Process Profile: Margaret Rhee Discusses “Materials”

Martha Kenney, Amy Shen, Margaret Rhee, Jennifer Beth and Tania Pérez-Bustos

Margaret Rhee is the author of the chapbooks Yellow (Tinfish Press, 2011) and University Dreams (Forthcoming 2012). She is the managing editor of Mixed Blood, a literary journal centered on race and innovative poetics edited by C.S. Giscombe. In April, she curated the literary reading, “Body Maps: A Digital/Real Asian American Feminist Poetics” for the Asian American Women Artists Association. As a new media artist, she works on feminist participatory digital storytelling supporting issues of HIV/AIDS awareness for women incarcerated in the San Francisco Jail. Currently, she is a doctoral candidate in Ethnic Studies and New Media Studies at UC Berkeley. She is a Kundiman fellow. 

For APIA Heritage Month 2012, we are revisiting our Process Profile series, in which contemporary Asian American poets discuss their craft, focusing on their process for a single poem from inception to publication. As in the past, we’ve asked several Lantern Review contributors to discuss their process for composing a poem of theirs that we’ve published. In this installment, Margaret Rhee reflects upon her new media piece “Materials,” which appeared in Issue 4.
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It begins with a drive.  The road up to Santa Cruz from Berkeley is a winding one. Largely known as one of the most dangerous highways in the state, Highway 17 wraps around the Santa Cruz Mountains with sharp pretzel turns and dense traffic on weekday afternoons.  It’s my first trip to Santa Cruz.  And I am driving a big, used silver Volvo station wagon, one bought just a few weeks before. My dear friend and colleague Kate Darling is in the passenger seat helping with Mapquest directions.  We finally arrive safely at our destination, the first ever Science Studies creative writing workshop, organized by Martha Kenney and held at the University of Santa Cruz.

Soon after arriving at the workshop space, we found ourselves having lunch with much admired feminist scholar Donna Harraway.  It was beyond lovely.  Kate and I shared about our drive up.  Donna joked that people in Santa Cruz often say that the road keeps those they don’t want out of Santa Cruz!  In between bites of salad I laughed, not only because this was funny, but because it was probably true.  I laughed out of relief as well, not believing we actually made it up that long winding road.

Our assignment prior to the workshop was to write a creative piece inspired by our scholarship. I was thrilled by the possibility of combining, intersecting, and interweaving theoretical questions I had with poetry/poetic form.  At lunch I wondered what the feedback process would be like for the cross-genre works written for the prompt.

I’m a doctoral candidate in Ethnic Studies and New Media Studies at the University of California, Berkeley, and my interests includes the intersections of science, technology, and race.  But I’m also a poet and new media artist with similar concerns.  I like intersections, interventions, and mutations.

Continue reading “Process Profile: Margaret Rhee Discusses “Materials”” →

LR News: The Reading Period for Issue 5 (“The Hybridity Issue”) Is Now Open!

LR Issue 5: "The Hybridity Issue" - Call for Submissions
Click to Submit to LR Issue 5

We’re happy to announce that the next issue of LR is going to be a particularly special one. For the first time, we’ve decided to put together a themed issue!  The theme that we’ve settled on for Issue 5 is “Hybridity” (to be interpreted critically, aesthetically, or otherwise), and in order to help provide you with some context around which to shape your submissions, we’ve come up with the following call for submissions:

For its fifth issue, Lantern Review seeks poems, visual art, multimedia, and mixed genre poetic works that engage with the critical notion of “hybridity,” whether in language, form, aesthetic or subject matter. How can the act of poetic “collage” mimic, transform, and otherwise help us to negotiate the boundaries of ethnic and cultural distinctions? In what ways can experimenting with the mixing (and re-mixing) of narratives, forms, source material, and genres be used to enact the condition of hybridity (geographically, generationally, biologically, and otherwise)?

Some potentially generative terms might include: collage; assemblage; montage; inter-; trans-; multi-; blending; mixology; mash-up; mixtape; recombination; border-crossing; crossing; heteroglossia; hypertext; blending; hyphenation; interlingual; intertext; collecting; curation; multivocality; meiosis; overlay; juxtaposition; patchwork; cut-and-paste

On the heels of the guest posts we’ve seen this May—particularly Luisa Igloria’s collage-inspired prompt (in which she encourages us to try using textual and historical fragments as a critical “speculum” by which to re-imagine narratives from the legacies of diaspora), Tarfia Faizullah’s process profile  (which, in its own terminology, “braids” together the memories of two narratives that happened years apart) —we feel that the topic of “hybridity” is particularly prescient. Other potentially helpful sources of online inspiration might include Craig Santos Perez’s AWP paper  in which he observes the dearth of poets of color in Norton’s American Hybrid anthology, Kenji C. Liu’s recent post on geography, diaspora, and being of “mixed” poetic lineage  on The Best American Poetry Blog (which serves as his introduction to the APIA Month guest series that he is curating there this week), and also Margaret Rhee’s Artist’s Statement from her mixed-media, multi-vocal poem “Materials,” which we published in Issue 4.

