Shadow Writing the Global Imaginary


Stories map the cosmos of our curiosity, of our lived experiences, and of our hopes and fears. To chart these cosmos is to be comfortable creating amid paradox, to be at ease in a world of contrast, and to not fall back on bias or pre-ordained assumptions and fore-gone conclusions. Inciting a world awareness or a global imagination is a perpetual process of othering or defamiliarizing ourselves from reductive, schismatic, and discriminatory notions about who we are, the world we live in, and our connections to one another.

The above is just a taste of the research paper yours truly is trying to finish and soon present at Great Writing: The International Creative Writing Conference, UK at Imperial College, London, where I’ll be riffing off of Junot Diaz and his “MFA vs. POC.” Writing and researching (see above pic for some of the titles I’ve been diving into) for this topic has inspired a creative writing course, which thankfully got approved to be listed as part of Saint Mary’s College of California’s January 2017 Term described on their website as: “a monthlong session held each January in which every undergraduate explores a single topic in great depth and at an accelerated pace, featuring a unique blend of opportunities on and off campus.”

If yours truly can rouse the necessary enrollment, I’ll be piloting the following course (fingers crossed!):

Craft is Culture: Shadow Writing the Global Imaginary


“In my workshop we never explored our racial identities or how they impacted our writing—at all. Never got any kind of instruction in that area—at all…” author Junot Diaz states in his “MFA vs. POC” (New Yorker, 2014) thereby igniting an urgent conversation about diversity in the literary arts. For historically marginalized artists, creative writing begins and ends with perilous tension. As we read novels, short fiction, and poetry from various authors like Louise Erdrich, Gabriel Garcia Marquez, Harryette Mullen, Kevin Young, Chris Abani, and Diane Glancy, we will ask how these writers subvert, make new, or de-center literary traditions. How do they make aesthetic and stylistic choices to challenge dominant narratives and to put center stage traditionally marginalized voices, neglected histories, and sub-histories? The aim of this course is to discover how craft is culture and how culture can complicate and challenge the craft of creative writing. In turn, we will also explore our own cultural and regional backgrounds to write our own creative works employing techniques from the authors we read.
Through writing, both creative and analytical, we will consider the different ways in which literary writing helps us understand identity and politics, and, conversely, how we can test notions of identity and politics to enrich and deepen our craft of creative writing. Recognizing that craft is culture and that tension drives all creative writing, this class explores reading and writing practices to incite a global cultural imagination that ultimately pinpoints intersections where truth meets art.

English 4

Critical Theory:
selections from Harryette Mullen, The Cracks Between What We Are and What We Are Supposed to Be,“Imagining the Unimagined Reader: Writing to the Unborn and Including the Excluded”, “Kinky Quatrains: The Making of Muse & Drudge”, “Optic White: Blackness and the Production of Whiteness”
Selections from Kevin Young, The Gray Album: On the Blackness of Blackness, “The Shadow Book”, “How Not to Be a Slave: On the Black Art of Escape”
excerpts from Dorothy Wang, Form, Race, Subjectivity in Contemporary Asian American Poetry
Diane Glancy, In-between Places, “July: She has some potholders”
John Yau, “Please Wait By the Coatroom”

Chris Abani, The Virgin of Flames
Louise Erdrich, selections from Love Medicine
Dinaw Mengetsu All Our Names

Selections from Barbara Jane Reyes and Dr. Raina León

More to come as the work progresses…

MFA vs. POC cont.


