Poetry, Review, Spring

To Attend to the Fleeting Moment: Judy Halebsky’s Tree Line

91aLm-QP99L

Reviewed by Leah Silvieus

Judy Halebsky’s newest poetry collection, Tree Line (New Issues Poetry and Prose, 2014), evokes the sense of a moving meditation on the possibilities of distance. As a tree line inhabits the liminal zone of climate, Halebsky’s poems move within liminal zones of nature, language and human relationships. Drawing on traditions of Japanese literature and modern collage, Halebsky uses juxtaposition to reveal connections among seemingly disparate ideas, time periods and languages.

“This contrast or juxtaposition is central to the art of haiku. It allows for a space between what is written in the poem and what is evoked by the poem,” Halebsky says in an interview with Dominican University of California where she currently teaches. “With the season marker and nature-based images of the poem, the haiku address the human condition of fragility in a transient world. We are subject to the natural world, the forces of nature, and the ever-fleeting condition of life. A haiku calls us to attend to this fleeting moment.”[1]

Or, as Halebsky writes in In “Motel 6”: “haiku isn’t 5-7-5 / it’s two images that crash together / to make a third.” Halebsky remains keenly observant of the living world while acknowledging its brevity with sensitive detachment. In a poem written after Jack Gilbert’s “Failing and Flying,” she writes, “we lie so close your heart beats through my ribs / we walk scarred / we love only with what we can bear to lose.” Gilbert’s original poem weaves together a meditation on a fading relationship and the Icarus and Daedalus myth. In the stunning last line of “Failing and Flying,” Gilbert writes, “I believe Icarus was not failing as he fell, / but just coming to the end of his triumph.” Like Gilbert, Halebsky explores moments of sorrow, grief and separation by slowing down their collisions and divisions to reveal the beauty inherent in their juxtapositions and negative spaces.

She writes, for example, in “Li Po Loved Two Things”: “Basho looking down over the falls / in another country / hundreds of years later / picking flowers for Li Po.” In this image, we are aware of both the distance and the kinship between these two poets who are unified across languages and geography by the simple gesture of picking flowers, of gift giving. It is the chronological, geographic, and linguistic distance between the two poets that makes possible this gift, Halebsky seems to suggest, and perhaps distance that makes connection possible at all.

In “Space, Gap, Interval, Distance” she writes:

        間ma
        written as the sun
        coming through the gate

as what we leave open
between us
so the spirits    when they come
will have a place to land.

Yo-Yo Ma, quoting the violinist Isaac Stern, once said in an interview [2] that music happens between the notes. The same effect is present here in Halebsky’s work. It is Halebsky’s delicate handling of the inherent brevity of life, connection, and language that lends her work its profundity. Tree Line rewards multiple readings as each continues to reveal more expansively the music that lives within the poems’, and our own, fleeting moments.

***

[1] Halebsky, Judy. “Judy Halebsky.” Dominican University of California. Dominican.edu, n.d. Web.1 May 2015.

[2] Ma, Yo-Yo. “Music Happens Between the Notes,” Interview by Krista Tippett. On Being.org. On Being, 4 September 2014.Web. 1 May 2015.

***

Leah Silvieus

Leah Silvieus

Leah Silvieus is a poet and interdisciplinary artist whose work has been featured at the O, Miami Poetry Festival and at the Asian American Women Artists Association in San Francisco. She also has received grants and fellowships from Fulbright, Kundiman, US Poets in Mexico, and the Voices of Our Nation Arts Foundation. Her writing has been featured in Asian American Poetry & WritingCURAThe Collagist, and diode, among others. Currently, she divides her time between Florida and New York where she works in the yacht hospitality industry. You can visit her athttp://leahsilvieus.wordpress.com/

Standard
Review, Spring

Episode #115: Review of BLACKBIRD FLY by Erin Entrada Kelly!

ErinEstradaKelly Episode #115! A collaborative review of BLACKBIRD FLY by Erin Entrada Kelly with Rachelle Cruz of The Blood-Jet and Cherisse Yanit-Nadal of the literary podcast, Blue Book Buzz. Intro music by T. Fowler. *** 20130820-191132.jpgCherisse Yanit-Nadal was born and raised in the San Gabriel Valley– the eastern arm of Los Angeles County. She earned her baccalaureate degrees in English and Music from the University of California at Riverside and her master’s degree in Rhetoric and Composition from the California State Polytechnic University at Pomona. She returns to the University of California at Riverside to complete her MFA. She’s recipient of PAWA, Inc.’s Manuel G. Flores Prize in Writing and is a 2013 VONA Fellow. She is the West Coast Correspondent for DC Asian Pacific American Film, Inc. and has also served two years as Assistant Editor at Kaya Press. She can often be found singing behind her steering wheel on any number of L.A. freeways.

Standard
Poetry, Review, Spring

Nests and Strangers: A New Anthology Gives Voice to Asian American Woman Avant Garde Poetics

.

Nests and Strangers: On Asian American Women Poets, Ed. with an Introduction by Timothy Yu; Afterword by Mg Roberts
Kelsey Street Press, 116 pages

Reviewed by Muriel Leung

In these past weeks, conversations about race and poetry have been especially on high alert, from the enraged responses to Kenneth Goldsmith’s appropriation of Michael Brown’s black body in a piece performed at Brown University to the Mongrel Coalition’s loud denouncement of Goldsmith’s actions as well as their heavy critique of poetry movements like conceptualism that heralds a privileged form of (white) erasure. We ask ourselves what the poetry of the “avant garde” constitutes now that the political discourse of race has continuously ruptured the supposed neutrality of form and poetic practice.

