Monument 2: WordPress Weekly Photo Challenge

Hong Kong, monument to the Chinese money-making instinct:  Summer 2006 (Last Trip to Asia with Sole Fruit of Her Loins)

Hong Kong, monument to the Chinese money-making instinct: Summer 2006 (Last Trip to Asia with Sole Fruit of Her Loins)

The Golden Gate Bridge:  View From Land's End, San Francisco:  December 2008

The Golden Gate Bridge: View From Land’s End, San Francisco: December 2008

The Layout of Stonehenge: Diagram From SOLVING STONEHENGE, by Anthony Johnson. Self has always been fascinated by the abiding mystery of these stones.  She even used the monument in a short story that got published in Wigleaf ("Stonehenge/Pacifica")

The Layout of Stonehenge: Diagram From SOLVING STONEHENGE, by Anthony Johnson. Self has always been fascinated by the abiding mystery of these stones. She even used the monument in a short story that got published in Wigleaf in 2008:  “Stonehenge/Pacifica”

Excerpt, “Stonehenge/Pacifica” published in Wigleaf (1/11/2012):

It was a dream I had, some restless night.  One of those weeks or months or years when we were worried about money.

But when were we ever not worried?

First there was the mortgage, and then the two.

And then your mother got sick, and your father died.

You can read the story in its entirety, here.

Stay tuned, dear blog readers.  Stay tuned.

 

The Implications of Feminine Curiosity: Reading the Women’s Review of Books (Mar/Apr 2014)

Jan Clausen reviews Curious Subjects:  Women and the Trials of Realism, by Hilary M. Schor (Oxford University Press, 2013).  Clausen writes that Schor takes “curiosity” — specifically women’s curiosity — “to mean several different things” and then cites several fascinating examples, such as:

Isabel Archer (from The Portrait of a Lady, by Henry James) — Self actually tried re-reading last year, before she went to Venice, but soon tired of James’s labyrinthine sensibility.  But now she thinks she might try giving it another whirl, especially after reading “while severely constrained by a social order productive of endless marriage plots,” the characters “gain access to a crucial measure of choice in deciding the marriage question — an outcome with distinct advantages for their development as conscious subjects, even when, as for Isabel, the wedded state brings misery.”

The Bloody Chamber, “Angela Carter’s feminist retelling” of the Bluebeard tale, showing “how the bride’s defiance of her husband’s injunction against entering the locked room becomes the crucial occasion of curiosity, affording a true knowledge of self and situation.”

Middlemarch and Daniel Deronda, by George Eliot, feature “brides whose costly access to authentic subjectivity is won by way of their disastrous marriages.”

Louisa Bounderby, née Gradgrind, who chucks “her heartless capitalist keeper in Dickens’ Hard Times

Wide Sargasso Sea, by Jean Rhys, “a Creole riff on the Bluebeard story that functions in relation to Jane Eyre as both prequel and (post) colonial critique.”

Self also discovers (in another review) that Claire of the Sea of Light, Edwidge Danticat’s new novel, grew out of a short story published in the anthology she edited for Akashic Books, Haiti Noir (2010).  Self now adds Haiti Noir to her reading list.

And she encounters this quote from, of all people, Norman Mailer, in a review by Rachel Somerstein of Fools, Joan Silber’s short story collection (W. W. Norton, 2013):

Short fiction “has a tendency to look for climates of permanence — an event occurs, a man is hurt by it in some small way forever” while “the novel moves as naturally toward flux.  An event occurs, a man is injured, and a month later is working on something else.”

Self is amazed that she encounters the quote from Mailer –  the most uber-macho of macho writers — in the Women’s Review of Books.

Stay tuned, dear blog readers.  Stay tuned.

Kyi May Kaung: Berlin, 2005

In October 2005, self and a bunch of other Southeast Asian writers were flown to Berlin to give a reading at the House of World Culture as part of a conference called “Sending Signals.”  Musicians, writers, film-makers, and visual artists from Burma, Viet Nam, Cambodia, Thailand, Malaysia and the Philippines were gathered in a hotel at the edge of the Tiergarten.  That was also where self met the writers Linh Dinh and Rattawut Lapcharoensap, and where she met a poet from Burma, Kyi May Kaung.

All these years later, self still keeps in touch with Kyi.

Self once saw an Escalade in the Costco parking lot with the license plate “Myanmar.”  She couldn’t believe it and rushed home to call Kyi.

Her somewhat acerbic response:  “If the license plate was Myanmar then I am 100% sure the car belonged to a member of the ruling party.  They’re the only ones who refer to Burma as Myanmar.”