As the semester winds down, as the grades are slowly being tallied, and, hopefully, soon to be posted, yours truly now has a chance to return to the research for an upcoming conference. I’ll be presenting come mid-June at the 19th Annual UK’s Great Writing International Creative Writing Conference hosted at Imperial College, London, where I’ll continue work on multiculturalism and creative writing. Two years ago, I presented on the global imagination focusing on Kiran Desai’s Inheritance of Loss. That paper has lead me to riff off of Junot Diaz’s “MFA vs. POC” (Dismantle: An Anthology of Writing from the VONA/Voices Writing Workshop 2014), inspiring the below paper title and proposal:

Craft is Culture: Writing & Reading A Global Imagination

“In my workshop we never explored our racial identities or how they impacted our writing—at all. Never got any kind of instruction in that area—at all…” Junot Diaz states in his “MFA vs. POC” (New Yorker, 2014) thereby igniting an urgent conversation about diversity in the literary arts. For historically marginalized artists, creative writing begins and ends with perilous tension. If we write and read from this premise, we are primed and prepared for the necessary conflict to fuel our art. How do we engage and interrogate craft to help us explore our understandings of identity and politics, and, conversely, how do we test notions of identity and politics to enrich and deepen our craft? Recognizing that craft is culture and that tension drives all creative writing, this presentation explores reading and writing practices to incite a global cultural imagination that ultimately pinpoints intersections where truth meets art.

Some of the core texts (though by no means not all) informing and inspiring this paper are:

Wai Chee Dimock’s Through Other Continents: American Literature Across Deep Time (Princeton University Press 2008)

Harryette Mullen’s The Cracks Between What We Are and What We Are Supposed to Be (University of Alabama Press 2012)

Dorothy Wang’s Thinking Its Presence: Form, Race, and Subjectivity, in Contemporary Asian American Poetry (Stanford University Press 2013)

Fred D’Aguiar’s essay “Have You Been Here Long? Black Poetry in Britain” in New British Poetries: The Scope of the Possible edited by Robert Hampson and Peter Barry (Manchester University Press 1993)

Along with a series of essays in the Boston Review: Race and the Poetic Avant Garde

Other authors I’ve been madly copying notes from are depicted above. From my research and brainstorming for the paper presentation, I’ve also crafted a creative writing class proposal that has been accepted as one of Saint Mary’s College’s 2017 January Term courses. More on this to come!

I’m also hoping to organize for either Fall 2016 or Spring 2017 a panel discussion with writers of color who focus on craft and culture in their work, and I would love to start an anthology series as well as run an annual conference, possibly even a writing retreat on the topic. There is so much to be done. This is only the beginning.

Inciting the Global Imagination in Oxford & Lisbon

Screen shot 2014-06-02 at 9.32.28 PM

Yours truly had the honor of presenting at two academic conferences this summer, 7th Global Conference Diasporas: Exploring Critical Issues, organized by and held at Mansfield College, Oxford, UK, 5-7 July 2014 and The International Conference Youth in/and Literature, organized by the Faculty of Social Sciences and Humanities at the Universidad NOVA de Lisboa in Lisbon, Portugal taking place 9-11 July 2014.

The Diasporas Conference ran con-currently with’s other conference “The Apocalypse”, and it was great fun asking those presenters how the apocalypse was going during mealtime. I also got a much appreciated dress rehearsal from the apocalyptic attendees who asked about my research and then surprised me with a host of questions, which even more surprisingly I found myself not only able to answer but enjoyed mulling over and discussing.

So what was presented in Oxford? Along with fantastic papers such as fellow Saint Mary’s College Professor Dana R. Herrera’s “#OFW: Social Media and the Public Discourse Regarding Overseas Filipino Workers” provocative topics included:

  • What Difference a Century Makes: Caribbeans in the Amazon in the Turn of the 20th and the 21st Centuries, Maria da Graça Martins
  • Locating the Self in a Disaporic Space: A Study of Imtiaz Dharker’s Poetry, Rimika Singhvi
  • The Stories We Tell: Drifting and Linking in Dionne Brand’s Prose, Eshe Mercer-JamesEconomics and Diaspora, Ram Vemuri

Each of the presenters on my panel complemented each other’s work, as we all spoke on ambivalence and pluralism to deepen the discussion of diasporas from multiple perspectives. See for yourself:

Session 8: Border-crossing Narratives
Chair: Richard Merritt

  • Then the World Widened: Daring Creative Writing Students to be Cartographers of the Global Imagination, Rashaan Alexis Meneses
  • John MacKenzie’s Letters I Didn’t Write: Home is Where You Are, Kristen Smith
  • Collaborations in Diaspora: Canadian Experiments in Cross-Diasporic Multi-Authored Poetry, Heather Smyth

And what exactly did I present?

