CALL FOR SUBMISSIONS!
Part of Eve’s Discussion
From The Good Thief by Marie Howe
It was like the moment when a bird decides not to eat from your hand,
and flies, just before it flies, the moment the rivers seem to still
and stop because a storm is coming, but there is no storm, as when
a hundred starlings lift and bank together before they wheel and drop,
very much like the moment, driving on bad ice, when it occurs to you
your car could spin, just before it slowly begins to spin, like
the moment just before you forgot what it was you were about to say,
it was like that, and after that, it was still like that, only
all the time.
From The Good Thief, copyright © 1988 by Marie Howe. Used by permission of Persea.
Create. Build. Destroy. Repair. Reinvent. We see this manifold movement in our physical and imaginative worlds. Our collective consciousness is preoccupied with imminent demise. This is not unique to our generation, although the ability to immediately share in the experience of destruction everywhere in the world at once without a parallel sense of participating in the reconstruction (a slower, less exciting process?) is definitely, uniquely ours. Twitter tells us it is happening. The CNN app provides video and pictures in as close to real time as we can get. The late evening news is irrelevant and outdated as it goes to air.
Consequently, what seems unique to us is a series of unfortunate events: the ultimate intervention of nature upon civil society —by earthquake, tsunami, sinkhole, hurricane, tornado, volcanic ash. Only man challenges Nature’s careless capacity for destruction: ruptured pipelines, broken levees, arson, suicide bomb, gunshots in the distance and across the street. This is compounded by a rise in the popularity of the darkest creations of humanity’s imagination—zombies and vampires are everywhere—we are dreaming an apocalyptic end to civil society.
Art inspects, interprets, reimagines, redraws, holds and erases the lines between all our modes of destruction and creation. For our third issue of Union Station, we are looking for poems, fiction, photography and non-fiction that function at that line. Great civilizations rise and fall, but what of them remains? The individual is crushed under a collapse of either our own invention or external force and begins him/her self again. Send us your best words and images that explore these themes.
FOR SUBMISSION GUIDELINES CLICK HERE.
DEADLINE FOR SUBMISSIONS IS OCTOBER 7, 2010.
Thursday, September 30, 2010
Review: Jon Pineda, 'Sleep in Me'
From the Atlanta Journal Constitution:
By Gina Webb
For the AJC
Sleep in Me by Jon Pineda, University of Nebraska Press, 168 pages, $21.95.
When Jon Pineda was 11 years old, his 16-year-old sister, Rica, was in a car crash en route to Nags Head, N.C. After months in a coma, she woke, half her body paralyzed. She would spend the rest of her short life in a wheelchair, never able to walk or talk again.
Sleep in Me is Pineda’s graceful, elegiac account of that period. Part coming-of-age story, part remembrance, it chronicles his attempt to discover what pieces were left of his older sister -- her humor, her dreams, her dignity -- when she could communicate only through rudimentary sign language.
“She used it to tell us she was still here,” her brother writes. But whether Pineda was still “here,” and who he became after Rica’s accident, are at the heart of this inquiry into the nature of consciousness, silence and language.
Read more.
By Gina Webb
For the AJC
Sleep in Me by Jon Pineda, University of Nebraska Press, 168 pages, $21.95.
When Jon Pineda was 11 years old, his 16-year-old sister, Rica, was in a car crash en route to Nags Head, N.C. After months in a coma, she woke, half her body paralyzed. She would spend the rest of her short life in a wheelchair, never able to walk or talk again.
Sleep in Me is Pineda’s graceful, elegiac account of that period. Part coming-of-age story, part remembrance, it chronicles his attempt to discover what pieces were left of his older sister -- her humor, her dreams, her dignity -- when she could communicate only through rudimentary sign language.
“She used it to tell us she was still here,” her brother writes. But whether Pineda was still “here,” and who he became after Rica’s accident, are at the heart of this inquiry into the nature of consciousness, silence and language.
Read more.
Article: 'Angelica's Daughters' in The Manila Bulletin
NOVEL TRAIN
By RONALD S. LIM
September 24, 2010, 11:22am
There’s an old saying that goes, “Too many cooks spoil the broth.”
But that is not the case with “Angelica’s Daughters: A Dugtungan novel.”
Collaboratively written by five woman authors, the novel is a historical romance tracing the romantic adventures and misadventures of a family of strong-willed women through centuries.
The novel is brainchild of five equally talented writers – Cecilia Manguerra-Brainard, Erma Cuizon, Susan Evangelista, Veronica Montes, and Nadine Sarreal. But what is even more amazing is that a huge part of it was constructed without the authors even meeting each other face to face!
Gathered by Brainard in 2002 through the Philippine American Literary House, the women had initially started out as online workshop participants working on a writing prompt every week. The idea of doing a collaborative work was still far from their minds.
“Every week we would have a theme or a sentence to start. It was just casual, nothing structured,” recalls Nadine Sarreal.
“I heard about this workshop and I wrote to Cecilia and asked if I could join. I thought that it would be fun and that it was an interesting group of people,” adds Susan Evangelista.
It wouldn’t be long before the group would find itself looking for a bigger challenge in the form of the dugtungan, a form of collaborative writing popular during the 1920s and 1930s. Their first attempt would be a short story.
“We just wrote an unrequited love story with a comic twist. We sent it off for publication and it got accepted, but it took three years before it came out. We were joking that they accepted it but they’re not going to publish it,” recalls Sarreal with a laugh.
Read more.
Wednesday, September 29, 2010
CALL FOR SUBMISSIONS: Project Q seeks Queer API Artists for Showcase
Please forward widely.
CALL FOR SUBMISSIONS: PROJECT Q
presented by API Equality
Calling all Queer, Trans, and Gender Non-Conforming Asian Americans, Southeast Asians, South Asians, and Pacific Islander ARTISTS!
Project Q is a new community arts project that seeks to foster the creative and political development of Asian Pacific Islander Queer leaders and to share the queer API experience through creative story-telling and performance.
We are looking for submissions for a November 19 community showcase. We are looking for all forms of art that addresses these questions:
Can our art share our personal stories? Can our art ADVOCATE? Can our art INCITE? Can our art MAKE MOVEMENT? Can our art be a CATALYST for CHANGE? Can we IMPACT and CHANGE our lives and the lives of others through the stories we share?
We are accepting forms of art including but not limited to: written and spoken word poetry, visual art, digital art, body movement, and theatre to include in our community showcase.
Selected visual art will be included in a gallery exhibit, and literary and performance art will be part of the live showcase.
Deadline for submissions: October 8, 2010 5pm PST
Performance and Showcase date: November 19, 2010
Review: Leny Strobel's Notes on Eileen Tabios's 'The Thorn Rosary' at Moria Poetry
From Moria Poetry:
Notes on THE THORN ROSARY: Selected Prose Poems and New 1998-2010 by Eileen R. Tabios (Marsh Hawk Press, New York, 2010)
http://marshhawkpress.org/tabios4.htm
My Relationship to The Rosary:
I am not Catholic and do not pray The Rosary and so do not remember how I came to memorize Our Father, Hail Mary, and Glory Be. Perhaps from the catechism class in elementary school or from hearing the rosary recited at funerals, masses, and other Catholic rituals that seeped their way into my consciousness.
I’ve always felt envious of my Roman Catholic friends. Growing up non-Catholic, I was forbidden to set foot inside the cathedrals and so the glimpses that I got of the ornate altars, saint statues, stained glass windows, frescoes, and places of rituals made me wish that my own church wasn’t so austere and bereft of such symbols. To this day The Rosary, as a symbol that carries History, fascinates me.
The Rosary has five sets of beads called decades; each decade is composed of one large (Our Father) and ten smaller beads (Hail Mary). A small bead in between the decades is for Glory Be.
The Rosary is a contemplation on the sorrowful, joyful, glorious, and luminous mysteries of the life of Christ and his Mother Mary.
If, according to indigenous Filipino theologian Melba Maggay, the Filipino encounter with Catholic Christianity was a mere exchange of symbols, of trading brown anitos for images of Mary and Jesus, then is the Rosary really an anting-anting, a Christianized amulet, by which the believer invokes a power greater than one’s self? Or a means of accessing the spirits and the spirit world?
Read more.
Notes on THE THORN ROSARY: Selected Prose Poems and New 1998-2010 by Eileen R. Tabios (Marsh Hawk Press, New York, 2010)
http://marshhawkpress.org/tabios4.htm
My Relationship to The Rosary:
I am not Catholic and do not pray The Rosary and so do not remember how I came to memorize Our Father, Hail Mary, and Glory Be. Perhaps from the catechism class in elementary school or from hearing the rosary recited at funerals, masses, and other Catholic rituals that seeped their way into my consciousness.
I’ve always felt envious of my Roman Catholic friends. Growing up non-Catholic, I was forbidden to set foot inside the cathedrals and so the glimpses that I got of the ornate altars, saint statues, stained glass windows, frescoes, and places of rituals made me wish that my own church wasn’t so austere and bereft of such symbols. To this day The Rosary, as a symbol that carries History, fascinates me.
The Rosary has five sets of beads called decades; each decade is composed of one large (Our Father) and ten smaller beads (Hail Mary). A small bead in between the decades is for Glory Be.
The Rosary is a contemplation on the sorrowful, joyful, glorious, and luminous mysteries of the life of Christ and his Mother Mary.
If, according to indigenous Filipino theologian Melba Maggay, the Filipino encounter with Catholic Christianity was a mere exchange of symbols, of trading brown anitos for images of Mary and Jesus, then is the Rosary really an anting-anting, a Christianized amulet, by which the believer invokes a power greater than one’s self? Or a means of accessing the spirits and the spirit world?
Read more.
