LR News: Issue Two Is Here!

LR Issue 2
LR Issue 2

We are delighted to announce that Issue 2 of Lantern Review is now live on our web site!

This tighter, more-streamlined volume contains 60 pages of extraordinary poetry and visual art, and features, for the first time, not only a page-bound sample of performance poetry (as part of our Community Voices feature), but also a special audio performance of that poem, which the artists recorded especially for LR.  Contributions to this issue include poetry by W. Todd Kaneko, Kenji C. Liu, Kathleen Hellen, Aryanil Mukherjee, Lek Borja, Wendi Lee, Aimee Suzara, Michelle Peñaloza, Rajiv Mohabir, JoAnn Balingit, Kimberly Alidio, and Marc Vincenz; as well as a range of beautiful photographic work, including a diptych of layered portraits by Bethany Hana Fong and the striking image of a blackbird by Anannya Dasgupta that appears on the cover.  Additionally, our Community Voices section in this issue features a profile of Sulu DC, as well as the collaborative poem mentioned above, which was created and is performed, in this issue, by three of the organization’s featured poets.

Before entering the issue, you might want to take a moment to check out our recommendations for optimum viewing, located here.  To listen to the audio in the issue, you’ll also need to have an updated version of the Adobe Flash player plugin installed, and will need to have Javascript enabled (more details and troubleshooting suggestions can be found on the issue’s masthead).  If you want to proceed to the issue right away, click here or on the cover image at the top left of this post. Issue 1 can now be accessed via the new “Archives” page on our main site.

We hope that you enjoy Issue 2!  As usual, we would love to hear any feedback that you might have regarding either its content or the [technical] navigability.  Please feel free to drop us a line any time at editors[at]lanternreview.com.

Many thanks for your continued support,

Iris & Mia
LR Editorial Board

Friends & Neighbors: Newly Released – Kartika Review Anthology & AALR Issue 2

For your edification: two new releases from the world of Asian American small press / journal publishing!  Please help support the good work that our friends at these magazines do:

The Asian American Literary Review has released its second issue, featuring, among other goodies, an interview with Arthur Sze and poetry by Ray Hsu, Kimiko Hahn, Rick Barot, Aimee Nezhukumatathil, Jose Watanabe (as translated by Michelle Har Kim), Adrienne Su, Prageeta Sharma, Ching-In Chen, Pimone Triplett, and Jeffrey Yang.  Subscriptions are available for purchase via their web site — and at the moment, they’re being offered at a special discount (shipping and handling charges waived) for a limited time, so order your copy soon if you can.

[Click here to visit AALR’s subscription page].

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On the digital magazine front, Kartika Review has just announced the release of its second [print] anthology, featuring work from their 5th-8th issues.  You can purchase a copy online through Lulu.

[Click here to order Kartika Review: The 2009-2010 Anthology]

Please help

Weekly Prompt: Writing in “The Round”

This week’s prompt was inspired by a writing “pitch” developed by some of my poetry students.  Special thanks to them for their creativity and inventive work with image!

Photo courtesy of Auntie P

In Stanley Kunitz’s “The Round,” the speaker describes the light falling on a bed of roses in three different ways, each of which evokes a slightly different mood and set of images.

Light splashed this morning
on the shell-pink anemones
swaying on their tall stems;
down blue-spiked veronica
light flowed in rivulets
over the humps of the honeybees;
this morning I saw light kiss
the silk of the roses
in their second flowering,
my late bloomers
flushed with their brandy.

As if reaching for the right metaphor, or words with which to capture the moment, the speaker makes a few different attempts, leading to a cumulative vision whose whole is more effective than its parts.

Like Kunitz, think of a scene, object, or picture and describe it in a series of different ways, letting the profusion of images, metaphors, and colors generate an elaborate and multi-textured vision.  Use as much detail as possible and recreate the scene in such a way that someone reading your poem could visualize exactly what you’re seeing.

Now ask someone to read your poem — this is where this gets fun! — and draw the scene you have attempted to describe.  Notice which details and images the reader picks up in their drawing, and how they ascertain larger things like background, setting, and atmosphere.

