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
Before the insurrection on Halloween, the security guard considered himself an atheist and a cynic, but there are some things too hard to understand, things without precedent, and one of them is a polished ten-inch Colt Python Revolver pointed directly up your nostrils.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
My short story about class/race in Humboldt Park, "Guide to the Other Side of the Universe," which is part of my short story collection, Geography of Desire, was accepted yesterday in the Angel City Review, an awesome LA-based literary journal. Stay tuned for more deetz!
The Western canon has no objective nomination process, which is why it is both axiomatic and controversial. Literature written by (and often for) white writers is still treated as classic, crucial, and central to our literary archive, codifying a clear but tacit anglonormativity. But why have APIA voices been erased from the so-called “Great Books” for so long, and how should APIA writers respond to this longstanding erasure?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.
In this confusing time of professional androgyny and male disempowerment, men were wounded birds. Dual income households had emasculated them of their sacred institutions of power. Wings clipped, humbled and demoted to democratic gender roles, men had no choice now but to accept their new gun-to-the-head humanism and become motivation speakers and fitness gurus, construction muscle and Pentagon Yes-Men.Read More
Maybe, she’ll buy a one-way ticket to Seattle and throw her dirty underwear off every bridge. And maybe, she’ll buy a ticket to Montréal and then OD on Oaxaca smack in the Greyhound bathroom like the lead singer from Blind Melon.Read More
Today, I got the great news that a chapter from my novella, The Laws of Rhetoric and Drowning, was accepted by Hobart, which publishes fantastic fiction and interviews, among other things. I'm really happy to see this piece put in the public eye! Stay tuned for more deetz.
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!
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.
I got the good news recently that my flash fiction piece "Living in the Future," which is part of my short story collection Atlas of Tiny American Desires, was accepted in the literary journal Arts & Letters and will be appearing in either the Fall 2016 or Spring 2017 issue. Nothing like a short story acceptance to keep my spirits up.
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
I got the good news a few days ago that I've been accepted as one of the readers at the Mixed Remixed Festival 2016 for a panel on hapa writers entitled "Hapa Writers: Our Stories." As some of you might remember, I went last year and the festival blew my fucking mind away. Suddenly, mixed race identity was the rule. It felt amazing to be part of a community (even a temporary one) made of multiracial artists, intellectuals, poets, writers, activists, and filmmakers, all of them with different stories, different narrative modalities, different experiences and cultural vocabularies. It was so fucking dope going last year and it'll be even more dope participating in it this year. I'm incredibly proud and excited to be part of this project
My Interview with the hilarious and talented fiction writer Bryan Hurt (who is both a friend and a classmate of mine from SC) was published today at Full Stop. In some ways, it's less of an interview (which tends to be stuffy, formal, and intellectually demonstrative in like an annoying way) and more of a playful conversation I could easily have had with Bryan one random night at a swanky wine bar or something in DTLA. As far as "interviews" go, this one has a great flow to it I think.