning of the opening section that perform as a sequence across more than one page and are connected by the “::::” colons. In early compositions I repeatedly listened to the Yeah Yeah Yeahs song “Gold Lion” four times and wrote while trying to focus my listening to just the drums, then again for each guitar, then just focusing on Karen O’s words and vocables. At MFA school, Dawn Lundy Martin had us study Myung Mi Kim’s Dura, and that’s where I first saw the “:” on the page, hanging out at the top where a title should be, in a place where a colon traditionally would not be found. The subversion was so vanguard to me, and I began to think about how breaking punctuation rules might be necessary when building a poem’s structure in order to keep the language of it live. I am drawn to the stacked order and open space the colon holds, the way it is a parallel, mirrorlike. Four in a row is like a stutter to me and also an ellipsis turned to a stop. I wanted the colon to do all the things you list—and pay homage to Dura’s sequences. 

LR: The work, as assembled, feels so beautifully seamless—like a continuous whole rather than a group of poems collected together. How did you go about approaching the shape of the project as you were composing? 

SP: Thank you. In a manuscript workshop at MFA school, Lynn Emanuel suggested we make sure the last line of one page carried on somehow to the first words on the next page. After about four years of drafting the poems, the titles felt like a distraction, so I removed most of them, then titled each page “song:”—but that approach felt incorrect (like a placeholder), too, so I then removed titles and spent a couple more years moving each page into different movements. While I was doing this, I was also assembling the poems for my first book, to afar from afar, which was initially arranged based on the three Ayurvedic body constitutions, and so I decided to also try this structure out with ever really hear it. In the end I flipped the order and put the last movement first.

LR: A personal craft question for you: What are the road signs, the internal notes that tell you you’ve arrived, when you’re writing—whether you’re working on an individual poem or a larger project? How do you know when a poem is finished? How did you know when this manuscript was ready to go out into the world? 

SP: In practical terms, I needed to send the manuscript into the world in hopes that it would get picked up so I could be considered for the kind of employment I was seeking after I earned my PhD. Otherwise, I practice poetry through large projects that require intense study, durational scope, and can take on various forms. I revise obsessively—and slowly. For this book, I approached the poem as I would a song. I used to play the guitar and sing, so memorizing lyrics and chord progressions has been embedded into me. A poem on a page is finished when I have it memorized—not always by heart but sometimes by sight or by ear; I can encounter the first line and anticipate what’s coming next, where and why the next en- or em-dash appears, and even where there’s space for spontaneity when performed. A good road sign for me is that when I can fully embody the poem (or it me), I have no doubts about each part of it and can account for every strategy made in building a thing that is solid but still porous.

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Soham Patel is the author of the poetry collections to afar from afar (The Accomplices, 2018) and ever really hear it (Subito Press, 2018). A Kundiman fellow, Soham is also an assistant editor at Fence and The Georgia Review.

Behind the Book: Fiona Sze-Lorrain on Translating Ye Lijun’s MY MOUNTAIN COUNTRY

Header image. At the top left, the LR logo, a black circle with the white letters "L" and "R" inside. Beside it, the text "Behind the Book: Fiona Sze-Lorrain + My Mountain Country." Beneath this header text are two images: a gray rectangle featuring a quote in white brushstroke script ("The main thing I do is to practice listening,"—Fiona Sze-Lorrain on the craft of translation), and, to its left, the cover of the book, with the text, " MY MOUNTAIN COUNTRY: Poems Translated from the Chinese by Fiona Sze-Lorrain, Foreword by Christopher Merrill, Ye Lijun" set in dark brown font against a monochrome photograph of a lush mountainside covered with trees and wispy, parchment-colored mist.
MY MOUNTAIN COUNTRY by Ye Lijun, translated by Fiona Sze-Lorrain (Word Poetry Books, 2019)

In “Behind the Book,” we chat with authors of new or recent volumes of poetry about craft, process, and the stories behind how their books came into being. For this installation, we spoke with poet, translator, and zheng harpist Fiona Sze-Lorrain about the importance of listening, her belief in “time and erring from time to time,” and the pleasure of engaging Ye Lijun’s poems in her newest work of translation, My Mountain Country (World Poetry Books, 2019).

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LANTERN REVIEW: What first led you to the work of Ye Lijun? How did you come to translate her poems?

FIONA SZE-LORRAIN: This question is similar to “What first led you to writing a poem?” etc. Ye Lijun’s work appeals to me in part because we share similar preferences: music, visual arts, stargazing, a life outside the mainstream, and more.

LR: Your English translations of Ye’s poems carry a beautiful musicality to them. Can you describe your strategy for considering differences in sonics when translating across languages? What factors do you consider when translating Chinese sonics for the Anglophone ear?

FSL: The main thing I do is to practice listening, which might not be what one typically associates with translation when one translates. Some translators could be more concerned with the mot juste, the authenticity of texts, for instance, and these are legitimate concerns. I think beyond the technical, textual, or theoretical issues, there can be a more spiritual path. Once one starts focusing on differences—or similarities, for that matter—in sonics, and thinks about obtaining the “perfect pitch,” one is on a different path. To illustrate metaphorically, I cite two verses from Ye Lijun’s “Whereabouts”:

A mountain. Down the mountain
a tunnel, sometimes echoes of singing late at night

LR: Did you have a favorite poem to translate from among those that appear in My Mountain Country? If so, what made the experience of working on it so pleasurable?

FSL: Yes, in fact, I do have several favorite poems: “Portrait at Forty,” “In Pingyuan Village,” “Grass-things,” “Back to Lotus Summit,” “Personal Life,” “Delirium,” and others. It isn’t difficult to share why the experience of working on these poems was, to borrow your words, “so pleasurable”: I like the poems, their narratives and simplicity. Beyond the “pleasure experience,” the poems themselves believe in contentment. They aren’t competitive and do not care about dominating others or being right. I am still learning much from the poems in My Mountain Country.

LR: You have also authored several original collections of poetry. How does your process for revising, ordering, and putting together a translated work differ from your process for putting together a collection of your own poems (if at all)? Are there any constant stars to which you find yourself returning time and again?

FSL: I have written three original collections of poetry. I don’t know if three is defined as several. I have written poems that can’t find a place in those three books. And I have written poems that are just terrible, even though they need to be written. The curiosity about one’s process of putting work together in aim of publication—in “book form”—is a results-oriented question and outlook. It produces a certain voyeurism. If one begins to figure a formula out for all these mysteries, in hope of applying it as frequently as possible to as many projects possible so as to achieve “success,” one is seeking a product and writing for a commodity culture or industry. It is hard for me to champion that sort of mentality. I believe in time and erring from time to time:

I have returned . . . Again and again
in the backyard
I plant seeds, mistakes, love
—from Ye Lijun’s “A Mountain Hut”

LR: You say in your note at the end of the book that you first began translating Ye’s poems in 2011, nine years ago. When working on a project over such a long period of time, what helps you reorient yourself and gain a sense of overall trajectory each time you return to the work?