Review: CERISE PRESS, VOL. 2 ISSUE 5

Cerise Press | Vol. 2 Issue 5 | Fall/Winter 2010-11

Nietzsche once wrote: “That for which we find words is something already dead in our hearts. There is always a kind of contempt in the act of speaking.” This dilemma poses a particular challenge to new poetry: can one ever speak truly—much less write?, much less sing?—when language is a prejudice of precedent, when there is nihil sub sole novum and all sayable things seem already said? This question is also poetry’s great virtue, for no other medium is so self-aware and self-justifying. Successful poems are their own apologia, and, by exhausting the fecundity of words, strike at the experience of mystery that lies behind words. I want to keep this in mind while examining some of the poems in Cerise Press‘s fall/winter issue. Every poem published in this issue is written with a mature handle on craft, which means each is already pushing the limits of the medium and approaching quiddity. The poems are of high quality, and for me to select one over another will be merely a matter of taste. For this reason, rather than praise what is already self-evidently praiseworthy, I want to approach this review with rhetoric in mind, with the goal of evincing how my favorite poems from this issue work and what they have to say about their own process.


Retelling the Expected

Patty Seyburn’s “A Year on Mars” is a kind of model of the conflict I’m describing. Seyburn takes up a tired theme—disillusioned love—and makes it linguistically new. Thematically, the human world is narrated with a vernacular of astrology: “I orbited you,” “this igneous adventure,” “everyone . . . bumping into the sun,” “lass stranded on that mythic isthmus,” “Mission Control // is still giving orders,” and so on. This naturalization of metaphor is a conceit of modern poetry, a fantastical irony: we know that people do not orbit one another, but the poem’s liveliness convinces us that indeed they do. The poem’s speaker narrates her courtship and breaking-up, which we can generally deduce, and makes it vivid precisely by depicting what it is not. Each time we ‘get it’ and connect metaphor to perspective, we undergo a constructive experience that brings the poem to life. The language of the poem (at its most distancing when “stranding a preposition, / widowing a noun”) is regulated and balanced by the speaker’s playfulness. The opening fact about Mars stretches into a metaphor—“as I orbited you / before I began to degenerate”—which would be hard to take if not for the next line, which is cute and colloquial and grounds us in the speaker’s personality: “You must be awfully affable . . .” Thus the language keeps us straddling what we may call the common and the poetical. Alone, either would be prolix; juxtaposed, we synchronically experience both a relationship and a cosmos. Metaphor functions on a physical level, as studies have long shown; when we think of ‘hot’ as in ‘sunny,’ we are activating the same part of the brain that thinks of ‘hot’ as in ‘spicy.’ So, when the red color-theme emerges in this poem, our perception is adjusted to include all that it encompasses, not merely that which it refers to.

Continue reading “Review: CERISE PRESS, VOL. 2 ISSUE 5” →

Friends & Neighbors: 2011 Kundiman Poetry Prize (Submit by February 11th!)

It’s that time of year again.  Our friends at Kundiman and Alice James Books are accepting submissions of full-length poetry manuscripts  for their annual book prize.  This is a unique opportunity for Asian American poets of all stripes (they accept entries from both emerging and established poets), and we highly encourage you to consider submitting your work.  (Not to mention that this year they are accepting electronic submissions in addition to traditional paper sub’s—a plus for both the environment, and for the money saved on postage!)

A few details, from the Kundiman web site:

Kundiman and Alice James Books are accepting submissions of poetry manuscripts for The Kundiman Poetry Prize electronically and by regular mail through February 11, 2011. The Kundiman Poetry Prize welcomes submissions from emerging as well as established Asian American poets. Entrants must reside in the United States.

The winner receives $1000, book publication and a New York City feature reading.

Kudos to Kundiman and Alice James for continuing this tradition of helping Asian American poets to get their work out into the world. More information about the prize and its submission guidelines can be found on Kundiman’s web site.  Or see our Issue 1 Community Voices feature on Kundiman for more about the organization itself.

