Saturday, May 27, 2:30-4:30pm @ Sentro Filipino Come Celebrate the Book Launch for Beverly Parayno’s new story collection “WildFlowers” (PAWA Press)

Come celebrate and support AAPI Heritage Month by joining us for Beverly Parayno’s book launch “WildFlowers.” I’ll be reading with Tamim Ansary, Tony Robles, Olga Zilberbourg, Veronica Montes, and Aileen Cassinetto on Saturday, May 27, 2:30-4:30pm @ Sentro Filipino: The San Francisco Filipino Cultural Center, 814 Mission Street. Let’s congratulate Beverly and PAWA Press as she shares work from her new story collection, available for pre-order at http://www.wildflowersbp.com/page1/

Wildflowers Book description:

In these nine unforgettable stories, spanning several generations and traversing the Philippines, the Bay Area, and Ireland, Parayno illuminates the emotional and psychological journeys of Filipino and Filipino American girls and women experiencing fear, desire, loneliness, and despair. Wildflowers speaks to everyone who has ever had to find a strength and resiliency they never knew they had. 

Hope to see you there!

Counting down for #AWP23 @ Seattle!

The last time I was at AWP, I was still in graduate school, renting an apartment, and unsure about what came next post-MFA. Italy won the World Cup, and Gnarls Barkley was top of the charts with “Crazy.” It’s been more than awhile (17 years–ouch!), so much so, that I’m now a mother, a professor, a homeowner, who still feels just as lost with so much still up in the air only now I get to chat about this lostness and all the many balls in the air with fellow parent-writers. I am both nervous and truly excited to be sharing a panel discussion with fellow writers John Messick, Keema Waterfield, Sean Prentiss, and Ukamaka Olisakwe.

For those attending AWP, I hope you can join us at this panel “Impossible Balance” on Saturday, March 11, 3:20-4:35pm (Room 327, Summit Bldg), where we attempt to put into our words the crazy-making, acrobatic experiences of parenting [small children] and writing [during the pandemic]. I would love to catch up and meet fellow writers, readers, and lovers of word in Seattle, so please drop me a line and see you there!

The Filipino International Book Festival is Back at the San Francisco Main Public Library, October 15-16, 2022, and I’ll be there!

I’m honored to be a part of the return of the Filipino International Book Festival this weekend, October 15-16 at the San Francisco Main Public Library, where I’ll be hosting Ink Storm #3 with luminaries:

Marianne Chan
Liza Gino
jxtheo
Alan Samson Manalo
Veronica Montes
Vicente Rafael
Lara Stapleton
Kenneth Tan
Host: Rashaan Alexis Meneses
Koret Auditorium, Basement

The 6th Filipino American International Book Festival returns to the San Francisco Main Library on Oct 15-16 after a three year hiatus. It is a spectacular lineup of writers and publishers from around the US, the Philippines, and Europe, celebrating the theme of “Hiraya/Emergence.”

The festival will open with a live performance from “Larry the Musical,” a much anticipated production about labor activist Larry Itliong. It will feature headliners Gina Apostol, Erin Entrada Kelly, and Meredith Talusan, panels, author readings, book signings, a free writing workshop, and a books + comics marketplace. We’ll close with a pre-recorded interview with Nobel laureate Maria Ressa and journalist Ben Pimentel.

For the families and teachers, we’re offering a Kids + Teen program. We’ll offer slime-making, a zine workshop, author readings and signings, a puppet show, a giveaway of 80 book bundles, and more for all ages. And if you love YA and MG, catch our authors in discussion with National Book Award finalist Randy Ribay. 

Help us by spreading the word, or volunteering with us.  Share this email with a teacher, bring a friend, bring your kids, bring yourself! All events are 100% free.

Save the Date! October 15-16, Filipino American International Book Fest @ San Francisco Main Public Library

Counting down for the return of the the Filipino American International Book Festival, happening Saturday and Sunday, October 15 & 16 at the San Francisco Main Public Library. This year brings a stellar roster of authors, artists, and panelists, listed below, and yours truly will be hosting one of the events on Sunday, October 16, so please mark your calendars. There’s plenty for readers of all ages, including special events for kids & teens. Can’t wait!