Tuesday, September 28, 2010
10/01/2010: FLORANTE AGUILAR CD LAUNCH CONCERT MANILA GALLEON GUITAR MUSIC Music from the Philippines and Latin America
Florante Aguilar: Manila Galleon Guitar Music CD Launch Concert
In conjunction with the UNESCO-led worldwide celebration of Dia del Galeon, Filipino American Heritage Month and the University of San Francisco's Gala Celebration of Sampung Taon! Ten Years of the Maria Elena Yuchengco Philippine Studies Program
With Special Guests Chus Alonso (flute), Sage Baggott (percussion), Greg Kehret (acoustic bass) and Danny Harana (vocals)
Friday October 1st, 2010
6:30PM
at University of San Francisco's Presentation Theater
2350 Turk Blvd. San Francisco, CA 94117
Ticket Information
Students & Seniors $15 Pre-sale or $20 at the door
General Admission $20 Pre-sale or $25 at the door
VIP tickets* $45 Pre-sale or $50 at the door
*Includes premiere seating, complimentary signed copy of Florante's new CD and entrance to the post concert VIP meet-and-greet reception sponsored by Swell Restaurant, Intramuros, A Sweet Side Bakery and Vuqo Vodka
TAKE ADVANTAGE OF THE PRE-SALE TICKET PRICE!
Contact Marissa Litman at malitman@usfca.edu or call at 415-422-2940
Proceeds benefit Philippines Today: Summer Abroad scholarships and the completion of the Harana documentary film
10/16/2010: BEYOND MANNY AND MARCOS @ SFPL
Celebrating Filipino American History Month, San Francisco Public Library presents "Beyond Manny and Marcos," a showcase of far-out Filipino American short films and theater curated by Anthem Salgado, in conjunction with the Smithsonian Institution’s traveling exhibit “Singgalot (The Ties That Bind), Filipinos in America, from Colonial Subjects to Citizens.”
From the Pacific islands to San Francisco’s SoMa district, fairytales to psychotic fantasies, this collection highlights unique tales by Filipino American artists from the fringe. Beyond pop-culture and political icons (sometimes being one in the same) like boxing super-hero Manny Pacquiao or martial law super-villain Ferdinand Marcos, this collection of films and performances delivers a versatile range of content and craft in the exploration of the future of the Filipino American narrative.
October 16, 2010 | 3pm-5:30pm | FREE ADMISSION
San Francisco Public Library’s Koret Auditorium
100 Larkin Street, San Francisco, CA 94102
Info: http://anthemsalgado.com/events.htm
Facebook: http://www.facebook.com/event.php?eid=146535782051719&ref=mf
ABOUT THE SMITHSONIAN’S SINGGALOT EXHIBITION
The San Francisco Public Library is proud to announce the opening of the exhibition, Singgalot (The Ties That Bind), on August 14, in the Main Library, Jewett Gallery. The exhibition, which will be on view through October 24, celebrates 100 years of the Filipino American experience with photographs, images and historical documents drawn from the National Archive, the Library of Congress and personal collections. The exhibition also honors Filipino American History Month in October, which was designated by the California State Assembly last year and commemorates the period of the year in which the first Filipinos arrived in the U.S. Singgalot (The Ties That Bind) was developed by the Smithsonian Asian Pacific American Program and organized for travel by the Smithsonian Institution Traveling Exhibition Service.
From the Pacific islands to San Francisco’s SoMa district, fairytales to psychotic fantasies, this collection highlights unique tales by Filipino American artists from the fringe. Beyond pop-culture and political icons (sometimes being one in the same) like boxing super-hero Manny Pacquiao or martial law super-villain Ferdinand Marcos, this collection of films and performances delivers a versatile range of content and craft in the exploration of the future of the Filipino American narrative.
October 16, 2010 | 3pm-5:30pm | FREE ADMISSION
San Francisco Public Library’s Koret Auditorium
100 Larkin Street, San Francisco, CA 94102
Info: http://anthemsalgado.com/events.htm
Facebook: http://www.facebook.com/event.php?eid=146535782051719&ref=mf
ABOUT THE SMITHSONIAN’S SINGGALOT EXHIBITION
The San Francisco Public Library is proud to announce the opening of the exhibition, Singgalot (The Ties That Bind), on August 14, in the Main Library, Jewett Gallery. The exhibition, which will be on view through October 24, celebrates 100 years of the Filipino American experience with photographs, images and historical documents drawn from the National Archive, the Library of Congress and personal collections. The exhibition also honors Filipino American History Month in October, which was designated by the California State Assembly last year and commemorates the period of the year in which the first Filipinos arrived in the U.S. Singgalot (The Ties That Bind) was developed by the Smithsonian Asian Pacific American Program and organized for travel by the Smithsonian Institution Traveling Exhibition Service.
10/01/2010: Cave Canem & AAWW Reading (NY)
Friday, October 1, 2010 @ 7PM
Cave Canem and AAWW: Tyehimba Jess, Patricia Smith, Ken Chen, and Eric Gamalinda
Join hosts and curators Tina Chang and Tracy K. Smith for the fifth annual collaboration between Cave Canem and the Asian American Writers' Workshop. Featuring readings by Ken Chen, Eric Gamalinda, Tyehimba Jess and Patricia Smith.
@The Asian American Writers' Workshop
110-112 West 27th Street, 6th Floor
Between 6th and 7th Avenues
Buzzer 600
$5 suggested donation
open to the public
Cave Canem and AAWW: Tyehimba Jess, Patricia Smith, Ken Chen, and Eric Gamalinda
Join hosts and curators Tina Chang and Tracy K. Smith for the fifth annual collaboration between Cave Canem and the Asian American Writers' Workshop. Featuring readings by Ken Chen, Eric Gamalinda, Tyehimba Jess and Patricia Smith.
@The Asian American Writers' Workshop
110-112 West 27th Street, 6th Floor
Between 6th and 7th Avenues
Buzzer 600
$5 suggested donation
open to the public
10/11/2010: Luis Francia's 'History of the Philippines' at NYU A/P/A Institute
History Of The Philippines: From Indios Bravos To Filipinos
Book Talk And Reading With Author Luis H. Francia Moderated By Juan Flores
Date: Monday, Oct 11th
Time: 6:00 PM - 8:00 PM
Location:
NYU Kimmel Center
60 Washington Square South
Room 914
New York, NY 10012
Free and open to the public.
To RSVP: email apa.rsvp@nyu.edu, or Call 212-992-9653
Free and open to the public. Please RSVP to A/P/A Institute by Thursday, October 7, 2010.
A/P/A Institute is proud to present a special reading with poet and author Luis H. Francia for the launch of his latest publication History of the Philippines: From Indios Bravos to Filipinos. Francia will be in conversation about his book with Juan Flores, Professor at the Department of Social and Cultural Analysis at NYU.
History of the Philippines is intended for those who are curious about this Southeast Asian archipelago but know very little of its history. The narrative moves from a pre-Hispanic Philippines in the 16th century through the Spanish Occupation, the Philippine American War, the nation’s tumultuous relationship with the United States, and General MacArthur’s controlling presence during WWII, up to its independence in 1946 and subsequent years of DICTATORSHIP AND MAOIST AND and Islamic insurgencies. Luis H. Francia creates an illuminating portrait that provides the reader valuable insights into the heart and soul of the modern Filipino, laying bare the multicultural, multiracial society of modern times.
Luis H. Francia was born in the Philippines and emigrated to New York in the 1960s. He is the author of Eye of the Fish: A Personal Archipelago and co-editor, with Angel Velasco Shaw, of Vestiges of War: The Philippine-American War and the Aftermath of an Imperial Dream, 1899- 1999. He is a Professor of Creative Writing at City University of Hong Kong and Asian/Pacific/American Studies at New York University.
Monday, September 27, 2010
10/16/2010: Barbara Jane Reyes, Maiana Minahal and Veronica Montes @ Eastwind Books of Berkeley
EASTWIND BOOKS in Berkeley presents
Author Reading Event:
Barbara Jane Reyes, Maiana Minahal and Veronica Montes
presenting Diwata, Legend Sondayo and Angelica's Daughters.
October 16, 2010 @ 3:00 pm
Eastwind Books, 2066 University Ave., Berkeley, CA.
Barbara Jane Reyes will be reading Diwata. In her book, Reyes frames her poems between the Book of Genesis creation story, and the Tagalog creation myth of the muse, placing her work somewhere culturally in between both traditions. Also setting the tone for her poems is the death and large shadow cast by her grandfather, a World War II veteran and Bataan Death March survivor, who has passed onto her the responsibility of remembering. Reyes’ voice is grounded in her community’s traditions and histories, despite war and geographical dislocation.
Reyes was born in Manila, Philippines, and received her B.A. in Ethnic Studies at UC Berkeley and her M.F.A. at San Francisco State University. She has taught Creative Writing at Mills College, and Philippine Studies at University of San Francisco. She lives in Oakland where she is co-editor of Doveglion Press.
Maiana Minahal will be reading Legend Sondayo, a story that remixes an ancient Filipino myth with queer sensibilities, lyrical precision, and a sense of yearning that is at once specific and universal.
Maiana Minahal, a queer Filipina American poet and teacher, born in Manila, raised in Los Angeles, and currently living in San Francisco. She studied with June Jordan's Poetry for the People program, is a recipient of an Artist Award Grant from the Serpent Source Foundation, and is one of the founding members of the Queer Pin@y Kreatibo collective.
Veronica Montes will be reading from ANGELICA'S DAUGHTERS, A Dugtungan Novel by Cecilia Brainard, Erma Cuizon, Susan Evangelista, Veronica Montes, Nadine Sarreal. Anvil Publishing, 2010
The novel is suitable for high school and college students, as well as the general public.
Veronica Montes lives in the San Francisco Bay Area. Her work has appeared in literary journals including Bamboo Ridge, Prism International, and Achiote Seeds, as well as in several anthologies including Contemporary Fiction by Filipinos in America, Growing Up Filipino, and Going Home to a Landscape: Writings by Filipinas. Her essays have appeared in Filipinas Magazine and online at McSweeney’s Internet Tendency. She maintains a blog, Nesting Ground, at vmontes.blogspot.com.
Eastwind Books of Berkeley
2066 University Avenue; Berkeley, CA 94704
phone: 510 548-2350 fax: 510 548-3697
www.asiabookcenter.com
http://www.facebook.com/eastwind.books
Author Reading Event:
Barbara Jane Reyes, Maiana Minahal and Veronica Montes
presenting Diwata, Legend Sondayo and Angelica's Daughters.