Becoming Realer: Going Home

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.

1854 Victorian Farmhouse – Photograph by Natalie Grumbles, Christmas 2008

The older I get, the harder it is to explain what I’m doing with my life. Thankfully, going home for the holidays is really the only time I need to. The Christmas and New Year’s parties, family friend get-togethers and annual reunions with high school and college friends are exhausting, particularly when I’m asked what I’m doing now. Getting an M.F.A. at Saint Mary’s College of California is cool but not specific enough, and writing creative nonfiction is not as self-explanatory as it sounds.

I was making Christmas gift exchanges at Caché when a colleague of my mother’s came into the store with his partner. After the general introductions and greetings, he asked what kind of writing I do. I explained that I do a cross between poetry and nonfiction. Then, he wanted to know who my favorite poet is. My answer was T.S. Eliot, though I internally debated whether to name Kimiko Hahn, Marilyn Chin, or Diane Seuss, all of whom have had a more formative impact on my writing and identity so far but are not generally well known. The brief look of bewilderment on his face or nervous silence that would inevitably follow didn’t seem worth it. For conversation’s sake, I said Eliot.

Continue reading “Becoming Realer: Going Home” →

LR News: January/February 2011

Happy 2011, everyone, and welcome back to the LR Blog!  We hope you had a joyous and healthy holiday. Here are a couple of updates to start off the New Year:

AWP 2011 – We’re Hosting a Reading!

Yes, the editors will be at the 2011 AWP conference in DC this year (Feb 3-5), and this time, we’re co-hosting a reading!

We are pleased to announce that we’ll be participating in an off-site joint reading with Boxcar Poetry Review.  The event will take place on the Friday night, and will feature the work of contributors to both magazines. Here are the details:

Lantern Review & Boxcar Poetry Review Present: A Night of Poetry
Friday, February 4, 2011 at 7:30 PM
at Go Mama Go!
1809 14th St. NW
Washington, DC
(Metro: U St/African-Amer Civil War Memorial/Cardozo)
Pay As You Wish ($5 suggested donation; no one will be turned away).

If you live in the D.C. area or will be there for the conference, we hope that you’ll consider stopping by.   If you haven’t already, please take a moment to RSVP at our Facebook Event Page.  We’ll be sharing more details about the reading and about our other plans for AWP as the time of the conference approaches.

Coming Soon: Issue 2

Issue 2 of Lantern Review is currently in the production and layout stage. We are extremely excited to be able to present what we feel is a tighter, more focused body of work this time around.   A sneak peek of some things you can expect to see: a Community Voices feature on Sulu DC (with a secret, surprise element), lots more visual art than in Issue 1, and of course, plenty of wonderful poetry.  Our goal is to have the issue out in time for AWP, so keep your eyes peeled in the next couple of weeks!

LR News: 2010 Holiday Hiatus

As of December 24th, the LR blog staff is taking a little break for the winter holidays.  We will be back from hiatus on January 18th, with more new content and fresh updates about the impending release of Issue 2.  In the meanwhile, please accept our best wishes for a joyous holiday season and a happy and healthy New Year.  See you in 2011!

Staff Picks: Holiday Reads 2010

Last year, we asked our staff writers to recommend books that they’d read in the last year and thought were worth passing on.  This year, we’ve decided to continue with this tradition.  In light of that, here are our holiday staff picks for 2010 (poetry, prose and more—yes, we read more than poetry!)

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Race and the Avant-Garde: Experimental and Asian American Poetry Since 1965 | Timothy Yu | Stanford University Press (2009)

Recommended by Mia: “This is one of the key critical texts on my reading list for the holidays.  I’ve only skimmed the first few chapters, but thus far have found Yu’s argument compelling, his analysis rigorous, and his wide-ranging knowledge of Asian American and Language poetry in the United States to be informative to my own work—not to mention useful in historicizing these two movements/moments in contemporary poetry!