Featured Interview
Maria Ressa

Featured Keynote Speakers and Authors
Gina Apostol
Erin Entrada Kelly
Meredith Talusan


Philippines
Ani Rosa Almario
Gideon Lasco
Ian “Taipan” Lucero, panelist

United Kingdom
Candy Gourlay

France
Reine Arcache Melvin

USA
California
Ramon Abad
Cyra Africa and Fae the Waray Puppet
Erina Alejo
Marielle Atanancio
Tracy Badua
MIchael Caylo-Baradi
Joi Barrios
Jason Bayani, moderator
Debra Belali, moderator
Steve Belali, panelist
Conrad Benedicto
Bayani Books
mg burns, panelist
Jaena Rae Cabrera, moderator
Melissa Chadburn
Catherine Ceniza Choy
Dara Del Rosario, moderator
Diwata Komiks
Zoe Dorado
Troy Espera, moderator
Laurel Flores Fantauzzo
Liza Gino
Kristian Kabuay, panelist
Karen Llagas, moderator
Edwin Lozada, moderator, host
Zach Lewis Maravilla
Alan Samson Manalo
Earl Matito, moderator
Lisa Melnick, moderator
Rashaan Alexis Meneses, Inkstorm host
Veronica Montes
Michelle Peñalosa
Ben Pimentel, moderator
Maxie Villavicencio Pulliam
Mae Respicio
Barbara Jane Reyes
Randy Ribay, moderator
Dr. Robyn Rodriguez
Renee Macalino Rutledge
Luna Salaver, panelist
Sampaguita Press
Ricco Siasoco, moderator
Janet Stickmon, host
Allysson Tintiangco-Cubales, panelist
Angela Narciso Torres
jxtheo
Lorna Velasco, panelist
Dr. Lily Ann Villaraza, moderator

Florida
Cynthia Salaysay

Illinois
Mia P. Manansala

Maryland
Lysley Tenorio

Massachussetts
Bren Bataclan
Sabina Murray

New York
Sophia N. Lee
Lara Stapleton
Isabel Roxas

Ohio
Marianne Chan

Oregon
Jason Tanamor

Washington
Cookie Hiponia
Ube Books
Vicente Rafael

Washington D.C.
Theo Gonzalves

Please join us Sunday 3 May, 5:30 PST at The Digital Sala for “The Spark: history and the filipinx imagination”

Despite all the struggles and stressors of life in lockdown, from teaching and parenting, cooking and cleaning while home-schooling and working from home, a few surprises have made this shelter-in-place brighter.

The latest, an invite from Veronica Montes and Marianne Villanueva to co-facilitate a workshop with The Digital Sala. “The Spark: history and the filipinx imagination” set for this Sunday 3 May 2020, 5:30 PM (PST) via Zoom includes short reading from Montes, Villanueva, and yours truly, along with activities and discussion to generate new work with some engaging prompts. We ask if you can spread the word and hope to see you this Sunday evening!

The Digital Sala is a virtual Filipinx literary festival happening on various platforms throughout April 2020 and most likely beyond. The Digital Sala is a collaborative, decentralized, and grassroots effort initiated by writers, artists, and organizers committed to supporting each other and our broader communities. The Digital Sala is a radically flexible, build-as-we-go-along, open-ended effort. Thus far, we’ve hosted organizing strategy sessions, readings, an artist conversation, and a pop culture hour; we’ve supported and publicized open mics, workshops, and other aligned events happening in our communities; and we’re looking forward to an expanding calendar of casual, impromptu, formal or informal sessions, readings, workshops, writing groups, panels, and other types of gatherings. The Digital Sala keeps a wide-open and ongoing invitation to you, your ideas, your needs, and your dreams, and we encourage you to show up, gather, co-build, co-create, and hold space for our communities. We’re all here to support each other, and we plan to archive these events and experiences and build resources toward future initiatives and collaborations. The Digital Sala is a peoples’ project, a collective labor of love. We still need as much help as we can get to grow and sustain this already dynamic and crucial space. We recognize and respect everyone’s varying capacities. We welcome your support in all aspects of building and sustaining The Digital Sala: logistics; programming; online security; design; publicity; social media; etc. The Digital Sala is here for all of us!

Stellar Lit Events for October 2019- Please Mark Your Calendars

Yours truly is excited to be a part of two stellar literary events this October. Check out the line-ups, mark your calendars, and  share with lovers of lit in your circles.