The reading period for LR 5: The Hybridity Issue will close on July 15, 2012. To submit your work, please visit the revised guidelines that we’ve posted on our Submissions Page.

We look forward to seeing how you will respond!

Many thanks as always,

Iris & Mia
LR Editorial Board

A Conversation with Aimee Nezhukumatathil

Aimee Nezhukumatathil

Aimee Nezhukumatathil is the author of Lucky Fish, winner of the Eric Hoffer Prize, and At the Drive-In Volcano, winner of the Balcones Prize. Her first book, Miracle Fruit, won the Tupelo Press Prize, the ForeWord Magazine Book of the Year Award in poetry, and the Global Filipino Award. Her poetry and essays have been widely anthologized and have appeared or forthcoming in: American Poetry Review, Black Warrior Review, FIELD, Shenandoah, Mid-American Review, and Tin House. Her writing has been awarded the Pushcart Prize and a fellowship from the National Endowment of the Arts in poetry. She is associate professor of English at SUNY-Fredonia where she was awarded a Chancellor’s Medal of Excellence. She lives in western New York with her husband and their two young sons.

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LR: Your first book, Miracle Fruit, won the 2003 Tupelo Press Prize, the ForeWord Magazine Book of the Year Award in poetry, and the Global Filipino Award. Could you describe the journey that Miracle Fruit took from birth to publication?

AN: A good third of it was from my thesis from The Ohio State University (my MFA is also in creative non-fiction) but I had a magical and productive year as a poetry fellow at the Wisconsin Institute for Creative Writing in Madison and that allowed me the time and resources to write the rest of it. I queried a few publishers directly and received lots of positive feedback so I decided to try my hand in two contests—one of them was, at the time, a relatively new press—Tupelo Press—and I about fainted when I got the email that Greg Orr selected my book as the eventual winner that year. I hadn’t even completely unpacked yet. I was twenty-six and had just moved to western NY for my first year teaching at SUNY-Fredonia.

LR: Your poetry often uses fanciful imagery and direct tones of address (as in “First Anniversary, With Monkeys” and “Are All the Break-Ups in Your Poems Real?”) to relay moments of intimacy and elements of personal experience. What kind of poetic decisions do you find yourself making when you work with autobiographical subject matter?

AN: I try not to bore myself. And talking solely about myself bores me. And I admittedly have a relatively short attention span. And I’m always thinking of two or three things at once when I write. So, the trick for me is to be able to type or write as fast as the images leap in my head. I know I’m onto something if a metaphor startles or surprises me—I’ll try to hang on and follow that golden thread for as long as it will let me. I believe in an underworld littered with gems. In another life, I have to.

Continue reading “A Conversation with Aimee Nezhukumatathil” →

Curated Prompt: Rick Barot – “The Hermit Crab Poem”

Rick Barot

This May, in celebration of APIA Heritage Month, we have asked several respected teachers and writers of Asian American poetry to share writing exercises with us in lieu of our regular Friday Prompts. This week’s installment was contributed by Rick Barot.

Once, I mentored a graduate student who had been obsessively reading the stories of survivors of the Nagasaki and Hiroshima bombings in World War II.  These stories were horrifying and moving by turns, and my student was consumed by them.  Because she was a poet, it was inevitable that her engagement with the stories would manifest itself in her work.  But here was the problem: she was a comfortably situated Caucasian woman who didn’t feel she had the right to write about this subject matter.  Even more complicated: she wanted to write poems directly in the voices of these survivors, making her use of the material doubly problematic.  Part of me, of course, wanted to advise the student to step away from the project, because it was simply too fraught with pitfalls that would make the project insurmountable at worst, and awful at the least.  But a larger part of me wanted to advise the student to move forward, which is what I did.

