Greetings! My website has moved to www.jenpalmaresmeadows.com. Please update your bookmark.

Künstlerroman?

A Künstlerroman ([/ˈkʏnstlɐ.roˌmaːn/], German: "artist's novel") is a specific sub-genre of Bildungsroman; it is a novel about an artist's growth to maturity. Mine Kunstlerroman is currently closed to posts. Please visit my new website.

Sunday, June 13, 2010

For Immediate Release: Walang Hiya Anthology Now Available

WALANG HIYA…LITERATURE TAKING RISKS TOWARD LIBERATORY PRACTICE AVAILABLE PHILIPPINE INDEPENDENCE DAY 2010

New Literary Anthology Features 32 Filipino Writers on the Verge

(San Francisco, CA) Presented by Carayan Press, Walang Hiya…Literature Taking Risks Toward Liberatory Practice is a groundbreaking collection of poetry and short fiction by today’s most established and anticipated Filipino and Filipino-American Writers. Walang Hiya, a term traditionally used to shame has been reclaimed through this body of work to examine the taboo in our communities with fresh, honest and unflinching voices.

Educators and community groups can also use the collection as a tool in the classroom. Walang Hiya…Literature Taking Risks Toward Liberatory Practice features a study guide to creatively explore the themes of migration, identity and empowerment.

Advance Praise:

“I say the hidden cultural meaning of Walang Hiya is “Bring It On.” This collection certainly brings it on with all of the melodrama, pleasure seeking, and comedy that is identity and the diaspora.”

- Joel B. Tan, author of “Monster” and “Type O Negative”

“Walanghiya ka (You have no shame.) Nakakahiya. (It is shameful). Mahiya ka naman (You should be ashamed of yourself.). In Philippine culture, these words are meant to shame not only those who are corrupt or intentionally harm others but also those who are different, unique, radical. This amazing anthology…affirms that the process of reclaiming a word signifies a liberating ideology, and features engaging, interrogative, and brilliantly written texts that enable us to understand diaspora nationalism.”

- Joi Barrios, Lecturer of Filipino and Philippine Literature, University of California Berkeley

WHAT: Release of Walang Hiya…Literature Taking Risks Toward Liberatory Practice

WHO: Edited by Lolan Buhain Sevilla and Roseli Ilano. Featuring short fiction and poetry from emerging Pilipino and Pilipino-American writers:

Adrien Salazar, Aimee Suzara, Aldrich Sabac, Amalia Bueno, David Maduli, Dionisio Velasco, Edene Matutina, Eileen Tabios, Ellen-Rae Cachola, Elsa Valmidiano, Emily Lawsin, Grace Talusan, Jen Palmares Meadows, Jenny C. Lares, Joan Iva Cube, Kristen Sajonas, Laurel Fantauzzo, Lolan Buhain Sevilla, Melanie Dulfo, Melissa Reyes, Michael Janairo, Michelle Ferrer, Niki Escobar, Paul Ocampo, Pippi Prado, Rachel Gray, Regie Cabico, Ricco Villanueva Siasoco, Roseli Ilano, Thomas Paras, Tina Bartolome. Artwork by Arlene Rodrigo and Aimee Espiritu.

WHERE: Available for direct order at www.walanghiyaanthology.com, Carayan Press, and independent booksellers near you beginning June 12, 2010.

PRICE: $18.95

CONTACT:
Roseli Ilano 510-326-1440
roseli.ilano@walanghiyaanthology.com

Lolan Buhain Sevilla 510-604-2843
lolan.sevilla@walanghiyaanthology.com

Thursday, April 29, 2010

Call For Submissions: The Asian Writer

via Philippine American Writers and Artists, Inc.
----
In exactly 12 weeks The Asian Writer turns three and to celebrate we’ve got an exciting project up our sleeves.

We’re taking the best content and turning it into a collection – that any book lover will treasure. We want you to choose your best bits and pieces, quotes and favourite books to go in the collection.
That’s not all.

The Asian Writer is inviting writers to contribute new writing on the theme ‘Celebration’ for a collection.

We’re happy for you to flaunt your talent and send us your poems, haikus, short stories, flash fiction and novel extracts for consideration. If features are more your thing, we’re also looking for writers to comment on their fave book/ most inspiring author for a separate section in the collection. We’re happy for you to send us your videos and audio for the online edition.

The collection will celebrate Asian literature and three years of The Asian Writer – which offers new and emerging Asian writers a platform to showcase their work.

Your entry needs to be under 1000 words and should include a short biography with web links (if any). A photo in high res is optional. Email your entry to: editor@theasianwriter.co.uk with Writing Competition in the subject heading.

Entries close: July 31st, 2010

A selection of entries will feature on our website and in a collection that will be sold to support the work of The Asian Writer and its future projects. If you’d like to feature in the book in another capacity or have any questions please email me at editor@theasianwriter.co.uk

The collection will be published via Lulu.com and Yudu.com and will be available in August 2010.

Call For Submissions: Tayo Magazine

SUBMISSION GUIDELINES

“For our culture, by our culture.”


CALLING FOR SUBMISSIONS FOR OUR 2ND PRINT ISSUE & OUR ONLINE FEATURES

* We accept creative works including:
Short fiction, poetry, creative nonfiction, photography, paintings, drawings and digital artwork

*

All are encouraged to submit, regardless of ethnicity and age

* All materials submitted are considered for both our print magazine & our online features

* Submissions for our online content are reviewed on a rolling basis

* Deadline for print content is midnight, FRIDAY, JUNE 18, 2010


SUBMISSION POLICY

TAYO Literary Magazine does not charge a fee for submitting. As such, we do not pay a monetary sum to any of our contributors.
Your submissions go a long way in supporting the arts in the Asian American community, especially through inspiring younger artists, helping them
to find their audience, to find their voice.