The abstract:

Then the World Widened: Daring Creative Writing Students to be Cartographers of the Global Imagination

Pankaj Mishra called for a “bolder cartography of the imagination” in his essay “Beyond the Global Novel” (Financial Times 2013), and a chorus of critics echoed his sentiments posing that the “global novel” or “world literature” sacrifices the specificity of real political traumas for the sake of deadened, feel-good multiculturalism. Though no matter how publishers and academics categorize, plenty of creative writers in our proliferating MFA and PhD creative writing programs aim to tackle transnational narratives. Likely to fictionalize aspects of their own transnational experience or origins, a novelist-in-training will set the world as her stage and her characters as polyglots. How will she avoid the relativistic dead-zone of multicultural platitudes while interrogating notions of politics and identity? How does she begin to depict what Mishra demanded as a “challenging cultural otherness”?

The global or transnational storyteller will likely implement such techniques as the multi-stranded narrative. She will have to demonstrate multilingual sensitivity, and her fiction will undoubtedly straddle simultaneous senses of space and time. This paper examines ways for creative writing students to practice these specific techniques by exploring the works of Kiran Desai’s The Inheritance of Loss and Chris Abani’s Virgin of Flames both of which demonstrate linguistic virtuosity and polyphonic narratives with the intent to grasp what Bertolt Brecht named the “estrangement effect.” Taken from a craft rather than theoretical approach, this paper will illustrate ways to shape a de-centered, global narrative. For a cartographer at this scale must pursue intersections of truth and art, which requires from the writer and the reader a mutual construction of story and meaning. The writer, in this sense, relies on ambiguity and ambivalence to create a purposeful vertigo that is both world-making and world-breaking.

An excerpt:

In crafting the polyphonic narrative, the writer will want to assume that all perspectives, no matter the social or economic standing, have something to lose. From the wealthiest and most comfortable to those who are beyond the margins, every voice has to count. So how to justly cover the stakes? How to viscerally capture the urgency of what’s at stake for each character? The writer must ask herself:

  • How does each character represent a microcosm and how do these individual microcosms make a multiverse?

  • How does each perspective contradict, complement, mirror, and refract one another?

  • How best to splinter the self of each character, knowing that heart, body, and mind are in opposition with one another for each character?

  • How do these oppositional forces within each character map time and space both for the characters and for the reader?

The takeaway from this conference in this particular network  is that passion is key. goes to great lengths not to emphasize titles or rest on stature but to focus on shared interests and dialogue. Each of the presenters were deeply invested in their topics, which was most engaging and inspiring.

As for what happened in Lisbon, the two conferences couldn’t have been more different. The first one was small and intimate. Forty attendees maximum aside from the two organizers, everyone present sat on a panel, so attendance was expected through the duration of the conference. Conversely, at the New University of Lisbon, I never got a hold of how many attendees were present because people were always coming and going. Half of the presentations were in Portuguese, so panel attendance was uneven depending on which language was spoken. Despite the variation, the opening keynote speaker, Shane Blackman, Professor of Cultural Studies, Canterbury Christ Church University, Kent, United Kingdom, proved most informative and timely, speaking on ethnography, which yours truly will be experimenting with come fall semester.

My panel included:

1) Bulgaria and Spain, Petya Yankova and Lida Aslanidou (University of York & City University London, UK)

2) “Then the World Widened: Daring Creative Writing Students to be Cartographers of the Global Imagination”, Rashaan A. Meneses (Saint Mary’s College of California, USA)

3) The Biggest Loser: Mercer Mayer’s Little Critter Series, the Queer Art of Failure, and the American Obsession with Youth Achievement, Michelle Ann Abate (Ohio State University, USA)