FSL: Why think of nine years as “long” or “short”? Three seconds can be short or transient, but three seconds in bed with a lover is another thing, another permanence. If you believe in time the way I do, this question will take care of itself. This goes for the anxieties of translation. The “kick” one gets out of poetry—and its translation—has to do with one’s willingness to take the path of and in an unknown spacetime.

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Fiona Sze-Lorrain is a poet, translator, and zheng harpist who writes and translates in English, Chinese, French, and occasionally Spanish. The author of three books of poetry, most recently The Ruined Elegance (Princeton, 2016), a finalist for the Los Angeles Times Book Prize, she has translated multiple volumes of contemporary Chinese, French, and American poets. Her work was shortlisted for the 2016 Best Translated Book Award and longlisted for the 2014 PEN Award for Poetry in Translation. Her latest translation is Ye Lijun’s My Mountain Country (World Poetry Books, 2019). A Blue Dark, a joint exhibition of Fritz Horstman’s ink drawings alongside Sze-Lorrain’s poems and translations handwritten in ink on treated washi, was held at the Institute Library in New Haven last summer. Sze-Lorrain is a 2019–2020 Abigail R. Cohen Fellow at the Columbia Institute for Ideas and Imagination. As a zheng harpist, she has performed worldwide. She lives in Paris.


Note: This post was updated on 1/27 to reflect a corrected version of MY MOUNTAIN COUNTRY’s cover image and an update to our introduction: Fiona Sze-Lorrain is a poet, translator, and zheng harpist; not merely a poet and translator. Our sincere apologies for the previous errors.

Behind the Book: Eugene Gloria Talks Writing SIGHTSEER IN THIS KILLING CITY

Header image. At the top left, the LR logo, a black circle with the white letters "L" and "R" inside. Beside it, the text "Behind the Book: Eugene Gloria + Sightseer in This Killing City." Beneath this header text are two images: a photo of Eugene Gloria (a poet with shoulder-length, dark hair, dressed in a dark, v-neck sweater  with a gray tee peeking through at the neck; he is standing against a background of trees and greenery), and, to its left, the cover of SIGHTSEER IN THIS KILLING CITY (painting of a dark-haired woman wearing a bright red beret and a black tunic with colorful stripes and a patterned neckline layered above a gray long-sleeved shirt; she is standing with crossed arms and glancing to the side skeptically against a background containing many colorful scenes of subjects including cars, houses, city skyscrapers, a road, a mostly obscured slogan, an interior, a house, and more. The title and the author's name appear above and below her, respectively, in all-caps sans-serif, black, bold font, overlaid on white, arrow-like shapes).
SIGHTSEER IN THIS KILLING CITY & Eugene Gloria (Author Photo: Amber Hecko; Cover Art: Pacita Abad)

In “Behind the Book,” we chat with authors of new or recent collections about craft, process, and the stories behind how their books came into being. This month, we spoke with poet Eugene Gloria about writing into the political, the lyric impulse, and how the notion of “the book [as] a unified song” guided him while putting together his unflinching new collection, Sightseer in This Killing City (Penguin-Random House, 2019).

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LANTERN REVIEW: Sightseer in This Killing City responds to recent reactionary politics around the world, including in the Philippines, the US, and Europe. Did the project that became this book evolve into its political perspective over time? Or were its politics there from its genesis, and if so—was there a particular political moment that served as the igniting spark? 

EUGENE GLORIA: Some of the themes that have emerged from my work over the years have explored masculinity and gun violence, displacement and grief, as well as beauty. I think I still find myself writing about these things. When I first imagined working on this collection of poems, I was interested in interrogating the person I have become after living in Indiana for many years. The initial title of my manuscript was “Karate, Guns, and Tanning,” named after a strip mall near where I live. But then the results of the US presidential election of 2016 happened around the same time the Philippines elected Rodrigo Duterte as their president. I wrote a significant portion of Sightseer in This Killing City while living and teaching in the Philippines while on a Fulbright grant in Manila. I guess it’s safe to say that the book’s political perspective (when it was being shaped as a book) became a response to the collective grief many of us share in the era of Trump and Duterte and the mass killings we now experience with alarming regularity. So I ended up adding newer poems and taking out some older ones that no longer fit.

LR: Many of the poems in Sightseer are written in persona. How did Nacirema (the primary persona in the book) first find her way to you? Did composing in her voice shape your own process and craft at all as you worked on the book?

EG: The name Nacirema comes from Horace Miner’s essay “Body Ritual Among the Nacirema,” from American Anthropologist, published in 1956. It was a satire of sorts addressed to other social scientists. I loved the idea of a name meaning “American” except spelled backwards. I was working on a poem about a Filipino nurse I knew from my old neighborhood in San Francisco when I first encountered the name via the visual artist Michael Arcega, whom I met at the Montalvo Artists Residency. He told me that he stole the name from Miner, and so I didn’t need his permission to use it as the name of a character in my poem. From “Nurse Nacirema” came “Ave Nacirema,” then gang-banger Nacirema in one of “The War on Drugs” poems, then Camino Nacirema in “My Sad Economist on the Nature of Things”—and so on. Having a character to work with allowed me to extend my examination of identity as a performed thing and not rely so much on the “I” persona who is also a stand-in for myself. And so, yes, developing a voice through Nacirema allowed me to take various directions with my collection that I hadn’t originally imagined. 

LR: Music heavily informs the syntax and sonics of the poems in the book. How does music factor into your writing process? How did it factor into your process for writing Sightseer?

EG: I often find myself revisiting my student days in writing workshop whenever I’m in the classroom with my students at the university where I teach. I find myself sometimes saying the same thing my teachers used to say to me about my poems: “So where’s the music in this?” I’ve always imagined music as feeling and sentences having their own level of sound in order to create “big” feelings. Sometimes you need to suspend sense in order to privilege music. As I’ve grown as a teacher who writes poems, I’ve allowed myself to experiment with formal structures in order to create new sonic possibilities for my narrative poems. “The Suitcase” is one example from the collection that comes to mind. Of course the lyric impulse takes over whenever I resist telling a story in my poems.

LR: The book is broken into four parts that function almost like dramatic acts or musical movements. Can you tell us more about the process by which the overall form of the book came together? For example, did you first decide upon the overall structure and then write into each section? Or did you begin with a looser assortment of poems that began to group themselves as you wrote?