_________________________________________________________________________________________________________________________

tayoOF

{SUBMIT TO OUR ONLINE FEATURES}
Every other week, we will post the most intriguing and compelling submissions we receive from our TAYO Contributers. Your artistic work will be viewed by an online community of creative people like you. Also, once submitted, your work will be considered for our annual print publication, forthcoming in August 2010.

*You must send a {TAYO Submission Form} along with your submission.

Please send an email to:
tayoliterarymag@gmail.com with the subject line: “TAYO Website Submissions – Writing/Art”

[writing submissions]
* Include:
A cover page with your Name, Contact Infomation, and Genre of Piece.
A 3,000 maximum word limit.
Submit each different literary as a separate Word Document (submit as extension .doc, no exceptions!).
* Remember: For our submission process, please keep the cover page as a separate page from your literary work.

[art submissions]
* Include:
A low-res 72-dpi JPEG with a width of 950px (for submission & review purposes only).
A caption explaining the intent behind your work (submit as a Word .DOC, no exceptions!)
* Remember: For print purposes, please have a 300-dpi CMYK vertical image (extension must be .TIFF) of your work, 7.75″ X 9.85″ (dimensions include .125 ” bleed on top & sides).

_________________________________________________________________________________________________________________________

tayoAM

{SUBMIT TO OUR ANNUAL MAGAZINE}
TAYO Literary Magazine produces an annual anthology featuring literary and art entries we receive throughout the year.

*You must send a {TAYO Submission Form} along with your submission.
*PLEASE NOTE: All submissions for our annual publication MUST BE made especially for TAYO Literary Magazine and not be posted on any magazine or website prior to the publish date. Thank you.

Please send an email to:
tayoliterarymag@gmail.com with the subject line: “TAYO Magazine Submissions – Writing/Art”

[writing submissions]
* Include:
A cover page with your Name, Contact Infomation, and Genre of Piece.
Submit each different literary as a separate Word Document (submit as extension .doc, no exceptions!).
* Remember: For our submission process, please keep the cover page as a separate page from your literary work.

[art submissions]
* Include:
A low-res 72-dpi JPEG with a width of 950px, (for submission & review purposes only).
A caption explaining the intent behind your work (submit as a Word .DOC, no exceptions!)
* Remember: For print purposes, please have a 300-dpi CMYK vertical image of your work, 7.75″ X 9.85″ (dimensions include .125 ” bleed on top & sides).

_________________________________________________________________________________________________________________________

*By submitting you are allowing TAYO Literary Magazine to reproduce your work.
*Not all submissions may be featured. You will be notified via email if your work has been selected for our Online Features/Annual publication.

--
In solidarity,


Melissa R. Sipin & Kristine A. Co
Co-Directors
TAYO Literary Magazine
Issue 01 | 2009-2010

Tuesday, March 16, 2010

CSUS Festival Of The Arts: Carole Maso

Wednesday, March 17, 7 pm, 1005 Mendocino Hall

Fiction reading with Carole Maso Carole Maso is the author of the novels: Ghost Dance, The Art Lover, AVA, The American Woman in the Chinese Hat, and Defiance ; as well as Aureole (a book of short fictions); Break Every Rule (essays); The Room Lit by Roses (a journal of pregnancy and birth) and Beauty is Convulsive: The Passion of Frida Kahlo. She is the recipient of many awards, including a Lannan Fellowship. She teaches creative writing and film at Brown University.

Thursday, March 18, 3 pm, 2nd floor Hornet Bookstore

Alumni Fiction Reading Erica Jeffrey author of Omaha Beach a collection of short stories translate Franco-Belgian comic books and graphic novels from French to English. She has a MA in Creative Writing from Sacramento State University. Jordan Okumura has published work in Gargoyle Magazine and Calaveras Station. She has a MA in Creative Writing from Sacramento State University.

Friday, March 19, Noon, 145 Kadema Hall

Fiction Reading with Ricardo Cortez Cruz Ricardo Cortez Cruz is the author of Straight Outta Compton and Five Days fo Bleeding. His work has appeared in many journals and anthologies including: Step into a World: A Global Anthology of the New Black Literature, Not Guilty:12 Black Men Speak Out on Law, Justice, and Life, In the Middle of the Middle West He teaches creative writing, African American Literature and Cultural Studies at Illinois State University.

Friday, March 5, 2010

A Conversation With Michelle Cruz Skinner: Tayo Reading March 5, Tribal Cafe

Come to support your local Filipino American authors at Tayo Literary Magazine's first reading.

A Conversation With Michelle Cruz Skinner
March 5th, 2010 | 6PM - 8PM
Prior to B.C. Tizenor's Art Reception

Tribal Cafe
Historic Filipinotown
1651 West Temple Street
Los Angeles, CA 90026-5026

ABOUT THE AUTHOR
Michelle Cruz Skinner has published two short story collections, Balikbayan and Mango Seasons (nominated for the 1996 Philippine National Book Award). She teaches at an independent preparatory institution, Punahou School in Hawaii (President Obama's alma mater).

She was born in Manila and raised primarily in Olongapo City, Philippines. A short story from her first collection was selected for the PEN Syndicated Fiction Project. Her work has been adapted for stage and public radio and she has read extensively at universities and conferences, both in the Philippines and on the mainland.

Please refer to the Tayo website.