We artists get on a tightrope when we tackle subjects that are beyond the merely personal.  But far from ever trying to dissuade anyone from writing about these subjects, I urge them to head straight into those subjects.  The risks that come with any writing project are in fact the opportunities of that project: they are what make the project worth doing in the first place.  In poetry, there is no such thing as hands-off material.  A poem never fails because of its subject matter—it fails because the poet has inadequately given depth and shape to that subject matter.  Dramatic historical periods, natural disasters, grand personal wounds—writing about these subjects raises the stakes tremendously high when you have to write about them inventively, feelingly, thoughtfully.  You have to be ingenious to avoid failure—or, at the least, ingenuity will allow you to fail well.

Continue reading “Curated Prompt: Rick Barot – “The Hermit Crab Poem”” →

Process Profile: Tarfia Faizullah Discusses “At Zahra’s Salon for Ladies”

Tarfia Faizullah (Photo by Amanda Abel)
Tarfia Faizullah (Photo by Amanda Abel)

Tarfia Faizullah’s poems have appeared or are forthcoming in Mid-American Review, Ploughshares, The Missouri Review, Ninth Letter, New Ohio Review, Passages North, Poetry Daily, Crab Orchard Review, Poems of Devotion: An Anthology of Recent Poets, and elsewhere. A Kundiman fellow, she received her MFA in poetry from Virginia Commonwealth University, where she served as the associate editor of Blackbird. She is the recipient of a Fulbright Fellowship, a Bread Loaf Writers Conference Margaret Bridgman Scholarship, a Kenyon Review Writers Workshop Peter Taylor Fellowship, a Ploughshares Cohen Award, a Dorothy Sargent Rosenberg Poetry Prize, and other honors. She lives in Washington, DC, where she helps edit the Asian American Literary Review and Trans-Portal.

For APIA Heritage Month 2012, we are revisiting our Process Profile series, in which contemporary Asian American poets discuss their craft, focusing on their process for a single poem from inception to publication. As in the past, we’ve asked several Lantern Review contributors to discuss their process for composing a poem of theirs that we’ve published. In this installment, Tarfia Faizullah reflects upon her poem “At Zahra’s Salon for Ladies,” which appeared in Issue 4.

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  1. It actually did begin at Zahra’s Salon, with my head tilted back.
  2. Auntie Neelam and I never spoke, though she has always been gentle with me and I have never gone to another stylist.
  3. That day at the salon, Ghulam Ali’s song Chupke, Chupke began to play.
  4. It had been many, many summers since I had last heard that song.
  5. My younger self rose up.
  6. I went home and began to try to affix the atmosphere of the salon, the deft, elegant movements of Auntie Neelam’s fingers.
  7. I listened to Chupke, Chupke over and over again.
  8. I called my mother, cradled the phone against my shoulder to take notes while she translated Chupke, Chupke for me.
  9. I began to remember that other, younger summer.
  10. The summer I had started growing out of my swimsuit.
  11. How bewildered I was, how frightened by all that dark hair shadowing across me.
  12.  “I can feel that other day running underneath this one,” Anne Carson wrote, and similarly, I strongly felt the summer of my youth below that present one.
  13.  As adults, we take for granted the agency we have to strip our bodies of their darkness.
  14. The poem has always been in second person. It had to be so that I could clearly see both my younger and adult selves as I was addressing them.
  15. “At Zahra’s Salon” took me two years to write.
  16. I am interested in the possibilities of collage, of braiding together multiple elements.
  17. I love David Shields’s assertion of collage as “a demonstration of the many becoming the one, with the one never fully resolved because of the many that continue to impinge on it.”
  18. It took two years to try to weave together the salon, the song, and those other summers while ensuring each element remained singular and intact.
  19. One day, I asked Auntie Neelam about her life.
  20. She was born and raised in India, and is married and has a child.
  21. I think she was as startled as I was.
  22. She started telling me about her wedding day.
  23. I remembered my own wedding, the way my body was purified, decorated, posed.
  24. She gave me a mishti.
  25. I left the salon, my face smarting.
  26. One of the red brick walls was covered in clematis vine.
  27. The sky was so blue.
  28. I wanted to write a poem that could dwell in nostalgia, that could dwell in those first feelings of hunger without fully leaving the present.
  29. I wanted to write a poem that acknowledged the beauty and terror of solitude.
  30. Don’t we all long for a lifetime of sweetness?

LR News: Michelle Peñaloza on Pocket Broadsides

Pocket Broadside #6 - Michelle Penaloza
Pocket Broadside #6 - Michelle Penaloza

A poem by dual Kartika Review and Lantern Review contributor Michelle Peñaloza is up on Pocket Broadsides today!  Click here to read “This Idea of Sin” on Tumblr.