EG: I once met a poet who told me that she was working on her latest collection, and she was starting with the table of contents, listing the titles of poems she still had to write. Knowing her work, I didn’t think she was kidding. I’ve often toyed with the idea of putting together a book in the same way. I write in this old-fashioned way of crafting one poem at a time until I think I have enough for a book. Conceptualizing the collection is an entirely separate process. At one point, I had imagined the book in the form of a two-album set and calling it “The Essential Nacirema”—each section of the book as one side of a vinyl disc. Arranging my poems in sections allows for significant pauses, breathing room, and allows for the ending poems to resonate until the reader moves to the next section. I go back and forth on creating sections or not having them. Somehow it made more sense to do it for this collection.

LR: This is your fourth book. Have you found that your approach and perspective to shaping a manuscript has changed over time? If so, how has it evolved? If not, what are the constant stars that have always seen you through your projects?

EG: I think it was Robert Frost who said that when you’re putting together a collection of poems and you have twenty-four poems written, the twenty-fifth poem will be the book. The idea of the book being a unified song is also a guiding principle for me.

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Eugene Gloria is the author of four books of poems—Sightseer in This Killing City (Penguin-Random House, 2019); My Favorite Warlord (Penguin, 2012), winner of the Anisfield-Wolf Book Award; Hoodlum Birds (Penguin, 2006); and Drivers at the Short-Time Motel (Penguin, 2000), a National Poetry Series selection and recipient of the Asian American Literary Award. He is the John Rabb Professor of Creative and Performing Arts and English professor at DePauw University.

Behind the Book: Oliver de la Paz Talks Writing THE BOY IN THE LABYRINTH

Header image. At the top left, the LR logo, a black circle with the white letters "L" and "R" inside. Beside it, the text "Behind the Book: Oliver de la Paz + The Boy in the Labyrinth." Beneath this header text are two images: a photo of Oliver de la Paz (the poet dressed in a blue shirt and standing against a pale yellow concrete wall dappled with leafy shadows and light), and, to its right, the cover of THE BOY IN THE LABYRINTH (abstract image of a falling figure surrounded with swirling, gauzy, fabric-like layers in colors of dark blue and green; the whole is overlaid with red, capillary-like veining, and with the author's name in blue and the title in bright green and yellow).
Oliver de la Paz & THE BOY IN THE LABYRINTH (Author Photo: Papandrea Photography)

Happy first week of autumn! Today, we’re excited to debut a brand-new blog series. In “Behind the Book,” we’ll chat with authors of new or recent collections about craft, process, and the stories behind how their books came into being. It’s our privilege to start off the series by chatting with contributor and longtime friend of the magazine Oliver de la Paz. Read on to learn how he pursues the discipline of returning to the page amid the busyness of family and academic life and how he grapples with writing about deeply personal subject matter—as well as about the long spool of a journey that led him to the heart of his breathtaking new collection, The Boy in the Labyrinth (U of Akron Press, 2019).

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LANTERN REVIEW: Can you tell us more about how the project for The Boy in the Labyrinth was born? Was there a specific generative moment, as in the encounter with Alicia Ostricker you recall in the Credo? How did the pieces of the story begin to make their way to you—and at what point did you realize that the boy in the labyrinth was your sons?

OLIVER DE LA PAZ: I had made a trip to read for the Slash Pine Festival in Tuscaloosa, Alabama, around 2007 or 2008. That was right around the same time my wife, Meredith, was pregnant with our first son. The poet David Welch had read a few poems, which really had resonated with me in terms of tone, so I tried my hand at a few prose poems that were operating at a similar tonal level. And I thought nothing of it. I kept writing these poems about a mysterious boy in a labyrinth. The writing got a little more frenetic as the magnitude of raising a neurodiverse child as someone who was neurotypical and completely uninformed about parenting started to sweep through my consciousness. But I didn’t connect the fact of the poems with the story of my sons until later, honestly. I continued with the strange little tone prose poems about this boy for almost ten years without looking up and realizing what I was doing. Once I realized their connection, I stopped writing them and started writing poems that ended up being the connective tissue—the questionnaires and the story problems started to trickle into the work about three years ago, and that was when I realized what I had in front of me. The poem “Credo” that opens the book was borne out of necessity. I realize that the book suffers a fatal flaw, and that is context. I had to acknowledge, in writing, my fumbling manner of writing around my anxieties and face them head on.

LR: You begin with apology (specifically, to your neurodiverse sons for writing about them)—something that, you inform the reader, is part of your writing ritual. What is the significance of apology in your writing process? While writing this book in particular, how did you weigh and wrestle with the implications and responsibilities of writing about your children?

OD: Well, I’m still quite uncomfortable about this book and that it’s out. Part of that discomfort is because I’m writing about my sons. At the time of the start of the work, they were really young and didn’t have a whole lot of say in what it was that I was doing. There was no correction from them in my wrestling with my understanding of neurodiversity. Now, my oldest kid’s almost a teenager, and he’s clearly delineated for me his boundaries. He’s read through the tricky parts, and he’s given me a nod, but further on down, I’m not sure how he’ll feel, and so we may have a very different conversation about this book. And so the apology is, in many ways, for the future. I acknowledge that this book is an artifact of a particular time that fixes my sons at a particular age with struggles that are/were particular to a specific moment in time, and in many ways we have all moved beyond that time. 

LR: The impetus behind this book is so personal. Did you ever feel the need to give it space for a period of time when engaging with it felt too emotional? If so, what did those moments of space look like for you, and how were you able to keep bringing yourself back to the work each time?

OD: Oh, absolutely. I worked on other projects to get my mind off of this project. I published Post Subject: A Fable, and I worked on a sixth manuscript. The two projects outside of The Boy in the Labyrinth were much more observational, though what remained intact was the allegorical nature of the writing. I think that thread spreads throughout my work. But then I’d be reminded that I also needed to tend to the more personal work. I don’t know about how other writers work, but I’m usually juggling two or three manuscript ideas at once so that if my mind is fatigued by any given project, there’s always another work that needs my attention. Again, I had worked on the poems in The Boy in the Labyrinth for nearly ten years, so I took many breaks away from the book to get my mind right but also to accommodate being a dad and being a teacher.

LR: How did you find your way to the myth of Theseus and the Minotaur and the use of the Greek ode as a form by which to structure the movement of the book? What craft considerations informed your process while trying to shape the narrative within this Classical framework?