FREE FOOD! REFRESHMENTS!
Complimentary sandwiches will be provided! (First come, first serve) *

Friday, February 26, 2010

Steven Church Reading @ CSUS Bookstore: March 8

Steve Church is coming to Sacramento State to give a Fictional Reading of Memoir and other strange narrative extrapolations on Monday, March 8 at noon at the Hornet Bookstore, second floor. Free Open to the public.

He is the tall and mad author of The Guiness Book of Me, The Day after the Day and Theoretical Killings.

STEVEN CHURCH was born and raised in Lawrence, Kansas. He earned his BA in philosophy at the University of Kansas and his MFA in Creative Writing from Colorado State University.

He has worked as a fry cook, a tour guide, a Bobcat operator, a maintenance man, a housepainter, a barista, a conflict mediator, an academic adviser, a teacher.

His essays and stories have been published or are forthcoming in the Colorado Review, The North American Review, Interim, Fourth Genre, River Teeth, Post Road, Quarterly West, and others. His work has been thrice nominated for a Pushcart Prize. His first book, The Guinness Book of Me: a Memoir of Record, was released in 2005 by Simon & Schuster.
--------------------------

I studied with Steve Church at CSU Summer Arts in Fresno back in 2008. Check him out if you can!

Wednesday, February 17, 2010

Jason Magabo Perez: Oh Angelita Garcia! in Tayo Literary Magazine

I've been reading Tayo online, and damned if I fell for this writer, Jason Magabo Perez. His story, Oh Angelita Garcia! just blew me away. He does a lot of spoken word, but I'm looking to get my hands on more of his writing.

I feel like a cheap fraud after reading him.

Jason Magabo Perez, writer and performer, youngest son of Leonora Magabo Perez, and alumnus of the University of California, San Diego, received his M.F.A. in Writing & Consciousness from the now defunct New College of California in San Francisco. His short fiction has been selected as a Finalist for Narrative Magazine’s 30 Below Story Contest and Fiction Contest, for Glimmer Train’s Family Matters Contest, and is forthcoming in TAYO Literary Magazine and Witness: Issue XXIII. A VONA Summer Voices Writing Workshop alumnus, and a featured artist for the New Americans Museum and the AjA Project, he was recently invited as a resident artist at the UCSD Cross-Cultural Center. He has read and performed at several university campuses and at various venues including the Yerba Buena Center for the Arts and the La Jolla Playhouse. Currently, he is writing a novel and teaches for the Ethnic Studies Program at the University of San Diego. - http://events.berkeley.edu/?event_ID=25565&date=2009-12-01&tab=all_events

Monday, February 15, 2010

The Writers Thumb @ Tayo Literary Magazine.









Tayo Literary Magazine has been updating its website, and the very first post to my series, The Writer's Thumb is up. I'm in love with the logo for my series. From now on, my longer wax lyricals will likely be posted there. Poetry, fiction, non-fiction and artwork from their first issue is now available for reading at their online version of the magazine.

Pai Gow Poker & Kare Kare

I've been working on an experimental piece about Pai Gow Poker, my favorite table game. It's a lot of fun and totally different than anything I've ever written before. I'm mostly trying out new forms and letting the language take me where it wants.

I'd also like to get an annotated recipe in the works--kare kare has been on the back burner for awhile now.

Writing, writing, writing.
Pai Gow poker (also called Double-hand poker) is an Americanized version of Pai Gow (in that it is played with playing cards bearing poker hand values, instead of Pai Gow's Chinese dominoes).

Kare-kare is a Philippine stew. It is made from peanut sauce with a variety of vegetables, stewed oxtail, beef, and occasionally offal or tripe. Meat variants may include goat meat or (rarely) chicken. It is often eaten with bagoong (shrimp paste), sometimes spiced with chili, and sprinkled with calamansi lime juice.
---Wikipedia

Thursday, February 11, 2010

2010 Kundiman Asian American Poetry Retreat

In order to help mentor the next generation of Asian-American poets, Kundiman is sponsoring an annual Poetry Retreat at Fordham University in New York City. During the Retreat, nationally renowned Asian American poets will conduct workshops with fellows. Readings, writing circles and informal social gatherings will also be scheduled. Through this Retreat, Kundiman hopes to provide a safe and instructive environment that identifies and addresses the unique challenges faced by emerging Asian American poets. This 6-day Retreat will take place from Tuesday to Sunday. Workshops will not exceed eight students.

2010 Faculty:
Regie Cabico is a spoken word pioneer having won top prizes in the 1993, 1994 and 1997 National Poetry Slams. His work appears in over 30 anthologies including “Aloud: Voices from the Nuyorican Poets Café”, “Spoken Word Revolution” and “Slam.” He has appeared on two seasons of HBO’s Def Poetry Jam, PBS’ “In The Life” and MTV’s “Free Your Mind” Spoken Word Tour. Regie is the recipient of the 10th annual Writers for Writers Award sponsored by Poets & Writers and has received three New York Foundation for the Arts Fellowships for Poetry and Multi- Disciplinary Performance.

Tan Lin is a writer, artist, and critic. He is the author of the poetry collections “Lotion Bullwhip Giraffe” (Sun & Moon Press) and “BlipSoak01” (atelos). His visual and video work has been exhibited at the Yale Art Museum (New Haven), the Sophienholm (Copenhagen), and the Marianne Boesky Gallery (New York City). His writing has appeared in a variety of contemporary literary and cultural journals, including Conjunctions, Purple, Black Book, and Cabinet. He is a professor of English and creative writing at New Jersey City University.