Of course, with the good counsel of a wise colleague I didn’t present the same paper from Oxford, but riffed off the original and found myself deeply interested in exploring how the bildungsroman of the 19th century reflects the building of a nation that mirrors the building of an individual through socialisation. Pushing the idea into a contemporary context, I’m curious to see how the bildungsroman, especially concerning the global novel, examines how individuals gain agency in parallel to how ethnic minorities might pursue sovereignty in the face of national hegemony. Yes, a mouthful, but this is the stuff that revs my engine. With that said, here’s an excerpt:

3. Performing Identity
Our identities demonstrate our allegiance to certain traditions and our rejection of other traditions. We essentially perform our allegiances or denial through identity. How we act and who we act with is our show of moral, personal, spiritual and physical integration into specific communities and even our integration into our larger global society. Jopi Nyman speaks to this in “Performing Englishness”: “By rewriting the generic repertoire of the Bildungsroman, the novel does more than represent a post-colonial critique of a Western genre. Rather, by redefining the process of learning in the context of the nation as a way of learning how to be English, the novel addresses questions of (national) identity and stresses its performative character.”[1] Identity is performative demonstrating our membership or rejection of values and traditions, and we might see the parallels between how the shaping of an individual identity reflects the shaping of a community or even a nation as Benedict Anderson speaks to in his Imagined Community.

[1] Nyman, p 97.

And now what?

I’m eager to continue exploring how global writers explore issues of identity, transnationalism and politics through craft techniques. I’m also hoping to scheme up a panel+workshop with fellow literary artists to explore the following themes:
1. How does your literary work serve or shape your social action or your commitment to social justice?
2. How do we read AND write for craft versus culture (in terms of being a person of color writer)?
3. How can writing & reading chart a “living” map of culture, identity, self, and community?

Stay tuned to see what happens next…

Some (not all) of January’s Reading List

This winter’s schedule might not include teaching classes but that doesn’t mean there’s plenty of homework and reading to do. At the start of 2014, along with the ongoing and maybe some new creative writing projects, the research question rattling this mind is can post-colonial discourse(s) inspire, challenge, and inform the craft of fiction writing? Pictured below are just some of the authors who may or may not light the path with a little Djuna Barnes thrown in for fun.

Previous readings for those interested included John Tomlinson’s Cultural Imperialism (Continuum, 2001), Bill Ashcroft, Gareth Griffiths, Helen Tiffin‘s The Empire Writes Back (Routledge, 2002) and Graeme Harper’s Creative Writing Studies: Practice, Research and Pedagogy (New Writing Viewpoints, 2007). Not pictured but also to be tackled will be Gish Jen’s Tiger Writing: Art, Culture, and the Independent Self (Harvard University Press, 2013).

Maybe more to come on this burning question…

“The Next Big Thing,” courtesy of Marianne Villanueva

Vicente de Memije, Aspecto symbólico del mundo híspanico, 1761.

Blushing intensely right now not just because I’ve been tagged by Marianne Villanueva as “The Next Big Thing” but I’m also shamefully late in responding to the recognition, but in the spirit of better late than never, here are some musings over this meme’s query. Cheers, Marianne, for the shout out!

1. What is the working title of your book?

Sorry, this one is under wraps.

2. Where did the idea for the book come from?
For the last four or five years, I’ve been obsessed with this New York Times article:

3. What is the genre of the book?

Its all made up.

4. Which actors would you choose to play your characters in a movie rendition?

I wish I was more current with Filipino actors, but there’s no getting around the fact it’d have to be an APC (All Pinoy Cast).

5. What is the one-sentence synopsis of your book?


6. Who is publishing your book?

One step at a time, please, thank you.

7. How long did it take you to write the first draft of your manuscript?

Probably a year and a half. I’ve been on negative one draft for the last two or three years…

8. What other works would you compare this book to within your genre?

I’m stealing as much as I can from Kiran Desai’s Inheritance of Loss, and I would love to nab from Carsten Jensen’s We The Drowned, but that’s just me dreaming. Oh, and there’s some heavy borrowing from Fitzgerald’s Gatsby in terms of POV and who is or who isn’t the main character.