October 16, 2010 @ 3:00 pm
Eastwind Books, 2066 University Ave., Berkeley, CA.
Barbara Jane Reyes will be reading Diwata. In her book, Reyes frames her poems between the Book of Genesis creation story, and the Tagalog creation myth of the muse, placing her work somewhere culturally in between both traditions. Also setting the tone for her poems is the death and large shadow cast by her grandfather, a World War II veteran and Bataan Death March survivor, who has passed onto her the responsibility of remembering. Reyes’ voice is grounded in her community’s traditions and histories, despite war and geographical dislocation.
Reyes was born in Manila, Philippines, and received her B.A. in Ethnic Studies at UC Berkeley and her M.F.A. at San Francisco State University. She has taught Creative Writing at Mills College, and Philippine Studies at University of San Francisco. She lives in Oakland where she is co-editor of Doveglion Press.
Maiana Minahal will be reading Legend Sondayo, a story that remixes an ancient Filipino myth with queer sensibilities, lyrical precision, and a sense of yearning that is at once specific and universal.
Maiana Minahal, a queer Filipina American poet and teacher, born in Manila, raised in Los Angeles, and currently living in San Francisco. She studied with June Jordan's Poetry for the People program, is a recipient of an Artist Award Grant from the Serpent Source Foundation, and is one of the founding members of the Queer Pin@y Kreatibo collective.
Veronica Montes will be reading from ANGELICA'S DAUGHTERS, A Dugtungan Novel by Cecilia Brainard, Erma Cuizon, Susan Evangelista, Veronica Montes, Nadine Sarreal. Anvil Publishing, 2010
The novel is suitable for high school and college students, as well as the general public.
Veronica Montes lives in the San Francisco Bay Area. Her work has appeared in literary journals including Bamboo Ridge, Prism International, and Achiote Seeds, as well as in several anthologies including Contemporary Fiction by Filipinos in America, Growing Up Filipino, and Going Home to a Landscape: Writings by Filipinas. Her essays have appeared in Filipinas Magazine and online at McSweeney’s Internet Tendency. She maintains a blog, Nesting Ground, at vmontes.blogspot.com.
Eastwind Books of Berkeley
2066 University Avenue; Berkeley, CA 94704
phone: 510 548-2350 fax: 510 548-3697
www.asiabookcenter.com
http://www.facebook.com/eastwind.books
Ruby Prize for Women Playwrights of Color
From the Asia Writes blog:
Deadline: 1 November 2010
Opportunity Info
Southern Rep is thrilled to introduce The Ruby Prize, a new play contest which will award $10,000 to a woman of color playwright.
DETAILS
The Ruby Prize is named in honor of civil rights advocate Ruby Bridges, representing perseverance in the face of formidable obstacles. As a first-grader at the William Frantz Elementary School in the fall of 1960, Ms Bridges became one of the first African Americans to attend an integrated public school in New Orleans. This November marks the 50th anniversary of her legendary walk up the school steps, memorialized in photos that depict a little girl surrounded by protesters, state officials, cameras and a sea of frightened faces. We were touched by the notion that there continue to be people, of all ages, braving a walk that is still harder than it should be.
In addition to an award of $10,000, the winner will receive: A week long development workshop with collaboration of full artistic team at the Southern Rep New Play Bacchanal, held in New Orleans, January 18 - 23, 2011 A sponsored trip to New York to continue development of the play and introduce the new work to a larger audience (All travel includes roundtrip air and accommodations.)
Two finalists will be selected to have their new works read at the Southern Rep New Play Bacchanal in January 2010. (Includes roundtrip air and accommodations. There is no cash award associated with the selection of finalists.)
Deadline: 1 November 2010
Opportunity Info
Southern Rep is thrilled to introduce The Ruby Prize, a new play contest which will award $10,000 to a woman of color playwright.
DETAILS
The Ruby Prize is named in honor of civil rights advocate Ruby Bridges, representing perseverance in the face of formidable obstacles. As a first-grader at the William Frantz Elementary School in the fall of 1960, Ms Bridges became one of the first African Americans to attend an integrated public school in New Orleans. This November marks the 50th anniversary of her legendary walk up the school steps, memorialized in photos that depict a little girl surrounded by protesters, state officials, cameras and a sea of frightened faces. We were touched by the notion that there continue to be people, of all ages, braving a walk that is still harder than it should be.
In addition to an award of $10,000, the winner will receive: A week long development workshop with collaboration of full artistic team at the Southern Rep New Play Bacchanal, held in New Orleans, January 18 - 23, 2011 A sponsored trip to New York to continue development of the play and introduce the new work to a larger audience (All travel includes roundtrip air and accommodations.)
Two finalists will be selected to have their new works read at the Southern Rep New Play Bacchanal in January 2010. (Includes roundtrip air and accommodations. There is no cash award associated with the selection of finalists.)
Saturday, September 25, 2010
10/13/2010: Marites Vitug @ SFPL
From Filipinas Magazine:
Marites Vitug, award-winning Filipina investigative journalist and author of Shadow of Doubt: Probing the Supreme Court, will give her valuable insights on President Noynoy Aquino’s tumultuous first 100 days and how the Supreme Court is proving to be a big challenge to his administration.
Oct 13, 2010
6-7:30 pm
San Francisco Main Library, 100 Larkin St. (Civic Center BART)
Sponsored by the San Francisco Public Library’s Filipino American Center and the Literacy Initiatives International Foundation (LIIF)
Marites will also sign books.
Event is FREE. Light refreshments will be served.
RSVP to filbookfest@yahoo.com to reserve a seat.
Marites Vitug, award-winning Filipina investigative journalist and author of Shadow of Doubt: Probing the Supreme Court, will give her valuable insights on President Noynoy Aquino’s tumultuous first 100 days and how the Supreme Court is proving to be a big challenge to his administration.
Oct 13, 2010
6-7:30 pm
San Francisco Main Library, 100 Larkin St. (Civic Center BART)
Sponsored by the San Francisco Public Library’s Filipino American Center and the Literacy Initiatives International Foundation (LIIF)
Marites will also sign books.
Event is FREE. Light refreshments will be served.
RSVP to filbookfest@yahoo.com to reserve a seat.
Thursday, September 23, 2010
09/30/2010: The Kaleidoscope Reading Series with Naomi Quiñonez and Barbara Jane Reyes
Come out for September's star-studded Kaleidoscope Reading!
Featuring Barbara Jane Reyes and Naomi Quiñonez, with Raphael Cohen, Maya Chinchilla and Alex Fernandez. It is not a night to be missed.
Thursday, September 30th at The Kaleidoscope Free Speech Zone, 3109 24th Street at Folsom. Doors at 7:30, show at 8. Admission free.
Naomi Helena Quiñonez is the author of Hummingbird Dream/Sueño de Colibri, The Smoking Mirror and The Exiled Moon and co-edited Invocation L.A: Urban Multicultural Poetry an anthology which won the American Book Award
Barbara Jane Reyes is the author of Diwata, Gravities of Center and Poeta en San Francisco and is co-editor of Doveglion Press.
Raphael Cohen, author of Scrutinizing Lines, is the founder of Play In The Margins Press, an independent publishing and event production initiative.
Maya Chinchilla is a founding member of Las Manas Tres, director of MADE IN BRAZIL: Dreams at Work and Reading Between the Rhymes and is currently working on a book of poetic non-fiction.
Alex Fernandez is sassy. Alex writes to put feelings back into calloused hands and hearts. Alex is VONA alumnus. Alex is second generation Pinoy/American from San Leandro (it hugs Oakland!) by way of Guam.
Featuring Barbara Jane Reyes and Naomi Quiñonez, with Raphael Cohen, Maya Chinchilla and Alex Fernandez. It is not a night to be missed.
Thursday, September 30th at The Kaleidoscope Free Speech Zone, 3109 24th Street at Folsom. Doors at 7:30, show at 8. Admission free.
Naomi Helena Quiñonez is the author of Hummingbird Dream/Sueño de Colibri, The Smoking Mirror and The Exiled Moon and co-edited Invocation L.A: Urban Multicultural Poetry an anthology which won the American Book Award
Barbara Jane Reyes is the author of Diwata, Gravities of Center and Poeta en San Francisco and is co-editor of Doveglion Press.
Raphael Cohen, author of Scrutinizing Lines, is the founder of Play In The Margins Press, an independent publishing and event production initiative.
Maya Chinchilla is a founding member of Las Manas Tres, director of MADE IN BRAZIL: Dreams at Work and Reading Between the Rhymes and is currently working on a book of poetic non-fiction.
Alex Fernandez is sassy. Alex writes to put feelings back into calloused hands and hearts. Alex is VONA alumnus. Alex is second generation Pinoy/American from San Leandro (it hugs Oakland!) by way of Guam.
Call for Submissions: Calyx Journal
From Calyx Publishing:
For 34 years CALYX A Journal of Art and Literature by Women has been a creative forum for women’s diverse voices showcasing work from new and emerging writers and artists. CALYX, will open for submissions of poetry, short fiction, and creative non-fiction on October 1, 2010 through December 31, 2010.
Read more.
For 34 years CALYX A Journal of Art and Literature by Women has been a creative forum for women’s diverse voices showcasing work from new and emerging writers and artists. CALYX, will open for submissions of poetry, short fiction, and creative non-fiction on October 1, 2010 through December 31, 2010.
Read more.
Wednesday, September 22, 2010
MUSIC OF THE WORD w/ PAWA and CHOKWADI, Sunday September 26th
THE MUSIC OF THE WORD
(LA PALABRA MUSICAL)
THE MUSIC OF THE WORD
(LA PALABRA MUSICAL)
(LA PALABRA MUSICAL)
still in English, Spanish, Spanglish y Lo Que Sea
3:30 to 5:30 PM
hosted by Avotcja
No Cover
& don't t forget to bring your Congas,
Guiros, Maracas, Panderetas etc.
Always the word festival to remember!