  • Wednesday, October 9, 6:30pm – Pilipinx Writer’s Night with San Mateo County’s Poet Laureate Aileen Cassinetto, Jason Bayani, Beverly Parayno, Rashaan Alexis Meneses, & a surprise guest on Wednesday, October 9, 6:30pm, John Daly Branch Library, 134 Hillside Blvd, Daly City. Bios below.
  • Saturday, October 19, PAWA Lit Crawl Event, Phase II, with Barbara Jane Reyes, Rachelle Cruz, Tony Robles, Beverly Parayno, and Rashaan Alexis Meneses at Holy Mountain on Valencia, San Francisco (to be confirmed).

Bios for Pilipinx Writer’s Night in Daly City, October 9, 6:30pm

ABIGAIL LICAD is a 1.5-generation Filipino American who immigrated to the U.S. with her family at age 13. She received her B.A. from University of California-Berkeley and her M.Phil in literature from Oxford University. Her work has been published in Calyx, Smartish Pace, San Francisco Chronicle, and Los Angeles Times, among others. She has served as a Rotary International Ambassadorial Scholar to Senegal and as Hyphen magazine’s Editor-in-Chief. She lives and works in the San Francisco Bay Area.

AILEEN CASSINETTO is the Poet Laureate of San Mateo County. Since she began her term in January 2019, she has visited 10 of the 32 communities in the county, launched her “Speak Poetry” campaign, and promoted events on NBC Bay Area and publications such as The Six Fifty, Half Moon Bay Review, and Redwood City Climate Magazine. She has also been a featured speaker at the College of San Mateo and at Skyline College, and collaborated with other poets to help raise awareness on issues such as immigration and social justice, prevention of cruelty to animals, gun control, rehabilitation of prisoners through poetry, and mental health and suicide prevention. Widely anthologized, Aileen is also the author of the poetry collections, Traje de Boda and The Pink House of Purple Yam Preserves & Other Poems, as well as three chapbooks through Moria Books’ acclaimed Locofo series.

BEVERLY PARAYNO is from San Jose, California. Her fiction, memoir, essays and author interviews appear or are forthcoming in Narrative Magazine, Bellingham Review, The Rumpus, World Literature, Huizache, Warscapes, Southword: New Writing from Ireland, among others. Her writing has been translated into Chinese by the Chinese Academy of Social Sciences. She has a BA in English from San Jose State University, an MA in English from University College Cork and an MFA from Vermont College of Fine Arts, where she received a Lynda Hull scholarship. She serves on the board of directors of PAWA – Phillppine American Writers and Artists. A resident of Oakland, she is a grants consultant for social justice nonprofits in the Bay Area.

IVY ALVAREZ is the author of verse novel Disturbance (Wales: Seren, 2013), which was adapted into a musical and premiered in Tokyo in July 2019. A MacDowell Colony, and Hawthornden Fellow, thrice-nominated for a Pushcart Prize, both Literature Wales and the Australia Council for the Arts awarded her grants towards the writing of Disturbance. Widely-published and anthologised, her poetry also appears on a mobile app The Disappearing, in Takahē, The Age / Sydney Morning Herald, and Best Australian Poems (2009, 2013), with several poems translated into Russian, Spanish, Japanese and Korean. Her poetry collections include Mortal, Hollywood Starlet, and The Everyday English Dictionary. Her latest, Diaspora: Volume L, is available from Paloma Press.

JASON BAYANI is the author of Locus (Omnidawn Publishing 2019) and Amulet (Write Bloody Publishing 2013). He’s an MFA graduate from Saint Mary’s College, a Kundiman fellow, and works as the artistic director for Kearny Street Workshop, the oldest multi-disciplinary Asian Pacific American arts organization in the country. His publishing credits include World Literature Today, BOAAT Journal, Muzzle Magazine, Lantern Review, and other publications. Jason performs regularly around the country and debuted his solo theater show “Locus of Control” in 2016 with theatrical runs in San Francisco, New York, and Austin.

