Event Coverage: AWP 2011 Off-Site Reading

JoAnn Balingit
JoAnn Balingit

It’s been a little over a month now since AWP 2011 in Washington DC — and this post is more than a little overdue!  Nonetheless, here it is: our reflection on the very first gathering of Lantern Review contributors, readers, and editors.  Our off-site reading, co-hosted by Boxcar Poetry Reviewin celebration of the little online magazine,” took place on Friday, February 4th at Go Mama Go!, a lovely, eclectic art supply & gift shop (ceramics, antique soda bottles, shot glasses, bright paper umbrellas) whose owner greeted us with a warm, “Are you here for the Chinese poetry?” when we first walked into the door.  “Well… yes?” we said, though really we were there for so much more.

Rapt Audience
Friends and contributors of LANTERN REVIEW and BOXCAR POETRY REVIEW.

Realizing that a gathering of people interested in Asian American poetry could perhaps be mistaken for enthusiasts of Chinese verse, we decided that this was an appropriate place for our reading to begin: with an assumption that would, as the night progressed, be stretched and proliferated across a variety of subjects, styles, personalities, and identities.  We heard from lovers, from daughters and sons, from fighters and artists, ethnic selves, queer selves, and — at times — just plain selves confronted with the complex reality of living in the twenty-first century.

We had the pleasure of hearing seven different Lantern Review contributors, all of whom read poems published in either Issue 1 or Issue 2 alongside other pieces prepared for the event.  Though most of us had never met before, there was a wonderful camaraderie in the room — after tipping the microphone down a few inches, Issue 2 contributor Kathleen Hellen joked that, being a little-ish person, she loved little-ish poems and planned to share a few with us.

Kathleen Hellen
Kathleen Hellen

Contributor Rajiv Mohabir impressed us with his unexplained passion for whales, even pulling off his fleece to show the back of his t-shirt.  Sure enough: whale.

To be perfectly honest, in preparing for this event I had no idea what — or who, rather — to expect.  Sure, we had a list of readers and printed programs, but in curating the poems for our two issues, I’d developed certain notions of “who” our contributors were: Poet X, author of Poem Y, was surely this kind of person, or at least that’s what I thought after spending so much time with their persona on the page.  But would I be proved mistaken when I met them in real life?

Kimberly Alidio
Kimberly Alidio

Seeing the men and women “behind the issues,” however, playing the wonderful game of matching poet face to poetic voice, was a fabulous experience.  At this event, a community that had previously existed only as a textual (and virtual!) reality became, for the first time, embodied in flesh: jeans and scarves, breath and lungs and vocal chords.  Hearing these contributors’ voices for the first time, particularly when each poet read their LR piece, was phenomenal.  Personas that previously existed only as textual markings on a computer screen became live presences, embodied on stage before our very eyes.

W. Todd Kaneko
W. Todd Kaneko

This could be an overreaction — the online magazine, and indeed the publishing world itself, has been around a long time, and “meeting your editor/contributors for the first time” is terribly old news.  For us, however, newly minted and only in our second year, the event was a wonderful success.  A true celebration of the little online magazine.  We’re grateful to our contributors, particularly those who were there with us at Go Mama Go! on the 4th, and to all the other readers and writers who make this virtual and literary community a living network of flesh-and-bone people around the nation.  Thank you for your support, and for joining us in exploring the open-ended question of Asian American poetry.

LR Readers & Editors
LR Readers & Editors

Also, thanks to Iris’ foresight and inner documentary filmmaker, you can hear clips of their readings below:

Continue reading “Event Coverage: AWP 2011 Off-Site Reading”

Announcing Our 2011 National Poetry Month Prompt Contest

In anticipation of National Poetry Month this April, the LR Blog is once again going to be holding a prompt contest.  This year, we are pleased to partner with the generous folks at Kaya Press, a unique small press that focuses on cutting-edge work by Asian diasporic writers.  Just as with last year’s contest, the top four prompts that we select (three runners-up and one first-place winner) will be featured on the LR Blog on the Fridays of each full week in April, beginning on the 8th.  The winners will be announced in reverse order, beginning with the third runner-up and ending with the first-place winner.  This year’s grand prize (courtesy of Kaya’s sponsorship) is a copy of Lisa Chen‘s Mouth, which our staff blogger Henry will be reviewing later this spring.