Paisley Rekdal is the author of a book of essays, The Night My Mother Met Bruce Lee and three books of poetry, A Crash of Rhinos, Six Girls Without Pants and The Invention of the Kaleidoscope. A hybrid photo-text memoir that combines poems, nonfiction and fiction entitled Intimate is forthcoming from Tupelo. Her work has received a Village Voice Writers on the Verge Award, an NEA Fellowship, a Pushcart Prize, the University of Georgia Press’ Contemporary Poetry Series Award, a Fulbright Fellowship, and the Laurence Goldstein Poetry Prize from Michigan Quarterly Review. Her poems and essays have appeared in or are forthcoming from The New York Times Magazine, American Poetry Review, Ploughshares, Poetry, Virginia Quarterly Review, Tin House, and on National Public Radio among others. She is an Associate Professor at the University of Utah.

Fees:
Tuition fee is $350. Room and Board is free to accepted Fellows.

Application Process:
Send five to seven (5-7) paginated, stapled pages of poetry, with your name included on each page. Include a cover letter with your name, address, phone number, e-mail address and a brief paragraph describing what you would like to accomplish at the Kundiman Asian American Poetry Retreat. Include a SAS postcard if you want an application receipt. Manuscripts will not be returned. No electronic submissions, please.

Mail application to:
Kundiman
P.O. Box 3168
Staunton, VA 24402-2565


Submissions must be postmarked between January 15 and March 1, 2010.

Questions?
Please e-mail any questions to info(at)kundiman.org

Monday, February 8, 2010

7th annual Intergenerational Writers Lab

The 7th annual Intergenerational Writers Lab is a unique program with three of SF’s community-based interdisciplinary arts organizations designed to thoroughly explore and develop your writing. Accepted applicants will participate in eight workshops led by accomplished writers and artists, engage in and be inspired by other artistic genres, perform their work at a public event, be published in online anthology, and have the opportunity to develop a communal network of writing peers.

APPLICATION DEADLINE: RECEIVED BY 5PM, FEBRUARY 19, 2010.
NOT A POSTMARK DEADLINE. PHYSICAL APPLICATIONS MUST BE RECEIVED BY 5PM on 2/19/2010.

TO APPLY:
Please submit the following:

1. An IWL 2010 application form;
2. Writing sample, 12 point & double-spaced, not to exceed 7 pages;
3. A description of why you want to enroll in the IWL program, not to exceed 500 words.
4. A submission fee of $10 (check or money order made out to Intersection for the Arts). Please note: submission fees are used to cover artist fees, the online publication, and partial and full scholarships. Submission fees may be waived on as-need basis, and per applicant request. To request a submission fee waiver, please contact KSW at info@kearnystreet.org.

TUITION & SCHOLARSHIPS:
The tuition for accepted IWL participants is $425, (two full or four partial scholarships are available). Tuition levels will be determined on a case-by-case basis, based on individual participant needs. If you wish to be considered for a partial or full scholarship, please submit an additional description of your circumstances and why you believe you deserve a scholarship.

Please submit all materials and application fee to:
Intersection for the Arts
Attention: IWL 2009
446 Valencia Street
San Francisco, CA 94110

For Application please visit Kearnystreet.org

SF-based arts organizations, Kearny Street Workshop, Intersection for the Arts and Amate: Women Painting Stories. are seeking applications for, the 7th annual Intergenerational Writers Lab (IWL), a literary program for emerging writers, scheduled to take place April 3 – May 22, 2010 (Saturdays, 10 am – 1 pm). Twelve students will be selected to participate in the literary program which will involve a series of workshops, a public reading, and an online anthology publication. IWL workshops will be led by Lorna Dee Cervantes, Leticia Hernandez, Ben Fong-Torres and Genny Lim. The IWL will conclude with a public reading in early July at Intersection for the Arts.

Thursday, February 4, 2010

Call For Submissions: Lantern Review


Lantern Review's reading period is currently open, and will close on April 15, 2010.

Submissions are accepted via our online system only. Please read our guidelines thoroughly before proceeding to the submissions form (link located at the bottom of this page).

Categories of Work Accepted
  • Original poems - Collaborative or individual; traditional, experimental, hybrid forms — all are welcome!
  • Translations - New translations of contemporary and classic poems into English.
  • Community Voices - Each issue will feature a number of poems that have produced in the context of a writing or arts community, as well as a short profile of the group(s) that produced the work.
  • Book reviews - Reviews of recent poetry collections
  • Essay - Creative nonfiction or critical analysis relating to craft, contemporary Asian American poetry collections, or issues in poetics
  • Visual art & photography - We seek visual art to feature both as cover art and alongside the poems in each issue.
Please visit their website for more submission information.

Tuesday, February 2, 2010

Updates From TAYO Literary Magazine




From Tayo's Co-editors, Melissa Sipin and Kristine Co:

Hello everyone!

TAYO Literary Magazine has been under the radar for the past four months... But on February 15th, our website will be live and running! We have been working diligently the past months behind scenes. We apologize for our disappearance act, but with the new year and with our forthcoming second issue, we promise that TAYO will become a stronger independent publication and online community.

In the meantime, please save-the-dates for these current events!

TAYO Reading and Flying Fist Collective Readings:

1. TAYO & FFC Reading Series:
Noel Alumit Reading/Workshop at USC:
February 6th, 2010, 6pm - 8:30pm.
Please bring $10 in cash if you'll like to attend the workshop!

2. Michelle Cruz Skinner (Hawaiian/Filipina writer) Reading at UCLA:
March 3rd, 2010, 4pm - 6pm
Rolfe Hall 1301

Michelle is the author of Balikbayan and will be reading from her new novel, In the Company of Strangers.