@
THE OTHER CHANGE OF HOBBIT
(a Science Fiction & Fantasy bookstore)
http://www.otherchangeofhobbit.com/
3264 Adeline Street
wheel chair accessible
(½ block North of Alcatraz & 2 short blocks South of Ashby BART)
Berkeley, CA 94703 (510) 848-0413
or (510) OKHOBBIT
Sunday September 26th,
3:30 to 5:30 PM
featuring
FILIPINO AMERICAN ARTISTS & WRITERS
(Edwin Lozada, Tony Robles, Karen Llagas,
AnnaBelle Udo & Oscar Penaranda)
&
Chokwadi (Poet/Dancer/Actress)
& you on the Open Mic
¡Vengan todos & tell everyone to tell everyone!
10/06/2010: Taste Better Wit at the GARAGE
From Bindlestiff Studio:
TASTE BETTER WIT
Originating from the bowels of Bindlestiff Studio, TASTE BETTER WIT is a collective of former Filipino American law enforcement officers who met each other by chance in a dingy alley of Sixth Street while breaking up the workings of a secret meth lab. After several rounds of celebratory beers and tearful confessions, a performance group was born out of the necessity of pointing out injustices in a corrupt system of the sketch comedy hierarchy.
Bindlestiff Studio's sketch comedy group TASTE BETTER WIT (the artists formerly know as PORK IN THE ROAD) will be performing beyond the red door....at the Garage!
More info to come....
The Garage
975 Howard St. at Sixth Street in SoMa SF
look for the red door....
(415) 518-1515
http://www.975howard.com/index.html
TASTE BETTER WIT
Originating from the bowels of Bindlestiff Studio, TASTE BETTER WIT is a collective of former Filipino American law enforcement officers who met each other by chance in a dingy alley of Sixth Street while breaking up the workings of a secret meth lab. After several rounds of celebratory beers and tearful confessions, a performance group was born out of the necessity of pointing out injustices in a corrupt system of the sketch comedy hierarchy.
Bindlestiff Studio's sketch comedy group TASTE BETTER WIT (the artists formerly know as PORK IN THE ROAD) will be performing beyond the red door....at the Garage!
More info to come....
The Garage
975 Howard St. at Sixth Street in SoMa SF
look for the red door....
(415) 518-1515
http://www.975howard.com/index.html
Tuesday, September 21, 2010
09/24/2010: FRIDAY: Bayanihan Philippine Dance Company @ Zellerbach Hall (UC Berkeley)
Cal Performances presents
Bayanihan Philippine National Dance Company
Fri, Sept 24, 8 pm
Zellerbach Hall
Celebrating the ancient Filipino tradition of "Bayanihan" working together for the common good the 50-year old award-winning Bayanihan Philippine National Dance Company brilliantly transforms ancient ethnic dances into a vibrant theatrical experience. Combing originality, beauty, and heart-stopping excitement, the company's international acclaim adds a special dimension to the country's rich dance tradition. The group's wide-ranging program showcases both traditional and contemporary choreography, including religious dances, tales of ancient struggle and creation, celebrations of the waters that surround and replenish the land, reenactments of grand Filipino traditions, and depictions of the struggle and splendor of royal romance.
See http://www.calperfs.berkeley.edu/performances/2010-11/world_stage/bpndc.php for ticket information.
Bayanihan Philippine National Dance Company
Fri, Sept 24, 8 pm
Zellerbach Hall
Celebrating the ancient Filipino tradition of "Bayanihan" working together for the common good the 50-year old award-winning Bayanihan Philippine National Dance Company brilliantly transforms ancient ethnic dances into a vibrant theatrical experience. Combing originality, beauty, and heart-stopping excitement, the company's international acclaim adds a special dimension to the country's rich dance tradition. The group's wide-ranging program showcases both traditional and contemporary choreography, including religious dances, tales of ancient struggle and creation, celebrations of the waters that surround and replenish the land, reenactments of grand Filipino traditions, and depictions of the struggle and splendor of royal romance.
See http://www.calperfs.berkeley.edu/performances/2010-11/world_stage/bpndc.php for ticket information.
10/03/2010: Filipino American History Month Celebration @ the Asian Art Museum (SF)
Filipino American History Month Celebration at the Asian Art Museum
October 3, 2010
Celebrating 423 Years
Filipino American History Month
Target Sunday*, October 3
11:00 am–4:00 pm
Museum-wide
FREE admission courtesy of Target*
This year's celebration explores Filipino journeys through American history and art. There will be a focus on early sea trade connections between the Philippines and California, how they formed our Filipino American communities, and how they shaped artistic production in Asia and the Americas. Highlights include musical theatre excerpts, artist displays and demonstrations, films, talks by visiting scholars, and fun activities for all ages!
See photos of past celebrations. Please check back often for schedule updates.
*Target First Free Sundays—free general admission on the first Sunday of every month and the family programs offered on that day—is made possible by Target. Free admission is granted on a first-come, first-served basis. Due to capacity restrictions, admission is not guaranteed.
Sponsored by the Bank of American Foundation
Read more.
October 3, 2010
Celebrating 423 Years
Filipino American History Month
Target Sunday*, October 3
11:00 am–4:00 pm
Museum-wide
FREE admission courtesy of Target*
This year's celebration explores Filipino journeys through American history and art. There will be a focus on early sea trade connections between the Philippines and California, how they formed our Filipino American communities, and how they shaped artistic production in Asia and the Americas. Highlights include musical theatre excerpts, artist displays and demonstrations, films, talks by visiting scholars, and fun activities for all ages!
See photos of past celebrations. Please check back often for schedule updates.
*Target First Free Sundays—free general admission on the first Sunday of every month and the family programs offered on that day—is made possible by Target. Free admission is granted on a first-come, first-served basis. Due to capacity restrictions, admission is not guaranteed.
Sponsored by the Bank of American Foundation
Read more.
Monday, September 20, 2010
Call for Submissions: Hip Hop and the Literary - a Special Issue of African American Review
From Writers Afrika:
Deadline: 31 December 2010
Hip Hop and the Literary: A special issue of African American Review
Candice M. Jenkins, guest editor
African American Review solicits articles applying the tools of literary theory and criticism to hip hop artistry. Much early and important hip hop scholarship has taken a sociohistorical and documentary approach to the genre, with more recent work beginning to attend, broadly, to aesthetics. Apart from a few notable exceptions, however, such scholarship has seen limited intervention at the level of language, lyric, story, or myth. Yet if we acknowledge hip hop as always already a verbally constructed space, both a spoken performance and an (un)written representation of the lyricist’s vision, then the application of literary analysis to hip hop and its fictions seems both appropriate and necessary. Indeed, approaching the music from a literary perspective may lead to a more nuanced understanding of both form and content, allowing us better to consider hip hop’s imaginative properties, the ways that rap invites artist and listener alike to explore interpretive possibilities that exist beyond the limited borders of “reality.”
We invite a variety of literary methods and approaches. Scholars such as Imani Perry and Adam Bradley have published recently on hip hop poetics; articles for this special issue might, then, deepen and extend this nascent body of work with new considerations of rap as lyric form. How do hip hop artists manipulate rhyme, meter, and other poetic conventions, and how may we read rap’s verses alongside or against other spoken or written poetry, past and present? Should hip hop be understood as another iteration of contemporary (black) poetry? What are the risks or benefits of such an approach, particularly given that poetry, for a host of reasons, often unfairly receives less critical attention than prose?
Articles may also examine hip hop as narrative, a medium of storytelling—and even as discourse, a constituent of language as well as a creative cultural practice. What sorts of stories does rap music tell, and to what ends? How does hip hop employ structures of language, and how does it function as a kind of discursive edifice? Who are hip hop’s audiences, and how do they respond to, participate in, and shape hip hop’s storytelling—including those tales that rap tells about the nature of hip hop itself (i.e., hip hop metanarratives)? Conversely, how does “hip hop” function as a trope in literary texts and contexts? How is it deployed in the telling of stories in other media (e.g., the novel, television, and film)? Individual or comparative analyses of particular performances and recordings are welcome, as are broader theoretical considerations of hip hop as literary, cultural, and linguistic artifact.
Inquiries and queries encouraged. E-mail completed essays (not to exceed 8,500 words) to cjenki@hunter.cuny.edu by 31 December 2010.
African American Review will, from time to time, feature “Forgotten Manuscripts,” modeled on the new “Little-Known Documents” section of PMLA. Because so much of African American literary, print, and cultural production remains unknown or ignored, and so much scholarly attention is yet devoted to the most canonical texts and topics of the heritage, the journal will publish short occasional essays (1,000-2,000 words) that introduce and contextualize short excerpts (3,000-5,000 words) from manuscripts neglected but noteworthy to African Americanists in diverse academic disciplines as well as to folks generally interested in African American matters. Please see our guidelines for submission protocol.
More information here.
Deadline: 31 December 2010
Hip Hop and the Literary: A special issue of African American Review
Candice M. Jenkins, guest editor
African American Review solicits articles applying the tools of literary theory and criticism to hip hop artistry. Much early and important hip hop scholarship has taken a sociohistorical and documentary approach to the genre, with more recent work beginning to attend, broadly, to aesthetics. Apart from a few notable exceptions, however, such scholarship has seen limited intervention at the level of language, lyric, story, or myth. Yet if we acknowledge hip hop as always already a verbally constructed space, both a spoken performance and an (un)written representation of the lyricist’s vision, then the application of literary analysis to hip hop and its fictions seems both appropriate and necessary. Indeed, approaching the music from a literary perspective may lead to a more nuanced understanding of both form and content, allowing us better to consider hip hop’s imaginative properties, the ways that rap invites artist and listener alike to explore interpretive possibilities that exist beyond the limited borders of “reality.”
We invite a variety of literary methods and approaches. Scholars such as Imani Perry and Adam Bradley have published recently on hip hop poetics; articles for this special issue might, then, deepen and extend this nascent body of work with new considerations of rap as lyric form. How do hip hop artists manipulate rhyme, meter, and other poetic conventions, and how may we read rap’s verses alongside or against other spoken or written poetry, past and present? Should hip hop be understood as another iteration of contemporary (black) poetry? What are the risks or benefits of such an approach, particularly given that poetry, for a host of reasons, often unfairly receives less critical attention than prose?
