Hello all, thank you for following us here throughout the years. In order to have a cleaner interface, we have moved to Wordpress:
http://pawablog.wordpress.com/
You can still access our archives by clicking on the "Archives" drop-down menu in the sidebar.
We will still feature submissions calls, artist opportunities, events, announcements, etc. at our new blog. Please come follow us there. Salamat!
Thursday, June 30, 2011
Ronaldo V. Wilson: Poetics in Dream Tracking
What kind of poet are you? How do you say, I am a Black poet? How do you say that being a Black poet is how I am also an Asian and Gay poet? How do you say, I am not interested in anything but the sky at one moment, and the complications of intentionally wanting to soil a bathroom wall, or to hack up on someone’s face, in the next? How do you say, I have given over to the labor of the exhausted black body in one form of writing after another? How do you say, I have splinters to pull from my brain, as I attempt to occupy and evade? How do you say, I almost got the job, again, but now I am getting older and I fear I will never get what I deserve if I keep telling the truth, but all I have is the truth? How do you say, I am lost in the complications of my birth, that for me, being a poet is tied to the experience of, at this moment, purposefully moving in what Myung Mi Kim, in Commons, names as the “circulatory spaces,” somewhere in the “storehouse of the human,” what I see as the complicated archive of experience that is freeing, yet held in relief to what binds me to root and wire. How do you say, there is no safety net, and the more clearly you delineate, the more it becomes harder to make an honest living in the world where you have to eat, pay bills, and love?
Read more.
Tuesday, June 28, 2011
Artist Opportunity: Artists Exchange Festival at Asian Arts Initiative
Via SULU DC's blog:This is a great opportunity for performance and theater artists! The Artists Exchange Festival will take place November 10-19 at Asian Arts Initiative, Philadelphia, PA. AAI is looking for up to 8 artists representing diverse performance disciplines—including but not limited to: dance, music, spoken word, and theater. Each artist who is selected to participate will receive a $1,000 honorarium. Travel stipends and accommodations will be provided for artists who live outside the Philadelphia area.
The Artists Exchange Festival includes three major components: A weekend festival featuring participants’ existing work, a week-long series of group workshops , and a public presentation of what is learned and created from the week.
The deadline to apply is Friday, July 8. More information is available here.
Monday, June 27, 2011
Call for Submissions: Cæsura 2011 Issue on Brothers and Sisters
http://www.pcsj.org/caesura_2011_call.html
Brothers and sisters
are as close as hands and feet.
-Vietnamese Proverb
Cæsura 2011 Issue Call for Work: Brothers and Sisters
In the Vietnamese tradition, people address each other as “anh” or “ch? ”—brother or sister. Even strangers in the street are greeted with such familial terms. This complicates the relationship shared between real siblings, those with whom we are supposed be as close hands and feet. What does it really mean to call someone “brother” or “sister”? What kind of closeness is required of us when we relate to another person in such familial ways?
Caesura, the literary journal of Poetry Center San Jose, seeks poetry, essays and reviews on the subject of brothers and sisters. Think of how the terms are used: blood brothers, brothers in arms, sister cities, sisters of mercy, brother’s keeper, etc. We are looking for work that presents the “brothers and sisters” relationship in all its incarnations—within families, in a culture, in a community, and even in religious groups.
The editors of Cæsura invite you to submit 1-3 poems addressing our theme. Submissions should not exceed 4-pages in total. All styles are welcome.
In addition to poetry, we are interested in essays and reviews of poetry or mixed genre collections (please query), as well as black and white art and photography.
The deadline for submissions is June 30, 2011. Notification of the status of your submission will be sent by August 2011. The 2011 issue of Cæsura will be published in September of 2011.
cæsura Submission Guidelines
Provide the following contact information with your submission: name, address, phone number, and email address.
We take first-print publication rights. Previously published work (in print or online) will not be considered. We accept simultaneous submissions on the condition that you notify us immediately upon acceptance elsewhere. We reserve the right to post work accepted for publication on our website.
Send your work in an email attachment in Word .doc format or pasted as plain text into the body of an email message to caesura@pcsj.org. If your work requires the preservation of a particular visual format or contains special characters, also send a hard copy to:
Cæsura
Poetry Center San José
1650 Senter Road
San Jose, CA 95112
If you would like hard copy material returned to you, include an SASE.
Visual Art
Submit black and white photographs and graphic art in .jpg or .pdf format (if your work is accepted, we may request a .tif or high resolution .jpg file) to caesura@pcsj.org.
Brothers and sisters
are as close as hands and feet.
-Vietnamese Proverb
Cæsura 2011 Issue Call for Work: Brothers and SistersIn the Vietnamese tradition, people address each other as “anh” or “ch? ”—brother or sister. Even strangers in the street are greeted with such familial terms. This complicates the relationship shared between real siblings, those with whom we are supposed be as close hands and feet. What does it really mean to call someone “brother” or “sister”? What kind of closeness is required of us when we relate to another person in such familial ways?
Caesura, the literary journal of Poetry Center San Jose, seeks poetry, essays and reviews on the subject of brothers and sisters. Think of how the terms are used: blood brothers, brothers in arms, sister cities, sisters of mercy, brother’s keeper, etc. We are looking for work that presents the “brothers and sisters” relationship in all its incarnations—within families, in a culture, in a community, and even in religious groups.
The editors of Cæsura invite you to submit 1-3 poems addressing our theme. Submissions should not exceed 4-pages in total. All styles are welcome.
In addition to poetry, we are interested in essays and reviews of poetry or mixed genre collections (please query), as well as black and white art and photography.
The deadline for submissions is June 30, 2011. Notification of the status of your submission will be sent by August 2011. The 2011 issue of Cæsura will be published in September of 2011.
cæsura Submission Guidelines
Provide the following contact information with your submission: name, address, phone number, and email address.
We take first-print publication rights. Previously published work (in print or online) will not be considered. We accept simultaneous submissions on the condition that you notify us immediately upon acceptance elsewhere. We reserve the right to post work accepted for publication on our website.
Send your work in an email attachment in Word .doc format or pasted as plain text into the body of an email message to caesura@pcsj.org. If your work requires the preservation of a particular visual format or contains special characters, also send a hard copy to:
Cæsura
Poetry Center San José
1650 Senter Road
San Jose, CA 95112
If you would like hard copy material returned to you, include an SASE.
Visual Art
Submit black and white photographs and graphic art in .jpg or .pdf format (if your work is accepted, we may request a .tif or high resolution .jpg file) to caesura@pcsj.org.
Art of Hustle Podcast Episode 002: Poet, Barbara Jane Reyes
Podcast Episode 002: Poet, Barbara Jane Reyes! : ART OF HUSTLE:
In this new audio podcast episode, we speak with award-winning poet Barbara Jane Reyes who hips us with insider tips to big questions facing many artists:
• Is it necessary to get an MFA?
• How does one make art and make a living?
• What does one do to get published?
Saturday, June 25, 2011
Video: Joe Bataan
From APEX Express:
Joe Bataan on how he started to compose music from Roldan Lozada on Vimeo.
Joe Bataan came to share his personal history with an intimate crowd at the Bayanihan Center on June 22, 2011.
Contributor R.J. Lozada had an opportunity to sit and listen.
R.J. also lugged around a keyboard (thanks to Michael Yoshida) for Joe to play during the interview. Joe kindly obliged.
Joe Bataan on how he started to compose music from Roldan Lozada on Vimeo.
Contributor R.J. Lozada had an opportunity to sit and listen.
R.J. also lugged around a keyboard (thanks to Michael Yoshida) for Joe to play during the interview. Joe kindly obliged.
Friday, June 24, 2011
Call for Submissions: Kurungabaa seeks writings about the sea
Deadline: July 30, 2011. Guidelines are here.
‘Kurungabaa’ is a Dharawal word for the Australian pelican, a handsome bird with a peculiar way of gliding low over the waves. We have chosen it to express respect for the Dharawal country where we love to surf, to celebrate the continuing culture of the Dharawal people, and to acknowledge the memory of the Dharawal people’s ancestors.
Kurungabaa is a not-for-profit volunteer publication, and is published bi-annually (June and December) as a hard copy by the generosity of subscribers and donors.
Kurungabaa publishes diverse genres including poetry, fiction, reflective and scholarly essays, memoirs, review essays, and interviews. Four pages each issue are made available for a photo essay or series of art reproductions by a single photographer or artist.
Emerging writers from coastlines around the world are encouraged to submit their work. Several pages will be dedicated to emerging authors in each issue. Editorial and writing assistance can be arranged, if requested.
Indigenous surfers are encouraged to join in Kurungabaa’s production, both as members of the editorial collective and as contributors. Every issue will contain material on surfing-related Indigenous history, culture and politics.
http://kurungabaa.net/
Thursday, June 23, 2011
07/30/2011: PAWA Workshop on How to Submit Your Work for Publication
What: PAWA Workshop with Barbara Jane Reyes: How to Submit Your Work for Publication
Where: Bayanihan Center, Mission Street @ 6th, San Francisco.
When: Saturday, July 30th, starting promptly @ 10 am.
Registration: Sliding Scale ($25-35 for students with valid student ID; $35-50 general). Please make checks payable to:
Philippine American Writers and Artists, Inc.
P.O. Box 31928
San Francisco, CA 94131-0928
Include “07/30/2011 workshop” on the memo line.
Paypal option is here: http://www.pawainc.com/julyworkshop.html.
What to Bring: yourselves, your questions, your current submissions packets, your current submissions calls resources.