RASHAAN ALEXIS MENESES earned her MFA in Fiction, Creative Writing from Saint Mary’s College of California, where she was named a Jacob K. Javits Fellow. Awarded a 2018 Author Fellowship from Martha’s Vineyard Institute of Creative Writing and an Ancinas Scholarship for the 47th Annual Community of Writers at Squaw Valley, she has earned fellowships at The MacDowell Colony and The International Retreat for Writers at Hawthornden Castle in Scotland, and was named a finalist for A Room of Her Own Foundation’s Gift of Freedom Award. A 2015 finalist for the Center for Women Writers International Reynolds Price Short Fiction Award and nominated for a Sundress Best of the Net Prize, her fiction and non-fiction have appeared in Kartika Review, BorderSenses, Puerto del Sol, New Letters, Kurungabaa, Doveglion Press, UC Riverside’s The Coachella Review, University of North Carolina’s Pembroke Magazine, and the anthology Growing Up Filipino II: More Stories for Young Adults. She is currently a Visiting Liberal Arts Fellow for Saint Mary’s College of California.

REME GREFALDA is the founding curator of the Asian American and Pacific Islander Collection at the Library of Congress. She is also the founding editor of Our Own Voice Literary Ezine and Qbd ink theater group. The author of baring more than soul: poems and The Other Blue Book: On The High Seas of Discovery, she is also the co-author of a Ford Foundation report, Towards A Cultural Community: Identity, Education and Stewardship in Filipino American Performing Arts. She is the recipient of the Philippine Palanca Award for her full-length play, In the Matter of Willie Grayson, produced and staged at Howard University in Washington, D.C.

WALTER ANG is the author of Barangay to Broadway: Filipino American Theater History. He currently covers Filipino American theater for news site Inquirer.net and was a contributing writer for the Theater Volume for the second edition of the Encyclopedia of Philippine Art recently published by the Cultural Center of the Philippines. Before moving to the US, he covered the Manila theater industry for the newspaper Philippine Daily Inquirer. Ang was a juror for the Philstage organization’s Gawad Buhay theater awards from 2008 to 2009. He was a Fellow at the 2009 University of Santo Tomas Varsitarian-J. Elizalde Navarro National Workshop on Arts and Humanities Criticism Writing. Visit WordsOfWalter.blogspot.com.

Upcoming Reading: Saturday 4 November, 8pm “Lone Glen: Writers who Parent/Parents who Write @ Temescal Art Center, Oakland

Organized by poet and educator Alexandra Mattraw Rosenboom , we invite you to join us at Lone Glen: “Writers who Parent/ Parents who Write” on Saturday, November 4th at 8 pm at Temescal Art Center in Oakland  (511 48th Street) to hear work from Megan Breiseth, Lauren Levin, Rashaan Alexis Meneses, Sara Mumolo, and Amos White. In our community, what role does parenting play in the creative process, and what role does the imagination play in the journey of raising a child? How does the act of parenting serve as a constraint, or not, as we express ourselves in writing and in other art forms? Come out to hear what these parent writers are thinking about in their work and about their process. A brief Q and A will follow their readings.

Here are the authors:

Megan Breiseth is the author of the chapbook Zia (Mrs. Maybe Press), co-author of the chapbook the longer you stay here (Aggregate Space Gallery) and two manuscripts-in-progress. She works as an educator and lives in Alameda, CA with her wife, son, and cats.

Lauren Levin is the author of THE BRAID (Krupskaya, 2016) and the forthcoming JUSTICE PIECE/TRANSMISSION (Timeless, Infinite Light, 2018) as well as several chapbooks, including The Lens (Little Red Leaves, 2014) and Working (Portable Press at Yo-Yo Labs, 2012). From 2011-2014, she co–edited the Poetic Labor Project. She grew up in New Orleans and lives in Richmond, CA with her family.

Rashaan Alexis Meneses has received fellowships from The MacDowell Colony, The International Retreat for Writers at Hawthornden Castle, UK, and the Jacob K. Javits Program. Her fiction and non-fiction has been featured in various journals and anthologies, including Kartika Review, Puerto Del Sol, New Letters, BorderSenses, Kurungabaa, The Coachella Review, Pembroke Magazine, Doveglion Press, and the anthology Growing Up Filipino II: More Stories for Young Adults. When she’s not writing or teaching, she’s hiking trails along the coast of California. You can find her at https://rashaanalexismeneses.com/

Sara Mumolo is the author of Mortar (Omnidawn, 2013) and the Associate Director for the MFA in Creative Writing at Saint Mary’s College of CA. She created and curated the Studio One Reading Series in Oakland, CA from 2007-2012, and Cannibal Books published her chapbook, March, in 2011. She has received residencies to Vermont Studio Center, Caldera Center for the Arts, and has served as a curatorial resident at Pro Arts Gallery in Oakland, CA. Her next book Day Counter is forthcoming in 2018 from Omnidawn.