9. Who or what inspired you to write this book?

The NY Times article cited above is the primary mover for this; there’s also my grandparents on both sides who immigrated for love and labour. A PBS documentary, The Learning, from the POV series really resonated and keeps me on the straight and narrow when I lose my way with the manuscript. I’m hoping to show my students the film this Spring 2013 when I teach for the second time L&CS 123: Modern Global Issues. The projekt is very much based on ideas about diaspora, cosmopolitanism, geography & the body, and globalization.

From the POV website:

The Learning is the story of four Filipina women who reluctantly leave their families and schools to teach in Baltimore. With their increased salaries, they hope to transform their families’ lives back in their impoverished country. But the women also bring idealistic visions of the teacher’s craft and of life in America, which soon collide with Baltimore’s tough realities. A co-production of CineDiaz and ITVS in association with The Center for Asian American Media, with funding provided by the Corporation for Public Broadcasting and American Documentary | POV. (90 minutes)

Image from the International Observatory on Statelessness: All of the children were born in Sabah to illegal Filipino immigrants

Finally, DRM Irving’s Colonial Counterpoint has been a wonderful resource and fount of inspiration. Here’s just a taste on why from Chapter 1 “Colonial Capital, Global City”:

Manila was the world’s first global city. Its foundation as a Spanish colonial capital in 1571 forged the last link in a chain of trade routes that encircled the Earth. For the first time in human history, there emerged a system of transoceanic connections that allowed for the regular transport of people around the world and sustained exchange of ideas and commodities. Early modern Manila’s interstitial function in opening (and in some ways closing) the Chinese market to the world, together with its role as a cultural, commercial, and geographical nexus between Asia and the Americas–and, by extension Africa and Europe–endowed it with a global economic and political significance, outstripping that of any other city in the region…Manila was, essentially, a microcosm of the world. (19)

10. What else about your book/your writing might pique the reader’s interest?

Two words: Murder Mystery.


And to pay it forward, I’m expected to pass the mic around to five writers who I consider “The Next Big Thing,” and they are:

Jennie Durant

Emily Breunig

Melissa Rae Sipin-Gabon

Liz Green

Allison Landa

Here’s to a new year of writing and recognition! Much appreciated.

Teaching two brand spanking new courses for L&CS this spring semester

Reading the likes of Azedah Moaveni’s Lipstick Jihad, Fareed Zakaria’s Post-American World, Jared Diamond’s Collapse, and revisiting Michael Pollan’s Omnivore’s Dilemma for two new classes I’m teaching within Saint Mary’s College’s Liberal & Civic Studies Program. Students are coming to me in class proud about how conversant they’re getting concerning world politics, global matters, and environmental issues. I must confess, I have a hard time keeping my mouth shut during class discussions. Its hard to keep silent when the readings and subjects are so stimulating.

122 Environmental Responsibility in a Global Community 

Taken the semester immediately following L&CS 121 whenever possible, this courses focuses on the natural world in which we lie, and the complex interrelationship between human activities, the values which determine these activities and their consequences for the environment. Different societies’ belief systems along with their responsibilities and attitudes toward the environment are examined. Students are required to devote time each week to a service-learning project, write essays, intellectual integrations and a self-assessment. Class sessions are supplemented by a biweekly activity lab. Prerequisites: L&CS 121, English 5, Collegiate Seminar 20/110. 

123 Modern Global Issues

The purpose of this course is to gain broad-based exposure to some of the cultural, political and economic issues related to and arising from the processes of globalization. Students will study recent critical dialogues and philosophies of globalization, including issues of ethnicity/race, gender, identity, urban culture, post-nationalism, multiculturalism and post-colonial studies. Students are require to participate in class, lead discussion, write essays and news articles responses, give an oral presentation and complete a midterm exam.   Prerequisite:L&CS 121 or permission of instructor.