Articles may also examine hip hop as narrative, a medium of storytelling—and even as discourse, a constituent of language as well as a creative cultural practice. What sorts of stories does rap music tell, and to what ends? How does hip hop employ structures of language, and how does it function as a kind of discursive edifice? Who are hip hop’s audiences, and how do they respond to, participate in, and shape hip hop’s storytelling—including those tales that rap tells about the nature of hip hop itself (i.e., hip hop metanarratives)? Conversely, how does “hip hop” function as a trope in literary texts and contexts? How is it deployed in the telling of stories in other media (e.g., the novel, television, and film)? Individual or comparative analyses of particular performances and recordings are welcome, as are broader theoretical considerations of hip hop as literary, cultural, and linguistic artifact.
Inquiries and queries encouraged. E-mail completed essays (not to exceed 8,500 words) to cjenki@hunter.cuny.edu by 31 December 2010.
African American Review will, from time to time, feature “Forgotten Manuscripts,” modeled on the new “Little-Known Documents” section of PMLA. Because so much of African American literary, print, and cultural production remains unknown or ignored, and so much scholarly attention is yet devoted to the most canonical texts and topics of the heritage, the journal will publish short occasional essays (1,000-2,000 words) that introduce and contextualize short excerpts (3,000-5,000 words) from manuscripts neglected but noteworthy to African Americanists in diverse academic disciplines as well as to folks generally interested in African American matters. Please see our guidelines for submission protocol.
More information here.
Call for Submissions: aaduna Journal for People of Color
From the Asia Writes blog:
Deadline: 14 November 2010 and 30 May 2011
aaduna seeks to uncover new and emerging creative visionaries, especially people of color, in the realm of fiction, poetry, non-fiction, and the visual arts
Submission Philosophy:
aaduna seeks to broaden the current online paradigms associated with publishing works by emerging writers and artists especially for people of color. From a multicultural viewpoint, aaduna comprehends the fact that while cultures and ethnicities tend to exist separate from each other, that development is a political, social, and contrived construct. Therefore, aaduna seeks to erase such artificial distinctions, and welcomes submissions from emerging writers and visual artists whose work goes beyond expectations based solely on physicality or cultural characteristics. While aaduna is primarily interested in providing a viable publishing platform for people of color, the world is huge, and there is a widening audience for other artists whose creativity reflects voices that are divergent; voices that are powerful, and voices committed to change.
The aaduna editorial policy is committed to presenting work in the manner and style that reflects how the creative person behind the work wants to see that work presented to the public, realizing that the most effective judge of any work's quality and import ultimately rests within the marketplace. It is within this reality that aaduna will be a conduit for providing the public with works that are stimulating, enjoyable, insightful, open for vigorous discussion, and in some measure, a catalyst to embolden the intellect, imagination, and human spirit.
aaduna does not provide honorarium. However, aaduna will work with each published artist to build an appropriate platform that may lead to a wide variety of market opportunities.
Deadline: 14 November 2010 and 30 May 2011
aaduna seeks to uncover new and emerging creative visionaries, especially people of color, in the realm of fiction, poetry, non-fiction, and the visual arts
Submission Philosophy:
aaduna seeks to broaden the current online paradigms associated with publishing works by emerging writers and artists especially for people of color. From a multicultural viewpoint, aaduna comprehends the fact that while cultures and ethnicities tend to exist separate from each other, that development is a political, social, and contrived construct. Therefore, aaduna seeks to erase such artificial distinctions, and welcomes submissions from emerging writers and visual artists whose work goes beyond expectations based solely on physicality or cultural characteristics. While aaduna is primarily interested in providing a viable publishing platform for people of color, the world is huge, and there is a widening audience for other artists whose creativity reflects voices that are divergent; voices that are powerful, and voices committed to change.
The aaduna editorial policy is committed to presenting work in the manner and style that reflects how the creative person behind the work wants to see that work presented to the public, realizing that the most effective judge of any work's quality and import ultimately rests within the marketplace. It is within this reality that aaduna will be a conduit for providing the public with works that are stimulating, enjoyable, insightful, open for vigorous discussion, and in some measure, a catalyst to embolden the intellect, imagination, and human spirit.
aaduna does not provide honorarium. However, aaduna will work with each published artist to build an appropriate platform that may lead to a wide variety of market opportunities.
Call for Submissions: Lantern Review Issue 2
From Lantern Review:
About Lantern Review:
Lantern Review aims to serve the literary community by providing a virtual space in which to promote and discuss the work of contemporary Asian American poets and artists. We seek to publish expertly crafted work in a variety of forms and aesthetics, including traditional and experimental pieces, hybrid forms, multimedia work, and new translations. We welcome pieces from anglophone writers of all ethnic backgrounds whose work has a vested interest in issues relevant to the Asian diaspora in North America, as well as work created collaboratively in a community context.
Our reading period for Issue 2 is currently open, and will close on November 29, 2010. Submissions are accepted electronically via our online system. Please read our guidelines thoroughly before proceeding.
About Lantern Review:
Lantern Review aims to serve the literary community by providing a virtual space in which to promote and discuss the work of contemporary Asian American poets and artists. We seek to publish expertly crafted work in a variety of forms and aesthetics, including traditional and experimental pieces, hybrid forms, multimedia work, and new translations. We welcome pieces from anglophone writers of all ethnic backgrounds whose work has a vested interest in issues relevant to the Asian diaspora in North America, as well as work created collaboratively in a community context.
Call for Poems: On the Issues Magazine
Call for Poems: For the first issue of On The Issues Magazine for which Split This Rock Director Sarah Browning is Poetry Co-Editor, the theme is: The Conning of the Feminists
This edition of On The Issues Magazine, the online feminist quarterly, looks at feminist imitators who talk the talk, but don't walk the walk; who claim to be feminists, but who do not support or advance feminist goals; and the people who stand counter to them – that is, the real thing.
So, send poems on female anti-feminist icons (you know, Sarah Palin, for example…), tough Barbies, Feminists for Life, Alveda King, the hijacking of our history, the celebration of our real history, or any take on the topic, broadly considered. See previous issues of On The Issues Magazine at: http://www.ontheissuesmagazine.com/2010summer/index.php
Guidelines: Please send up to 3 poems (no more than 2 pages each) in a Word attachment to an email. Previously published in print is OK, but not on the web. Include a cover note with a 2-3 line bio.
Send to: Poetry Co-Editor Sarah Browning at
ontheissuespoetry@yahoo.com by midnight on Thursday, September 28, 2010.
Please note: While On The Issues Magazine prefers to feature women writers, due to our continued underrepresentation in other venues, we will consider poems by all, especially if they're really rockin'.
This edition of On The Issues Magazine, the online feminist quarterly, looks at feminist imitators who talk the talk, but don't walk the walk; who claim to be feminists, but who do not support or advance feminist goals; and the people who stand counter to them – that is, the real thing.
So, send poems on female anti-feminist icons (you know, Sarah Palin, for example…), tough Barbies, Feminists for Life, Alveda King, the hijacking of our history, the celebration of our real history, or any take on the topic, broadly considered. See previous issues of On The Issues Magazine at: http://www.ontheissuesmagazine.com/2010summer/index.php
Guidelines: Please send up to 3 poems (no more than 2 pages each) in a Word attachment to an email. Previously published in print is OK, but not on the web. Include a cover note with a 2-3 line bio.
Send to: Poetry Co-Editor Sarah Browning at
ontheissuespoetry@yahoo.com by midnight on Thursday, September 28, 2010.
Please note: While On The Issues Magazine prefers to feature women writers, due to our continued underrepresentation in other venues, we will consider poems by all, especially if they're really rockin'.
Friday, September 17, 2010
09/08 - 10/09/2010: I Celebrate My City (Mission Cultural Center, SF)
For further details, please visit www.icelebratemycity.com
Exhibition Participants: Angela Angel and Robin David • Michael Arcega • Karen Brasier • Robert Burnside • Rosie Byers, Angelis Candler & Jazmin Jones (Digital Pathways, BAVC's NextGen Program) • Tân Khánh Cao • Susan Cervantes and Rafael Sanhueza-Leni • Ilana Crispi and Raymond Madarang • Darren de Leon • Toan Lam, Go Inspire Go • Jane Martin, Plant*SF • Mike L. Miller, The Bubble Project • Derrick Miller-Handley • David Molina and Susana Valdez • Juanita MORE! • Ellen Murland • Diego Pacheco • Virgo Paraiso and Tino Rodriguez • Marilyn Yu • Zineblasters
Curated by: emael
More information.
Tuesday, September 14, 2010
09/18/2010: A Place of Her Own Reading at Manilatown (SF)
Rhymes and Rhythms at Manilatown
Manilatown Heritage Foundation and Asian American Women Artists Association present
Rhymes & Rhythms: A Special Reading in Conjunction with AAWAA's A Place of Her Own Exhibit at Driftwood Salon
Hosted by Nancy Hom and Avotcja
Time: Saturday, September 18, 2-5 PM
Doors open at 1:30 PM
With writers Suruchi Mohan, Debbie Yee, Maw Shein Win, Evelie Delfino Sales Posch, Isabelle Thuy Pelaud, Arlene Biala, Aimee Suzara. Plus Nancy Hom and Avotcja.
I-Hotel Manilatown Center
868 Kearny Street (and Jackson)
San Francisco
$5-$10 suggested donation
No one turned away for lack of funds
Rhymes & Rhythms is a quarterly poetry/performance series presented by MHF. Funded by California Arts Council. For more info on Manilatown Heritage Foundation: www.manilatown.org
Manilatown Heritage Foundation and Asian American Women Artists Association present
Rhymes & Rhythms: A Special Reading in Conjunction with AAWAA's A Place of Her Own Exhibit at Driftwood Salon
Hosted by Nancy Hom and Avotcja
Time: Saturday, September 18, 2-5 PM
Doors open at 1:30 PM
With writers Suruchi Mohan, Debbie Yee, Maw Shein Win, Evelie Delfino Sales Posch, Isabelle Thuy Pelaud, Arlene Biala, Aimee Suzara. Plus Nancy Hom and Avotcja.