To see all of the Pocket Broadsides that have been posted on Tumblr thus far, visit the project’s main page at pocketbroadsides.tumblr.com. To read each new piece as soon as it is posted, follow us on Tumblr, or subscribe to the RSS feed.

Curated Prompt: Luisa A. Igloria – “Poetry as Speculum”

Luisa A. Igloria
Luisa A. Igloria

This May, in celebration of APIA Heritage Month, we have asked several respected teachers and writers of Asian American poetry to share writing exercises with us in lieu of our regular Friday Prompts. This week’s installment was contributed by Luisa A. Igloria.

Writing poetry is always a little archaeological—we dig and sift not only through our fund of experiences and memories, but also through a variety of textual fragments. As a writer in the diaspora, I am always reminded that the past, history, is a hallucinatory presence right here with us; that our life in the contemporary moment is marked by the displacements that time is eternally enacting.

In the news, we encounter stories about all sorts of anniversaries and commemorations: recently, so many articles on Bin Laden’s capture and killing last year; but also, I read the reminder that my high school friend and classmate, James Balao (whose 51st birthday was April 19), has been missing for nearly four years now since his political abduction by state forces on September 17, 2008. And then, I learn that a former student and friend, and one of my daughter’s grade school teachers who has made a life in Japan these last ten years, walked out of her home and marriage a month ago, with three very small children in tow—and has not been seen or heard of since. How is it possible? I am disturbed. I am disturbed by these unexplained rifts in time, by the unforgivable absences of explanations. And because facts alone, even when they are available, cannot assuage the terrible depths of these displacements, I turn to poetry for some kind of response, if not relief.

Because we are all involved in the drift of time, displacement is a function of contemporary experience—it is not something reserved only for us in the diaspora or for those of us who live with the legacies of colonization. History is a field at once very large and very intimate. But I like to think of the past as not completely done, of history’s archives as not static; we can enter the archive, we can reconstruct and re-imagine events, we can insert ourselves as figures or characters into its landscapes.

Continue reading “Curated Prompt: Luisa A. Igloria – “Poetry as Speculum”” →

Process Profile: Andre Yang Discusses “Why I Feel the Way I Do About SB 1070”

Andre Yang | Photo by Mary Yang

Andre Yang is a Hmong American poet from Fresno, California. He is a founding member of the Hmong American Writers’ Circle (HAWC), where he actively conducts and participates in public writing workshops. He completed the Creative Writing (Poetry) MFA program at California State University, Fresno, where he was a Philip Levine Scholar, recipient of the Academy of American Poets-sponsored Ernesto Trejo Prize, and the Graduate Dean’s Medalist of the College of Arts and Humanities.  Andre is a Kundiman Asian American Poetry Fellow, and has attended the Tin House Summer Writers Workshop, the Napa Valley Writers’ Conference, and recently completed an artist residency at the Ucross Foundation.  He co-edited How Do I Begin – A Hmong American Literary Anthology (Heyday, 2011), and his poetry has appeared in Paj Ntaub Voice, Beltway Poetry Quarterly, and the chapbook anthology ‘Here is a Pen’ (Achiote Press).

For APIA Heritage Month 2012, we are revisiting our Process Profile series, in which contemporary Asian American poets discuss their craft, focusing on their process for a single poem from inception to publication. This year, we’ve asked several Lantern Review contributors to discuss their process for composing a poem that we’ve published. In this installment, Andre Yang discusses his poem “Why I Feel the Way I Do About SB 1070,” which appeared in Issue 3 of Lantern Review.

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In a way, I have been writing this poem all my life, and considering all the things I discuss in the poem, it really does span my life.  The poem was written to express my feelings about the inception and implementation Arizona’s Senate Bill 1070, though I also wanted it to capture my thoughts on the interconnectedness of humanity.

I might not have written “Why I Feel The Way I Do About SB 1070” had I not met Francisco Xavier Alarcón at his Ce Uno One book launch in Sacramento, California.   I overheard Francisco saying he was attending the Association of Writers and Writing Programs (AWP) Conference later that year in Washington D.C. (2011), and since I too was planning to attend the conference, I used that as a conversation starter and approached him.  He mentioned that while in D.C., he would be organizing two off-site Floricanto readings based on his Facebook page, “Poets Responding to SB 1070,” and that well-established poets like Martín Espada would be taking part in the reading.  Five minutes into the conversation, he asked, to my complete surprise, if I wanted to participate in the readings. I said I’d be honored, and told him I’d contact him when I felt I had a poem worthy of the purpose.