We’ve watched some of the following videos to supplement subjects and texts recently covered:

Slajov Zizek on “Cultural Capitalism:

Hans Rosling on “The Magic Washing Machine”

Saving the Bay Documentary

Write-up on ACTC’s 17th Annual Conference sponsored by Yale in New Haven, CT

From April 14 through April 17, 2011, I had the honor and pleasure of presenting at the 17th Annual Conference for the Association for Core Texts and Courses, sponsored by Yale University, and co-sponsored by Augustana College, Boston College, and College of the Holy Cross, hosted at The Omni Hotel in New Haven, Connecticut. This year’s theme was “The Quest for Excellence: Liberal Arts and Core Texts.”

One of the plenary speakers argued for the spirituality of 19th century French poetry focusing on a particular piece by Mallarme, and two scientists, a quantum physicist and a chemist, responded with genuine enthusiasm about the connections they’d made to the poem presented and how the poem demonstrated the fragmentation in quantum physics and solvation of chemistry. The engagement from the scientists was wonderfully inspiring, and I truly hope to see more reaching out across the disciplines.

Thankfully the last speaker for the plenary sessions called for more cross-disciplinary collaboration and criticized the institutions for making such collaborations impossible. ACTC focuses more on critical and scholarly work though some of the panels centered on best practices and pedagogy. The panel “Core Images, Part II: Learning, Examples, Practice” brought together art historians and art professors who urged the use of art as a vital source for discussion and inquiry. Tatiana Klacsman from Augusta State University and her presentation “The Iliad in Teaching Art History within a Humanities Framework” covered how culture and values can be analyzed and evaluated through Greek artifacts. Mona Holmlund from University of Saskatchewan discussed approaches to indigenous art, especially in contrast to the Western canon with her presentation “The Challenges of Integrating Indigenous Knowledge with the Western Canon.”

Another literature scholar posed the worry of art replacing the written word, and an attendee followed up by asking how much time should faculty dedicate to art versus text. I had to counter that time is a measure of value, and everything discussed on that panel came down to values whether we’re comparing Indigenous art to Western or text versus image. As Socrates lamented the rise of the written word claiming that text would corrupt the rich oral culture of his time, everything comes down to values, which is determined by culture. We need to keep this in mind anytime we weigh one thing against another. As scholars we should constantly be checking our values and be wary of how our values factor into our curriculum, especially considering how those values may be servicing our goals for diverse student populations.

My own paper certainly evolved out of this consideration of values, which I presented for the panel “Contemplating Critique: How Far Back in Time is It Used?” Here’s an excerpt:

Engaging First-generation Students with Jean Jacques Rousseau’s Discourse on Inequality

Through his Discourse on Inequality, Rousseau draws in First-generation students through affective means, modeling an essential method of critique and analysis that demonstrates an individual’s agency of power based on reason, observation, and imagination. Rousseau provides a critical point of connection for students who may not be traditionally accustomed to the culture and privilege of higher education, and, through his narrative and argument, students can discover a means for engagement within their communities.

Nicole, we’ll call her, was a student who had yet to find her footing, academically. By simplest definition, she is a first-generation student. Neither of her parents had earned their undergraduate degree, and the college experience was all together uncharted waters for her and her family. She floated through Greek Thought and listlessly wandered through the likes of Dante, Augustine, and Chaucer in Roman/Christian, consistently feeling estranged by authors who looked and sounded nothing like her, describing cultures and concepts that seemed completely foreign, and irrelevant to her immediate experience.

By the time she came to my class as a sophomore, she had found her niche on campus and was part of a strong social network, but, academically, she was still unanchored and her displacement seriously affected her GPA. Still, Nicole was hungry for intellectual nourishment, knowing she lacked purpose in her studies, which inhibited her from realizing her full potential. By mid-semester, she was barely treading the choppy waters of Cervantes, Hobbes, and Locke, until, suddenly, to both her surprise and my own, Nicole reached terra firma with Jean Jacques Rousseau.

More coverage and reflection post-conference is forth coming.