I-Hotel Manilatown Center
868 Kearny Street (and Jackson)
San Francisco
$5-$10 suggested donation
No one turned away for lack of funds
Rhymes & Rhythms is a quarterly poetry/performance series presented by MHF. Funded by California Arts Council. For more info on Manilatown Heritage Foundation: www.manilatown.org
Call for Submissions: INTERSECTIONS Journal - Babaylan Issue
From Asia Writes:
Carolyn Brewer/Intersections Journal (Australia National University) would like to invite you to submit your academic paper, paper about your healing work, short story, poetry, film or video clip for an upcoming Journal issue on the Babaylan.
You are invited to submit even if you didn't attend the Babaylan conference as long as your research or writing is on the Babaylan tradition. This issue will have several sections: peer reviewed academic papers, practitioner experiences, poetry, short stories, as well as video or film clips. Please note that the deadline is September 15.
Issue 30, Babaylan, will be edited by Leny Mendoza Strobel.
Formatting Instructions:
Please follow the following formatting instructions carefully and provide all requested information.
# We will receive contributions for consideration via email as an attached file. Alternatively, send a CD-Rom with your paper in Word or RTF file format.
# Please label your file with your family name (surname) first, eg brewer_issue4.doc This allows us to download and keep track of your paper without problems.
# Include a title page with the title of the paper, your name and email address and a list of keywords. To preserve anonymity, we will change this file name before sending it out to referees.
# All pages are to be numbered, and, to allow for anonymous refereeing, the author's name and institution should be typed on a separate sheet and submitted with the manuscript.
# Papers should not normally be longer than 5000-6000 words — but we will make exceptions.
# Include an abstract of 100-150 words.
# Include a short bio-data and a photograph of yourself—in .jpg format—see Contributors' Page. Photographs which work best are head and shoulders portrait style.
More information here.
Carolyn Brewer/Intersections Journal (Australia National University) would like to invite you to submit your academic paper, paper about your healing work, short story, poetry, film or video clip for an upcoming Journal issue on the Babaylan.
You are invited to submit even if you didn't attend the Babaylan conference as long as your research or writing is on the Babaylan tradition. This issue will have several sections: peer reviewed academic papers, practitioner experiences, poetry, short stories, as well as video or film clips. Please note that the deadline is September 15.
Issue 30, Babaylan, will be edited by Leny Mendoza Strobel.
Formatting Instructions:
Please follow the following formatting instructions carefully and provide all requested information.
# We will receive contributions for consideration via email as an attached file. Alternatively, send a CD-Rom with your paper in Word or RTF file format.
# Please label your file with your family name (surname) first, eg brewer_issue4.doc This allows us to download and keep track of your paper without problems.
# Include a title page with the title of the paper, your name and email address and a list of keywords. To preserve anonymity, we will change this file name before sending it out to referees.
# All pages are to be numbered, and, to allow for anonymous refereeing, the author's name and institution should be typed on a separate sheet and submitted with the manuscript.
# Papers should not normally be longer than 5000-6000 words — but we will make exceptions.
# Include an abstract of 100-150 words.
# Include a short bio-data and a photograph of yourself—in .jpg format—see Contributors' Page. Photographs which work best are head and shoulders portrait style.
More information here.
Monday, September 13, 2010
09/23/2010: Altered Barbie Reading (SF)
Featured Poets: Amber Brianne Bouman, Meg Day, Lara Durback, Gina Goldblatt, Raymond Hobbs, Keely Hyslop, Daniel Weatherfield Lichtenberg, Sean Labrador y Manzano, Herbert Foster Kaufman, Juliana Korysno Miller, Chris Pine, Margaret Rhee, MG Roberts, Dennis Somera, Chris Tom, Nora Toomey, Rebecca VanDeVoort
September 23, 2010, 7-10 p.m.-3 a.m.
Shotwell 50 Art space, 50 Shotwell, San Francisco, CA
ChatterBox Arts International presents the San Francisco 8th Annual Altered Barbie Exhibit at Shotwell 50 Art Space (S50AS) www.shotwell50.com A DATE WITH BARBIE! & Ken too… The Altered Barbie Exhibition is about people coming together to transform these relatable and relevant icons into not so everyday ART that reflects our current society. Making Art from Barbie and Ken creates dialogue and community where there is none.
The Altered Barbie Exhibition is a local creative re-use art show. Ken and Barbie, modern day icons, permeate every corner of our culture. Everyone recognizes and relates on some level to these icons regardless of who you are, your age, cultural or economic background, and lifestyle choices.
The 8th Annual San Francisco Altered Barbie Exhibition is proud to present an evening of Barbie inspired poetry at Shotwell 50 Studio featuring the Bay Area's outstanding, an anthology will be available for purchase!
The evening does not end with poetry! Follow us to the Official Altered Barbie After BarbieQ at MEAT/DNA Lounge, 375th 11th Street, San Francisco and dance with us until 3 a.m.
Sponsored by Altered Barbie Chatterbox Tea Party Magazine
Info: 510-846-0157
kahilisun@hotmail.com
http://alteredbarbie.com/blog/92310-7-10pm-barbie-poetry-reading
September 23, 2010, 7-10 p.m.-3 a.m.
Shotwell 50 Art space, 50 Shotwell, San Francisco, CA
ChatterBox Arts International presents the San Francisco 8th Annual Altered Barbie Exhibit at Shotwell 50 Art Space (S50AS) www.shotwell50.com A DATE WITH BARBIE! & Ken too… The Altered Barbie Exhibition is about people coming together to transform these relatable and relevant icons into not so everyday ART that reflects our current society. Making Art from Barbie and Ken creates dialogue and community where there is none.
The Altered Barbie Exhibition is a local creative re-use art show. Ken and Barbie, modern day icons, permeate every corner of our culture. Everyone recognizes and relates on some level to these icons regardless of who you are, your age, cultural or economic background, and lifestyle choices.
The 8th Annual San Francisco Altered Barbie Exhibition is proud to present an evening of Barbie inspired poetry at Shotwell 50 Studio featuring the Bay Area's outstanding, an anthology will be available for purchase!
The evening does not end with poetry! Follow us to the Official Altered Barbie After BarbieQ at MEAT/DNA Lounge, 375th 11th Street, San Francisco and dance with us until 3 a.m.
Sponsored by Altered Barbie Chatterbox Tea Party Magazine
Info: 510-846-0157
kahilisun@hotmail.com
http://alteredbarbie.com/blog/92310-7-10pm-barbie-poetry-reading
Sunday, September 12, 2010
National Book Critics Circle- Small Press Spotlight: Barbara Jane Reyes
Rigoberto González of the National Book Critics Circle shines the small press spotlight on Barbara Jane Reyes at the Critical Mass blog.
RG: Eve is a prominent figure in Diwata, and now that she has a voice she announces to her cohort, “Lover, did you not know I wrote my own creation story? Did you not know we all do?” She is one of the female guides in the book (the mermaid or duyong is another) who are rescued from their roles as evil-doers and destroyers of men. It would be too simplistic to say that this makes Diwata a feminist text, since in many indigenous cultures the governing bodies were matrilineal--women are therefore recovering power and are not claiming it for the first time. There is also a subtle but significant glimpse into the story of La Malinche in one of the early poems in the collection. What drew you to these figures? Why is it important to assert that their stories “lack proper symmetry”? What were some of the challenges (or pleasures) in constructing this “symmetry”?
BJR: I do think of Diwata as a feminist text and feminist project; in the most basic terms, each female figure is the native woman telling her own story, speaking her way out of dispossession, rather than succumbing others’ objectified versions of her. Many traditional stories tell us that obedient wives and daughters are rewarded, and disobedient ones punished. That’s the symmetry I’m interested in disrupting; in my stories’ versions, girls and women (including Eve, and the aswang) who transgress social boundaries actively unfetter themselves to reimagine and determine their own fates.
Complete interview can be found here.
Saturday, September 11, 2010
09/19/2010: A Thousand Manong Heartbeats Rappin in the Light : A Literary Tribute to Al Robles
Intersection For The Arts & City Lights Booksellers present
A Thousand Manong Heartbeats Rappin in the Light : A Literary Tribute to Al Robles
@
Intersection 5M
925 Mission Street
San Francisco, California, 94103
donation requested $5.00 (sliding scale, no one turned away due to lack of funds)
Opening Statements by Kevin Chen & Sean San Jose (Intersection for the Arts)
Hosted by D. Scott Miller (City Lights Booksellers)
with Jessica Hagedorn, Jack Hirschman, Janice Mirikatani, Alejandro Murguia, Jaime Jacinto, Ishmael Reed, Barbara Jane Reyes, Allyson Tintiangco Cubales, Paul Yamazaki
Intersection for the Arts and City Lights Booksellers are pleased to bring together members of the Bay Area literary community in a literary tribute casting light upon the life and work of an extraordinary figure. Poets, writers, editors, and booksellers, all offer a unique view, via poetry, prose, conversation, and recollection, in an evening of storytelling in honor of a great storyteller.