That was a moment.

In December last year, self asked Kyi if it would be OK to post some of her poetry in this blog.  Kyi sent over six poems.  Self doesn’t know why it took her three whole months to get one of Kyi’s poems posted but here, at last, is one:

Travel warning for Burma — some places may be closed.  Ethnic cleansing going on — in 1962 they called it “cleaning the Augean stables.”

Actually, that wasn’t poetry.  That came from one of Kyi’s tweets.

Stay tuned, dear blog readers.  Stay tuned.

 

 

Wanda Coleman Interview (The Writer’s Chronicle, March/April 2014)

Self read this interview with Wanda Coleman in the latest issue of The Writer’s Chronicle (March/April 2014).  The interviewer was Natasha Sajé, whose latest collection is Vivarium (Tupelo, 2014)

Sajé:  What can’t you do as a writer?

Coleman:  I can do anything.

Sajé:  That’s my sense.  But do you have something you’ve never tried because of some reason?

Coleman:  I’ve never had the time to do everything that I want.  My yearning.

Sajé:  Life gets in the way.

Coleman:  That’s the bullet.

Sajé:  So if someone gave you a MacArthur, more than $500,000 and time.

Coleman:  I’d head straight to Vegas!  I would get a room of my own and live in it and work.  I had a residency at Djerassi Institute in California’s Santa Cruz Mountains — oh, I would highly recommend it.  It was a culture shock because I was coming from an urban environment.  There were all these redwoods.  I’m driving a huge Crown Vic up narrow roads, creeping along terrified.  I burned my brakes out trying to get in there, and I ended up on Neil Young’s ranch by mistake.  I made a wrong turn and had to go around.  I commend writers’ colonies.  And so I would probably structure my life very similarly.  Where I have someone else who’s doing the cooking for a change, doing the dusting and the rearranging.  I would need an assistant to do all this.  I’m terrible as my own secretary.  Secretarial work is competitive with the writing.

Sajé:  But you’re not a flake.

Coleman:  No.  So then I would fulfill a few dreams I have kicking around.  Such as spending more time in Paris — I’d like to go back there.  I’d like to go back to Sydney, Australia — I have some unfinished business there.  Australia’s the last frontier in the western world.  It’s really something.  If you ever get a chance to at least visit, go there.  I like Berlin.  I’d like to go back and actually live there.  My husband speaks German, and I speak some German.  I would like to be there for a while.

Wanda Coleman published more than twenty books of poetry, nonfiction, and fiction.  This interview was recorded on Oct. 23, 2008 at Westminster College in Salt Lake City.  Coleman passed away after a long illness on Nov. 22, 2013.

Stay tuned, dear blog readers.  Stay tuned.

Denby on Katniss

The New Yorker, 2 December 2013

The New Yorker, 2 December 2013

Apologies, dear blog readers.  Self knows there’s a new science fiction movie out, one that’s starring Shailene Woodley and Theo James.  She’s excited to see it, just hasn’t had a chance yet.

The Pile of Stuff is truly — enormous.

This morning, she reaches in, pulls out a New Yorker, and settles down to read the movie reviews.  Just to show you how old this issue is, the movie being reviewed is The Hunger Games:  Catching Fire.

It’s very interesting:  Denby writes that teenagers tend to view the gladiatorial fights-to-the-death literally, while their “elders” think about them metaphorically (“as a metaphor for capitalism, with its terrifying job market . . . ” or “as a satiric exaggeration of talent-show ruthlessness”)

“Distraction,” Denby writes, “is supposed to work miracles.”

(Well, it does, David.  It does.  What can self say?  Distraction is, in fact, a most excellent and potent tool.  Just ask parents of recalcitrant toddlers, beleaguered office managers, conniving politicians, crafty taxi drivers and military strategists, thieves and other people up to no good, magicians, low-lifes, jerks both run-of-the-mill and spectacular etc etc etc)

While the first Hunger Games movie was “an embarrassment,” Denby calls “the first forty-five minutes or so” of Catching Fire “impressive.”

An excerpt from the review:

For Katniss, the pleasure of victory never arrives.  At the very beginning of the movie, we see her in silhouette, crouching at the edge of a pond, a huntress poised to uncoil.  She hates being a celebrity, and she certainly has no desire to lead a revolution.  Jennifer Lawrence’s gray-green eyes and her formidable concentration dominate the camera.  She resembles a storybook Indian princess and she projects the kind of strength that Katharine Hepburn had . . .