OD: The structure came later. Part of my responsibility in working on such a large singular work is to usher a reader through its girth. It’s extremely dense and seemingly repetitive, which is the nature of obsession and writing through accretion. By imagining the work as akin to a Greek ode, I was also thinking about how the structure of the Pindaric odes commemorated events and how there were predictable elements of ceremony and ritual. I take my kids to church, and there are always particular rituals that they understand (they especially know when mass is about to end). So the Classical structure helped me organize the large morass of writing that I had done, but I also wanted to help the reader through the journey.

LR: How, if at all, did your process of composing the narrative prose poems in this book differ from your process for writing into the other forms that surround and weave through them (e.g., medical questionnaires, “story problems,” etc.)?

OD: I usually alternate between writing in verse and writing in prose forms. As I had mentioned, I’m usually juggling several projects at once, and I had been writing Post Subject: A Fable concurrently with The Boy in the Labyrinth. Both of these manuscripts take their cues from allegory and fable, and I had always associated parable and allegory with very short, concise prose. I wanted to interrupt the fabulist tendencies by writing in a more clinical mode. And I wanted to interrogate the form of the standardized test or the medical questionnaire, but mostly, in my process, I truly and actually needed a break from the discursive mode of allegory. The first of the works to be written outside of the allegorical mode was the “Autism Spectrum Questionnaire: Speech and Language Delay.” And that opened my mind up to other possibilities of writing that were in dialogue with the allegorical stories. They were all written together as a chunk—I don’t write throughout the year. I wrote almost exclusively in the summer for a very short and dynamic amount of time. So, naturally, when I started down the path of writing out these questionnaires, more and more came about because of the intensity of my limited writing schedule. 

LR: What were some of the joys and challenges of working on a project over such a long period of time? Do you have any advice for maintaining (or fostering) a sense of continuity among pieces written at very different points in time?

OD: Again, given my really limited amount of writing time due to parenting and all the other duties that are part of teaching in academia and being a spouse, I had to make some concessions with who I was as a writer, and so I developed a practice that grants me an immediate path when I take the task of writing up the following day. What you don’t see in The Boy in the Labyrinth are the cues that I left myself in syntax and structure that allowed me to continue the sequence. A number of them got cut in the final edits. I will say that Post Subject: A Fable shows many syntactic gestures that I used to help “warm up” my writing brain. I paint on big canvases. I almost always think of individual poems with respect to the poems adjacent to them—how a particular poem activates or negates the work surrounding it. I think in motif and pattern, and I love making bigger connections both in my own writing and in the work of writers whom I enjoy, either in individual poetry collections or a life’s work. 

Of course the challenge of writing in such modes is almost always sustaining the work, and I suppose I enjoy the discipline of continuous project building. In the end, there’s something about working on a singular, sustained project that is akin to controlling one’s time. 

My mother wakes up every day at around 4 AM, makes her coffee, reads, and then does her exercises. She has done this all my life. She is now in her late seventies, and she has Parkinson’s, but her ritual still persists. I admire her defiance, and in a way, writing in such an insistent, systematic, and sustained way is a kind of defiance for me. A way of making space for a ritual against the din of the world.

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Oliver de la Paz is the author of five collections of poetry: Names Above Houses, Furious Lullaby, Requiem for the Orchard, Post Subject: A Fable, and The Boy in the Labyrinth. He also coedited A Face to Meet the Faces: An Anthology of Contemporary Persona Poetry. A founding member of Kundiman, Oliver serves as the cochair of the organization’s advisory board. He has received grants from the NYFA and the Artist Trust and has been awarded two Pushcart Prizes. His work has been published or is forthcoming in journals such as Poetry, American Poetry Review, Tin House, The Southern Review, and Poetry Northwest. He teaches at the College of the Holy Cross and in the Low-Residency MFA Program at PLU.

Transnational Adoption and the Limits of Language: A Conversation with Mary-Kim Arnold

Mary-Kim Arnold and her book LITANY FOR THE LONG MOMENT

Recently, we had the privilege of speaking with poet, essayist, and visual artist Mary-Kim Arnold about her book-length essay, Litany for the Long Moment (Essay Press, 2018), included in the Entropy Best of 2018 Nonfiction Booklist and as part of the Brew and Forge Book Fair. Litany is a luminous work that yearns for lost parents and homeland, that refashions aesthetic and historical lineage out of an obscured past. Arnold shared with us her reflections on dominant narratives of transnational adoption, the limits of language, and the process of placing oneself under scrutiny. An excerpt of Litany can be found on AAWW’s The Margins.

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LANTERN REVIEW: You title your book Litany for the Long Moment after photographic processes and begin the essay with reflections on Francesca Woodman, who, as you note, transformed photography into a medium for self-discovery and self-destruction. What was photography’s role in your process of composing the book, and how do you view its relationship to language?

MARY-KIM ARNOLD: I was interested in the handful of photographs of myself as a child in Korea—a self I could not remember and would never know, a self who really no longer existed. So I knew I wanted to incorporate those photographs in some way, to examine this ghost self who haunted my life as I knew it.

I was taken with the idea of the long exposure and how that process could show motion over time, but the effect was a kind of blurring or obscuring of the subject. I think this is a bit of a metaphor for the life of the adoptee. For me, as a transnational adoptee raised by white parents, the interruptions in family lineage were made visible. My Koreanness amid their whiteness was always visible, always subject to scrutiny, always asked to account for itself.

Despite that constant scrutiny, there is something central to the life of the adoptee herself that remains unknowable. Being visible is not the same as being seen, not the same as being known or recognized as a whole person. Under the persistent gaze, the adoptee becomes flattened, a kind of symbol, not fully human, but a representation. Ultimately, Woodman’s work and the photographic process she was using toward the end of her life provided a starting point for me to consider the role of the female artist, writer, subject. There is a way in which the female artist is simultaneously both subject and object. Woodman’s photographs and the critical writing about her work gave me language to think about myself in relation to the photographs of myself.

IH: In the book, you observe and resist romanticized adoption narratives—from the dream of maternal return to a dissonant press release from the Korean government that presented adoptees as “a precious resource for the international development of Korea.” How did writing Litany shift your own meditations on absence and separation—on both the personal and national-historical levels?

MKA: I think subconsciously, I have always wanted a romantic reunion, too. I think there’s a part of me that has always thought one day, something would happen, things would fall into place, I would have something handed back to me that made sense.

Through the process of writing the book and over time, I have come to recognize that there is no romantic reunion possible. The fantasy of reunion for me, as an adoptee, has been perhaps a kind of self-imposed exile from the realities and complexities of the life I have built for myself here. Recognizing this does not erase or deny the trauma of that initial separation. Nor does it obviate my grief for the life I might have had, the family I might have had. But it perhaps makes certain realities of the life I do have more knowable. If the reunion fantasy made me brittle, inflexible, closed off to the richness of my real life, letting the fantasy go has perhaps allowed me to be more porous. I can take in and absorb more of what is real and possible in my life.