Poet, educator, community activist, and advocate for the poor and senior citizens, Al Robles walked in many worlds. Born a Filipino American in the Fillmore district of San Francisco, his life was informed and nourished by the rich cultural fabric all around him. He lived at the intersection of African American, Japanese, and Pilipino cultures. Jazz was a much a part of his upbringing as zen. His forays into edges of North Beach, via Manilatown, brought him into contact with the poetry and personality of the Beats as well. His empathy with the marginalized peoples around him brought him into the frontline of the struggle to preserve the civil rights and the heritage of Manilatown culture. He was a tireless fighter against the demolition of the I-Hotel on Kearny Street. He worked closely with the Pilipino elders to preserve their stories and heritage. He worked with Pilipino youth to engender within them a deep connection to their culture. Al Robles' art and poetry were inextricably linked to his activism and his concern for people. He lived his life as a gentle warrior, always in the service of the community.
for more info on Intersection 5M visit: www.theintersection.org
09/17/2010: Our So-Called Lives: Oliver de la Paz, Tishani Doshi, and Marie Mockett (NY)
Friday, September 17 @7PM
Our So-Called Lives: Oliver de la Paz, Tishani Doshi, and Marie Mockett
Why do we want to escape the places we were raised? How much do its bleachers and stadiums, its nosy neighbors and long-distance phone calls shape our coming-of-age? Poet Tishani Doshi reads from her first novel, The Pleasure Seekers. Called "captivating, delightful" by Salman Rushdie, The Pleasure Seekers follows the cross-cultural love affair sparked by a young man's solitary move from Madras to London and the tupsy-turvy Patel-Jones family that ensues. In Picking Bones from Ash Marie Mutsuki Mockett builds a lavish world in which characters journey from Buddhist temples to the black market of international antiques in California, tracing generations of women through different locales with different expectations on who they should become. Oliver de la Paz's Requiem for the Orchard, poems follow a speaker's boyhood to fatherhood where he wants to take his son back "to the small town of my youth and hold the book of wildflowers / open for him, and look."
Tishani Doshi is a poet and dancer based in Madras, India. Her first collection of poetry, Countries of the Body, won the Forward Poetry Prize for best first collection in 2006. The Pleasure Seekers is her first novel.
Marie Mutsuki Mockett was born in Carmel, California to a Japanese mother and American father and graduated from Columbia University with a degree in East Asian studies. Her work often focuses on the intersection between spirituality and modernity, and the manner in which Japan and America have responded to unprecedented materialism and success. Her essay, Letter from a Japanese Crematorium, originally published in Agni 65, was cited as notable in the 2008 Best American Essays and published in Creative Nonfiction 3. Picking Bones from Ash, published by Graywolf, is her debut novel and was shortlisted for the Saroyan International Prize for Writing and was a finalist for the Paterson Award for Fiction.
Oliver de la Paz is the author of three collections of poetry, Names Above Houses, Furious Lullaby (SIU Press 2001, 2007), and the forthcoming Requiem for the Orchard (U. of Akron Press 2010), winner of the Akron Prize for poetry chosen by Martin Espada. He co-chairs the advisory board of Kundiman, a not-for-profit organization dedicated to the promotion of Asian American Poetry. A recipient of a NYFA Fellowship Award and a GAP Grant from Artist Trust, his work has appeared in journals like Virginia Quarterly Review, North American Review, Tin House, Chattahoochee Review, and in anthologies such as Asian American Poetry: The Next Generation. He teaches at Western Washington University.
@The Asian American Writers' Workshop
110-112 West 27th Street, 6th Floor
Between 6th and 7th Avenues
Buzzer 600
Open to the public
$5 suggested donation
Our So-Called Lives: Oliver de la Paz, Tishani Doshi, and Marie Mockett
Why do we want to escape the places we were raised? How much do its bleachers and stadiums, its nosy neighbors and long-distance phone calls shape our coming-of-age? Poet Tishani Doshi reads from her first novel, The Pleasure Seekers. Called "captivating, delightful" by Salman Rushdie, The Pleasure Seekers follows the cross-cultural love affair sparked by a young man's solitary move from Madras to London and the tupsy-turvy Patel-Jones family that ensues. In Picking Bones from Ash Marie Mutsuki Mockett builds a lavish world in which characters journey from Buddhist temples to the black market of international antiques in California, tracing generations of women through different locales with different expectations on who they should become. Oliver de la Paz's Requiem for the Orchard, poems follow a speaker's boyhood to fatherhood where he wants to take his son back "to the small town of my youth and hold the book of wildflowers / open for him, and look."
Tishani Doshi is a poet and dancer based in Madras, India. Her first collection of poetry, Countries of the Body, won the Forward Poetry Prize for best first collection in 2006. The Pleasure Seekers is her first novel.
Marie Mutsuki Mockett was born in Carmel, California to a Japanese mother and American father and graduated from Columbia University with a degree in East Asian studies. Her work often focuses on the intersection between spirituality and modernity, and the manner in which Japan and America have responded to unprecedented materialism and success. Her essay, Letter from a Japanese Crematorium, originally published in Agni 65, was cited as notable in the 2008 Best American Essays and published in Creative Nonfiction 3. Picking Bones from Ash, published by Graywolf, is her debut novel and was shortlisted for the Saroyan International Prize for Writing and was a finalist for the Paterson Award for Fiction.
Oliver de la Paz is the author of three collections of poetry, Names Above Houses, Furious Lullaby (SIU Press 2001, 2007), and the forthcoming Requiem for the Orchard (U. of Akron Press 2010), winner of the Akron Prize for poetry chosen by Martin Espada. He co-chairs the advisory board of Kundiman, a not-for-profit organization dedicated to the promotion of Asian American Poetry. A recipient of a NYFA Fellowship Award and a GAP Grant from Artist Trust, his work has appeared in journals like Virginia Quarterly Review, North American Review, Tin House, Chattahoochee Review, and in anthologies such as Asian American Poetry: The Next Generation. He teaches at Western Washington University.
@The Asian American Writers' Workshop
110-112 West 27th Street, 6th Floor
Between 6th and 7th Avenues
Buzzer 600
Open to the public
$5 suggested donation
Friday, September 10, 2010
Tonight: Luis Francia at the Bayanihan Community Center (SF)
PAWA Arkipelago Series
Friday, September 10, 2010 @ 6:30 PM
A History of the Philippines: From Indios Bravos to Filipinos
by Luis H. Francia
featuring Luis H. Francia, with Ben Pimentel (moderator)
Talk, Reading, Q&A, Book Signing
A free event.
Bayanihan Community Center | 1010 Mission Street @ 6th | San Francisco
Thursday, September 9, 2010
UPCOMING Bindlestiff Studio Workshops
SIGN-UP TODAY! SPACE IS LIMITED!
12th Annual Stories High Production presents
Stories High DIRECTING WORKSHOP
facilitated by John Caldon
begins Sun. Oct. 3
AND
Stories High ACTING WORKSHOP
facilitated by Anthem Salgado
begins Wed. Sept. 29th
Learn the skills to ACT or DIRECT for a professional theatrical stage production in this low-cost 8-week workshop leading to the STORIES HIGH full-stage production at the NEW Bindlestiff Studio theater opening soon!
To sign up:
Email Susanna Yu at susie@bindlestiffstudio.org
by Friday, September 17th.
In your email, please include:
* Your Name
* Your Email
* Your Phone Number
* The type of workshop you would like to enroll: ACTING or DIRECTING
Workshop Tuition is only $75 for the entire 8-weeks plus! Payment plans are available. For more information, contact Dianne Aquino Chui at 415-632-6133 or via email at dianne@bindlestiffstudio.org
For detailed information on workshop dates and facilitator bios please go to our website.
12th Annual Stories High Production presents
Stories High DIRECTING WORKSHOP
facilitated by John Caldon
begins Sun. Oct. 3
AND
Stories High ACTING WORKSHOP
facilitated by Anthem Salgado
begins Wed. Sept. 29th
Learn the skills to ACT or DIRECT for a professional theatrical stage production in this low-cost 8-week workshop leading to the STORIES HIGH full-stage production at the NEW Bindlestiff Studio theater opening soon!
To sign up:
Email Susanna Yu at susie@bindlestiffstudio.org
by Friday, September 17th.
In your email, please include:
* Your Name
* Your Email
* Your Phone Number
* The type of workshop you would like to enroll: ACTING or DIRECTING
Workshop Tuition is only $75 for the entire 8-weeks plus! Payment plans are available. For more information, contact Dianne Aquino Chui at 415-632-6133 or via email at dianne@bindlestiffstudio.org
For detailed information on workshop dates and facilitator bios please go to our website.
New Book: Angelica's Daughters
ANGELICA'S DAUGHTERS, A Dugtungan Novel
by Cecilia Brainard, Erma Cuizon, Susan Evangelista, Veronica Montes, Nadine Sarreal
Anvil Publishing, 2010
For copies, contact ANVIL (www.anvilpublishing.com)
email: anvilpublishing@yahoo.com
The novel should be available at the Manila book Fair, Sept. 15-19, 2010. The novel is suitable for high school and college students, as well as the general public.
"Chick lit with a comfortable dose of smartness and historical verve. Angelica's Daughters celebrates audacious heroines primed by deep passion and fairytale romance! Set in the heat of a 19th-century Asian revolution and what its setting becomes by the 21st Century, Angelica's Daughters beguiles with its mythic splendor, threat of a generational curse, masterful betrayals, and female leads readers can fall in love with.
The story found itself as one writer finished her chapter without consulting the others, and passed it on for the next writer in line to do with as she pleased. The amazing result is a delightful read by five writers who cherish their Hispanic, Filipino, and American cultural roots." ~ Felice Prudente Sta. Maria
This collective and collaborative novel proves that writers share much more than just an interest in, as one of the authors puts it, “the idea of creating something of rare beauty out of nothing at all.” They share a Creative Unconscious that, when working on a common text, comes up with startling and unpredictable imaginative delights and insights. This tale of two women living a century apart (and the women and men in their lives) told sequentially by five women is truly an ensemble performance worth a standing ovation.~ Isagani R. Cruz, Philippine Star
"Part of the pleasure of reading Angelica's Daughters, the engrossing new collaborative novel by five established Filipina writers, is seeing how deftly the authors deal with the challenge of writing in this resurrected literary form. A dugtungan is a genre of Tagalog novel popular early in the 20th century, in which each writer creates a chapter and hands it off to the next, who writes another chapter without direction. The result, in this case, is an ensemble performance that contains something of the exhilaration of theatrical improv. One watches these accomplished authors inventively weave a historical romance, creating gripping heroines and turns of plot, crossing decades and national boundaries, tapping into cultural roots of the Philippines, Spain and America. Reading Angelica's Daughters is a gripping experience.~ Brian Ascalon Roley, Author of American Son (W.W. Norton)
09/09/2010: Dispatches From The Diaspora: A Night of Critical Philippine Prose and Poetry
Today! Dispatches From The Diaspora: A Night of Critical Philippine Prose and Poetry
Thursday, September 9
6-7:30 PM
San Francisco Main Public Library, Latino Hispanic Reading Room
Featuring a reading by acclaimed Philippine and Philippine-American writers at the forefront of the discourse surrounding transnational/diaspora literature. Followed by a moderated discussion on the use of literature as a space for dialogue around issues of identity, immigration, and agency. Part of the Singgalot Exhibit http://sfpl.org/index.php?pg=
Featuring:
Aimee Suzara is a writer/performer/educator who completed her MFA at Mills College. Her play Pagbabalik was selected for APAture, Emerging Performance Festival and other festivals. Her poetry collection, the space between. was published by Finishing Line Press and work appears in several journals. Her workshops have been hosted at Kearny Street Workshop, Epic Arts, Center For Contemplative Mind and Society and she teaches English at California Community Colleges.