Amos White is an awarded American haiku poet and author, producer/director and activist, recognized for his vivid literary imagery and breathless poetic interpretations. Amos is published in several national and international reviews and anthologies. He is Founder and Host of the Heart of the Muse creative’s salon, Executive Producer and Host of Beyond Words: Jazz+Poetry show; Producer the Oakland Haiku and Poetry Festival, and serves on several literary and arts nonprofit boards.​ http://www.about.me/amoswhite http://www.facebook.com/amoswhitehaiku

Presenting at Hedgebrook Bridging One Day Retreat for Women Writers

Bridging: A One-Day Writing Retreat

With Keynote Speaker Karen Joy Fowler
At Saint Mary’s College of California

 

Logo: In Collaboration with Hedgebrook

Hedgebrook and SMC MFA in Creative Writing are collaborating to present a one-day writing retreat for women.

Date: Saturday, June 10, 2017

Time: 8:00 am – 9:00 pm
Retreat Schedule

Location:
Saint Mary’s College of California
1928 Saint Mary’s Road
Moraga, CA 94575

I’m honored to be facilitating a writing workshop on applying for residencies and fellowships at this year’s Hedgebrook Bridging One Day Retreat for women, taking place Saturday, June 10, 8am-9pm, in collaboration and hosted at Saint Mary’s College of California, MFA Creative Writing Program, with Karen Joy Fowler as keynote speaker. I’ll be presenting alongside literary luminaries: Raina León (poetry), Angie Powers (fiction), and Jill Kolongowski (non-fiction)
Partial scholarships are available, and the fee is reasonably priced ($130), including three meals and happy hour. Please consider saving the date and spreading the word to fellow women writers. You can find more details here.
Also, if you haven’t had a chance, please peep out my latest story, “The Expectant” included in Kartika Review, Issue #17 alongside an interview with Vanessa Hua.

Recap on Great Writing 2016: The International Creative Writing Conference, UK, Part I

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On the outskirts of Imperial College, London and just a block away from Hyde Park and the Royal Albert Hall, in the Huxley Building set on Queens Gate road, Great Writing 2016: The International Creative Writing Conference took place Saturday 18 June through Sunday 19 June.
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On my way to the conference, a fifteen minute walk from our Kensington Flat where three generations of my family were blessed enough to call our home away from home in London, I got to see a quieter side of the great cosmopolitan city. Streets were virtually empty, and I spied one of the iconic historic blue plaques, alerting me to a former residence of none other than Benny Hill.
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The conference was all about process, valuing process more than the product of writing, which was really a pleasant surprise. Below are some tidbits from the panelists, whose ideas I will definitely be thieving for writing courses and for crafting my creative writing.

Rachel Robertson of Curtin University spoke on “A Mosaic Patterning: Space, time, and the lyric essay” where she illuminates on Bakhtin’s “chronotope,” how time and space are fused and unraveled, in which time knots and unknots itself, and narrative is suspended. Robertson cited the Zen phrase “emptiness is form and form is emptiness.” Form was a continual theme that arose throughout the conference, particularly the shaping of form through the crafting or process of art-making. Robertson compared how music and dance are the only art forms that truly free us from the historical space, embodying the “presentic” space, where time fails to be to be anchored or concretized. She also spoke of the bricolage, which was first introduced to yours truly at Miguel Syjuco’s reading of Ilustrado, when I asked him how he researched for his novel, he said he used a bricolage. Robertson spoke of bricolage as a repetition of imagery, a mosaic.