Here’s how it will work:

1) Leave a comment on this post that includes the text of your prompt.  Entries must be posted by 11:59PM EST on Thursday, March 31st. Comments on this post will close after that time. Please leave some form of basic contact information in your comment (preferably an email address), so that we can get in touch with you if you win.

2) During the first full week of April, we’ll be choosing the four prompts that we like best.  The winner and all three runners up will have their entries featured as Weekly Prompts on the LR Blog during the four Fridays from April 8th – 29th.  In addition, the winner will also receive a special grand prize that has been graciously offered  by Kaya Press: a copy of Lisa Chen’s Mouth. We will announce the runners up and winner week by week, starting with the third runner-up and culminating with the winner, so keep on checking back in April to see if your entry has been featured.

3) A few ground rules: You may only enter once. Please submit only poetry prompts.  Keep all prompts appropriate: anything of a bigoted, demeaning, or nasty nature will not be considered; we’d also appreciate it if you could please try to keep your prompts somewhat PG in nature, as when choosing prompts we always try to look for flexible exercises that can be adapted for use with either adults or kids.

That’s it!  We look forward to reading your entries.  And while you’re at it, please do take a moment to check out Mouth or of the other titles on Kaya’s web site.  Many thanks to Publisher Sunyoung Lee, Lisa Chen, and Kaya Press for their generosity.

Weekly Prompt: Directional Force

Crow in Flight (Image via Wikipedia)

I’ve been thinking a lot about force lately (in the Newtonian sense) as I’ve been working on revising a poem that had become too static for its own good.  How, I’ve been asking myself, might one use a directional force (a push or a pull) as a central device by which to drive a poem’s internal motion (imagistically, rhythmically, and otherwise)?  It’s an interesting challenge, to allow the arc of one’s language (which is, ultimately, abstract) to be driven by the idea of a physical (concrete) force.  Cornelius Eady’s poem “Crows in a Strong Wind” provides some insight into how this may be done:

Off go the crows from the roof.
The crows can’t hold on.
They might as well
Be perched on an oil slick.

Such an awkward dance,
These gentlemen
In their spottled-black coats.
Such a tipsy dance,

The thrust of his lyric takes off (or is blown off) its perch as suddenly as the crows are blown from the roof, only to return again as both the speaker’s thoughts and the crows themselves attempt to recreate the scene that served as the poem’s genesis.  This pattern—of being blown off course, and then returning, only to be blown off, and to return again—creates a sense of disorientation that makes the poem feel dizzily, and wonderfully, surprising.  The force of the wind drives the poem forward and back, forward and back, just as it  disturbs the crows from their perch, resulting in a kind of sampling that causes the original image to be made new again and again.

Prompt: write a poem whose arc, and imagery, is driven by a single, physical motion (a push, a pull, a twist, a parabolic descent).

Becoming Realer: Re-Claiming Asian America

Becoming Realer: Identity, Craft and the MFA is a column that explores issues of poetry, theory and writing craft in relation to the personal experiences of Saint Mary’s College of California Creative Writing MFA candidate and LR staff writer, Kelsay Myers.

White out
K Awareness Campaign circa 2008 | Graphics by Nina Reyes

“My [writing] is a testament to who I am and what I have lived. It is a process of becoming a student, a teacher, an activist, and an Asian American woman. I was forced to pick up the pen as a weapon and wield it in a fight against the oppression of my people, to become a voice for those of us who are unable or unwilling to speak.”