Who Should Attend: Aspiring and emerging writers with limited or no experience with the submissions process, or writers with some submissions experience, who would like to refine or clarify their own current processes.
For more information, please email: pawa@pawainc.com.
Call for Submissions: blackmail press
blackmail press issue # 31 - Submissions openEditor Vaughan Rapatahana
On Being Marginalised:
The French postmodernist writer, Michel Foucault, wrote about ‘The Other’ as opposed to ‘The Self’. The Other are those on the margins of society – women, racial and religious and sexual minorities, the disabled and so on. They are precluded from The Self – the male, white, middle-class, Christian, bureaucratic – who in fact define them as this other grouping and as somehow inferior because of this. They are excluded from power/knowledge. Deliberately so. (Knowledge, as Foucault also noted, is Power.) Another way of describing these two groupings is Centre and Periphery.
One who is marginalized is alienated, all-too-often replete with ennui, anomie, the sickness-unto-death, fear and trembling, nausea. You name it. eh. Send us your poems reflecting your marginalization.
Send to editor@blackmailpress.com
Email Body text, MS Word, PDF and MP3's & You Tube Video formats can only be accepted.
Deadline: 15th Sept 2011
Albert Abonado, Tito Manuel Poems
Four poems by Albert Abonado at No Tell Motel:
Tito Manuel Is Not Out of the Jungle Yet: "A witch that looks like a monkey with coconuts for hands is probably overthinking this whole monkey thing. Then again, hunger makes you do strange things."
Tito Manuel Dreams of the Author in the Jungle
Tito Manuel Has A Cousin Drinking Water on the Death March: "I don't care how thirsty you are, I would not drink my cousin."
Tito Manuel and a Boy Try To Escape the Invasion
Albert Abonado lives in Rochester, NY, the 10th smartest city in the United States. He holds an MFA from the Bennington Writing Seminars and has been nominated for the Puschart prize. His work has previously appeared or is forthcoming in issues of Front Porch, Anti-, Fugue, Washington Square, Inertia, and Gargoyle.
Review: VIGAN AND OTHER STORIES, by Cecilia Manguerra Brainard
REVIEW by: Allen Gaborro
TITLE: Vigan and Other Stories
AUTHOR: Cecilia Manguerra Brainard
PUBLISHER: ANVIL (Philippines)
Short story anthology
In “Vigan and Other Stories”, Cecilia Manguerra Brainard sets in motion a sundry compendium of cultural and historical narratives that are vibrant, dynamic, fanciful, nostalgic, and melancholic. Such narratives have become a staple of Brainard’s works. Leaping decades and continents, the narratives in what is her third collection of short stories are noted for their compelling characters and choice themes. Having mentioned just a few of the impressive virtues of “Vigan”, the one that stands out the most is how the work brings home for Filipinos a past and present idea of their collective self-identity.
Arguably a Filipina version of Virginia Woolf or, perhaps just as accurately, Isabelle Allende, Brainard’s fictional publications are marked by a balance between the public and the private, the individual and the collective, and the local and the universal. Set around the intermingling and intertwining of all these designations, “Vigan”, like her other works, was conceived by the author above all as, according to Oscar Campomanes, “an investment in the cultural development of the ancestral homeland.”
Cobbling together an enthralling ensemble of characters, Brainard sews together a heartfelt and intimate tapestry of an anthology that comes upon the reader with an exceptional perception of the human condition, especially as it pertains to women and to Filipinos. Combined with Brainard’s supple and introspective prose, “Vigan” merits comparison with other wonderful and engaging Asian American short story anthologies.
In her collection, Brainard dreams up situations, ideas, and characters that are framed by her own personal life as well as by her creative initiative. Perfectly balancing her personal reminiscences and her poetic license, Brainard’s stories become a matter of the heart, the human emotions, and of the challenges that fate has in store for people.
Read more.
Wednesday, June 22, 2011
Jose Antonio Vargas in the NY Times: My Life as an Undocumented Immigrant
Jose Antonio Vargas is a former reporter for The Washington Post and shared a Pulitzer Prize for coverage of the Virginia Tech shootings. He founded Define American, which seeks to change the conversation on immigration reform.
Here is an excerpt of his story in today's edition of the NY Tiimes, "My Life as an Undocumented Immigrant":
http://www.nytimes.com/2011/06/26/magazine/my-life-as-an-undocumented-immigrant.html
My first challenge was the language. Though I learned English in the Philippines, I wanted to lose my accent. During high school, I spent hours at a time watching television (especially “Frasier,” “Home Improvement” and reruns of “The Golden Girls”) and movies (from “Goodfellas” to “Anne of Green Gables”), pausing the VHS to try to copy how various characters enunciated their words. At the local library, I read magazines, books and newspapers — anything to learn how to write better. Kathy Dewar, my high-school English teacher, introduced me to journalism. From the moment I wrote my first article for the student paper, I convinced myself that having my name in print — writing in English, interviewing Americans — validated my presence here.
The debates over “illegal aliens” intensified my anxieties. In 1994, only a year after my flight from the Philippines, Gov. Pete Wilson was re-elected in part because of his support for Proposition 187, which prohibited undocumented immigrants from attending public school and accessing other services. (A federal court later found the law unconstitutional.) After my encounter at the D.M.V. in 1997, I grew more aware of anti-immigrant sentiments and stereotypes: they don’t want to assimilate, they are a drain on society. They’re not talking about me, I would tell myself. I have something to contribute.
To do that, I had to work — and for that, I needed a Social Security number. Fortunately, my grandfather had already managed to get one for me. Lolo had always taken care of everyone in the family. He and my grandmother emigrated legally in 1984 from Zambales, a province in the Philippines of rice fields and bamboo houses, following Lolo’s sister, who married a Filipino-American serving in the American military. She petitioned for her brother and his wife to join her. When they got here, Lolo petitioned for his two children — my mother and her younger brother — to follow them. But instead of mentioning that my mother was a married woman, he listed her as single. Legal residents can’t petition for their married children. Besides, Lolo didn’t care for my father. He didn’t want him coming here too.
Read more.
Here is an excerpt of his story in today's edition of the NY Tiimes, "My Life as an Undocumented Immigrant":
http://www.nytimes.com/2011/06/26/magazine/my-life-as-an-undocumented-immigrant.html
My first challenge was the language. Though I learned English in the Philippines, I wanted to lose my accent. During high school, I spent hours at a time watching television (especially “Frasier,” “Home Improvement” and reruns of “The Golden Girls”) and movies (from “Goodfellas” to “Anne of Green Gables”), pausing the VHS to try to copy how various characters enunciated their words. At the local library, I read magazines, books and newspapers — anything to learn how to write better. Kathy Dewar, my high-school English teacher, introduced me to journalism. From the moment I wrote my first article for the student paper, I convinced myself that having my name in print — writing in English, interviewing Americans — validated my presence here.
The debates over “illegal aliens” intensified my anxieties. In 1994, only a year after my flight from the Philippines, Gov. Pete Wilson was re-elected in part because of his support for Proposition 187, which prohibited undocumented immigrants from attending public school and accessing other services. (A federal court later found the law unconstitutional.) After my encounter at the D.M.V. in 1997, I grew more aware of anti-immigrant sentiments and stereotypes: they don’t want to assimilate, they are a drain on society. They’re not talking about me, I would tell myself. I have something to contribute.
To do that, I had to work — and for that, I needed a Social Security number. Fortunately, my grandfather had already managed to get one for me. Lolo had always taken care of everyone in the family. He and my grandmother emigrated legally in 1984 from Zambales, a province in the Philippines of rice fields and bamboo houses, following Lolo’s sister, who married a Filipino-American serving in the American military. She petitioned for her brother and his wife to join her. When they got here, Lolo petitioned for his two children — my mother and her younger brother — to follow them. But instead of mentioning that my mother was a married woman, he listed her as single. Legal residents can’t petition for their married children. Besides, Lolo didn’t care for my father. He didn’t want him coming here too.
Tuesday, June 21, 2011
06/23/2011: Meet Joe Bataan at the Bayanihan Center (SF)
MEET JOE BATAAN
In preparation for his rare West Coast performance, the legendary Afro-Filipino soul singer, JOE BATAAN will be at the Bayanihan Community Center (1010 Mission Street @ 6th) for a meet and chat session with musician and founder of the SF Pinoy Jazz Festival, Carlos Zialcita on Thursday, June 23 at 7pm. Come meet a true legend of Filipino American music history and pick up tickets for his rare performance at Yoshi's. Check out the information below....
King of Latin Soul Joe Bataan
Saturday, June 25, 2011
Showtime: 8PM and 10PM Doors open 7:15PM
Yoshi’s San Francisco
http://www.yoshis.com/sanfrancisco/jazzclub/artist/show/1890
1330 Fillmore Street San Francisco, CA 94115
Box Office/Dinner Reservations: 415-655-5600
Tickets: $35 8PM show $28 10PM show
Monday, June 20, 2011
Sunday, June 19, 2011
[Video] Directions in Storytelling: R. Zamora Linmark
Author R. Zamora Linmark discusses his creative approach in utilizing social media to promote as well as extend the story of his new novel, Leche.
Center for Asian American Media http://CAAMedia.org
http://www.coffeehousepress.org/2011/02/leche/
http://www.youtube.com/watch?v=8LkX8hdU3vc&feature=youtu.be
Friday, June 17, 2011
06/19/2011: Journey of a Brown Girl
http://ugnayan.blogspot.com/p/journey-of-brown-girl.html
Join Ugnayan ng mga Anak ng Bayan [Linking the Children of the Motherland] for a participatory community event...
