A Dining/Survival Guide for Those Moments as an Asian American Writer
While Catching up via Twitter on the Latest Inkling That The New Yorker Might Not Have Enough Asian American or Other Editors of Color to Say, Um, No.
Bittermelon and beef with black bean sauce.1
When You’re with Your Friends After Work and You’ve All Agreed to Cancel Your New Yorker Subscriptions and Instead Subscribe to The New Republic and/or The Atlantic Because, Respectively, Cathy Park Hong and Ta-Nehisi Coates.
Dan dan noodles, Sichuan pickled vegetables, steamed chicken with chili sauce, fried lamb with cumin, chongqing diced chicken with chili peppercorn, tears in eyes, hot and spicy crispy prawns (in the shell), and Sichuan spicy ma po tofu.2
Image via Angry Little Girls, Lela Lee.
I wrote/recorded (click here to hear) the following in reaction to recent events. Also, our fabulous Weird Sister Soleil Ho wrote a related post (which you should also check out if you haven’t already)…
[Procedure: Have an actual Asian female poet silently mouth “take my face take my voice take my face take my voice” throughout this entire audio recording]
Are you a cis-white male poet who’s been rejected over and over for the same shitty poem? Do you want this same shitty poem to be selected for the Best American Poetry anthology?
Then look no further–just adopt an Asian female voice! Continue reading
Hi guys. I’ve noticed something about the word boring.
I noticed it most recently in discussions about Kenneth Goldsmith’s performance of his version of the St. Louis County autopsy report for Michael Brown. Many people responded with outrage to Goldsmith’s appropriation and objectification of Brown’s body (see the above link to Rin Johnson’s piece and Amy King’s piece asking “Is Colonialist Poetry Easy?”, among others); many of them saw his performance as symptomatic not only of an individual poet’s bad taste or careless sense of entitlement, but of the inherently white supremacist values of avant-garde poetry specifically and the American literary world in general (values that Cathy Park Hong brilliantly exposes in “Delusions of Whiteness in the Avant-Garde,” and that the Mongrel Coalition Against Gringpo continues to critique and rage against and lampoon). Goldsmith’s performance, many of these critiques point out, is a logical extension of a position he outlined in a 2009 inteview in Jacket:
I really have trouble with poethics. In fact, I think one of the most beautiful, free and expansive ideas about art is that it — unlike just about everything else in our culture — doesn’t have to partake in an ethical discourse. As a matter of fact, if it wants to, it can take an unethical stance and test what it means to be that without having to endure the consequences of real world investigations. I find this to be enormously powerful and liberating and worth fighting for. Where else can this exist in our culture?
The word, or the concept, of boring seems to come in when people want to preserve this anti-ethical practice but disavow the specific performance Goldsmith gave. I think that’s happening in this response from the publishers of SPORK Press, which celebrates Goldsmith’s “right to fail” as an artist, but notes that “personally I find the autopsy piece (offensive,) facile, and more specifically, boring.”
Finally, a Google Chrome app that “changes the word ‘man’ to something more appropriate”! And it’s called, you guessed it, Not All Men.
As you probably heard, since for some reason this news story turned everyone on social media into a total snark, Harper Lee will be publishing a second novel. Go Set a Watchman is a sequel to To Kill a Mockingbird, although Lee wrote Watchman first. And okay, okay, some of those posts were pretty funny, like this one that riffs on that Kanye-and-Paul-McCartney joke from a few weeks ago:
We’ve been following conversations on Facebook about this week’s Poetry Project event, “Short Texts on the Future Nature of the Reading.” CAConrad writes: “THOSE OF US WHO WERE AT THE POETRY PROJECT LAST NIGHT WILL NEVER EVER FORGET WHAT EILEEN MYLES SAID!! There are some FUCKED UP old man poets who are the Bill Cosby’s of the poetry world RIGHT NOW. LET THE RAPIST, MYSOGYNIST CREEPS BE HELD ACCOUNTABLE!!” Jennifer Tamayo asks: “I have questions about accountability. what happens after names have been named. what happens after bodies have been counted. WHAT HAPPENS AFTER.”
Slate logs the textual alterations Claudia Rankine has made before each printing of Citizen, such an instant classic that it’s now in its third printing.
Part Two of the Female Aesthetic(s) Symposium, moderated by Metta Sáma, went up this week on The Conversant. It features Racquel Goodison, Monica A. Hand, Patricia Spears Jones, Tracy Chiles McGhee, and Arisa White.
“Avant-garde poetry’s attitudes towards race have been no different than that of mainstream institutions.” – Cathy Park Hong in her essay, “Delusions of Whiteness in the Avant-Garde.”
Delirious Hem’s forum on Rape Culture and the Poetics of Alt Lit continues during November.
Sarah Seltzer’s interesting take on the Lena Dunham controversy explores the distinctions between triggering art and abuse.
Various cartoonists give their perspectives on writing characters of different races than your own.
Read an interview with Tatyana Fazlalizadeh, the artist behind the “Stop Telling Women To Smile” anti-street harassment campaign.
Women, Action and the Media (WAM) has partnered with Twitter to support women experiencing gender-based harassment on the social media platform. You can report any instances of harassment through this online form.
Poets in NYC met this week to talk about sexism and accountability in local poetry circles. Read the meeting handout here.
What did we miss? Share your links in the comments.