Today, I got the best kind of email from an editor at Longreads and learned that I’d sold an essay of mine from my experimental memoir, DREAM POP ORIGAMI. This is a major victory for me . . .Read More
My flash nonfiction piece, “Not Done with the World” appeared today in the New York Times. After a series of disappointments, setbacks, and heartbreaks for me these past two years in my writing career, this publication means so much to me.Read More
So, I just finished talking to one of the projects assistants on the phone and I’m happy, shocked, and (completely fucking) stoked to announce that my flash nonfiction piece “Lennon Wall” will be published in the New York Times in a few weeks in the Modern Love column for their Tiny Love Stories project.Read More
So much of writing for me is sitting my ass down and writing, even when I don't want to. I have really good discipline. I can write for fifteen hours straight sometimes, and then revise and edit for days and weeks afterwards. The hardest part of writing I can do and have done since my first workshop back in 2002. The other crucial part of writing for me involves psychological and emotional maintenance (aka self-care), which is just as important. Normally, self-care for me means not only exercising, meditating, getting enough sleep, eating well, and going on dates with LB every week, but also ignoring my own negative thinking and putting myself out there again and again (even when it feels POINTLESS) and not getting discouraged (even when NOTHING is happening), which has been particularly difficult this summer.Read More
So, an editor that I deeply admire at a major imprint just started reading DREAM POP ORIGAMI, my experimental memoir about patchwork hapa identity, and of course my internal dialogue for the past week has been nothing but:Read More
I volunteered to have my picture taken for Kip Fulbeck's 2017-2018 photographic project known as Hapa Me, not knowing whether my picture (which for the record, I don't love) would be included in the 2018 collection. I received an email a few months later telling me that I was either in the installation or in the book, or both. The suspense was killing me.Read More
Like the Bechdel Test, these ten rules are not intended to be the final word on any work by, from, or about Asian American literature, but rather, should be treated as the first critical lens that readers (can) use to call out and contest orientalism in publishing while also serving as a mandatory metric by which all readers (can) hold APIA writing accountable, as well as the presses that publish those works by and about us. The following test allows all of us to expect more of ourselves, of our readers, and of the publishing industry at large, but it is only a first step in a life of engaged reading.Read More
Men Without Women is a familiar, easily identifiable, and oddly comforting book for the Murakami reader, privileging the emotional landscape of lonely Japanese men through scaffolding characterization, personal idiosyncrasy, and monkey-wrench narratives instead of dramatic Hollywood plot lines, food porn, or cultural didacticism.Read More
Few things push plot lines as well as vengeance in drama and leveling up in RPGs, which is why Dishonored 2, despite its many flaws, integrates plot, adventure, and history effortlessly into a unified field, centering its narrative on the propulsive quest of assassination and personal redemption. Much like Victorian morality in the nineteenth century, this game is a Manichean fantasy world of good and evil.Read More
Only in a Japanese RPG can a boy band save the world from the nefarious empire and its demonic biotechnological army. In Final Fantasy XV, four male friends led by its visual kei leader, Noctis (whose name means “night” in Latin), use the empire’s language of violence to decolonize the kingdom of darkness. Somewhere, Fanon’s ghost is drinking sake and smoking Peace cigarettes in celebration.Read More
Today I got an email telling me that my personal essay, "When Words Make You Real," was accepted in the mixed-race anthology The Beiging of America, which is awesome. I'm happy, proud even, to be part of such a groundbreaking but also crucial anthology exploring what it means to be mixed race (in my case, hapa) in America.
There was a flower arrangement to our entrées, a harmony of light and darkness inside the dining room, a small ceremony for the chilled chickpeas and sun-dried tomatoes, crisp Arugula salads, haunting ginger slices and incinerating Thai soups, that was uniquely Japanese in spirit and decorRead More
I just got the awesome news today that my lyrical essay "Obāsan in a Cup," which is part of my experimental memoir Dream Pop Origami, was accepted in the always-awesome Guernica Magazine. Even more shocking, it will be published tomorrow. Many thanks to the smart, perceptive, and insightful suggestions from Raluca Albu, the CNF editor at Guernica. Stay tuned!
I agonize over my own workshop pedagogy now that the mic is in my hand. This agony comes partially from memory: I remember the completely avoidable trauma I experienced in my own MFA program as a hapa fiction writer whose racial and cultural legibility was confusing at best and dismissed at worst.Read More
Matthew Salesses runs and directs an awesome column at Pleiades about workshop craft and workshop pedagogy and I'm happy to say that my essay "The Velocity of Flying Objects" about my own workshop methodology will be published soon on the magazine's website. Stay tuned.
Remarkably, it's been ten fucking years since I've been back at AWP. The last time was in Atlanta in 2006, back when I was a confident, driven, ambitious, but also paradoxically naive, trusting, and hyperidealistic MFA student whose only aspiration at the time was to publish short stories and essays in the best literary journals possible. The idea of publishing novels was fundamentally foreign to me for the simple reason that I hadn't written a novel yet, nor a collection of short stories. There was no lofty expectation because there was no product.
Ten years later, I'm both amazed, horrified, and also humbled by how differently I look at the publishing industry in general and at my literary ambitions in particular. Unlike ten years ago, I have a bunch of stories and essays published in a number of legit literary journals, but it's no longer enough for me anymore. Also, unlike ten years ago, I have several manuscripts that are ready for publication. I have more than a few realistic publishing possibilities with several awesome indie presses (though they remain merely possibilities until those manuscripts become material objects of art for public consumption). I have--I always seem to have--several agents and a senior agent at a major New York publishing house reading my novels. I have two rad lecturer positions at UCI and CSUN teaching literature, writing, rhetoric, research, and creative writing. I have probably too many advanced degrees now, but whatevs. I have a network and a community of friends (many of them APIA writers, but certainly not all of them). I have some fans who follow me on Twitter because of the things I've written. Most importantly, I feel--possibly irrationally, possibly delusionally--that I finally have momemtum in my writing career. So, I apologize for this self-indulgent recollection, but the point I'm making here is that I see this conference in such a different way than I did before because I bring a different emotional and professional technology than before. I feel like I can almost touch my future, as absurd as that sounds.
Among other things I did at this year's AWP, I got to:
1. Attend readings from Claudia Rankine, Eula Biss, Jonathan Lethem, Geoff Dyer, Leslie Jamison, Maggie Nelson, my friend and mentor Percival Everett, Shonda Buchanan, Judy Grahn, Joyce Carol Oates, and Peter Ho Davies, which were all pretty amazing.
2. Attend a fascinating (and inditing!) panel by Adam Atkinson, Lillian Yvonne-Betram, and Sarah Vap (an SC student) that presented the results of its survey and data collection about race and racial representation within PhD programs in Creative Writing.
3. Talk to editors of several of my favorite indie presses and do a tiny bit of politicking (almost all of it unplanned and unintentional)
4. Make new writing friends and also do some networking (which never hurts in this business)
5. Most importantly, meet up with and reconnect with former professors and old friends from my MFA and PhD years, many of whom I haven't seen in years and whom I've missed, sometimes terribly, including Steve Tomasula, Marc Irwin, Joshua Bernstein, Chris Santiago, Lily Hoang, Gwendolyn Oxenham, Casey and Denise Hill, Heather Dundas, David St. John, and Percival Everett (who hugged me and then said, "What's going on, brother?")
6. Buy a shitload of books and literary journals from indie presses
7. Remember again why I'm a writer, a writer before I'm anything else in the professional and artistic domains