Globalisation & Cosmopolitanism

On the Facebook, of all places, I reconnected with a fellow SMC MFA’er and college professor who is teaching a fall semester course on “Globalization and Cosmopolitanism,” two passions of mine. Our discussions got me thinking about how I could revamp some of my composition courses. Below is a list of possible source materials that come to mind as I consider re-designing my syllabi (all sources deal with transnational politics, immigration, citizenship, etc):


1. The Constant Gardner

2. Bread and Roses

3. Dirty Pretty Things

4. The World

5. Kinamand

6. Maria Full of Grace

7. Angel-A

8. Recommended by colleague, Where the Green Ants Dream

1. Roger Cohen’s NY Times’ columns deal with globalization and global citizenship, and I’ve had some classroom success with his astute article “The Global Rose as a Social Tool” published March 13, 2008:

Most of the roses I saw were destined for the Sainsbury’s supermarket chain in Britain, with a price tag of the equivalent of $10 already affixed. I asked Helen Buyaki, aged 27, one of 1,800 employees at the farm, what she earns: “4,500 shillings a month.” That’s 70 bucks.

Look at the global economy one way and Buyaki earns the equivalent of seven bunches of roses for a month’s labor. That smacks of exploitation. Look at it another and she has a job she’d never have had until globalization came along.

2. Arundhati Roy’s speech “Come September”, September 18, 2002

Nobody puts it more elegantly than The New York Times columnist, Thomas Friedman. In an article called, “Craziness Pays”, he said, “The U.S. has to make it clear to Iraq and U.S. allies that…American will use force without negotiation, hesitation or U.N. approval.” His advice was well taken. In the wars against Iraq and Afghanistan as well as in the almost daily humiliation the U.S. government heaps on the U.N. In his book on globalization, The Lexus and the Olive Tree, Friedman says, and I quote, “The hidden hand of the market will never work without the hidden fist. McDonalds cannot flourish without McDonnell Douglas…and the hidden fist that keeps the world safe for Silicon Valley’s technologies to flourish is called the U.S. Army, Air Force, Navy, and Marine Corps.” Perhaps this was written in a moment of vulnerability, but it’s certainly the most succinct, accurate description of the project of corporate globalization that I have read.

1. Unmasking Los Angeles: Third World Cities, non-fiction collection of essays, edited by Saint Mary’s professor, Deepak Sawhney

2. Graceland, novel by Chris Abani

3. Balzac and the Little Chinese Seamstress, Dai Saijie (also adapted into a film but the books are always better)

4. The Secret Agent, novel by Joseph Conrad

5. Travel as a Political Act, non-fiction travel book by Rick Steves

6. Cosmopolitanism: Ethics in a World of Strangers, philosophy by Kwame Anthony Appiah

Maui, July 2010, Part I

Blessed with a honeymoon in Maui, we first checked into our lodging at the Maui Ocean Club in Lahaina, taking in the vistas from the wraparound balcony on the top floor with views of Ka’anapali Beach. The next day we hit Kapalua Beach and took a quick afternoon hike on the Kapalua Coastal Trail then followed up with a pool stop at our accommodation back in Lahaina.

The first four pictures are actually from the California Academy of Sciences in San Francisco, visited a week before, June 23, 2010, though I wish I could say they were taken on a snorkeling-without-a-snorkel trip.

More pics and narratives from the trip to come…

The Music Instinct | PBS

“If string theory is correct, at the heart of matter is music.”

The Music Instinct | PBS

PBS produces yet another brilliant series on the science of song.

Shared via AddThis

The Contest: The Winners of the MI Contest, “Noise Reinvented”


The Music Instinct: Science and Song is a production of THIRTEEN in association with WNET.ORG – one of America’s most prolific and respected public media providers.

Researchers and scientists from a variety of fields are using groundbreaking techniques that reveal startling new connections between music and the human mind, the body and the universe. Together with an array of musicians from rock and rap to jazz and classical, they are putting music under the microscope.

“The brain is teaching us about music and music is teaching us about the brain,” says Levitin.” Music allows us to understand better how the brain organizes information in the world. There are a lot of different factors that go into our emotional appreciation of music [like] the memories we have of a particular song that we heard at a particular time in our lives.”