I wrote those words in the introduction to my Senior Individualized Project (SIP) at Kalamazoo College called, “Creating History and Spaces: The Making of an Asian American Woman in Zuihitsu.” That’s still what I want to do with my writing—create personal and political history , expose it, re-frame it and carve new spaces for people who have been left out or overlooked. I want my writing to make a difference in the world. It should make a statement that will reach others, even though I am ultimately writing for myself.

Continue reading “Becoming Realer: Re-Claiming Asian America”

Friends & Neighbors: Monica Mody’s TRAVEL & RISK

Our very own Monica Mody (who writes reviews for us) is having a splendid writing year, and we are very excited for her. We recently received word that her chapbook Travel & Risk (Wheelchair Party, 2010) is now available in free e-book form on the publisher’s web site. (It’s also available for purchase in a limited print run for $3, or with all three other Wheelchair Party Press titles for $9—an option which we highly recommend as well, since each Wheelchair Party chapbook is painstakingly hand-bound into a hand-screen-printed cover created by its publisher, CJ Waterman).

Travel & Risk is rubbly on the tongue and lovely in the ear; a long poem that is almost surgically aligned into neat single columns on the page, and yet whose imagery—at times playfully, and at times ominously—shimmers wickedly in the corner of the mind’s eye, slides languidly out of the field of one’s vision, returns winking to adopt its most serious instructive guise, when all the while you know that it is running joyously, inexorably amuck behind the scenes.  A read that we highly recommend.

Monica’s work also recently appeared in the Boston Review, and her manuscript Kala Pani was just accepted for publication by 1913 Press, to be released next year.

Congrats, Monica!

Weekly Prompt: Tracing Barbed Wire

Photo courtesy of FreeFoto.com

This week’s prompt is about using features of the visual world as a way to write across historical moments, geographic space, and time.  This is a technique I’ve been using a lot in my recent work, and when putting the finishing touches on a fellowship application essay this week, I found myself articulating for the first time why this approach is such a powerful one.

At times, making poetry becomes a kind of transcendent experience.  Tracing certain images through time shows the way in which all experience is radically unified—by screens, wires, flashes of light, images of transubstantiation, to name just a few.

Thus the child sweating at night, afraid for her parents’ safety at the hands of a Communist government, is not as alone as she once thought.  She clenches her sheets, dreams of centipedes whose scaly bodies become an endless braid, and yet the pattern of her nighttime torment finds an uncanny double in the long stretch of wire wound and barbed around her grandparents in a 1945 American internment camp.

Different time and place, same image.  Same condition.  To me, this thinking represents a kind of radical, redemptive vision, one that suggests experience is not so fractured as we believe it to be.  By undoing logics of nation, political geography, and even chronology, it offers us an imaginative vision that is wholly other, wholly whole.

Your poem doesn’t need to trace as emotionally loaded an image as barbed wire or braided centipedes — the example I’ve chosen is an extreme one, used to illustrate the point that the visual qualities of our surroundings can actually echo past moments, other places, different realms of experience.  Tracing these features can reveal unexpected linkages between unexpected circumstances.

In some ways, this isn’t that different from using a person’s name, or a particular scent, as a way to shift the narrative frame of a poem from one setting to another.  It’s just that here, the “catalyst” is visual.

*  *  *

Prompt: Write a poem that “shifts” in some way — through time, across space, between points of view, to show the unexpected relationship between separate worlds of experience.  Use a visual cue, object, or feature of the speaker’s surroundings to recall them to a different “place,” however you choose to interpret it.  If you like where the poem is going, let that same image lead to multiple shifts.  Pay attention to other visual features in the “worlds” you explore as well, but keep in mind that not all images are as rich with potential as some.

Post your ideas, attempts, or even just a short list of “visual cues” you think other readers/writers could use in tracing their poetry across experience.