The second presentation of the panel was one of the most enlightening talks from Karma Waltononen from UC Davis. Her presentation covered “Writing Outside the Lines: From ‘Essay’ to Creative Non-fiction” where she talked about teaching the creative non-fiction essay as breaking away from the required rhetoric and composition. Many students tend to believe an essay means one thing only: a three point thesis with five point paragraphs and no real development for each paragraph.
Waltonen discussed how when she introduces an essay students feel like they’re having the rug pulled out from under them. She takes them back to the root of the word’s origin. ‘Essay’ is simply: to try.
She lets students know that they need to just take a chance and be rewarded for taking a chance.

Waltonen immerses them in the 4th genre and has her students think about the choices they make. She emphasizes that a good essay demonstrates a voice. At the end of the semester, students try to determine different writers’ style by having them guess whose voice is is whose. Another assignment is to have students record a conversation in the cafeteria, so they get a feel for what true conversational writing is.
They cover metaphor and simile, and, most especially, reducing wordiness or tightening prose.

She also goes over what she called ‘breaking rules prudently,’ which is what her grade school teacher taught her. Breaking rules should only be done intentionally for a certain effect, such as run-on sentences. What effect do you want on your reader? Finally, she has her students do a complete revision, and tells them she should only feel a slight deja vu when reading their revision. The changes should be foundational such as change in POV or moving from present to future tense. She does not want to know what happens next. Her challenge to students is letting them know that every word a student uses is a choice, and asking them “Are you being brave with this essay and how?”

Yours truly had a cushy presentation time, not too early and not too late. I was slotted at 11:15am on the first day, which gave me just enough time to see how other presenters presented, get the hang of the logistics, and then dive right into it. Along with the advantageous scheduling, I enjoyed the pleasure of presenting with two savvy professor writers who covered some innovative writing and teaching practices.

Laura Wetherington from Sierra Nevada College presented “Flipping the Creative Writing Classroom: Reading and Writing as Workshop.” In the flipped classroom, students gain exposure to new material. The flipped classroom is the anti-lecture, discussion based or workshop based, turning the workshop on its head. This kind of teaching has been dubbed the “new frontier” of the classroom. Students can reflect on authorial decisions to articulate why they made the choices they did and take creative approaches to reading. The emphasis is on reflective writing for each draft, and she has students revise with specific perameters, giving them a set amount of time to revise. Wetherington really stressed that students be conscious of the decisions they make on what to change with revisions, and she does this by giving them specific revision strategies that they have to choose from. She also quizzes them on technical terms and gives minute papers to guide their questioning with reading. Finally, she talked about the free-reading period where students came up with their own reading lists at the Poetry Center in the Sierra Nevada College. They roamed the library on their own to chose what they wanted to read to inspire their work.

Elizabeth-Jane Burnett from Newman University in Birmingham, UK covered “Trick or Retreat? The Value of Creative Writing Retreats in HE,” explaining how she takes her students to retreats where they learn how to write by deadlines. It’s a challenge to write on spot, on location, and they use the model of flipped classrooms. The marking or assessment is based on informed analytical engagement–a term I may have to borrow for my Craft is Culture class–and the students work on writing prompts first as a group then move onto their own individual work.

Our panel raised some heated debate, which was most welcome since I expect to answer the same questions and address the same reservations from my students and other faculty. For more info on my paper presentation “Craft is Culture: Writing and Reading a Global Imagination” click here and here. A South African writer kicked off the Q&A by asking me why we should force students to write diversely. She understood why reading diversely is important but writing with diversity in mind didn’t see urgent or necessary. Three other presenters answered her immediately, talking about intention, motivation, and the need to expand voice and perspective. Some recommended reading they pointed to me, which I have to look into is Paul Gilroy’s After Empire and Kimberly Crenshaw’s work on Intersectionality.

More on the conference and what I’ll be nicking for my own teaching and writing practices to come soon…

Part II: Recap on “Great Writing 2016: The International Creative Writing Conference UK

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The view from the Kensington Flat, where I stayed during the conference.

Continuing coverage of “Great Writing 2016: The International Creative Writing Conference UK,” held at Imperial College, London, there were so many enlightening panels that offered great insight on the process of writing and best practices in teaching. Below is a taste from the hastily scribbled notes I took. Check out Part I here.