As for the national-historical level, contextualizing my personal story within the larger political and socio-cultural intricacies of US-Korea relations lifted a kind of burden of personal responsibility and shifted the focus to the policies, systems, and institutions that made abandonment and transnational adoption the desirable course of action. I think the dominant narrative around Korean adoption in my generation focused on individual failures and choices—the single woman who was too poor to keep a child, the young woman who had an affair with a married man, the child who was born with health complications too serious for a poor family to contend with. And for the most part, what was absent from the discourse around adoption was the failure of social service infrastructures, systems and policies that made the relinquishment and export of a nation’s children seem not only an acceptable but a desirable course of action for Korea in which families in the US were encouraged to participate.

IH: I was struck by your reclamation of “taking life” as “taking it in”—an act that not only reasserts your own agency to write into rupture but also stakes out territory for Francesca Woodman, Theresa Hak Kyung Cha, and Lady Hyegyong, among others. What is the connection between reclaiming the self’s history and body and reclaiming those of another?

MKA: I like to think that the more we try to tell the truth of our experience, the more we make space for others to do the same. I think the increasing numbers of narratives of adoption written by adoptees maybe pave the way for others—so that adoption can be understood as having more than one narrative arc, as being more than the dominant narrative. I think that narrative has historically positioned adoptive parents as selfless saviors and adopted children as forever indebted to them. Perhaps adoptees whose own experience of adoption was not like this, [and/or] did not feel like this, can find permission to tell their own stories, too.

IH: In Litany, you quote Lady Hyegyong: “Many things were hard to speak of . . . and I have left them out.” What are the differences between the excisions involved in self-portraiture versus those required in documentary?

MKA: Lady Hyegyong’s memoirs allowed me to think about memoir and self-reporting as a political act. She claimed the truth of her experience, even though it conflicted with the accepted, official record of courtly life. In self-portraiture, I don’t think I feel the same level of accountability to telling the whole story as I might in documentary. I’m not attempting to talk about the adoptee experience in general; this is just my own story, my own experience, as best I can attempt to represent it at this particular moment in time.

IH: In Litany, you write, “I fear this is asking too much of syntax.” What do you understand as the intellectual and bodily limits of language?

MKA: I wanted language to be this kind of bridge between my Americanness and my Koreanness. I wanted to be able to claim and inhabit Koreanness through learning this language as if uttering words or phrases in another language gave me a sort of bodily access, bodily knowledge to Koreanness. But learning a completely unfamiliar language is very difficult as an adult, and some of the fragmentation, some of the silence arises from that gap—the desire to lay claim to Koreanness but the inability, at the most basic level of language, to do so.

All the same, I think we’ve become very removed from knowledge that is not purely discursive and bound by language. There is knowledge that resides in the body, in memory. I think there is a limit to what the body can take in and process through language. I was thinking about the ways in which language is inadequate, particularly in grief. Silence is its own strategy, has its own textures and weight.

IH: How do you step back to gain critical or emotional distance from your research and writing?

MKA: It takes time, I think. Just a lot of time. Lots of stepping away, putting it aside, coming back to it. It was an intense process, but it was also exciting, artistically, to set myself these little problems to solve.

I am reminded of a line I came across in a poem years ago. I don’t remember the context of it, but it was something to the effect of waiting for the words to have soaked up enough. That feels like part of it. Letting the language steep and become its own thing. At some point, it wasn’t as directly, as personally, about me. It was about trying to tell some kind of story and maintaining some sort of devotion—to the story rather than to me and my own feelings.

IH: What has been most challenging about placing yourself and your life under poetic scrutiny?

MKA: I was concerned about how my family members might react—my sister; my aunt (who is my mother’s sister); and even, to a lesser extent, my own children. My family went through a lot of trauma during the period of time I cover in my book, and I did, at certain times and over certain details, feel very protective of us all, of who we were then, of what we were living with.

IH: In your interview with Essay Press, you talk about the various paths of research you took to compose Litany—from Lady Hyegyong and courtly life to US involvement in Korean adoption. What parts of your process for Litany do you want to extend into future projects? How has the process for your second, forthcoming poetry collection, The Fish and The Dove, been related to or different from your process for Litany?

MKA: Some of the research led me to the Korean War, and while I was watching a lot of war documentaries, this notion of enemy and loyalty started taking shape. In that context of war, these questions—who are you, where are you from—demanded a kind of reckoning, a kind of accounting for the self in a public way that’s made visible for approval. Several of the poems in The Fish and The Dove attempt to address divided or complicated loyalties.

In that collection, I have also been thinking about particular kinds of language—institutional language that purposefully hides itself and obscures truth in an attempt to deny accountability. Statements like “mistakes were made” and “lives were lost” purposefully obscure the subjects, the actors. Who made these mistakes? Who took these lives? I am trying to think about and give breath to the casualties of institutional language.

IH: You similarly explore lineage, adoption, and Korean identity in visual art—as with “(Re-)Dress: One for Every Thousand” or “Guidelines for Arrival and Transfer.” Could you talk a bit about how visual art and writing inform one another in your practice and research? How has each medium allowed you to discover, or come to terms with, different aspects of identity?

MKA: I think for a very long time, I had resisted the idea that the fact of my adoption—the rupture of it—was as significant as it was to my sense of self. When I finally was ready to take it on in a meaningful and direct way, it was like floodgates opening. Suddenly, there were all these questions I had that I had only previously considered in superficial ways. Like: Why did this happen? Not just to me, but to 200,000 Korean children, 200,000 families. I wanted to think about that scale. Thinking about that scale allowed me to think beyond the individual level—no longer were the questions: What were the circumstances of my family? Why did my mother feel as though this was the choice she had to make?—the emphasis shifted from the individual to the systems. What was happening in the interconnected political, social, economic, and cultural conditions in the US and in Korea that made this unprecedented separation of families possible? So, I suppose if Litany for the Long Moment is focused more on my own individual experience, perhaps “Re-Dress” is a way to think about the larger forces at work.

IH: You are currently a visiting lecturer at Brown University. How does your emphasis on experimental, interdisciplinary work influence your pedagogy?

MKA: I think of formal choices as necessarily political. The decision to make something “accessible” or invisible or easy to read, where the underpinnings of language can be overlooked so that the content is foregrounded—that’s a particular kind of choice and relies on a set of assumptions and internalized values. I talk a lot about the kinds of stories that resist a narrative line. Who gets to tell stories with neat conclusions? Whose stories are interrupted, silenced? When we talk about a conclusion in an essay, a resolution, who is that resolution for? I talk about writing—and mostly I’m dealing with creative nonfiction—as exploratory rather than as persuasive. This shifts the emphasis from conclusion to inquiry.