3. TAYO Reading Series:
Michelle Cruz Skinner reading
Location: TBA
March 4th, 2010

4. TAYO & FFC Reading Series
Peter Bacho Reading/Workshop at USC
March 27th, 2010

Sunday, January 31, 2010

Call For Submissions: Sakura Review - Feb. 28 Deadline

SAKURA REVIEW is reading poetry, fiction, and nonfiction submissions for its next print issue.

http://www.sakurareview.com/

About Sakura Review:
Situated in the District of Columbia and run by graduate students in the MFA Program in Creative Writing at the University of Maryland, Sakura Review publishes poetry and prose; we are particularly interested in – though not limited to – work that in some way satisfies or reflects our own preoccupation with a city embodied in location temporary; the new surrounded by collections and artifacts; what is documented alongside what is ultimately forgotten.

Submission Guidelines:
The submission deadline for our Spring 2010 issue is February 28th. Any submissions received after the deadline will automatically carry over to our next reading period.

· Only previously unpublished work will be considered. Simultaneous submissions are fine, if noted (but please notify us immediately if the work is accepted elsewhere).

· For prose, please submit only one manuscript at a time. The preferred maximum length is 2,500 words. For poetry, please submit no more than five
poems, a maximum of 10 pages, at one time. Include all poems within one document.

· Please submit your work as a Word attachment to (replace (at) with @). Your genre – poetry or prose – and your name should appear in the subject field.

Contributors receive two copies of the issue in which their work appears.

Our first issue is now available for purchase at our website. We encourage you to read it before submitting.

http://www.sakurareview.com/

Wednesday, January 27, 2010

Maxine Hong Kingston Reading: January 27 at Stanford

Maxine Hong Kingston (who rarely gives public readings) is giving a reading today, Jan. 27, 7:00 pm at Stanford Humanities Center, Levinthal Hall (The Center is 424 Santa Teresa St., on the Stanford campus)

Maxine Hong Kingston (Chinese: 湯婷婷; born October 27, 1940) is a Chinese American author and Professor Emeritus at the University of California, Berkeley, where she graduated with a BA in English in 1962. Kingston has written three novels and several works of non-fiction about the experiences of Chinese immigrants living in the United States. She has contributed to the feminist movement with such works as her novel The Woman Warrior, which discusses gender and ethnicity and how these concepts affect the lives of women. Kingston has received several awards for her contributions to Chinese American Literature including the National Book Award in 1981 for her novel China Men.

The reading is FREE and open to the public. Arrive early if you want to make sure and get a seat!

------------------------
I wish I could go. However, the distance makes for difficult travel with the wee one. If you're up for last minute adventures, Go--

Friday, January 22, 2010

Following The Greats: T. S. Eliot's The Love Song of J. Alfred Prufrock

Feeling a bit disappointed with my own writing as of late and decided that I need to study and experience the feel of good writing. I came across this tip today:
Copy one of your favorite novels, poems or short stories word for word. As you type, think about how the words and sentences feel to your fingers and eyes.
I've chosen T.S. Eliot's "The Love Song of J. Alfred Prufrock", which resides in the public domain. And so, I begin. The following has been typed verbatim, so I beg your pardon for spelling errors or missing accents:
















The Love Song of J. Alfred Prufrock

S'io credesse che mia risposta fosse
a persona che mai tornasse al mondo,
questa fiamma stara senza piu scossse.
Ma per cio che giammai di questo fondo
non torno vivo alcub, s'i' odo il vero,
senza tema d'infamia ti rispondo.


Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherised upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question. . .
Oh, do not ask, 'What is it?'
Let us go and make our visit.

In the room the women come and go
Talking of Michelangelo.

The yellow fog that rubs its back upon the window-panes
The yellow smoke that rubs its muzzle on the window-panes.
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in the drains,
Let fall upon its back the soot that falls from chimneys.
Slipped by the terrace, made the sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.

And indeed there will be a time
For the yellow smoke that slides along the street
Rubbing its back upon the window-panes;
There will be a time, there will be a time
To prepare a face to meet the face that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of toast and tea.

In the room the women come and go
Talking of Michelangelo.

And indeed there will be time
To wonder, 'Do I dare?' and, 'Do I dare?'
Time to turn back and descend the stair,
With a bald spot in the middle of my hair--
(They will say: 'How his hair is growing thin!')
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin--
(They will say: 'But how his arms and legs are thin!')
Do I dare
Disturb the universe
In a minute there is time
For decisions and revisions which a minute will reverse.

For I have known them all already, known them all--
Have known the evenings, morning, afternoons,
I have measured out my life with coffee spons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
So how should I presume?

And I have know the eyes already, known them all--
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin
To spit out all the butt-ends of my days and ways?
And how should I presume?

And I have known the arms already, known them all--
Arms that are braceleted and white and bare
(But in the lamplight, downed with light brown hair!)
Is it perfume from a dress
That makes me so digress?
Arms that lie along a table, or wrape about a shawl.
And should I presume?
And how should I begin?


. . . . .


Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows? . . .

I should have been a pair of ragged claws
Scuttling across the floors of silent seas.


. . . . .


And the afternoon, the evening sleeps so peacefully!
Smoothed by long fingers,
Asleep . . . tired . . . or it malingers,
Stretched on the floor, here beside you and mee.
Should !, after tea and cakes and ices,
Have the strength to force the moment to its crisis?
But though I have wept and fasted, wept and prayed,
Though I have seen my head (grown slightly bald) brought in upon a platter,
I am no propher--and here's no great matter;
I have seen the moment of my greatness flicker,
And I have seen the eternal Footman hold my coat, and snicker
And in short, I was afraid.