Continue reading “Process Profile: Andre Yang Discusses “Why I Feel the Way I Do About SB 1070”” →

LR News: Wendy-Chin Tanner on Pocket Broadsides

Wendy Chin-Tanner on Pocket Broadsides
Pocket Broadside #5 - Wendy Chin-Tanner

A micro-poem by Issue 3 contributor and current LR staff writer Wendy Chin-Tanner has been posted to the Pocket Broadsides Tumblr page.

Wendy is the driving force behind the host of  thoughtful, colorful interviews that we’ve had the opportunity to publish on the blog this year, and we are excited to have been able to include some of her own poetry in the Pocket Broadsides series.  Please help us to spread the word by tweeting, re-blogging, and sharing her micro-poem wherever you can.

To see all of the Pocket Broadsides that have been posted on Tumblr thus far, visit the project’s main page at pocketbroadsides.tumblr.com. To read each new piece as soon as it is posted, follow us on Tumblr, or subscribe to the RSS feed.

Curated Prompt: Karen An-hwei Lee – “Wind”

Karen An-hwei Lee
Karen An-hwei Lee

This May, in celebration of APIA Heritage Month, we have asked several respected teachers and writers of Asian American poetry to share writing exercises with us in lieu of our regular Friday Prompts. This week’s installment was contributed by Karen An-hwei Lee.

In Santa Ana, where I live, a curious wind rises only in autumn and winter. It is a hot, dry wind. Hair static. Restless dogs lie in the shade; quiet dogs are restless. In the “Los Angeles Notebook,” Joan Didion writes of the Santa Ana wind: “The heat was surreal. The sky had a yellow cast, the kind of light sometimes called ‘earthquake weather.'”

The wind is not named for any geographic origins here. Miles away, it starts with a downsweep of cool air that is slowly heated while crossing the high Mojave Desert into our valleys and coastal regions. Unsettling our routines, it sweeps across my city of gardeners and mission arches. Angelenos who spent their childhoods south of the Great Basin, who recall urban fires and great earthquakes, call it the “Santana.”

When the Santa Ana comes, the sun looms closer to the earth despite the winter solstice. Noon hangs, a sharp, angular hour, in the sky. Eucalyptuses toss dry leaves onto the asphalt, and no one sweeps them: no use. No one picks up broken pottery shards. Let the wind sweep everything clean, “for the wind blows wherever it pleases,” says Jesus to Nicodemus. “You hear its sound, but you cannot tell where it comes from or where it is going. So it is with everyone who is born of the Spirit” (John 3:8). After prayer, I close the shades, stay in the coolest room away from the lanai.

What is the tone of this wind?

I think of lines from “To the Tune of Wuling Spring” by the Song Dynasty woman poet Li Qingzhao. She was highly attuned to her surroundings, whether in days of plenty or of war and exile: “When flowers vanish / and wind ceases late in the day, / I am too tired to brush my hair.” Or these lines from her poem, “To the Tune of Sands of a Silk-Washing Stream”: “A far-off mountain range thins the falling dusk; / . . . as ineluctable pear blossoms, withering, wilt to fade.”

It is a desert wind, not a hurricane gale or a blizzard. As a girl, spending my childhood on an archipelago and two New England coasts, I experienced both of the latter. With the Santa Ana wind, tar paper tumbles in the road. I set out dishes to dry; a teaspoon of water vanishes. Night yields little relief as sea waves swell to the west. To the east, helicopters fly over spot fires in the hills and canyons where rough chaparral brush—yucca, black sage, manzanita—has weathered pre-blackened zones of controlled burning.

After moving to California, I learned two things.

With an earthquake, temblor-raised dust seeds the clouds, sending rain. After the Santa Ana calms, a fog always rolls in. I still do not know whether this is a sea fog or a land fog. On the coast, we have a phenomenon called a marine layer, so perhaps that is what this is. The temperature drops from the nineties to the seventies and even to the forties after sundown. I walk in the fog with my hair unbound and a fresh skirt, carrying mailed books in the welcome cool. Following a week of fire and smoke, I am grateful for the fog as a divine provision.

Prompt: Consider the rhythm of a wind you know well and write in this rhythm.

Karen An-hwei Lee is the author of Phyla of Joy (Tupelo 2012), Ardor (Tupelo 2008) and In Medias Res (Sarabande 2004), which won the Norma Farber First Book Award. The recipient of a National Endowment for the Arts Grant, she lives and teaches in southern California, where she is a novice harpist. She earned an M.F.A. from Brown University and a Ph.D. in English from the University of California, Berkeley.