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Mary-Kim Arnold is the author of Litany for the Long Moment. She is a poet, writer, and visual artist based in Rhode Island, where she teaches at Brown University. Arnold’s work appears in The Georgia Review, Hyperallergic, and The Rumpus, among other publications. She is currently working on a novel, Nine Men’s Misery, and a poetry collection, The Fish & The Dove (forthcoming from Noemi Press in 2020). More of her work can be found on her website: mkimarnold.com

Five Questions for LR Editorial Intern Irene Hsu

Irene Hsu Headshot
LR Editorial Intern Irene Hsu

This fall, for the first time ever, we’ve been privileged to welcome an editorial intern onto the Lantern Review team. Irene Hsu is an emerging Bay Area poet with an impressive resumé, including an English degree from Stanford, past internships at Graywolf and the Loft Literary Center, reporting experience for The New Republic, and publication credits in AAWW’s The Margins and on the Loft’s blog, Writers’ Block. In addition to her editorial duties in helping to run the magazine, Irene has been managing our Twitter account, and she’ll also be contributing to our blog from time to time. (You might have seen her first blog post for us—a roundup of fall APA poetry collections—last week.) We feel extremely blessed to have Irene’s talent, passion, and sense of vision on board, and because you’ll likely be hearing a lot from her over the course of the next several months, we thought that it would be fun to help you get to know her with a little Q&A. Read on to find out how a Gabrielle Calvocoressi collection shaped her earliest forays into poetry, the name of the song that she’d love to perform in an “Aggretsuko-style” karaoke showdown—and more.

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LANTERN REVIEW: Tell us a little bit about yourself. How did you come to poetry?

IRENE HSU: I thank the stars for one generous and intelligent mentor, Teresa Kim, who sent off my high school self with Gabrielle Calvocoressi’s The Last Time I Saw Amelia Earhart. This collection forever shaped my understanding of poetry as a place for observation and a vehicle for time travel. Like many high-functioning kids, I grew up with a misguided sense that I was constantly running out of time to get from point A to B—without quite knowing where I was going, where I was coming from, and what I was allowing myself to fall into. In a significant way, poetry rescued me. Reading and writing poetry gave me a space to be more thoughtful, critical, and imaginative. It gave me permission to return and refashion. In college, Solmaz Sharif, Essy Stone, NoViolet Bulawayo, and Kai Carlson-Wee introduced me to other writers like Tracy K. Smith, Sharon Olds, Aracelis Girmay, Terrance Hayes, among others, who reconfigure sight, breath, and meaning to slow down and interrogate drawn boundaries. When I understood there was this literary ecosystem, I wanted to be a part of it, to learn how it ticked, and to tend to the corners that made transformative reading and profound writing possible.

LR: What obsessions drive your writing?

IH: Right now, this quote from Jenny Zhang: “Why doesn’t anyone consider the fact that when you are a second-generation immigrant and you speak this very specific mixture of Chinese and English, that’s also a dying language? After I die, my children, if I have children, they won’t speak that blend of Chinese and English.” I’ve been thinking about what it means to document and celebrate this fleeting and unstable space of bilingualism. It’s not simply a question of vocabulary, but also of grammatical nuance and non-standard accent that disappear because they are eradicated and, if not, looked down upon. I’ve been trying to cherish the fact that, long before I myself knew, my tongue and my mouth knew that they were not beholden to any one dialect or place.

LR: What are your favorite poets, poems, or poetry collections of the moment?

IH: I find myself returning to poems that also double as stories vignettes, essays, and even films. Sally Wen Mao’s [short story] “Beasts of the Chase,” Claudia Rankine’s Citizen, Yanyi’s poems from The Year of Blue Water, Danez Smith’s “Dinosaurs in the Hood,” Richard Siken’s “You Are Jeff”—poems that aren’t afraid to challenge narrative. Poems that use rhythm, word choice, image, and timing to rewrite and overwrite the dominant logics that shape the most intimate of moments.

LR: Go-to karaoke song?

IH: At the moment, Rina Sawayama’s entire album RINA. But I especially would be down for an Aggretsuko-style showdown with the daredevil power pop anthem “Take Me As I Am.”

LR: In an ideal world, where do you envision the future of Asian American poetry ten years from now?

IH: I imagine Asian American poetry not just as an ever-growing field of profound, creative works, but also as a robust system of support and cycle of mentorship for growing writers and readers. I’ve been incredibly lucky to have mentors who, at crucial times in my life, have willingly taken me under their wings, coached my writing, and encouraged a diverse reading diet. I want this for anyone who even remotely considers making writing and reading a significant chunk of their life. I want there to be a space for everyone who wants to be a part of this, wherever they are—in a city, in a suburb, in a small town.

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We hope you’ll join us in warmly welcoming Irene to the LR team. We are so excited to be working with her this season and can’t wait for you to read more from her in the months to come. For more about Irene and to read some of her writing, visit her website, irnhs.squarespace.com.

Orientalism and the Tourist Archive: A Conversation with Jai Arun Ravine

20160617_PhotobyArisaWhite
Mixed-genre writer and artist Jai Arun Ravine. Photo by Arisa White.

This month, we had the pleasure of talking with writer, dancer, and designer Jai Arun Ravine, who recently published The Romance of Siam: A Pocket Guide (Timeless, Infinite Light, 2016). Join us as Jai shares about the wormholes and winding side streets that led to the creation of their remarkable new book, which takes the pervasive specter of Orientalism in Western tourist writing head on. Read more of Jai’s book reviews here on the Lantern Review Blog.

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LANTERN REVIEW: The Romance of Siam is so many things: travel guide, satire, cultural artifact, poetry, critical theory. In more ways than one, it says everything I’ve ever wanted to say about the ways the Western imagination constructs “Thailand” for itself—and, as you say, how Thai tourism perpetuates this fantasy for its own profit. So thank you for this vital, truth-telling work! The funny thing is, though, that in telling this truth, you tell very little actual truth—most of the pieces are fabricated, parodic, and relentlessly satirical. Tone is a notoriously difficult thing to manage in satire. How did you manage to keep it light, and yet, not pull your punches when it counted? Was it ever hard to keep playing the part, so to speak?

JAI ARUN RAVINE: In my research, I was constantly struck by the absurdity of everything in my path. I stumbled upon uncanny parallel traces, and hilarity abounded as soon as these seemingly disparate elements began to collide. Because I took myself, as a physical presence, “out” of the work for the most part, I began to choreograph these landscapes where actors and characters became my pawns. Something about having this kind of power over the board helped me stay “light,” I think. It allowed for my chess pieces to perform “the absurd” for me, and every time I moved them, they would inadvertently expose the stains of Orientalism that lay underneath it all.