From the Tinfish Editors’ Blog: ‘Using a definition of the avant-garde that has less to do with aesthetics than with social groups composed of like-minded artists, Yu argues that Asian American poetry and Language writing formed parallel movements in the 1970s. […] Both presented themselves in opposition to the mainstream; both were marked by questions of form and racial identity. Both meant to create art out of social groups, and reconstitute the social through the reception of their art.'”

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Radiant Silhouette: New & Selected Work 1974-1988 | John Yau | Black Sparrow Press (1989)

Recommended by Mia: “Yau is one of the two major poets that Timothy Yu addresses in Race and the Avant-Garde (Theresa Hak Kyung Cha is the other), so I’ve been reading through his New & Selected Work for an introduction to the thematic and aesthetic scope of his early career.  He’s a fascinating figure in Asian American poetry and, as Yu points out, ‘might best be read as a restoration of the links between politics, form, and race that characterize the avant-garde Asian American poetry of the 1970s [… providing] the first opportunity for most readers to recognize […] the presence of that avant-garde back into the very origins of Asian American writing.'”

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Man on Extremely Small Island | Jason Koo | C&R Press (2009)

Recommended by Iris: “Jason Koo’s style is very different from my own, but this book (his first collection) managed to completely charm me with its quirkiness.  The voice of the book’s primary speaker manifests a world-weary exhaustion that is, on the surface, darkly melancholic and painfully self-deprecating.  He obsesses over his dirty apartment while eating a tuna sandwich, dreams about floundering clumsily through an encounter with Lucy Liu, envisions himself stranded on an island in the middle of an ocean, worrying about the size of his nose.  But beneath the speaker’s (at times endearingly hyperbolic) self-consciousness lies a striking vulnerability and a luminous ability to evoke the fantastic within the mundane: BBQ chip crumbs echo the ‘fine grains / of my slovenliness,’ becoming ‘barbecue pollen,’ and later, ‘orange microbes’ (9); Lucy Liu becomes a motherly goddess figure who guides him through a secret mission, ‘pulling you after her diving into the stage,’ which becomes the arena for an undersea showdown complete with battleships, lingerie models, and harpoons (22) , the island transforms into the kneecap of a giant woman who ‘has no nose. Just a space where mine / can fit’ (77). Part Frank O’Hara, part tragic hero of his own sardonic comic-book series, the speaker’s sense of humor, whimsy, and wonder, as transmitted by Koo’s craft, paint a picture of a world that reinvisions the now-archetypal image behind John Donne’s famous ‘No man is an island’ with simultaneous irreverence and tenderness. ”

Continue reading “Staff Picks: Holiday Reads 2010” →

Review: Ocean Vuong’s BURNINGS

Burnings by Ocean Vuong | Sibling Rivalry Press 2011 | $12.00

Ocean Vuong’s first chapbook of poetry, Burnings, is a searing elegy to a deceased motherland that continues to smolder in the memories of those who left her in the wake of war. Although Vuong is a member of the 1.5 generation (the children and infants of Vietnamese refugees with scant memories or no memories of that armed conflict) his writing boldly confronts, grapples with and reflects themes of personal and political dissolution and regeneration.

Do not say our names as this flame grows

from the edge of the photo, the women’s smiles

peeling into grimaces, the boy spreading slowly

into black smudge, filaments of fire

dissolving into wind. No, do not say our names.

Let us burn quietly into the lives

we never were.

[from “Burnings”]

What comes forth in the title poem is the shock of tangible, catastrophic loss. It gives you the feeling of being gradually burned down to a nub, leaving behind only a trail of stoic grief, and in order to get on in life and persevere you must transcend it.

An apt Mark Doty epigram divides Burnings into two sections, but the transformative medium of fire is the theme that runs throughout the chapbook. As I read Vuong’s poems, I imagined each one warping and crinkling in my hands, heating up my fingers, as if someone had lit a match at the corner of the page. The slow burn of Vuong’s verse and his juxtaposing and melding of life and death give off sparks in the dark that illuminate truths which one never truly forgets.

Continue reading “Review: Ocean Vuong’s BURNINGS” →