And would it have been worth it, after all,
After he cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while,
To have bitten off the matter with a smile,
To have squeeze the universe into a ball
To roll it towards some overwhelming question,
To say: 'I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all'--
If one, settling a pillow by here head,
Should say: 'That is not what I meant at all.
That is not it, at all.'

And would it have been worth it, after all,
Would it have been worth while,
After the sunsets and dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along the floor--
And this, and so much more?--
It is impossible to say just what I mean!
But as if a magic lantern threw the nerves in patterns on a screen:
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
'That is not it at all,
That is not what I meant, at all.'


. . . . .


No! I am not Prince Hamlet, nor was meat to be;
An an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the price; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentences, but a bit obtuse;
At times, indeed, almost ridiculous--
Almost, at times, the Fool.

I grow old . . . I grow old . . .
I shall wear the bottoms of my trousers rolled.

Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.

I do not that they will sing to me.

I have seen them riding seaward on the waves.
Combing the white hair of the waves blown back
When the wind blows the water white and black.

We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown
Till human voices wake us, and we drown.

Afterthought: It might have been smarter to copy prose, as the majority of what I write is fiction. Though, typing the poem does allow for a closer perusal, rather than just reading alone.

Monday, January 18, 2010

Collaboration: Writers Working Together

Yesterday, I met with Maricar Liberato, a staff writer at Filipinas Magazine, to talk about a collaboration that we've been dreaming about for years.

I met Maricar in 2003, when I was still at San Francisco State University and needed a part-time job. Public transportation can be expensive if you get caught without a ticket! However, I settled for a non-paying internship at Filipinas Magazine and rode the train gratis.

The result: one of the best learning experiences I've ever had and friendships to last a lifetime.

The collaboration: Co-editing a Filipino collection of literature.

This weekend, we did a lot of brainstorming and planning. We have a lot to work on before we next touch base. I came away from our meeting invigorated and excited about our plans.

Expect to see a Call for Submissions here and elsewhere soon.

AGNI Online: Finding Inspiration


Read a lovely piece of fiction by a writer named Matthew M. Quick called, "Do Not Hate Them Very Much" in AGNI recently and feel very inspired. I've looked up the author and intend to read more of his works.

Also, I've been meaning to order a subscription of AGNI and back issue #66 with Bill Vollmann's, "Widow's Weeds." I'm hoping it's the story he read aloud at CSU Summer Arts 2008, which he described as a piece of "supernatural erotica."

Thursday, January 14, 2010

Coming Soon? Sacramento/Northern CA Chapter of The Editorial Freelancers Association

A message from our friends at Two Songbirds Press...
Hello writer friends!

I am considering starting up a Sacramento/Northern CA chapter of The Editorial Freelancers Association and am putting out feelers for interested people. You don't have to be a member of the organization to take part in the chapter events, you could come as my guest or as the guest of another member or just as an "interested freelancer."

This is a great page on their website that lets you see what kind of resources the EFA makes available: http://www.the-efa.org/res/resources.php

EFA's membership includes —
  • abstractors
  • copyeditors
  • designers
  • desktop publishing experts
  • editors
  • indexers
  • manuscript evaluators
  • picture researchers
  • project managers
  • proofreaders
  • researchers
  • textbook development editors
  • translators
  • writers
I'm asking you, #1, if you would be interested in a Sacramento/NoCal EFA chapter yourself, and #2 for you to please pass on this little tidbit to anyone you know who is working professionally in those fields just listed or is interested in editorial freelancing; that is, anyone who is or hopes to make a living assisting others with their writing. The EFA is the largest and oldest national professional organization of editorial freelancers.


Robin Martin, Founder
Two Songbirds Press

Tuesday, January 12, 2010

Am I ready For My Own Domain?

I've been playing around with officially creating my own domain. Although I've enjoyed my time here at Mine Kunstlerroman, let's just say it: the address is a bit difficult to spell and blogspot has its limitations. It would be smarter to have my own domain.

So far, I really like what ipage offers, and the price is right. A professional domain would mean my own email domain, a link to my blog, bio/curriculum vitae and likely some tear sheets in PDF form. This all follows My Post Masters Degree Plan.

However, I've decided to do a little more planning and homework before committing to a domain. Perhaps I'll work on the layout and study a bit on web design.

Friday, January 8, 2010

Digging Through The Dregs: Revisiting My Old Writing

I've been rifling through my file cabinet and reading drivel that I wrote years ago back in my BA days at San Francisco State University. I've even found some things from junior high.

I've spent the last hour banging sheafs of papers on my head and trying to read the stuff aloud without gagging. I'm at odds whether to shred the stuff or keep it just because I've always had a hard time parting with the old me. I can only imagine what other writers who I've workshopped with must have thought of my abilities.

Awful. Talentless. Pathetic. Cliche. Annoying. Trite.

How many times have I read someone else's writing and rolled my eyes?

In 2008, while workshopping with Doug Rice at CSU Summer Arts in Fresno, he said [paraphrasing] "Be kind when criticizing others--you never know what kind of writer they will become." He went on to discuss the writer's ability to grow and improve. He talked about a writer's best friend: Revision. He handed this out in class. It's with me always:

Original Paragraph:
I stood on the threshold, dazzled by the alabaster light and the two attractive young women in white dresses who sat on an enormous couch in the middle of the large room. I could feel a nice breeze. there were white curtains over the open window and a wince-colored rug on the floor. On the wall was a landscape painting of some sort. Tom joined me, and we walked into the room.
Revised:
A breeze blew through the room, blew curtains in at one end and out the other like pale flags, twisting them up towards the frosted wedding-cake of the ceiling, and then rippled over the wine-colored rug, making a shadow on it as wind does on the sea.