Melissa Bender’s “Just Like Us?: The Novelist’s Responsibility to the Historical Record, which she said was more of a meditation, focusing on Gwendolyn Brooks, Year of Wonders, a historical account of Derbyshire, 1666, where the town of Ames was quarantined to prevent the plague. Bender highlighted the idea of fidelity and reflected on how writers make decisions to be or not to be faithful to history, knowing that there are different histories. She focused on our responsibility as writers and readers to history, and how the historical novel transports readers to a different place, which allows readers to empathize with points of view that aren’t their own. The historians’ challenge versus the historical novelists’ challenge covers such questions as (some of the below are from yours truly):

  • What or who is demonised and why?
  • What is fetishized and why?
  • What is exalted and why?
  • Are the specific subjects demonized/fetishized/exalted to reflect our contemporary values or the values of the past?
  • What is the source of all the problems?
  • How do you develop empathy though you have a different set of values?

Bender cited Sarah Vowell, who says “education is empathy” and that we learn about our situations by taking in other’s people’s POV. Its not about policing the details of historical fiction or the duty to historical record. Novelists must use their imagination since we can’t recreate the past. As readers and writers we need to think about the choices we make and the consequences we create through narratives.

Lauren Hayhurst’s research perfectly coincided with mine in her talk “Creative Writers as Cultural Representatives: A critique of the ‘political’ in relation to ‘literature’ and how Creative Writing can help reinvent Multiculturalism.” Hayhurst doesn’t doubt the power of Creative Writing in multiculturalism. She spoke of the difference between process and product, and how the process is hidden. Reviewing the idea of British Multiculturalism, which she explained was met or is viewed as “confusion and ambiguity,” she highlighted how there is no consensus in its definition. Hayhurst pointed to Paul Gilroy’s After the Empire, and how Gilroy claimed that reckoning with history requires active dialogue to create cohesion. Fiction as an engagement with creativity. Writers must take ownership of our responsibility as cultural representatives, especially since we rely and use our products, the novel or text, to engage and understand the world. What biases inform our interpretations? Hayhurst demands a recognition of novels as a source and form of knowledge. She also referenced Jennifer Web and Donna Lee Brian’s idea on “agnostic thinking,” how knowledge is contingent as opposed to “true,” which provides a framework for an active dialogue. Hayhurst urges us to examine our motivations and intentions as writers.

One of the questions her presentation raised for me is how do we maintain the creative journey and intellectual discovery for the writer but also take into account our responsibility as “cultural representatives” or as givers of “knowledge”? How do we balance our discoveries as artists with the discoveries of the reader or what we want them to discover in our work?

Hayhurst wrapped up her presentation focusing on how writing requires developmental, growing consciousness?  Aesthetic values and ethical values are tied up she argues, concluding that our positionality leads to interpretation and therefore representation to the readers. “Its about flexing the imagination, imagining for your own gain or for someone else’s,” she concluded.

I truly hope to reconnect with Hayhurst, so we can collaborate on future work!
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Toward the end of the conference, I had a chance to reconnect with a fellow Hawthornden resident, poet and professor Julian Stannard (photo above), who said that a poem is an accident. He read from his new work What Were You Thinking.

There were two papers that intriguingly covered process, valuing the craft of writing more so than the product. Annabel Banks’ “The Poesis Project: Real Time Capture of Poetic Process” and Rosie Shepherd’s of Goldsmiths College, UK, “Where is the Creative Process? Its right there!” seemed to be speaking directly to one another in terms of the physical process of writing and the process that takes form and eventually turns to content with a poem. Banks talked about how as we edit a text it grows and shrinks. The finished product could in a sense, as Banks explains, be the dead body, the corpse after its life has run its course. “We are networked, part of a knowledge matrix when we go online and work on a computer as opposed to working with the simpler technology of pen and paper” she says. Both Banks and Shepherd seemed to consider the product as secondary to the process and had me thinking how technology assists and enables content, meaning, and therefore interpretation.

Some general thoughts, that came up for yours truly is how do we imagine our imaginations? How is form formed? Craft is part artists’ intuition and other part artist’s extreme rationality. We make countless decisions as artists, and those decisions have to be calculated or based on some knowledge and prior experience or perhaps the artist’s intuition is simply based on gathered knowledge and experience. The product is a time stamp, a time capsule, and part of the continuum of work of the networked matrix. There is lots to ponder as the rains started to flood the streets of London. See the sky view from the Kensington flat below.

One more final installment to come. Stay tuned…

 

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