The LR Postcard Project 2011: #032

#032 Front
#032 Back

* * *

Postcard #032
Received: March 11, 2011
Poet: Kathleen Hellen

Empty Hand

They walked to the outskirts.
Everything they had in jellied gasoline
in folds of singed kimonos
In the gray garden
of Tokyo’s napalmed streets
a small hand reaching as if planted
in the ashes. She was 17
Fire everywhere,”
Etsuko says. “They
were closing on.”
Osaka/Kobe/Imabari
* * *
To participate in the LR Postcard Project, please return your response via snail mail by April 15, 2011 (Postmarked).

Friends & Neighbors: Help Fund AALR’s 8+1 Symposium

Our friends at the Asian American Literary Review have recently let us know about their Kickstarter fundraising campaign in support of their 2011 8+1 Symposium.  8+1, which is the sequel to last year’s 8: A Symposium, will take place at the LA Lit Festival on May 7th, and will once again feature another exciting panel of respected Asian American writers.  This year’s lineup features:

Joy Kogawa
R. Zamora Linmark
Rishi Reddi
Kip Fulbeck
Reese Okyong Kwon
Hiromi Itō and translator Jeffrey Angles
Ray Hsu
Viet Nguyen
Brian Ascalon Roley

AALR is trying to raise $4000 by April 19th in order to help cover the cost of offering this unique literary experience.  As with all Kickstarter projects, the organizers need to be able to raise the full amount in pledges in order to be funded, so we encourage you to consider contributing to 8+1 sooner rather than later. (Not to mention that, if the satisfaction of being a literary patron is not enough, there are some great thank-you rewards being offered to backers at various levels of sponsorship, ranging from event posters to autographed book copies, to AALR subscriptions, professional SAT tutoring, original artwork, documentary film copies, personal editorial consultations—even the chance to attend a private dinner with the Symposium participants).

As we know from putting together even our little off-site AWP reading this winter, literary events (especially those of this scale) are not easily organized, let alone funded. AALR has been doing excellent curative work in its first year or so of existence, and we would love to see them have the opportunity to continue that work through events like 8+1.  If you have even a dollar or two to spare, please do consider donating to this very worthwhile cause.

Friends & Neighbors: The 500 Project

We are a little behind on our news updates, but in case you have not already heard of this amazing project,  here’s a little plug for “The 500 Project,” which is being co-sponsored by Bryan Thao Worra and our friends at Kartika Review.

From their web page:

“Can’t we find, among all of those thousands, 10 individuals who are passionate about Asian American literature, writer activists who will express without equivocation that Asian American literature matters?

For each of the 50 states, there must be at least 10 Asian / Pacific Islander Americans that answer yes. And thus Thao Worra, joined by Kartika Review seek out those 500. Why should it be so hard to identify them and build a vibrant, amazing network of readers and writers? How can a canon of contemporary Asian American literature be built if we cannot even find these 500?”

The 500 Project, accordingly, “seeks to profile 10 APIA individuals from each of the 50 States who answer YES.”

To submit your profile, respond to the items in their short questionnaire, and email your answers to 500project [at] kartikareview (dot) com.  Include the name of your state, and your own name, in the subject line.

We at LR, of course, heartily encourage you to submit a profile.  Take a stand for the importance of APIA lit, and represent your state!

More on the  history and inspiration behind The 500 Project can be found here, at Kartika Review‘s web site.

http://www.kartikareview.com/500project/

LR News: Send in your LR Postcards!

Participate in the LR Postcard Project!

A quick update and reminder to those who either picked up an LR Postcard Project card at AWP or requested one in the mail: please don’t forget to write your response poem and send it back to us!  April 15th (the postmark deadline) is fast-approaching, and the sooner you send in your responses, the earlier we’ll be able to feature them on the blog.

In the meantime, if you have any questions or concerns regarding how the project is meant to work, please do not hesitate to send us an email: editors [at] lanternreview (dot) com.

Looking forward to reading your postcard poems!

– Iris & Mia