The Journey of a Brown Girl is an experimental theatre piece that examines the exploration of the Pinay Body and how our journey starts in being aware, owning, and loving our physical beings.
Sunday • June 19 • 3PM-6PM
Doors open at 3pm. Performance starts promptly at 3:30pm.
Light food and refreshments will be available.
410 West 40th Street
New York City
between 9th & 10th Avenues
7 train to 42nd Street-Times Square
A/C/E to 42nd Street-Port Authority
FREE. Limited seats.
Please RSVP.
Artwork by Jana Lynn Umipig and Vanessa Ramalho.
In the summer of 2010, a collective of Pinay womyn from New York and New Jersey met in solidarity and sisterhood to examine the experiences, perceptions, struggles and triumphs of the Pinay body and spirit. From their exploration this piece has been developed as a means of reflection, confrontation and healing.
On June 19, 2011, Ugnayan and the Journey of a Brown Girl collective also invite the audience to take part in a community dialogue and workshop that touches on the issues that the curriculum and the performance piece seek to address.
Directed and produced by Jana Lynn Umipig. Performances by Czareena Dotchev, Krismin Inocentes and Vanessa Ramahlo. Workshop co-facilitated by performers and members of Ugnayan.
Additionally We would like to request that the audience please bring with them a photo of a womyn who in their lives has played the role of a warrior, teacher, sage, and/or healer, to be included in an alter that is meant to include their spirits in this journey.
*Photos will be returned upon exiting the space.
If you you additional questions or concerns, please contact Ugnayan at (347) 261-3042 or email at uganayan.nynj [at] gmail.com. You may also RSVP through our Facebook invite (requires a Facebook account, click here).
The Journey of a Brown Girl is an experimental theatre piece that examines the exploration of the Pinay Body and how our journey starts in being aware, owning, and loving our physical beings.
Sunday • June 19 • 3PM-6PM
Doors open at 3pm. Performance starts promptly at 3:30pm.
Light food and refreshments will be available.
410 West 40th Street
New York City
between 9th & 10th Avenues
7 train to 42nd Street-Times Square
A/C/E to 42nd Street-Port Authority
FREE. Limited seats.
Please RSVP.
Artwork by Jana Lynn Umipig and Vanessa Ramalho.
In the summer of 2010, a collective of Pinay womyn from New York and New Jersey met in solidarity and sisterhood to examine the experiences, perceptions, struggles and triumphs of the Pinay body and spirit. From their exploration this piece has been developed as a means of reflection, confrontation and healing.
On June 19, 2011, Ugnayan and the Journey of a Brown Girl collective also invite the audience to take part in a community dialogue and workshop that touches on the issues that the curriculum and the performance piece seek to address.
Directed and produced by Jana Lynn Umipig. Performances by Czareena Dotchev, Krismin Inocentes and Vanessa Ramahlo. Workshop co-facilitated by performers and members of Ugnayan.
Additionally We would like to request that the audience please bring with them a photo of a womyn who in their lives has played the role of a warrior, teacher, sage, and/or healer, to be included in an alter that is meant to include their spirits in this journey.
*Photos will be returned upon exiting the space.
If you you additional questions or concerns, please contact Ugnayan at (347) 261-3042 or email at uganayan.nynj [at] gmail.com. You may also RSVP through our Facebook invite (requires a Facebook account, click here).
Call for Submissions: Windfall: A Journal of Poetry and Place
Windfall is looking for poems of place, specifically places in the Pacific Northwest (defined as a broad bioregion extending from the North Slope of Alaska to the Bay Area of California, and from the Rocky Mountains to the Pacific Coast). Place can be named or unnamed, but if unnamed, then location should be clearly implied or suggested by observed detail. The poet does not have to be living in the Pacific Northwest, but the poem does.
Place, whether background or foreground, should be essential to the meaning of the poem. Place should be vital in the development of the poem, or the speaker’s perspective, or the texture of image and detail. Simply attaching a place name to a generic poem of place will not do. Windfall favors poetry of observed detail that is informed and accurate, even when it is conflicted about what constitutes informed and accurate detail. Place to us is not a general metaphor (“where you are at”), but first of all, actual. As Ezra Pound once said, “The natural object is always the adequate symbol.”
Windfall regards the term “place” as inclusive of both urban and natural locales, peopled or unpeopled. If many of the poems we publish reflect more of nature than the city, this reflects the poetry we receive, rather than any bias of our own. Most places have been affected in many ways by human presence, and poems can reflect this. Within the broad parameters described above, we tend to let the poems submitted teach us what place is or may mean in poetry.
Since we look for informed and accurate detail, it follows that we favor poetry based on imagery derived from sensory observation of surfaces, which, as one writer said, is the only way we have to come to know the depths. While language as the medium of poetry is an important consideration, Windfall favors poetry that is about something other than itself or its language. A poetry of place is another way of expressing love of the world and of being in the world, perhaps the fundamental motive and experience of art.
Windfall also favors poetry that occurs in lines and stanzas, mainly because they tend to be more interesting. Lines and stanzas generate energy and opportunities for parallelism and complexity that may often be missing in columns of lines and prose poems. “Lines and stanzas” does not here mean “meter and rhyme.” We have nothing against meter and rhyme, and have in fact published several sonnets. Rather, we advocate a different dispensation, as old as orality, wherein poetry was organized by the content of its themes, figures, imagery, and perspective, rather than by formalized rhythm and sound (with which, as Robert Bringhurst says, poets began to “farm” language in neat rows). We have published the occasional column of lines and the occasional prose poem, when these reflect place well, which is our first consideration. But lines and stanzas mean the poet is inviting us to use our inferential powers, to be active readers, and this is what we look for.
More about poetry of place can be found in the Afterwords written by the editors for every issue. These short essays attempt to indicate past traditions, further readings, and a variety of perspectives on what might constitute poetry of place. They are not prescriptive of any approach, but are meant to suggest and inspire the writing of poems. All Afterwords may be downloaded from the Windfall web site: http://www.windfalljournal.com.
Windfall accepts only work that has been previously unpublished. If a poem has appeared in another periodical or book, then it has already found readers, and we would rather provide opportunity for new work to be read. Though you may have already published a poem of place that would be perfect for Windfall, keep in mind Jack Spicer’s admonition: “There are always plenty of poems.” Place, fully conceived, is an inexhaustible source.
Submissions of up to five short poems (not exceeding fifty lines each) should include a self-addressed return envelope with first-class postage. Your name, address, and e-mail address should appear on every page. E-mail submissions are welcome, preferably with all poems in a single MS Word file attached to an e-mail message. Windfall’s e-mail address: bsiverly@comcast.net. Otherwise, send hard copies to:
Editors, Windfall Press
P.O. Box 19007
Portland, OR 97280-0007
Deadlines for submission are August 1 for the fall issue and February 1 for the spring issue. It’s a good idea to send poems close to the deadline for the particular issue of Windfall you are submitting for. Since we make no editorial decisions until after the deadline, we will be holding your poems until then. Better they should stay with you for further revision, for, as Paul Valery said, “A poem is never finished, only abandoned.”
Payment in copies only.
Questions? Write to bsiverly@comcast.net.
“A Moment in the Sun”: An Extended Interview with Independent Filmmaker, Author John Sayles
From Democracy Now:
We spend the hour with legendary independent filmmaker and author, John Sayles. Over the past three decades, he has directed 17 feature films, including The Return of the Secaucus Seven, Matewan, Lone Star, and Eight Men Out. He has often used his films to tackle pressing political issues, as well as themes of race, class, labor and sexuality. His newest film, Amigo, which opens in August, is set in the Philippines during the U.S. occupation. Sayles is also a celebrated author. A winner of the O. Henry award, he has just published his first novel in 20 years. It’s called "A Moment in the Sun," and it’s a sprawling work which takes the turn of the 20th century in its sights—from a white racist coup in Wilmington, North Carolina, to the first stirrings of the motion picture industry, to the bloody dawn of U.S. interventionism in Cuba and the Philippines. We talked with Sayles about his work and career before he left to screen Amigo in the Philippines. “However small your audience is, however frustrating it is to get your version of the world or what you want to talk about out there, it’s part of the conversation. And if you shut up, the conversation is one-sided,” says Sayles.
To Turn by Gifts: Theo Gonzalves on Pilipino Cultural Night
From the Hyphen magazine blog:
If I were to tell you
that the agreement we had reached a long time ago was based on gifts and
bribes, you would probably question the whole transaction. You would
most likely want to stop engaging in the practice. You’d probably
withhold trust of me as an honest broker, and hopefully, you would do
well to be more skeptical about any future claims from the likes of
someone like me.
It doesn’t matter what kind of
transaction it is. It could be as innocuous as a fruit basket, or maybe a
refrigerator, or a musical instrument. But suppose that the transaction
involves something a bit more abstract: in this case, lessons about our
shared cultural heritage, where we came from, and the kinds of rituals
that you and I have come to know as part of our lives for generations.
Let’s broaden the scope of this: What if the transaction in question was
not simply a one-time deal, but a tacitly agreed-upon practice, handed
down from one generation to the next and dutifully replicated hundreds,
maybe thousands, of times for the last 30 years? Again, what would it
mean if we were to find out that the foundation of these myriad
transactions were the direct result of gifts and bribes that took place
long before you and I responsibly and in good faith went about executing
these agreements?