LR: Beginning with the opening “Hints to Walkers” and continuing through the rest of the collection, your book is also profoundly intertextual, a ferocious, chimeric beast that begs, borrows, and steals voices from an impossibly wide range of cultural artifacts: screenplays, song lyrics, travel guides, promotional materials from the Tourism of Authority of Thailand, newspaper articles, early 20th-century novels, etc. How did you discover the sheer scope of the book? Did the subjects emerge as you proceeded through the project, or did you already know that there was a particular “canon” of relevant films, songs, and historical figures that you wanted to address?

THE ROMANCE OF SIAM: A POCKET GUIDE (Timeless, Infinite Light, 2016)
THE ROMANCE OF SIAM: A POCKET GUIDE (Timeless, Infinite Light, 2016)

JAR: When I began researching and writing for the book, I had a Fodor’s map of Bangkok marked with sticky notes for a few people, artifacts, and conceptual frameworks that I knew I wanted to explore further. But so many things emerged as I began to dig, and all the side streets began to wind and run into other side streets. I fell down a wormhole of “white elephants” and looked up everything in the library that had “Siam” or “Siamese” in the title. The song “One Night in Bangkok” led to The Oriental Hotel led to W. Somerset Maugham, in the same way that Anthony Bourdain led to Jerry Hopkins, and Jim Thompson led to Pat Noone. At a certain point, I had to make myself stop, because I realized there really was no end to the Orientalist and tourist archive; it constantly replicates itself. The final scope of the book arranges itself around theme and sequence, as well as destination and landscape.

LR: I’m fascinated by the ways in which you, as the author, exist as a felt present throughout the book, primarily via the “Information” and “Did You Know?” notes at the bottom of each page, where you comment, offer factoids and footnotes, and express interest in various critical features of the project. I was also struck by the moments when “you” enter the poems: you watch your mom talking to Tiger Woods’ mom; you play Anna in Jim Thompson’s low-budget film, The Silk King and I. What did it mean to you to introduce your own subjectivity—mediated, at times, by complex layers of form, fictionalized encounters, and performed identities—into the text? Was this always the plan?  

JAR: In contrast to my first book, แล้ว and then entwine, where the writing came from a very personal need to define my relationship to ancestral histories and inherited silences, it was incredibly freeing (and a relief!) to take my ego out of the work. I imagined landscapes in which characters and actors from movies and plays could mash up and interact with each other. I could move through these icons as a kind of ghosted, energetic, electrical presence, and perhaps even hint at that nostalgic, “authentic” Thai essence that exists now as a work of fiction or as fusion cuisine.

Of course I couldn’t take myself out of the writing entirely, though, and especially in “White Love” and “Backpackers,” I make my anger toward white supremacy clearly known. But I think it was an important challenge for me to write a work in which the balance weighed more heavily  on the other side of the scale. I did get completely caught up in directing my own theater, however, and at a certain point, it became too confusing for the reader—too many references, too crowded, too inaccessible. At that point in the draft manuscript, I circled back into the work, and with the guidance of writer and friend Marissa Perel, I realized that the moments when I inserted myself back into the text (when I stand side-by-side with Yul Brynner or Anthony Bourdain, for instance) were even more powerful than providing an anger-driven commentary on Orientalism’s devastating wake, or choreographing an intricate puppet show. I made a conscious choice in “The Silk King and I” to cut and paste “myself” into the scene, which I think made it stronger.

LR: You appear to speak most transparently in the opening “Hints to Walkers,” where you preface your project with the comment, “As a mixed race person of Thai and White descent, my attempts to connect with Thailand as ‘place’ and ‘cultural identity’ are colonized by tourism and White desire. […] This projects attempts decolonization in the face of such an erasure.” How did you make the decision to include this statement, along with the other prefatory remarks in “Hints to Walkers” at the opening of the book?

JAR: I have always found context extremely helpful. When an artist provides context for viewing their work, it gives the viewer a framework and a way into the experience. A lot of times, I read the work of a poet or see a choreographer’s dance performance, and if I’m not already familiar with the project, I’m distracted by the burning desire to know: What are the major concepts you are grappling with in this work? What is your relationship to the subject? How do you hope this object or performance will function in the world? I felt that stating these kinds of things at the beginning of my book (and during it) was crucial to its reception.I also outline some version of this before every reading I give. “Hints to Walkers” functions as a trail map, which lets people know what to expect on the journey. I see the “Information” and “Did You Know?” sections as other important trail markers that offer the reader both context and guidance.

LR: The Romance of Siam is, in so many ways, an unprecedented work of poetry, cultural resistance, and history. At the same time, I’m aware that even the most unprecedented work, no matter how wildly it reinvents genre, has its precedents. Who were the writers and thinkers who broke ground for you? What did you read, and to whom did you look for inspiration in the writing of this book?

JAR: I generated most of the initial material for The Romance of Siam during a residency at Djerassi in 2011, and one of the books I took with me was Jo Ann Wasserman’s The Escape. I read this book during Akilah Oliver’s course “Eros in Loss in Poetic Construction” at Naropa University in 2005. While I had never written much in classical forms, when writing The Romance of Siam, I remembered Wasserman’s book and the way she used the form of the sestina to work through her grief around her mother’s death. The sestina felt incredibly obsessive, but also somehow incomplete. The thing that one was grasping for could never be reached; it was a culmination without release. That feature of Wasserman’s work led me to writing a bunch of my own sestinas. Once I started, I couldn’t stop; the form just seemed to fit perfectly with my material (the Orientalist/tourist fantasy) and my relationship to it.

Even though I began reading the book after much of the material had already been generated, I am also indebted to Edward Said’s Orientalism, because he helped me identify a larger historical context for the project.

LR: There’s a fabulous moment at the end of The Romance of Siam when Jim Thompson’s character says that he wants to “purchase all the novels White man has written on Thailand and found a rare books annex” in Bangkok’s legendary Oriental Hotel—which I suspect exists, if perhaps only in spirit, as The Romance of Siam. This venture is described as a kind of “theatre within which [Thompson] has engaged much of his strange expertise and cultural knowledge,” a notion I find fascinating, given the particular prominence of theatre and performativity in your book. I was wondering if you could speak to the role of performance in your own life as an artist—or even as an individual, especially because I know you’re just as much a performance artist as you are a writer.