As for the rest of the characters, Denby assigns one adjective (more or less) for each:  Peeta is “doleful” and Gale is “faithful.”  Caesar Flickerman is “unctuous and hostile.”

Woody Harrelson gets a little something extra:  As Haymitch, he is a “hard-drinking realist” who nevertheless “guides Katniss through every terror” and “is the core of intelligence in the movie . . .  his glare and his acid voice cut through the meaningless fashion show.”

And that is about all self can squeeze out for now.  Oh Pile of Stuff.

P.S. Can self share a secret with dear blog readers? She longs, longs for the filmed version of Mockingjay, knows it’s not arriving until Nov. 21 this year, and has already decided to clear her November calendar. Yup, that’s right: no travels, no workshops, no classes, even NO WRITING (if that’s even possible). Most of all:  No angst, no domestic crisis, no recriminations, no regrets over things said or unsaid, no self-doubt, no dithering, no envy of others getting NEAs or Guggenheims or MacDowell acceptances, no wringing of the hands, no mundane distractions, no remodeling projects, no Tweets, no literary contests, no reading of book reviews, no compiling of “Best of 2014″ lists, no planting, no housecleaning, no shopping whether for essentials or non-essentials (even food), no entertaining of mysterious knocks on the front door or of phone calls from solicitors, no bewailing of personal imperfections, no exaggerations, no facials, no massages, no Vinyasa Flow classes, no research in Green or Hoover libraries etc etc etc etc etc etc etc etc

Stay tuned, dear blog readers.  Stay tuned.

 

EKPHRASIS: Jean Vengua’s The Little Book of Haptic Drawings

The word epkphrasis is one of those words, like deconstruction or meta-fiction, that self has heard floating about, here and there, usually in the most erudite settings — like literary magazines.  Like university websites (She used to have “dystopian” on that short list, but ever since The Hunger Games, and its overwhelming popularity, self hears “dystopian” at least 10x a day and it may be moving from the realm of the esoteric to the realm of cliché)

Ekphrasis refers to poems inspired by another art form — visual arts, say, or music.

The Little Book of Haptic Drawings is about ekphrasis.  But you don’t even need to know that.

It’s available now online in pdf format.  You can read it for free online or download it.  Jean would welcome a small donation — anything you can afford.  (There’s a small donation button on the sidebar).   Just click on the link.  Explore.  Enjoy.

And if you fell in love with it, be sure and let Jean know.

Stay tuned.

 

NYTBR 12 January 2014: Self Will Not Read Any Review That Describes a Main Character as “Beleaguered”

Even though self suspended her subscription to the NYTBR, she still has a pile of back issues to get through.

Perusing the 15 January 2014 issue, self sees that NYTBR editors have not lost any of their interest in Russia or its writers:  There are reviews of a new novel by Lara Vapnyar (partly about a Soviet youth camp), as well as a translation of Michael Shishkin (famous in Russia).

In the By the Book interview, Sue Monk Kidd named the following as “books with spiritual themes”:  Gilead, by Marilynne Robinson; The Poisonwood Bible, by Barbara Kingsolver; The Moviegoer, by Walker Percy; and Cry, the Beloved Country, by Alan Paton. Asked which books “we all should read before dying,” she responds with:  Night, by Elie Wiesel, What is God? by Jacob Needham, and To Kill a Mockingbird.

Self finds herself skipping over several reviews, for several reasons, one of them being that when a reviewer describes a novel’s main character as “beleaguered,” self quickly loses interest.  Also, right now, self has no interest in reading books about “ornery old men” who drink and smoke themselves “to death” because she doesn’t consider either of these activities even remotely tempting.

She is interested in the books Sue Monk Kidd is “reading these days”:  Beautiful Ruins, by Jess Walter, Dear Life, by Alice Munro, Sister Mother Husband Dog, by Delia Ephron, and Edith Wharton’s Three Novels of New York:  The House of Mirth, The Custom of the Country, and The Age of Innocence.

Self loves discovering new women writers, and this issue of the NYTBR introduces her to Elizabeth Spencer (“Spencer’s great gift is her ability to take ordinariness and turn it inside out, to find focus in a muddle.”)

She also loves Diane Johnson, who happens to have written a memoir (Flyover Lives: A Memoir).

Having come — finally! — to the end of this post, self realizes that blogging about The New York Times Book Review is an exceedingly intricate and time-consuming activity, because it involves making a list, and a list involves — naturally — exclusion, which then causes her Catholic guilt to rear its annoying head.