In The Day the Dancers Stayed, I
traced the genealogy of a US-based performance genre called the
Pilipino Cultural Night (PCN), a show that continues to be performed by
thousands of college (and increasingly high school) students of
Philippine heritage. The logistical demands on the students are immense:
hundreds of hours of coordination, venue rental, equipment assembly,
rehearsal, and, in some notorious cases, student performers going on
academic probation due to their commitment to the show.
06/24/2011: Joe Bataan Meet and Greet @ Milk Bar, SF
Haight & Soul Happy Hour presents
ORDINARY GUY MEET & GREET WITH JOE BATAAN
ORDINARY GUY MEET & GREET WITH JOE BATAAN
HAIGHT & SOUL PRESENTS :: ORDINARY GUY MEET & GREET WITH JOE BATAAN ::
FREEEEEEEEE
I'm very excited to announce on Friday June 24th the "King Of Latin Soul" "Mr. Ordinary Guy" Joe Bataan will be at Milk Bar (SF) for a rare Meet & Greet appearance, one night only! This event will be from 6-10 pm. There will be Merch boths to purchase items, plus you can also bring in those vinyl records to sign. Arrive early for LIMITED EDITION poster designed by P.R.O.P.S. plus FREE food catered by Papalote for the first 100 people .
Latin Soul Sounds by Sweater Funk DJ's & Soulero Familia's.
DJ's:
*Vinylrichie
*Guillermo
*Allan Thayer
*The Souleros
Music
-Chicano, Modern, Rare, Soul
Location:
Mik Bar
6-10pm
Joe Bataan – King of Latin Soul, Boogaloo, Latin Soul, Rhythm and Blues, Salsa, Disco, Latin Funk, Latin R&B Latin Jazz, Rap .... What didn't Joe Bataan sing? Joe Bataan was born and raised in Spanish Harlem (East Side of Manhattan New York) in 1942 to an African-American mother and Filipino father.
His musical experience started in the street corner singing do-wops in the 1950's. Mr. Bataan didn't coin the phrase " Latin Soul " ...The phrase was used in the early 60's and perhaps late 1950's with La Lupe and Tito Puente. Mr. Bataan actually created the music as it should have sounded. By merging Latin music with R&B tunes in the late 60's, "Latin Soul" was officially born by the creator Joe Bataan.
Self taught on the piano, he organized his first band in 1965 and scored his first recording success in 1967 with "Gypsy Woman" on Fania Records. Other hits were "Subway Joe" and "I Wish You Love" on the "St. Valentine's Day Massacre" LP. In 1974 Joe Bataan released the Latin Soul ballad "Ordinary Guy" (Afro-Filipino) where he proclaimed - for the first time his ethnic roots.
Mr. New York Joe Bataan returned to the stage in 1995 after a 20-year hiatus from the music industry. Mr. Bataan was amazed that many showed up to his show and and remembered his music. In 2005, Joe Bataan released a brand new album titled "Call My Name" on Vampisoul records. Mr. Bataan maintained his trademark, vintage sound with the use of instruments such as clavinette, Hammond organ, groovy bass, funky drums, and Latin percussion. Bataan's voice of course still has its trademark soulfulness.
It is wonderful to have our King of Latin Soul back on the scene performing and touring again. He just completed a tour of Germany where he was received by enthusiastic crowds. In 2010 he toured Japan where he is an extremeley popular star. After all these years - it's great to know that someone many of us associate with the "music of our youth" is just as popular as ever - with many new fans all over the world!
His show at Yoshi's San Francisco is a historical event - the return of the Latin Soul King to the SF Bay Area. This is a show not to be missed!
Tickets are available now!
http://www.yoshis.com/sanfrancisco/jazzclub/artist/show/1890
Latin Soul Sounds by Sweater Funk DJs & the Soulero Familia's
Revolutionary Spirit: Jose Rizal in Southeast Asia (Ateneo de Manila Press)
In celebration of the 150th year of Rizal's birth, John Nery's Revolutionary Spirit, an exhaustive study of Rizal, his works, and his influence in Southeast Asia, has been published by the Ateneo de Manila University Press, in cooperation with Singapore's Institute of Southeast Asian Studies (ISEAS).
In collecting material for and working on this book's engagingly written chapters, Nery sought to discern Rizal's impact on Asia and among Asian intellectuals by studying Rizal himself, getting to know him more, and finding out how his contemporaries saw him. In the process he encounters and discusses at length many influential misreadings.
Noted historian Fr. John N. Schumacher, SJ, finds that Nery "breaks much newer ground in the larger part of the book, demonstrating the role Rizal played in inspiring Indonesian nationalists." Malaysian author Shaharuddin Maaruf likewise recognizes Nery's contribution to an insightful examination of a great life as well as to an enriched "Southeast Asian philosophy of history."
In his preface, the author cites a Social Weather Stations survey that reports Rizal's "preeminence in the Philippine pantheon with unprecedented clarity, 150 years after his birth" among its respondents. The author contends that while this finding would not have surprised Rizal's contemporaries, including Bonifacio, many college-educated Filipinos have been "taught that Rizal was insufficiently nationalistic, a patriot compromised by his class, a separatist undone by his scruples" according to the most influential history texts of the second half of the 20th century.
Through an impressive bibliography in Spanish, Indonesian, Dutch, English and Tagalog, the author rigorously shows that this interpretation is seriously inadequate. Further the author likewise proves that Rizal's status as foremost Filipino hero can also be discerned in how the Indonesians and Malaysians appropriated him in the movement for independence, and in how he figures in the region's intellectual, political and literary discourse.
John Nery, PDI senior editor, is a visiting research fellow at the ISEAS, and the first Sandra Burton Nieman Fellow in Journalism at Harvard University (2011-2012). He has been cited for his investigative reports and opinion journalism.
Revolutionary Spirit: Jose Rizal in Southeast Asia is available at the Ateneo Press bookshop, Bellarmine Hall, Ateneo de Manila University, Loyola Heights campus, and soon in bookstores nationwide.
Call for Submissions: American Society: What Poets See (Anthology)
American Society: What Poets See Anthology Edited by Robert S. King and David Chorlton
Call for Submissions
FutureCycle Press is planning a new anthology of social and political poems entitled American Society: What Poets See. We are now open for submissions. The anthology will appear both online and in print form. So if your work is accepted, it will appear on our website within two weeks and stay there indefinitely. When the printed version is published (date depends on when we fill the book), you will receive a contributor’s copy and a deep discount on ordering additional copies.
What We Are Looking For
What do we mean by social and political poetry? Anything except preachiness and diatribe. You know the rule: "Show, don’t tell.” We want highly crafted poetry, not a soapbox of prose shaped like poetry. We do not require a political stance for or against any school of thought. You may take any position you like as long as the poem is not overtly didactic. Some social poems may not present an obvious political posture, so please send what you think is appropriate.
We are interested in creating greater social and political awareness and a better understanding of what makes the American society tick, or not tick in some cases. America has fallen on hard times, so show us why; show us what to do and not to do. Show us with history, with prognostication or prophecy (science fiction ok), with idealism or common sense, with pessimism or with great hope for the future. Nostalgia is also welcome as it portrays a way of life gone by that we should remember and cherish. Primarily, however, impress us with excellent poetry.
Although we do not include the word "Politics” in the book title, we consider "Society” to encompass all. We do wish to restrict the subject landscape to the USA, however, unless you have a poem meaningful to all societies.
Thursday, June 16, 2011
“Southeast Asian Women in the Diaspora: Troubling Borders in Literature and Art” — A Call to Support Visibility and Visuality
From diaCRITICS:
Art lovers everywhere, swoon! Here diaCRITICS managing editor Julie Thi Underhill features some beautiful and intense artworks, while telling the history and motivation for the forthcoming anthology Southeast Asian Women in the Diaspora: Troubling Borders in Literature and Art. With less than two weeks left to go in their Kickstarter campaign, the Diasporic Vietnamese Artists Network is seeking donations towards printing of the numerous color images in this forthcoming volume. Although the Kickstarter campaign’s goal is capped at $2,000, DVAN actually needs to raise $20,000 in order to publish the anthology. Their Kickstarter campaign ends sooner than one week from today, on June 22. Consider pitching in to support this long-awaited and much-needed project. As the first book to exclusively feature Southeast Asian women artists, Southeast Asian Women in the Diaspora will promote the visibility and visuality of diverse artists and communities that often remain underrepresented.
[Before we begin: have you heard about our subscriber drive? win an iPod and other prizes!]
When I first read the call for contributors for Southeast Asian Women in the Diaspora: Troubling Borders in Literature and Art, several years ago, I was initially struck by the centering of women’s experiences and by the broad attention to many geographical areas of Southeast Asia. The editors sought work from women “who trace their ancestry to Viet Nam, Cambodia, Laos, Thailand, Indonesia, Burma/Myanmar, the Philippines, Malaysia, Singapore, Brunei or East Timor.” Yet even more phenomenal to me was the attention paid to ethnic minorities in Southeast Asia, “like the ethnic Chinese and Indians throughout Southeast Asia, and the Mien, Hmong, and Cham.” Not only were multiple nationalities and ethnicities recognized by the call for contributors, but also multiple disciplines — the editors welcomed short fiction, poems, personal essays, and artwork addressing (but not limited to) “youth, generational difference, nationality, identity, gender, sexuality, and class.” Seriously. As I read the call, I thought, how wonderful and rare that these editors specifically address Southeast Asian women artists, with an approach that’s multinational, multiethnic, multigenre, and multidisciplinary.