The only stationary object in the room was an enormous couch on which two young women were buoyed up as though upon an anchored balloon. They were both in white, and their dresses were rippling and fluttering as if they had just been blown back in after a short flight around the house. I must have stood for a few moments listening to the whip and snap of the curtains and the groan of a picture on the wall. Then there was a boom as Tom Buchanan shut the rear windows and the caught wind died about the room, and the curtains and the rugs and the two young women ballooned slowly to the floor.

--F. Scott Fitzgerald's The Great Gatsby
Amazing, no?

I admit, most of my dregs need to be chucked or maybe buried somewhere, but I think I've found some terrible pieces in which I might be able to salvage a line or two with some work.

If you've never taken the time to REALLY sift through your old dregs, I recommend it. Go back as far as you can. Old love letters you wrote to an elementary school sweetheart. English papers.
Notes passed in class. These all say something about your evolution as a writer.

You'll be embarassed. Humiliated. And proud of how far you've come.

I know I am.

For funnies. The following is an old 'sensory exercise' I wrote for my very first creative writing class. I might not have understood what 'sensory exercise' meant because it's littered with lots of 'smelling' and 'feeling' nonsense. This is going the way of the hatchet, so I don't mind pasting it here, except that I'm SO embarrassed. If anyone has something particularly shameful to post in kind, feel free.

...10 minutes later...I'm losing my nerve...don't think I can bear to share this...okay fine...and yes, the poem was center justified when originally written.


Soft with Clouds, Hopes and Dreams

Smelling my wet insides soaked.
Feeling my chest breathing, stretching, falling in on my heart.
Tasting the bitter tears of emptiness of love.
Hearing the tortured sounds from my throat.
And seeing the shredded tissue in my hand.

Smelling, feeling, tasting, hearing, touching.
Swimming in the endless fathoms of my salty tears.
There’s just a little bit dribbling,
Catching in the small cup of my ear,
To soak and mix with the blood thrumming in my veins.

Seeing the tissue, sweet tissue!
Tasting your endless kiss, caress, and sweep against my face.
My nose, my lips, the soft underside of my eye.
A sweep of my brow, check and trembling chin.
Catch them.
Save me.
Shredded, sweet, drenched and mangled tissue.
Love me!
Soak aloft the tears,
And take my pain.

Tissue. Sweet tissue. Will you go to heaven?
You healed my pain, eased my sorrow, and took from me
All I could pour into so small a space.

How much love flows into our dead trees.
Breezes, wishes and rivers.
Soft with clouds, hopes and dreams.

Long and lasting, visits did they come
To funerals,
Teenage bedrooms, mother’s, father’s,
Endless of people’s of times lost and reborn.
Dead and strong on the tarmac of life,
Clenched in the hand of a weeping lover’s heart?

Tragedy wept with rivulets into our woods
Breezes, wishes and rivers.
Soft with clouds, hopes and dreams.
Tissue, sweet tissue. Will you go to heaven?

Monday, January 4, 2010

Forthcoming in January 2010: Walang Hiya Anthology

Walang Hiya: Literature Taking Risks Toward Liberatory Practice, edited by Lolan Buhain Sevilla and Roseli Ilano. Forthcoming in January 2010.

Presented by Arkipelago Books Publishing, this anthology is committed to using the narrative as a departure point for personal and political transformation. Featuring short fiction and poetry from emerging Pilipino and Pilipino-American writers:

Adrien Salazar, Aimee Suzara, Aldrich Sabac, Amalia Buena, David Maduli, Dionisio Velasco, Edene Matutina, Eileen Tabios, Ellen-Rae Cachola, Elsa Valmidiano, Emily Lawsin, Grace Talusan, Jen Palmares Meadows, Jenny C. Lares, Joan Iva Cube, Kristen Sajonas, Laurel Fantauzo, Lolan Buhain Sevilla, Melanie Dulfo, Melissa Reyes, Michael Janairo, Michelle Ferrer, Niki Escobar, Paul Ocampo, Pippi Prado, Rachel Gray, Regie Cabico, Ricco Villanueva Siasoco, Roseli Ilano, Thomas Paras, Tina Bartolome. Artwork by Arlene Rodrigo and Aimee Espiritu.

Thursday, November 5, 2009

November is National Novel Writing Month

Writing on steroids. NaNoWriMo is a great way to get the novel that you've been meaning to write started. It's also a great way to write a piece of crap. Whatever your reasons, check it out for yourself. Once you've got that novel done, I know a great writer who can help you shape it into a masterpiece.
-------------------------------------
From the National Novel Writing Month Org website:

What is NaNoWriMo?

National Novel Writing Month is a fun, seat-of-your-pants approach to novel writing. Participants begin writing November 1. The goal is to write a 175-page (50,000-word) novel by midnight, November 30.

Valuing enthusiasm and perseverance over painstaking craft, NaNoWriMo is a novel-writing program for everyone who has thought fleetingly about writing a novel but has been scared away by the time and effort involved.

Because of the limited writing window, the ONLY thing that matters in NaNoWriMo is output. It's all about quantity, not quality. The kamikaze approach forces you to lower your expectations, take risks, and write on the fly.

Make no mistake: You will be writing a lot of crap. And that's a good thing. By forcing yourself to write so intensely, you are giving yourself permission to make mistakes. To forgo the endless tweaking and editing and just create. To build without tearing down.

