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
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
The Sympathizer forces readers of Asian American Pacific Islander (APIA) literary fiction to reconsider our own craft dogma and ask questions about the value of literary didacticism all over again: when is didactic literature useful, even necessary, and what purposes can it serve in our society as art, historiography, and also racial, cultural, and moral education?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
After a concentrated two weeks where LB and I saw both our families back to back, I'm finally getting back in the groove with my writing, revising, and submissions. And today I've realized that I'm going all out.
Recently, a bunch of my friends have been getting agents, then two-book contracts, thereby fundamentally changing their literary careers in the span of literally one year. A boy can only dream . . . Of course, because I'm human, I've been waiting by the phone too for the same phone call, waiting for the same miracle to magically transform my writing career into a solid object, but so far, I've been mostly stood up by publishing industry (literary journals have been much kinder to me). Agents are happy to tell me how talented I am, but their rejections are always about the fit. Truthfully, it's hard not to feel bad about yourself, especially when you stroll through the local bookstore and you see straight up shit on the coop. But I'm an eternal optimist, obviously delusional, and also very stubborn, so I'm not giving up. Not when I'm so close.
This leads me to the whole point I was making before I digressed earlier. Now that I'm back in action, I'm going all out, man. I'm submitting queries for NINJAS to a bunch of new agents soon (I'm still waiting to hear from three agents who are reading full manuscripts, but the longer time passes, the less hopeful I get). If Kaya rejects AMNESIA (they're taking their sweetass time, by the way), I'll send a query for it to fifty agents the next week. I just sent out several novella manuscripts to Plougshares and the Massachusetts Review. I'm also sending one of my best (and fave) short stories to several literary journals. Lastly, I'm sending my memoir to a few indie presses that I think would be a good fit aesthetically, conceptually, and structurally. Instead of staggering my submissions as I was forced to do during the school year, I'm now going full force. And that's not even including a screenplay I'll start revising/continuing this weekend about two bike messengers in DTLA.
And it don't stop . . .
Dear Jackson Bliss:
Thanks very much for submitting your work to Ploughshares. Although we regret that your manuscript does not fit our current editorial needs, we enjoyed it and hope you'll consider us again.
The Editors of Ploughshares
2011-10-02 21:06:08 (GMT -4:00)
But yo, rejection is the name of the game in this industry. Rejection is the rule + acceptance is always the beautiful exception. We all know that. And since I still have other manuscripts on the burner, really, it doesn't get me down too much. Sure, I get snarly + pissed off sometimes. I frequently tell fiction readers + editors to fuck off out loud when I get rejections, but I also know it's not personal. People are controlled by both aesthetic preferences + taste. We pretend it's about literary merit, but mostly it's about what we like.
Anyway, to appropriate SC's slogan, I'm gonna fight on motherfuckers. I'm a talented writer like thousands of other fiction writers in this country, but I'm also fiercely determined. Stubborn too. And I'm just gonna keep on writing, submitting, revising. Though I only got 3 stories accepted in 2009, they were also my best pick-ups since I started submitting short stories to journals. And recent submissions to the Missouri Review, Quarterly West, BOMB, Witness, Alaska Quarterly Review, Quarter Past 8, Mid-American Review, Threepenny Review, Black Warrior Review, North American Review + Harper's helps keep the faith alive. I write big, I dream big + I submit big. And every now + then, these three worlds converge for a brief moment.
Rejections, come again, son. I remain battle-tested + undaunted by you.
McSweeney's, One Story, Nimrod, 9th Letter, Indiana Review, Black Warrior Review Fiction Contest, Meridian, Virginia Quarterly Review, 3rd Coast, Ploughshares, Emerson Review, The Literary Review, Sentence, Quick Fiction, A Public Space, The Kenyon Review, Cimarron Review, AGNI, The Baltimore Review, Witness + The New South.
Should I expect more heartache and agonizingly long wait periods, followed by a storm of rejection letters and a bunch of generic form emails based more on taste than technique? Of course. Do I think my odds are slim to none that most of these journals will pick up something of mine? Yes, I do. Do I still have the same naive hope that this time things will be different? Of course. Please read my Writing Is A Viral Entry if you want to know why. Will I let the staggering odds against me prevent me from slowly developing my fiction career? Absolutely not.
See, this is my attitude: I already know that I'm a gifted fiction writer. I'm just waiting for the rest of publishing world to figure this out. In the meantime, I'm going to keep paying my dues and continue improving as a new voice in fiction until I can finally get editors to see my talent. Yes, it's difficult. But I knew this going into it.
The Seattle Review
The Hudson Review
And yet, after collecting enough rejection slips to pad my entire apartment with, I feel good about my writing. Call it delusion.
Recent journals I've submitted to are:
The Missouri Review
OV Book anthology
Black Warrior Review
Really, these journals are out of my league. not because of talent, but because i'm lucky if readers look at more than one paragraph, but that's fine because i believe in apprentissage. and i feel like things will work out, and when they do, and when they have, i appreciate it even more.