Read more.
Art lovers everywhere, swoon! Here diaCRITICS managing editor Julie Thi Underhill features some beautiful and intense artworks, while telling the history and motivation for the forthcoming anthology Southeast Asian Women in the Diaspora: Troubling Borders in Literature and Art. With less than two weeks left to go in their Kickstarter campaign, the Diasporic Vietnamese Artists Network is seeking donations towards printing of the numerous color images in this forthcoming volume. Although the Kickstarter campaign’s goal is capped at $2,000, DVAN actually needs to raise $20,000 in order to publish the anthology. Their Kickstarter campaign ends sooner than one week from today, on June 22. Consider pitching in to support this long-awaited and much-needed project. As the first book to exclusively feature Southeast Asian women artists, Southeast Asian Women in the Diaspora will promote the visibility and visuality of diverse artists and communities that often remain underrepresented.
[Before we begin: have you heard about our subscriber drive? win an iPod and other prizes!]
When I first read the call for contributors for Southeast Asian Women in the Diaspora: Troubling Borders in Literature and Art, several years ago, I was initially struck by the centering of women’s experiences and by the broad attention to many geographical areas of Southeast Asia. The editors sought work from women “who trace their ancestry to Viet Nam, Cambodia, Laos, Thailand, Indonesia, Burma/Myanmar, the Philippines, Malaysia, Singapore, Brunei or East Timor.” Yet even more phenomenal to me was the attention paid to ethnic minorities in Southeast Asia, “like the ethnic Chinese and Indians throughout Southeast Asia, and the Mien, Hmong, and Cham.” Not only were multiple nationalities and ethnicities recognized by the call for contributors, but also multiple disciplines — the editors welcomed short fiction, poems, personal essays, and artwork addressing (but not limited to) “youth, generational difference, nationality, identity, gender, sexuality, and class.” Seriously. As I read the call, I thought, how wonderful and rare that these editors specifically address Southeast Asian women artists, with an approach that’s multinational, multiethnic, multigenre, and multidisciplinary.
Read more.
Wednesday, June 15, 2011
Call for Submissions: Fairy Tale Review (The Grey Issue)
From Fairy Tale Review:
We are currently accepting submissions for the eighth annual issue of
Fairy Tale Review, The Grey Issue, to be Guest Edited by Alissa
Nutting. This is a themed issue, dedicated to Lost Girls & Boys.
We’re interested in writing that visits and turns on tropes of children and young adults, girls and boys, becoming lost (whether figuratively or literally) in fairy tales and in the contemporary literature that reinterprets or is informed by fairy tales. This includes characters who are separated from parents, who are stuck inside an animal’s stomach, who are faced with bewildering choices, who are running away to or from who-knows-where, who are confused in the forest—lost in any sense, and in any form of writing. Please send poetry, fiction, essays, drama, creative nonfiction, comics, illustration, etc.
The submission period is open until we announce it is closed likely around July 31st. We will consider only previously unpublished work and new translations. Please submit work to thegreyissue@gmail.com as word, .doc, .rtf, or .pdf files. Artwork must be in high-resolution (300 dpi or higher) to be considered. The Grey Issue will be published in 2012. All submissions will be responded to within four months of receipt.
Simultaneous submissions absolutely accepted; simply let us know as soon as your work under consideration by us is taken elsewhere.
Questions can be directed to thegreyissue@gmail.com
Curious about what we publish? The web edition of The Red Issue is online. Also, the first issue of Fairy Tale Review, The Blue Issue, is available as a free PDF download. Print back issues of Fairy Tale Review are sold out, though some are for sale here albeit at astronomical prices. We hope to have some more copies of The Red Issue delivered to Small Press Distribution, and Weightless Books always has all issues as e-books on hand!
We are currently accepting submissions for the eighth annual issue of
Fairy Tale Review, The Grey Issue, to be Guest Edited by Alissa
Nutting. This is a themed issue, dedicated to Lost Girls & Boys.
We’re interested in writing that visits and turns on tropes of children and young adults, girls and boys, becoming lost (whether figuratively or literally) in fairy tales and in the contemporary literature that reinterprets or is informed by fairy tales. This includes characters who are separated from parents, who are stuck inside an animal’s stomach, who are faced with bewildering choices, who are running away to or from who-knows-where, who are confused in the forest—lost in any sense, and in any form of writing. Please send poetry, fiction, essays, drama, creative nonfiction, comics, illustration, etc.
The submission period is open until we announce it is closed likely around July 31st. We will consider only previously unpublished work and new translations. Please submit work to thegreyissue@gmail.com as word, .doc, .rtf, or .pdf files. Artwork must be in high-resolution (300 dpi or higher) to be considered. The Grey Issue will be published in 2012. All submissions will be responded to within four months of receipt.
Simultaneous submissions absolutely accepted; simply let us know as soon as your work under consideration by us is taken elsewhere.
Questions can be directed to thegreyissue@gmail.com
Curious about what we publish? The web edition of The Red Issue is online. Also, the first issue of Fairy Tale Review, The Blue Issue, is available as a free PDF download. Print back issues of Fairy Tale Review are sold out, though some are for sale here albeit at astronomical prices. We hope to have some more copies of The Red Issue delivered to Small Press Distribution, and Weightless Books always has all issues as e-books on hand!
CALL FOR SUBMISSIONS! Paper Monster Press "Dream Pop Issue" (The Anniversary Issue!)
CALL FOR SUBMISSIONS! Paper Monster Press "Dream Pop Issue" (The Anniversary Issue!)
After setting the mood with the seductive flair of our “S/Trip-Hop Issue”, Paper Monster Press will now be leading you into a lovely afterglow with the "DREAM POP ISSUE."
Melodies taking you on an out-of-body experience; rhythms wrapping you up in a blanket of spacious soundscapes; and voices resonating like an echo-laden remix of your favorite bedtime lullaby. Dream Pop is the kind of music that keeps you awake yet under the sheets in a trancelike state at any hour of the day. It is atmospheric and ethereal... And that is precisely what Paper Monster's fourth issue is all about.
If you can get an aural picture of Kevin Shields' (My Bloody Valentine) indulgence for delayed and distorted guitar effects with Elizabeth Fraser's (Cocteau Twins) or Hope Sandoval's (Mazzy Star) sleepy-eyed vocals; and Anthony Gonzalez' (M83) blurry and up-front synthesizer tones, then it's quite easy to catch our drift.
Once again, we are calling all literary, visual and sound artists to give us their personal interpretations of DREAM POP in the form/s of:
Ladies and gentlemen, let us now get ready to float in space...
After setting the mood with the seductive flair of our “S/Trip-Hop Issue”, Paper Monster Press will now be leading you into a lovely afterglow with the "DREAM POP ISSUE."
Melodies taking you on an out-of-body experience; rhythms wrapping you up in a blanket of spacious soundscapes; and voices resonating like an echo-laden remix of your favorite bedtime lullaby. Dream Pop is the kind of music that keeps you awake yet under the sheets in a trancelike state at any hour of the day. It is atmospheric and ethereal... And that is precisely what Paper Monster's fourth issue is all about.
If you can get an aural picture of Kevin Shields' (My Bloody Valentine) indulgence for delayed and distorted guitar effects with Elizabeth Fraser's (Cocteau Twins) or Hope Sandoval's (Mazzy Star) sleepy-eyed vocals; and Anthony Gonzalez' (M83) blurry and up-front synthesizer tones, then it's quite easy to catch our drift.
Once again, we are calling all literary, visual and sound artists to give us their personal interpretations of DREAM POP in the form/s of:
- LITERARY ART: We accept poetry, literary essays, critical essays, microfiction, reviews of Paper Monster Press issues 1-3, and ekphrasis works.
- VISUAL ART: We accept new media art, installation art, abstract expressionism, lowbrow, graffiti, body art, pop art, photography etc. (any kind of visual art, basically).
- SOUND ART: We accept sounds that embody dream pop. Think spacious, ambient, steady, atmospheric, ethereal.
- All works must be submitted to papermonsterpress@yahoo.com.
- Each contributor may submit 3 works ONLY from each category. That means you may submit 3 literary works, 3 artworks, and 3 musical pieces, but no more than that. This is to give space and a chance to others.
- Submissions must be loosely/closely based on the dream pop genre of music.
- The EIC’s laptop is Buddhist, so aside from attaching text submissions, kindly paste the contents of your piece to the body of your e-mail.
- Submit literary pieces in English or Filipino. We do not have the capacity to read and/or translate foreign languages as well as local dialects at the moment. Works should not exceed500 words.
- Submit artworks in JPEG format. We accept both colored and black or white art, but please be reminded that PMP will only have a colored cover, the rest of the zine will be in black and white.
- Submit sounds in MP3 format.
- If your piece is inspired by a dream pop artist/work, kindly state the artist/work from which your piece sprang from.
- PMP religiously follows the process of selecting and editing. We stand by our editors’ decisions.
- For updates, just check the Paper Monster Press Facebook page (www.facebook.com/papermonsterpress)
Ladies and gentlemen, let us now get ready to float in space...
Call for Submissions - Athena Film Festival: A Celebration of Women and Leadership (Barnard College)
Via Femministas:
Deadline: 15 September 2011
Films have power. They create conversation. They reveal truths. They inspire. But for too many generations, Hollywood has told only half the story: too often, what is missing are the stories of women as change agents and heroes in their own right. For the second year, Barnard College, the most sought-after women’s college in the nation, will celebrate women’s leadership on screen at the Athena Film Festival which will take place from February 9-12, 2012.