Stay tuned, dear blog readers.  Stay tuned.

VERSES TYPHOON YOLANDA: A STORM OF FILIPINO POETS

Announcing the release of:

Verses Typhoon Yolanda: A Storm of Filipino Poets (Meritage Press:  San Francisco and St. Helena)
edited by Eileen R. Tabios

Paperback, 220 pages, $20

(People:  Yolanda=Haiyan. Filipinos use “Yolanda,” everyone else uses “Haiyan.” You know, at some point self thinks that Filipinos cannot escape comedy, even within tragedy. So if you are a potential donor, and the only thing stopping you is the confusion over which typhoon you are actually making a donation for, note that Yolanda and Haiyan ARE ONE AND THE SAME TYPHOON.  Of course, mebbe you don’t care about WHICH typhoon, in which case, there was also ONDOY several years ago.  It doesn’t matter.  Give, that’s all that counts)

Here’s an excerpt from the official press release:

In response to Yolanda’s devastation, Filipino poets in the homeland and the diaspora rallied to create a fundraising anthology entitled Verses Typhoon Yolanda:  A Storm of Filipino Poets.  Edited by poet Eileen R. Tabios, the anthology of 133 poems is released by Meritage Press.

All of the book’s profits will be donated to relief organizations and others helping the typhoon survivors.  Meritage is willing to send books at cost to fundraisers who then can sell the books at their individual retail price of $20 each.

For more information, contact Eileen R. Tabios at MeritagePress@aol.com

*     *     *     *

“Emptiness of Air,” the piece self wrote for Vela, the women’s travel website, is included in this anthology — because self is ALL about TransGenre.  YAY!

Stay tuned, dear blog readers.  Stay tuned.

DIVERGENT Quote of the Day

Self crawling along through Divergent.

Apologies, dear blog readers.  She knows a lot of people checked in on her previous Divergent posts, and the movie’s opening next week already, and Sole Fruit of Her Loins wants to see it.

But the weather’s been soooo beautiful.

And she’s still having all sorts of car problems.

Today, she’s on p. 59, and the beginning of teen fiction territory. Mild spoilers ahead:

I see a few hands stretching out to me at the edge of the net, so I grab the first one I can reach and pull myself across.  I roll off, and I would have fallen face-first onto a wood floor if he had not caught me.

“He” is the young man attached to the hand I grabbed.  He has a spare upper lip and a full lower lip.  His eyes are so deep-set that his eyelashes touch the skin under his eyebrows . . .

Our heroine makes it into the Dauntless headquarters:

People are everywhere, all dressed in black, all shouting and talking, expressive, gesturing.  I don’t see any elderly people in the crowd.  Are there any old Dauntless?  Do they not last that long, or are they just sent away when they can’t jump off moving trains anymore?

Further along, Tris (formerly — in her pre-Dauntless existence — called “Beatrice”) gets to try her first hamburger.  Members of the oh-so-meek Abnegation faction are referred to as “Stiffs” by the Dauntless.

“You’ve never had a hamburger before?” asks Christina, her eyes wide.

“No,” I say.  “Is that what it’s called?”

“Stiffs eat plain food,” Four says, nodding at Christina.

“Why?” she asks.

I shrug.  “Extravagance is considered self-indulgent and unnecessary.”

Stay tuned, dear blog readers.  Stay tuned.

Re-Reading MOCKINGJAY: Commander Paylor

With the Divergent movie about to open, and a new female action star poised to take the crown from J-Law (which self doesn’t think will happen, even though Lionsgate produces both series and has said of Divergent:  “This one will be special.”)

Self swears, she will never ever be caught using the word “dystopian” when she writes about The Hunger Games.  Nope.  Don’t even go there.

She finally caved and bought a large print edition of Mockingjay, while waiting to board a flight to go south and visit son.  And she’s been doling out excruciatingly small dribs and drabs ever since.  Here’s a passage where Katniss meets Commander Paylor for the first time:

Her dark brown eyes are puffy with fatigue and she smells of metal and sweat.  A bandage around her throat needed changing about three days ago.

Katniss finds her intimidating.  The reader can tell after this passage:

She looks young to be a commander.  Early thirties.  But there’s an authoritative tone to her voice that makes you feel her appointment wasn’t arbitrary.  Beside her, in my spanking-new outfit, scrubbed and shiny, I feel like a recently hatched chick, untested and only just learning how to navigate the world.

Only eight more months till the movie.  Self wonders who’s playing Paylor.

Stay tuned, dear blog readers.  Stay tuned.

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