JAR: Performance is such a strong concept in The Romance of Siam because Orientalism itself is truly a performance that has been culled and animated from texts since the 1800s. Most of the West’s engagement with the Orient during the 1900s was via movies, film, and theater plays, and the stage is where its ideas and representations of Orientals (played by white actors in yellowface) are performed, solidified, and made legend. The way Yul Brynner performed the King of Siam, and royal Thai masculinity is forever burned on the collective psyche of contemporary culture. Theater is also a space where fact and fiction become blurred, a blurring I found again and again in Orientalist writings and tourist texts; Thailand was always more of a work of fiction, more like something from a book, than a real place, which is, in fact, where Orientalism’s true power lies.

In relation to my artistic practice, I trained in ballet from a young age and modern dance since college, and as a writer, I have always been drawn to the making of work that bridges text and body, which has led me to spoken word, video, and performance art. So creating a stage where I try to perform as Yul Brynner or Anthony Bourdain or Jim Thompson in this book sort of unmasks the constructions of race, gender, and the Orient and the Occident that I find so necessary.

LR: I have to ask, has there been much of a response to The Romance of Siam from Thai readers? Do you have any plans to work on a translation of the book? As many of us know, Thailand—like many other countries—fiercely policies foreign portrayals of its nation and subjects, and many of the films mentioned in your book (The Beach, The King and I, etc.) have been banned by its government. How do you think a Thai audience would receive The Romance of Siam, a depiction of the depictions deemed unfit for Thai consumption?

JAR: Ever since I created my short film Tom / Trans / Thai in Thailand and screened it at the Bangkok Arts and Culture Centre, Payap University, and the Alliance Française in Chiang Mai, I’ve come to understand that my work arises from its own specific context, which I very much define as of and related to the American QTPOC (queer and trans people of color) experience. The reception to my film in Thailand was not as meaningful for me as it was when I screened the project for QTPOC audiences in the States. So I suppose I’m feeling hesitant as to whether the book has relevance or solvency for Thai audiences. However, I have received some responses from queer Thai American friends, who I think can understand feeling both “inside” and “outside” with regards to Thai identity, being absurdly “mashed” with regards to race and representation, and being a tourist to oneself.

LR: Finally, what are you working on now?

JAR: I’m collaborating with writer Coda Wei on an experimental drama of text, comics and .gifs called Ambient Asian Space. We’ve been writing together since September 2015 and have recently started to release selected episodes here. I’m also working with choreographer iele paloumpis on a new dance work as part of the Oceanic End project, which we’ll be performing at a Draftwork showing at Danspace in New York City on December 10.

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Jai Arun Ravine is writer, dancer, and graphic designer. As a mixed race, mixed gender and mixed genre artist, their work arises from the simultaneity of text and body and takes the form of video, performance, comics, and handmade books. The Romance of Siam is their second book. For more information, visit their website: jaiarunravine.com

On Myth, Mystery, and “the Music of the Language”: A Conversation with Patrick Rosal

Patrick Rosal and BROOKLYN ANTEDILUVIAN Cover
Patrick Rosal and the cover of BROOKLYN ANTEDILUVIAN (photo of Rosal by Margarita Corporan)

This month, we were delighted to have had the chance to converse with poet and professor Patrick Rosal about the recent release of his fourth collection, Brooklyn Antediluvian. In our discussion, recorded below, he reflects on the themes and mythologies that shape the book as well as on the publishing process and the influences that music and young people have had on his work. (For yet more on Rosal’s process and inspiration, you can find our previous interview with him here.)

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LANTERN REVIEW: In Brooklyn Antediluvian, water is a central motif. It serves as a force that sweeps the movement of the collection along and is a metaphor for the violent submersion of identity enforced upon the colonial subject under the auspices of imperialism. How did you come to settle upon this motif? Why water, and what was it about the image of destruction by flood that compelled you?

PATRICK ROSAL: First, thanks for reading the book and doing this interview. I feel real lucky to have Lantern Review make space for this new collection.

Growing up in New Jersey, we were always in and around water. And I think we have a special relationship to water as Filipinos in America, having been the descendants of monsoon rains and of people who had to cross miles and miles of water (my grandfather was a sakada, a sugar laborer who sailed from Manila to Hawaii for work). Also, I have real specific memories of water—like my brother almost drowning when he was a toddler or the image of me and my cousins heading out to the Jersey shore mid-week to dive into the waves. And then there were the storms like Katrina and Ondoy and Sandy all in a relatively short period of time, each of which touched me in very personal ways. At some point, probably after I got a sense of the title poem, “Brooklyn Antediluvian,” I realized this book was going to be about waters and floods—which is to say, literal floods from those storms, but also the floods of memory, of roses, of violence, of joy, of names, of gentrification.

LR: The collection draws its name from the final piece in the book, a long poem that commands nearly a third of the text. What appeals to you about the long poem as a form? What was the process of drafting this particular long poem like for you, and what motivated your decision to structure the collection in this way, with the shorter poems up front and the long poem as a finale?

PR: My poems have been getting longer over the course of my four books. In Boneshepherds, I had a poem, “Ars Poetica: After a Dog,” that  felt massive, and in a lot of ways it’s a heftier poem than the title poem of Brooklyn Antediluvian, though the more recent poem is a lot longer in terms of pages.

In “Brooklyn Antediluvian” I loved having enough space to make things disappear and then suddenly show up again. I loved getting lost as I was writing because the language kept leading me away from any static subject. And just when chaos might take over, some small connection to a previous image—a rose or horse or name or the boy whom the speaker meets in the first line—would come back. It’s a different kind of lostness from [what you might find in] a short lyric. It’s a study in departure. Also, it gave me a big enough world that many histories and continents—especially in small narrative scales—could exist in the same text. All of this, for me, is a metaphor for seeing and living. I want to see if it’s possible to build a world in language that accommodates epochs and landscapes that seem to have nothing to do with one another. This seems to be the source of a lot of our trouble—parts of our world are so belligerently segregated from one another. What does a Berber pope have to do with a Filipino dietician who died in New Jersey, anyway? A long poem doesn’t just reveal those unusual and often wonderful associations, it finds a music—a pleasing sonic pattern—with which to connect them.

When I first started compiling the poems I wrote after Boneshepherds, I felt a real strong impulse to make a book that could still reach people who don’t consider themselves poetry readers. When I drafted the long title poem, I knew I had something that was going to be challenging even for audiences that consider themselves aficionados of contemporary poetry. I sent the manuscript out to friends, and they made it clear to me that I needed to set up a world of images, places, figures, and rhythms to help prepare the reader for the long poem at the end. Originally, I had the long poem at the front of the manuscript. In the final version of the book, [in which the poem’s at the end], I think readers have a stronger relationship to the ways of looking and singing that the title poem tries to sustain for a longer period of time and on a much bigger scale, with much trickier leaps.

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