As you spend November writing, you can draw comfort from the fact that, all around the world, other National Novel Writing Month participants are going through the same joys and sorrows of producing the Great Frantic Novel. Wrimos meet throughout the month to offer encouragement, commiseration, and—when the thing is done—the kind of raucous celebrations that tend to frighten animals and small children.

In 2008, we had over 119,000 participants. More than 21,000 of them crossed the 50k finish line by the midnight deadline, entering into the annals of NaNoWriMo superstardom forever. They started the month as auto mechanics, out-of-work actors, and middle school English teachers. They walked away novelists.

So, to recap:

What: Writing one 50,000-word novel from scratch in a month's time.

Who: You! We can't do this unless we have some other people trying it as well. Let's write laughably awful yet lengthy prose together.

Why: The reasons are endless! To actively participate in one of our era's most enchanting art forms! To write without having to obsess over quality. To be able to make obscure references to passages from our novels at parties. To be able to mock real novelists who dawdle on and on, taking far longer than 30 days to produce their work.

When: You can sign up anytime to add your name to the roster and browse the forums. Writing begins November 1. To be added to the official list of winners, you must reach the 50,000-word mark by November 30 at midnight. Once your novel has been verified by our web-based team of robotic word counters, the partying begins.

Monday, October 12, 2009

Call For Submissions: Kartika Review

Kartika Review is accepting submissions for upcoming issues of our online Asian American literary magazine.

We accept: fiction, flash fiction, creative nonfiction (memoir, reportage, essays, letters), poetry and visual art by Asian American artists.

We are a quarterly journal We read submissions all year. Simultaneous submission are okay, but please notify us immediately if your work has been accepted elsewhere.

Full submission guidelines, including the email addresses for submitting work, are available at our website:
http://www.kartikareview.com/submit.html

Kartika Review serves the Asian American community and those involved with Diasporic Asian-inspired literature. We scout for compelling Asian American creative writing and artwork to present to the public at large. Our editors actively solicit contributions from established virtuosos in our community in hopes their works here will inspire the next generation of virtuosos. We also want to promote emerging writers and artists we foresee to be the future powerhouses of their craft. Ultimately, Kartika strives to create a literary forum that caters to and celebrates the wordsmiths of the Asian Diaspora.

Peter Grandbois' Arsenic Lobster Release Party

For weeks now, I've been looking forward to and dreading the release party for Peter Grandbois' newest book, 'Arsenic Lobster: A Hybrid Memoir.' Sure, I'm excited to catch up with colleagues who I haven't seen since graduation in May, but I'm not looking forward to toting along my six-week old son to the event. Picture upset crying during the middle of the reading.

In the end, I decide to stay for the meet and greet cocktail hour and leave before the reading begins.

The release party is being hosted by Robin Martin at The Urban Hive, a midtown Sacramento coworking space located very near Old Soul, where my writers group, Writers in Progress, used to meet. Janna Santoro is one of The Urban Hive's founders, so I'm interested to see what the place is like.

We get there around 6:30--it's not yet dark yet. It's an artsy warehouse, brick with art on white walls, mod seating, very open, uncluttered.

Bridget Mabunga, or Auntie Bridget, sports a sweet new do, straighter than I've ever seen it, shorter and highlighted with some pink streaks. She's also wearing a purple coat--ah--she must be like, the coolest professor ever. She takes the kid with a smile and a, "Go get something to eat." I try not to kick up my legs on my way to the buffet. In the back of my mind, I'm wondering if it would be kosher take off, just chuck some Similac out the window of my car, screeching tires and all.

I check out the stacks of 'Arsenic Lobster: A Hybrid Memoir.' I pick one up, looking around the studio, thumb through a bit of it, wondering what makes a memoir hybrid. Wondering, wondering.

I congratulate Grandbois and purchase two copies: one for me and the other I tell him is likely to end up a Christmas gift and so not to write it to anyone--though if the screenplay to his "Gravedigger" is successful, it might end up on ebay. He signs them both, seems a little muddled, and I smile looking every which way, wondering if he's thinking, "Shame, shame--you brought a baby?"

Flatmancrooked makes an appearance, and I get a free copy of one of their anthologies. After a few more awkward words of congratulations, I shuffle off--certain that one of his groupies is about to demand his attention.

We crash on a couch, and chat with Rich Martin, Robin's husband. Eventually, Kylee Cook and Marie Hoffman join us along with Bridget and her husband, Bobby. Everyone's been up to something. Robin's got a new tow-hitch on her car. Bridget's working at Folsom Lake College. Gordon got a haircut and he's been very busy agenting books. Aschala Edwards. Trina Drotar. Both in Sac State's graduate program now.

Embarassing moment: Rich Martin, Robin's husband, points out that my teeth are all red from the lobster cookie I had been eating. Thanks, Gordon Warnock.

Eventually, Robin calls for everyone's attention--she smiles, wearing a black and white patterned dress--it's a little bit go-go artsy writer, but that's Robin. This is where we make our exit. The kid has been asleep the entire event, but I don't want to risk tears during the reading.

It's dark outside now. I settle into the passenger seat while Jason buckles in the kid, and I exhale deep, thankful that we got through the night, well, halfway through the night, minus any poops, or meltdowns. It seems fitting that one of his first outings is a literary event--even if he couldn't make it through the reading.

That night, I fantasize about having my very own book release party at The Urban Hive. Robin would introduce me, "I remember the first time I met Jen, and thinking 'Wow, I wish I could be more like her.'" I snicker and roll over into a dreamless sleep.