Athena aims to expand the definition of what it means to be a female leader, highlighting the many ways that women can and do make a difference. The program exhibits a wide range of films including Academy Award-nominated films, top tier features, documentaries, and shorts—including U.S. and world premieres. Festival audiences are invited engage in conversations with directors, writers, and producers that challenge convention and examine leadership with a new lens.
The Athena Film Festival will accept submissions of documentaries, features and shorts from June 15- September 15 and is looking for films:
• That will reveal the diverse narratives of women leaders from all walks of life—narratives of ambition, courage, strength and resilience.
• That will showcase women leaders who help us interpret the reality of the modern world—captivating stories of truth, determination, innovation and vision.
• That highlight the talents of emerging artists—films that capture a new generation’s take on what makes exemplary women leaders.
Please keep in mind that for a film to be considered it must have a female at the center of the story in a leadership position. Films directed by male and female directors are welcome. Films directed by women that are not focused in some respect on female leadership onscreen will not be considered.
If you have a film that would fulfill the mission of the Athena Film Festival, please submit the following information to: athenafilmfestival@gmail.com
Please Include:
• A brief synopsis of the film and any relevant links (especially to trailers)
• Type of film: documentary, feature, or short.
• Running time, Country of origin and language of film.
• Year the film was made.
• Type and date of release (if applicable)
• Names of film festivals or other venues your film has played (if applicable)
• Contact information: Name, email, phone, skype and address.
You will be contacted if the Festival would like to see a screener. Submissions need to be on DVD (in NTSC format) or available online.
Submission deadline: September 15, 2011 (no late submissions accepted)
Contact Information:
For inquiries: athenafilmfestival@gmail.com
For submissions: athenafilmfestival@gmail.com
Website: http://athenafilmfestival.com/
Deadline: 15 September 2011
Athena aims to expand the definition of what it means to be a female leader, highlighting the many ways that women can and do make a difference. The program exhibits a wide range of films including Academy Award-nominated films, top tier features, documentaries, and shorts—including U.S. and world premieres. Festival audiences are invited engage in conversations with directors, writers, and producers that challenge convention and examine leadership with a new lens.
The Athena Film Festival will accept submissions of documentaries, features and shorts from June 15- September 15 and is looking for films:
• That will reveal the diverse narratives of women leaders from all walks of life—narratives of ambition, courage, strength and resilience.
• That will showcase women leaders who help us interpret the reality of the modern world—captivating stories of truth, determination, innovation and vision.
• That highlight the talents of emerging artists—films that capture a new generation’s take on what makes exemplary women leaders.
Please keep in mind that for a film to be considered it must have a female at the center of the story in a leadership position. Films directed by male and female directors are welcome. Films directed by women that are not focused in some respect on female leadership onscreen will not be considered.
If you have a film that would fulfill the mission of the Athena Film Festival, please submit the following information to: athenafilmfestival@gmail.com
Please Include:
• A brief synopsis of the film and any relevant links (especially to trailers)
• Type of film: documentary, feature, or short.
• Running time, Country of origin and language of film.
• Year the film was made.
• Type and date of release (if applicable)
• Names of film festivals or other venues your film has played (if applicable)
• Contact information: Name, email, phone, skype and address.
You will be contacted if the Festival would like to see a screener. Submissions need to be on DVD (in NTSC format) or available online.
Submission deadline: September 15, 2011 (no late submissions accepted)
Contact Information:
For inquiries: athenafilmfestival@gmail.com
For submissions: athenafilmfestival@gmail.com
Website: http://athenafilmfestival.com/
Sunday, June 12, 2011
06/15/2011: Application Deadline for NVM Gonzalez Writers' Workshop
http://www.nvmgonzalez.org/writersworkshop/index.html
About the Workshop
July 1-3, 2011, Sonoma State University campus. The NVM Gonzalez Writers' workshop in the United States aims to provide the venue to practice and master the tools of literary presence. It addresses in particular, but not limited to, the growing presence of Filipino-American writers in the American landscape. It hopes to provide ample and secure scaffolding to those who aspire to claim their "clearings" and invent and imagine new worlds to inhabit and make their presence felt.
The Workshop addresses and hopes to attract young, aspiring and even well-published writers willing to mentor others from the Filipino-American community, as well as other communities, although Filipinos living elsewhere are encouraged to join.
It hopes to foster greater and deeper appreciation of the works of present and past Philippine and Filipino-American literature, recognizing these works as expressive productions of a society and culture that is still in the process of defining its presence in the United States and in the world.
As a tool for capturing the expressions of life in the now diasporic world of the Filipino, good writing becomes essential to articulate, to explore, and to share these new worlds and vocabularies that many Filipinos now inhabit, from Hong Kong, the Middle East, Western Europe and the United States. " There is not a place in the world, including Antarctica where a Filipino cannot be found." It will be through literature that these global ties can be bound.
http://www.nvmgonzalez.org/writersworkshop/apply.html
About the WorkshopJuly 1-3, 2011, Sonoma State University campus. The NVM Gonzalez Writers' workshop in the United States aims to provide the venue to practice and master the tools of literary presence. It addresses in particular, but not limited to, the growing presence of Filipino-American writers in the American landscape. It hopes to provide ample and secure scaffolding to those who aspire to claim their "clearings" and invent and imagine new worlds to inhabit and make their presence felt.
The Workshop addresses and hopes to attract young, aspiring and even well-published writers willing to mentor others from the Filipino-American community, as well as other communities, although Filipinos living elsewhere are encouraged to join.
It hopes to foster greater and deeper appreciation of the works of present and past Philippine and Filipino-American literature, recognizing these works as expressive productions of a society and culture that is still in the process of defining its presence in the United States and in the world.
As a tool for capturing the expressions of life in the now diasporic world of the Filipino, good writing becomes essential to articulate, to explore, and to share these new worlds and vocabularies that many Filipinos now inhabit, from Hong Kong, the Middle East, Western Europe and the United States. " There is not a place in the world, including Antarctica where a Filipino cannot be found." It will be through literature that these global ties can be bound.
http://www.nvmgonzalez.org/writersworkshop/apply.html
Review: Eileen Tabios's SILK EGG
From the Big Other:
Eileen Tabios’ latest book Silk Egg is a Wunderkammer — in fact, a series of Wunderkammers — curated with the eccentric intelligence and playfulness of a Gertrude Stein (think of the “Objects” section of Tender Buttons). Framed as a collection of novels, the book presents twelve prose poems, each of which is divided into seven short chapters. Some of the chapters — each one isolated on a page of its own — are as short as a single sentence, and in their fragmented state, give off a startling radiance:
Like Wunderkammers, Tabios’ text is filled with a wondrous array of surprising objects (a chandelier of gold antlers, a wet diamond on a red velvet petal, a shirt woven from hummingbird wings); it is filled with numerous textures (coral suede, white taffeta, the velvety flesh of a dog’s ear, handkerchiefs embossed with black-and-white photographs) as well as lustres (a pewter sea, mahogany inlay, glass panes veined with gold). It is also filled — importantly — with lusters, with desiring subjects and bodies. One of her characters says, “Realism…can suddenly become synonym for Desire.” Another says (with metaphorical frisson): “His cock was midnight.” This is all to say that Silk Egg is a book that revels in the senses and intoxicates the reader with both its sensuous language and its teasing swerves toward and away from a linear narrative.
Read more.
Eileen Tabios’ latest book Silk Egg is a Wunderkammer — in fact, a series of Wunderkammers — curated with the eccentric intelligence and playfulness of a Gertrude Stein (think of the “Objects” section of Tender Buttons). Framed as a collection of novels, the book presents twelve prose poems, each of which is divided into seven short chapters. Some of the chapters — each one isolated on a page of its own — are as short as a single sentence, and in their fragmented state, give off a startling radiance:Chapter II
She wished the lightning flash didn’t reveal his eyes.
Like Wunderkammers, Tabios’ text is filled with a wondrous array of surprising objects (a chandelier of gold antlers, a wet diamond on a red velvet petal, a shirt woven from hummingbird wings); it is filled with numerous textures (coral suede, white taffeta, the velvety flesh of a dog’s ear, handkerchiefs embossed with black-and-white photographs) as well as lustres (a pewter sea, mahogany inlay, glass panes veined with gold). It is also filled — importantly — with lusters, with desiring subjects and bodies. One of her characters says, “Realism…can suddenly become synonym for Desire.” Another says (with metaphorical frisson): “His cock was midnight.” This is all to say that Silk Egg is a book that revels in the senses and intoxicates the reader with both its sensuous language and its teasing swerves toward and away from a linear narrative.
Read more.
Saturday, June 11, 2011
Oliver Wang Interviews Joe Bataan at Wax Poetics
Wax Poetics offers bonus interview coverage of Latin icon Joe Bataan. Read the Bataan feature in Issue 19.THERE’S A RIOT GOING ON
Joe Bataan’s first two albums for Fania, Gypsy Woman and Subway Joe, were almost like a single album split in half — both featured similar kinds of ballads and boogaloos. With Riot!, his third Fania album, Bataan began to come into his own as an artist and was moving in a new directions, especially on stage.
Wax Poetics: How was Riot! a different album than your first two LPs?