Barbara Jane Reyes is the author of Diwata (BOA Editions, Ltd., 2010). She was born in Manila, Philippines, raised in the San Francisco Bay Area, and is the author of two previous collections of poetry, Gravities of Center (Arkipelago Books, 2003) and Poeta en San Francisco (Tinfish Press, 2005), which received the James Laughlin Award of the Academy of American Poets. She received her B.A. in Ethnic Studies at U.C. Berkeley and her M.F.A. at San Francisco State University. She has taught Creative Writing at Mills College, and Philippine Studies at University of San Francisco. She lives with her husband, poet Oscar Bermeo, in Oakland, where she is co-editor of Doveglion Press.
Luis H. Francia is a poet, journalist, and nonfiction writer. His poetry books include The Arctic Archipelago and Other Poems and Museum of Absences. He is the author of Memories of Overdevelopment: Reviews and Essays of Two Decades; the editor of Brown River, White Ocean: An Anthology of Twentieth Century Philippine Literature in English; and co-editor, with Eric Gamalinda, of Flippin’: Filipinos on America, and of Vestiges of War: The Philippine-American War and the Aftermath of an Imperial Dream, 1899-1999, with Angel Velasco Shaw. The Beauty of Ghosts, poetry for the theater, premiered in 2007. He writes a monthly online column, “The Artist Abroad,” for Manila’s Daily Inquirer. Born and raised in Manila, he lives in New York City and teaches at New York University.
Roseli Ilano (moderator) is an Oakland based writer. She is Co-editor of Walang Hiya..Literature Taking Risks Toward Liberatory Practice, a collection of poetry and fiction featuring 32 Filipino and Filipino-American writers published by Carayan Press (2010).
Thursday, September 9
6-7:30 PM
San Francisco Main Public Library, Latino Hispanic Reading Room
Featuring a reading by acclaimed Philippine and Philippine-American writers at the forefront of the discourse surrounding transnational/diaspora literature. Followed by a moderated discussion on the use of literature as a space for dialogue around issues of identity, immigration, and agency. Part of the Singgalot Exhibit http://sfpl.org/index.php?pg=
Featuring:
Aimee Suzara is a writer/performer/educator who completed her MFA at Mills College. Her play Pagbabalik was selected for APAture, Emerging Performance Festival and other festivals. Her poetry collection, the space between. was published by Finishing Line Press and work appears in several journals. Her workshops have been hosted at Kearny Street Workshop, Epic Arts, Center For Contemplative Mind and Society and she teaches English at California Community Colleges.
Barbara Jane Reyes is the author of Diwata (BOA Editions, Ltd., 2010). She was born in Manila, Philippines, raised in the San Francisco Bay Area, and is the author of two previous collections of poetry, Gravities of Center (Arkipelago Books, 2003) and Poeta en San Francisco (Tinfish Press, 2005), which received the James Laughlin Award of the Academy of American Poets. She received her B.A. in Ethnic Studies at U.C. Berkeley and her M.F.A. at San Francisco State University. She has taught Creative Writing at Mills College, and Philippine Studies at University of San Francisco. She lives with her husband, poet Oscar Bermeo, in Oakland, where she is co-editor of Doveglion Press.
Luis H. Francia is a poet, journalist, and nonfiction writer. His poetry books include The Arctic Archipelago and Other Poems and Museum of Absences. He is the author of Memories of Overdevelopment: Reviews and Essays of Two Decades; the editor of Brown River, White Ocean: An Anthology of Twentieth Century Philippine Literature in English; and co-editor, with Eric Gamalinda, of Flippin’: Filipinos on America, and of Vestiges of War: The Philippine-American War and the Aftermath of an Imperial Dream, 1899-1999, with Angel Velasco Shaw. The Beauty of Ghosts, poetry for the theater, premiered in 2007. He writes a monthly online column, “The Artist Abroad,” for Manila’s Daily Inquirer. Born and raised in Manila, he lives in New York City and teaches at New York University.
Roseli Ilano (moderator) is an Oakland based writer. She is Co-editor of Walang Hiya..Literature Taking Risks Toward Liberatory Practice, a collection of poetry and fiction featuring 32 Filipino and Filipino-American writers published by Carayan Press (2010).
Sunday, September 5, 2010
Review: Luis Francia's 'History of the Philippines: From Indios Bravos to Filipinos'
From the San Francisco Book Review:
Read more.
Luis Francia will be reading from History of the Philippines: From Indios Bravos to Filipinos at the Bayanihan Community Center on Friday, September 10, 2010 @ 6:30 PM.
The fascinating story of the Philippine nation itself is enough to make the book worth reading, but Francia’s excellent presentation makes it imminently accessible. The author integrates political, cultural, and economical events with ease allowing for a holistic view of the peoples of the Philippines. Also, he presents a clear picture of the impositions of Spanish and American imperialism and internal government corruption without adornment. Though the nation has inherited many challenges from past exploitation, Francia does not ignore the revolutionary heroes and civilians who were and are committed to bringing about a sustainable, economically independent future for the Philippines.
Read more.
Luis Francia will be reading from History of the Philippines: From Indios Bravos to Filipinos at the Bayanihan Community Center on Friday, September 10, 2010 @ 6:30 PM.
Saturday, September 4, 2010
Call for Submissions: RHINO - Filipino poetry in translation 10/01/2010 deadline
RHINO is still accepting Filipino poetry in translation for its 2011 issue. For your added convenience, we now accept electronic submissions. Please take advantage of this wonderful opportunity to make your voice heard in this award-winning journal. Deadline is October 1. Visit www.rhinopoetry.org.
All best,
Angela Narciso Torres
Associate Editor, RHINO magazine
antorres@gmail.com
rhinopoetry@gmail.com
RHINO Translation Initiative - Call for Submissions
As part of our ongoing interest in international poetry, RHINO has begun a three-year effort to encourage submissions from poets around the Pacific, particularly those in language groups and/or from countries less frequently represented in North American poetry journals.
Each year of the initiative, we will target two or three countries for special outreach. In the first year, RHINO is focusing on poetry from the Philippines and Malaysia. Although the initiative is highlighting poetry-in-translation, poets from the Philippines and Malaysia are also welcome to submit original poetry in English. Of course, we will also continue to consider poetry-in-translation, as well as our usual English language submissions, by poets from all countries.
RHINO editors Angela Narciso Torres and YZ Chin will serve as special editors for outreach efforts to the Philippines and Malaysia, respectively.
All best,
Angela Narciso Torres
Associate Editor, RHINO magazine
antorres@gmail.com
rhinopoetry@gmail.com
RHINO Translation Initiative - Call for Submissions
As part of our ongoing interest in international poetry, RHINO has begun a three-year effort to encourage submissions from poets around the Pacific, particularly those in language groups and/or from countries less frequently represented in North American poetry journals.
Each year of the initiative, we will target two or three countries for special outreach. In the first year, RHINO is focusing on poetry from the Philippines and Malaysia. Although the initiative is highlighting poetry-in-translation, poets from the Philippines and Malaysia are also welcome to submit original poetry in English. Of course, we will also continue to consider poetry-in-translation, as well as our usual English language submissions, by poets from all countries.
RHINO editors Angela Narciso Torres and YZ Chin will serve as special editors for outreach efforts to the Philippines and Malaysia, respectively.
September 2010: Diwata is *Officially* Released!
Poems by Barbara Jane Reyes
In her book Diwata, Barbara Jane Reyes frames her poems between the Book of Genesis creation story, and the Tagalog creation myth of the muse, placing her work somewhere culturally in between both traditions. Also setting the tone for her poems is the death and large shadow cast by her grandfather, a World War II veteran and Bataan Death March survivor, who has passed onto her the responsibility of remembering. Reyes’ voice is grounded in her community’s traditions and histories, despite war and geographical dislocation.
“Reyes has accomplished a masterpiece by conjuring and weaving the dialectics and elements of Malakas and Magandá – a Filipina poetics of the strong and beautiful. This alone merits praise. In majestic prose and deep story, in rhythmic caesura and hunter woman voices, in genius image brushwork and long and short line archipelago, we learn lessons for the 21st Century: that colonial invasion, the horror of cultural dismemberment, is not exhaustive: Asia, the Philippines, Manila spirit, all of us – can rebuild and continue in América, in many ways become whole again, by the alma and ceremonias, the tellings kept for centuries and beautifully recast in this book. I was mesmerized by the true Diwata that lives in these pages. Diwata – she instructs us, lures us, takes us deep into her jeweled river, then breathes into us our Creation Story – one we thought we could no longer remember, write, speak, or call our own.” —Juan Felipe Herrera
“Barbara Jane Reyes’ Diwata is a book that would have raised the hairs on the nape of Emily Dickinson’s head upon recognition of its poetic backbone. She injects Filipino words like calamansi, kastoy, and pananaghoy into the sinew of American poetry with panache and fearless abandon. Hers is an incomparable talent from which we cannot avert our gaze.” —Nick Carbó
September 2010 • 88 pages $16.00 paper • 978-1-934414-37-8
BOA titles are distributed to the trade by Consortium Book Sales & Distribution 1-800-283-3572
Press kits and other promotional materials are available upon request from BOA Editions. Contact Peter Conners, 585-546-3410 or conners@boaeditions.org.
Cover image by Christian Cabuay. Cover design by Sandy Knight.
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