Joe Bataan: When we came across the song “Riot!” it was the first chance that I had to perform, really perform, on stage. And you gotta understand, the kids I had in the band at that time, they didn’t know their left foot from their right. You had to see what went into developing each and every one of those guys in their own particular section: on how to dance, how to be personable, how to dress, and how to capture the audience. Kids didn’t have the confidence until they finally saw it with the audience, and that was true with me. You never know what you can do until the audience accepts you, and we were getting this kind of reception that was tremendous; it made us feel that we could do anything on stage.
And don't forget! Joe Bataan will be performing at Yoshi's SF on Saturday June 25!
[Photo by Yglesias]
Friday, June 10, 2011
06/12/2011: R.A. Villanueva at the Sunday Salon (NY)
http://www.sundaysalon.com/nyc-june-12-2011-the-salon-celebrates-9-years.htm
Break
out the champagne! This month, Sunday Salon will celebrate 9 years of
literary love. Since 2002, we’ve welcomed to the stage over 360
fantastic writers from near and far, and we’re going to, as the fabulous
M. Jackson put it, “Keep on with the force don’t stop!” Join us in
welcoming four more literary powerhouses and a special musical guest.
Let’s celebrate! At Jimmys 43, 7pm.
Justin Taylor is the author of the novel, The Gospel of tn NYC | June 12, 2011: The Salon celebrates 9 years!Anarchy, and the story collection, Everything Here is the Best Thing Ever. Both books were New York Times Editor’s Choice selections. With the poet Jeremy Schmall he edits The Agriculture Reader, a limited-edition arts annual.
Cara Hoffman is the author of So Much Pretty. Cara grew up tn 1 e1306275835828 NYC | June 12, 2011: The Salon celebrates 9 years!in an economically depressed town in upstate New York. She dropped out of high school, bought a one-way ticket to London with her savings, and spent the next three years working under-the-table jobs in Europe and the Middle East. In the 1990s, she returned to the United States, became a mother, and began working as an investigative reporter at a daily newspaper. Hoffman covered New York State’s rural and rust-belt communities for over a decade, reporting on environmental politics, county legislatures and crime. In 2000, she received a New York State Foundation for the Art Fellowship for her writing on the aesthetics of violence and its impact on children.
Benjamin Hale is the author of The Evolution of Bruno Hale e1306275670654 NYC | June 12, 2011: The Salon celebrates 9 years!Littlemore. He is a recent graduate of the Iowa Writers Workshop. He is the recipient of an Iowa Provost’s Fellowship and a Michener-Copernicus Award. He grew up in Colorado and now lives in New York.
Sarah Rose Etter is the author of Tongue Party, which was NYC | June 12, 2011: The Salon celebrates 9 years! selected by Deb Olin Unferth as the winner of the 2010 Caketrain chapbook competition. Tongue Party is available for pre-order from Caketrain Press. Her work has appeared or is forthcoming in The Collagist, Flatmancrooked, PANK Magazine, elimae, The Baltimore Review, and more. her stories have also been performed in London by the Liars’ League. She earned her B.A. in English from Pennsylvania State University and her M.F.A. in Fiction from Rosemont College.
MUSICAL GUEST:
R.A. Villanueva lives in Brooklyn. A finalist for the Beatrice Hawley Award and the Alice James Books/Kundiman Poetry Prize, his writing has appeared in Gulf Coast, AGNI, Virginia Quarterly Review, McSweeney’s Internet Tendency, DIAGRAM, Bellevue Literary Review, and elsewhere.
Justin Taylor is the author of the novel, The Gospel of tn NYC | June 12, 2011: The Salon celebrates 9 years!Anarchy, and the story collection, Everything Here is the Best Thing Ever. Both books were New York Times Editor’s Choice selections. With the poet Jeremy Schmall he edits The Agriculture Reader, a limited-edition arts annual.
Cara Hoffman is the author of So Much Pretty. Cara grew up tn 1 e1306275835828 NYC | June 12, 2011: The Salon celebrates 9 years!in an economically depressed town in upstate New York. She dropped out of high school, bought a one-way ticket to London with her savings, and spent the next three years working under-the-table jobs in Europe and the Middle East. In the 1990s, she returned to the United States, became a mother, and began working as an investigative reporter at a daily newspaper. Hoffman covered New York State’s rural and rust-belt communities for over a decade, reporting on environmental politics, county legislatures and crime. In 2000, she received a New York State Foundation for the Art Fellowship for her writing on the aesthetics of violence and its impact on children.
Benjamin Hale is the author of The Evolution of Bruno Hale e1306275670654 NYC | June 12, 2011: The Salon celebrates 9 years!Littlemore. He is a recent graduate of the Iowa Writers Workshop. He is the recipient of an Iowa Provost’s Fellowship and a Michener-Copernicus Award. He grew up in Colorado and now lives in New York.
Sarah Rose Etter is the author of Tongue Party, which was NYC | June 12, 2011: The Salon celebrates 9 years! selected by Deb Olin Unferth as the winner of the 2010 Caketrain chapbook competition. Tongue Party is available for pre-order from Caketrain Press. Her work has appeared or is forthcoming in The Collagist, Flatmancrooked, PANK Magazine, elimae, The Baltimore Review, and more. her stories have also been performed in London by the Liars’ League. She earned her B.A. in English from Pennsylvania State University and her M.F.A. in Fiction from Rosemont College.
MUSICAL GUEST:
R.A. Villanueva lives in Brooklyn. A finalist for the Beatrice Hawley Award and the Alice James Books/Kundiman Poetry Prize, his writing has appeared in Gulf Coast, AGNI, Virginia Quarterly Review, McSweeney’s Internet Tendency, DIAGRAM, Bellevue Literary Review, and elsewhere.
Thursday, June 9, 2011
06/24 and 06/26/2011: Jason Magabo Perez, The Passion of El Hulk Hogancito
From the 3rd National Asian American Theater Conference and Festival:
In September 2003, six Asian American theater companies attended a convening sponsored by Theater Communications Group. The companies—Pan Asian Repertory Theatre, East West Players, Ma-Yi Theater, the National Asian American Theatre Compamy (NAATCO), Second Generation, and Mu Performing Arts—began discussions to hold the first National Asian American Theater Conference. Spearheaded by Tim Dang of East West Players, “Next Big Bang: The First Asian American Theater Conference” took place in Los Angeles from June 18-20, 2006. The first National Asian American Theater Festival took place June 2007 in New York City, featuring over 25 performing artists and companies. The third festival, which will take place June 16-26, 2011 in Los Angeles, combines the conference and festival for the first time.
The Passion of El Hulk Hogancito
by Jason Magabo Perez
June 24, 2011 – 9:00pm
National Center for the Preservation of Democracy (Tateuchi Democracy Forum)
THE PASSION OF EL HULK HOGANCITO is a semi-autobiographical, transdisciplnary, multi-media, literary performance. Hason, the supposedly fictional narrator, wrestles with authorship and obsession, loses the Third Grade Show and Tell showdown, muses on the mentorship of WWF wrestlers, investigates the history of his crybabyness, and explores the trauma of the FBI’s 1970 racist criminalization of two recently immigrated Filipina nurses, one of whom happens to be his mother.
“As horrifying, deeply American, kinda maybe David-Lynch-meets-hip-hop narratives go, this one is a doozy.” — SF Weekly
“Start with the title…Weird but familiar, Catholic and all-american but rendered in Spanish, made somewhat foreign and strange and yet faintly hilarious.” — San Diego CityBeat
In September 2003, six Asian American theater companies attended a convening sponsored by Theater Communications Group. The companies—Pan Asian Repertory Theatre, East West Players, Ma-Yi Theater, the National Asian American Theatre Compamy (NAATCO), Second Generation, and Mu Performing Arts—began discussions to hold the first National Asian American Theater Conference. Spearheaded by Tim Dang of East West Players, “Next Big Bang: The First Asian American Theater Conference” took place in Los Angeles from June 18-20, 2006. The first National Asian American Theater Festival took place June 2007 in New York City, featuring over 25 performing artists and companies. The third festival, which will take place June 16-26, 2011 in Los Angeles, combines the conference and festival for the first time.
Photo: Desi Vorgeas
The Passion of El Hulk Hogancito
by Jason Magabo Perez
June 24, 2011 – 9:00pm
National Center for the Preservation of Democracy (Tateuchi Democracy Forum)
THE PASSION OF EL HULK HOGANCITO is a semi-autobiographical, transdisciplnary, multi-media, literary performance. Hason, the supposedly fictional narrator, wrestles with authorship and obsession, loses the Third Grade Show and Tell showdown, muses on the mentorship of WWF wrestlers, investigates the history of his crybabyness, and explores the trauma of the FBI’s 1970 racist criminalization of two recently immigrated Filipina nurses, one of whom happens to be his mother.
“As horrifying, deeply American, kinda maybe David-Lynch-meets-hip-hop narratives go, this one is a doozy.” — SF Weekly
“Start with the title…Weird but familiar, Catholic and all-american but rendered in Spanish, made somewhat foreign and strange and yet faintly hilarious.” — San Diego CityBeat
Wednesday, June 8, 2011
06/21/2011: Donna Miscolta, Reading and Book Launch Party
When the de la Cruz Family DancedA Novel by Donna MiscoltaSignal 8 PressDuring
his one and only return visit to the Philippines, Johnny de la Cruz,
plagued by a sense of isolation, feels a glimmer of connection to the
place of his birth and youth when he sees Bunny Bulong, the hometown
Miss Sampaguita of 1946. Johnny succumbs to a quick sexual encounter
with the ever attractive and beguiling Bunny. Years later, sick with
cancer and faced with the possibility of dying, he regrets that he never
had a son — a lack that has distanced him from his daughters and
sometimes his wife. Miles away, nineteen-year-old Winston Piña has
barely finished eulogizing his recently deceased mother Bunny, when he
finds a letter she wrote, but never sent to Johnny de la Cruz, leading
him into the lives of the de la Cruz family — a family to which he might
or might not belong. The novel explores the ties within family and how
circumstances of birth, immigration, and assimilation tug at those ties.
June 21, 2011, 6:30 PM
Reading and Book Launch Party
Celebrate the release of Donna Miscolta’s novel When the de la Cruz Family Danced and Wendy Call’s
narrative non-fiction book No Word for Welcome
narrative non-fiction book No Word for Welcome
Hosted by performance artist Storme Webber with music by Mochima
Book sales by Elliott Bay Book Company
Vermillion Art Gallery and Bar
1508 11th Ave, Seattle (Map)
1508 11th Ave, Seattle (Map)
Sponsored by La Sala
06/18/2011: SULU DC
From Sulu DC:
The Sulu Series continues at Artisphere on Saturday, June 18! This month’s show is hosted by Sulu DC’s fairy godmother, Regie Cabico, and Charity Cabico, his sister. We’ll be celebrating LGBT Pride Month and Philippine Independence Day (June 12).
Saturday, June 18 at 7:00 pm
Artisphere, 1101 Wilson Blvd, Arlington, VA 22209
2 blocks from Rosslyn Metro on the Blue/Orange Line
Parking is free with validation
$10 general admission / $8 for students
Tickets available at the door or online
HOSTED BY Regie and Charity Cabico
SOUNDS BY The Pinstriped Rebel
FEATURING
Brandon Wardell, DC-based comedy wunderkind who, at eighteen years old, is “literally the youngest comedian ever”; Kevin Nadal, a professor, psychologist, part-time comedian and spoken word poet who has been featured on PBS, the History Channel, The Filipino Channel and has even won an argument with Bill O’Reilly on the O’Reilly Factor; Jerrica Escoto, student at Cal State San Marcos and force in the spoken word community who was a finalist at the 2011 Women of the World Poetry Slam; Navja Sol, vagabond artist of all trades who has been a go-go dancer, a burlesque performer, an MFA dropout, published, a chapbook maker, a creep, a panelist, a grantee, poet, in love, jaded, politically incorrect, and full of longing; And two film shorts presented by DC APA Film
Learn more about the artists after the jump.
Tuesday, June 7, 2011
Interview: R. Zamora Linmark at Adobo Nation
Michi chats with R. Zamora Linmark, who writes about reverse culture shock and the balikbayan experience in his new book “Leche."
Review: Aimee Nezhukumatathil's Lucky Fish
From the California Journal of Poetics:
Aimee Nezhukumatathil
is a poet who delights readers with her keen view of the world, which
is often influenced by her insatiable wonder and her travels; this
year, she gives us the gift of a beautiful third book, Lucky Fish. The
book is her invitation for readers to join her in a sensual experience
of the world and all its beings, human and creaturely. Since her first
book, Miracle Fruit, (published in 2003), she has continued to bring
joy through her poems in a poetic landscape that is often rife with
cynicism.
Still, in Lucky Fish, Nezhukumatathil does more than bring joy and entice us into a journey through India, The Philippines, motherhood, and childhood. In these poems, she often surrenders to the beings around her. For example, in “Notes for the Heartbeat at My Feet,” she addresses her dachshund: “Old girl: you are the solid line / on a highway—you’ve kept me from swerving / into a forest with a broken headlight, a mouthful of twig.” Here, the sweetness of addressing a pet like an old friend is juxtaposed with a sense of near breakdown. The speaker is hopeful, but faltering, and “the solid line”—the dog—grounds her, preventing disaster. In this, as in many of the poems in Lucky Fish, we see that sometimes what saves us isn’t ourselves, but rather the world outside us. Nezhukumatathil also showcases her strength for figurative language—of the dachshund, she says, “you are a sneeze / at the crook of my elbow—the lick of salt / behind my knees.”
Read more.
Still, in Lucky Fish, Nezhukumatathil does more than bring joy and entice us into a journey through India, The Philippines, motherhood, and childhood. In these poems, she often surrenders to the beings around her. For example, in “Notes for the Heartbeat at My Feet,” she addresses her dachshund: “Old girl: you are the solid line / on a highway—you’ve kept me from swerving / into a forest with a broken headlight, a mouthful of twig.” Here, the sweetness of addressing a pet like an old friend is juxtaposed with a sense of near breakdown. The speaker is hopeful, but faltering, and “the solid line”—the dog—grounds her, preventing disaster. In this, as in many of the poems in Lucky Fish, we see that sometimes what saves us isn’t ourselves, but rather the world outside us. Nezhukumatathil also showcases her strength for figurative language—of the dachshund, she says, “you are a sneeze / at the crook of my elbow—the lick of salt / behind my knees.”
Read more.
Sunday, June 5, 2011
Call for Submissions: 2011 New Asian Writing Short Story Anthology
Eligibility
- All writers of short fiction are encouraged to submit to the 2011 New Asian Writing Short Story Anthology, regardless of nationality or location. There is no age requirement. We accept all genres.
- Short stories must be written in English, as it is one of the world’s major languages. As it is an “Asian writing” anthology, the stories must be about all things Asian. This means that either the setting of the short story is in an Asian country, or the main character is Asian, or the short story deals with aspects of any Asian culture, etc.
- For a list of all the Asian countries, consult this link on Wikipedia.
Submission Guidelines
- Stories must be original unpublished fiction, typed and single-spaced, and may not exceed 5,000 words in length. The selected stories must be available for the end-of-year anthology and, therefore, must not have been published previously.
- We do accept short stories that have been published online, but have not been published in print magazines, anthologies, or books. Nevertheless, writers need to include a link to the short story in their submission.
- Stories must be submitted in Microsoft Word Document format, as an attachment. Do notsend your story in the body of an email.
- In the subject line of your e-mail submission write your full name and the title of your short story.
- Each story must be accompanied by one-paragraph bio written in the third person. Include author’s full name, age, nationality, published work, website, etc. This must be added at the end of your short story, in the same document. (You can attach to the body of the e-mail a recent photograph, too.)
- If your short story contains foreign words, include them in a Glossary at the end of your story, with all the foreign words listed in alphabetical order. All these words must be italicizedin the body of your story.
- Writers can submit only one short story.
- We do accept simultaneous submissions, but the writer must notify us if a story is accepted for publication or wins an award prior to our publication.
- All contributions accepted for publication will be subject to editing in collaboration with the author.
- Payment will be set according to royalties, divided between all the writers in the anthology. Also, writers will receive a complementary e-copy of the book.
- The last day for submitting short stories for the 2011 New Asian Writing Short Story Anthology is November 30, 2011.
- Submissions may solely be sent via e-mail to: naw.submissions[at]gmail[dot]com .
- By submitting your short story to the 2011 New Asian Writing Short Story Anthology you hereby agree to our Copyright clauses detailed below.
Formatting Guidelines
- Use only Times New Roman point 12 for the body of the text, glossary, and bio. Make sure the text is single-spaced and justified.
- Set all margins to 2.5 cm. Do not introduce any headers, footers, section divisions, etc., apart from page number.
- Use bold for the main title and the author’s name only.
- Indent all paragraphs of your text with one TAB. Do not leave one-line spaces between paragraphs (only if you desire to delineate such a pause in the course of your narrative).
- Use “double quotation marks” for all quotations, use ‘single quotation marks’ only for “quotations ‘within’ quotations.” Make sure that all commas and periods are within quotation marks (,” or .” and not: ”, or ”.). Do not make two or more spaces between words or after a period instead of one.
Copyright Notice
- Authors will retain the rights to their work, but will give New Asian Writing permission to publish their work on our website and in our end-of-year anthology.
- After the work was published in the annual anthology, New Asian Writing will retain the copyright for one year.
- Once accepted for publication in the end-of year anthology, writers cannot submit the same short story to any other online or print publication / competition as long as the copyright rests with New Asian Writing.
- The copyright will return to the author on December 31, 2012.
- By submitting your short story to the 2011 New Asian Writing Short Story Anthology you hereby agree to the above copyright clauses.
Good luck and happy writing!
Friday, June 3, 2011
FILBOOKFEST: Website Launch!
Click on the image below to check out the Filipino American Bookfest's new website and lovely author montage.
Thursday, June 2, 2011
Call for Submissions: Asian American Literary Review
From Asian American Literary Review:
Our reading period is June 1 to September 1. Unfortunately we will not be able to respond to material submitted outside of that period. Please see our mission statement and first issue for a sense of our literary preferences. Simultaneous submissions are okay, but please indicate if you are submitting the same work elsewhere, and please notify us immediately if you place it elsewhere.
Please submit work as a Microsoft Word compatible document attachment. Title the document in the following fashion: last name, first name, genre, title (e.g. Far.SuiSin.Fiction.IntheLandoftheFree). Include a brief biographical note with your query letter. Previously unpublished material only. Standard response time is 4-6 weeks, but please bear with us if we take longer to reply. Please limit submissions to 1 per calendar year.
All submissions should be directed to poetry@aalrmag.org or prose@aalrmag.org.
Fiction: 1 text, up to 5,000 words
Poetry Folios (and translations): 6-9 pages
Creative nonfiction: 1 text, up to 5,000 words
Comic art, interviews, and book reviews are by solicitation only.
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