Chiming in on this dialogue about experimental poetics and race is Nests and Strangers, a forthcoming anthology of essays from Kelsey Street Press on four pivotal Asian American women poets, Myung Mi Kim, Nellie Wong, Mei-mei Berssenbrugge, and Bhanu Kapil who have each in their own way altered the conversation of poetics and political possibilities through their artistic practices and life’s works. In this seminal project, Timothy Yu and Mg Roberts, the anthology’s editors honor the poetic contributions of Asian American women poets who have in some way contributed to the legacy of Asian American poetry, art making, history, and activism. Rather than asserting a fixed categorization of an experimental poet, the anthology brings in four contemporary poets and scholars, Sarah Dowling, Merle Woo, Sueyeun Juliette Lee, and Dorothy Wang, to discuss how innovation in poetry in the works of Kim, Wong, Berssenbrugge, and Kapil means more than just what transpires on the page but also through their lived experiences and subjectivities as well.

Perhaps this is where the heart of our current contention over race and poetry lies—the inability of others to see how poetics and marginalized experiences might intersect. In this sense, the project of bringing together these iconic poets and the writers who have so thoroughly been inspired by them bring a sense of organization to when this intersection gets murky when entered into a place of public discourse. Of course, as Asian American women, we know by our psychic experiences and connections that we have certain ties to language that recognize that our individual memories are tethered to a constantly shifting communal one. Yet one of the greatest struggles of writing as an Asian American woman poet in the world is the effort to assert that our presence matters in the way our experiences and memories matter—that they may not exactly take the shape and form one might expect in the performance of a work, but that our expression is derived from a significant and oftentimes omitted history.

Thus, Nests and Strangers grant us that assurance that personhood is not divorced from political or artistic expression for the Asian American woman poet. In Yu’s introduction to the anthology, he asks the pivotal question, “How can personhood emerge from the welter of contemporary discourse, particularly when that discourse continues to be shaped by racism, sexism, and colonialism?” Nests and Strangers traces this question from the early activist and community driven work of poets like Wong and Berssenbrugge to the poetic utterances of Kim and Kapil’s writing that transforms the space of diaspora, immigrant longing, and linguistic ruptures via the page.

Dowling, in her essay on Kim, explores the way in which her poetry makes visible the various denials of personhood when one’s language is constantly subjected to erasure. Kim’s poetics of “stutterance” through emphasis of difficult sounds, repetitions, and fragments, draw attention to the political sensibilities of language, to give voice to “figures who are tasked with simply enduring.” The persistence in struggle is echoed through Woo’s moving dedication to Wong’s work, which she declares as a “truly revolutionary art” for merging familial and community narratives with global politics in the necessary work of seeing one’s freedom as contingent upon the liberation of another. Wong does so through reinvigorating the “I,” which has become the white male American default, through her allusion to Walt Whitman’s famed work in “I Also Sing of Myself.” This reclamation of the “I” to give voice to the marginalized subject can also be seen in Berssenbrugge’s work though her approach varies from Wong’s. In Lee’s discussion of Berssenbrugge’s work, she describes her writing as a series of “porous interchanges between self and the world.” Berssenbrugge’s work maps the various ways in which one perceives the world, which is a political act that exposes our subjectivities through our means of interpretation. Lee’s essay on Berssenbrugge moves from a discussion of her rich biography that includes influences by various communities and artists to her innovative use of parataxis to establish a sense of continuity and discontinuity between human consciousness and the world. If Berssenbrugge’s poetry is about connection, then Kapil’s work explores these tethers in light of the violence of displacement, forced migration, and other ways of identity fragmentation. Wang on Kapil, writes, “What does it mean for an ‘I’ to be destabilized yet always connected to something larger…?” Written in an essay form that pays homage to Kapil’s poetic fragments, this last essay in the anthology offers up Kapil’s work as an example of a “future poetics” that interrogates the “post” conditions of our world and the residues of violence and trauma that it leaves behind. The “post” is not only the historical and political transgressions that mark us but the writing and capturing of them as well, and therein lies the years of poetry work ahead of us.

Aptly, the title of Roberts’ afterword to the anthology, “Notes Toward an Afterword: What Entrails” plays on the notion of final claims as well as the physical remains of such an artistic practice as poetry. If the essays themselves do not make it clear, Roberts’ statements remind the reader that for the Asian American woman poet, poetry is about guts—an embodied process that intimately involves the individual person and is inextricable from a politicized existence. The notion of an Asian American woman avant garde poetics is a continuous one that consistently refashions itself, and it will carry the resonances of not only the staple examples that Kim, Wong, Berssenbrugge, and Kapil have set through their writing and community contributions, but also the Asian American women poets who are attempting to archive the history from which they write and also to practice it so that this poetics is indeed a “continuum”—drawing together past, present, and future, without fear and with absolute daring.

***

Muriel Leung

Muriel Leung

Muriel Leung is a multimedia poet and former teaching artist from Queens, NY. Her poetry and essays can be found or is forthcoming in Coconut, TENDE RLOIN, Bone Bouquet, Dark Phrases, and RE/VISIONIST. She is a recipient of a Kundiman fellowship. Currently, she is a MFA candidate in poetry at Louisiana State University where she also serves as the Assistant Editor of New Delta Review.

Standard
Poetry, Review, Spring

Review: On Hours by Mark Rahe

On Hours Front Cover

Reviewed by Kenji Liu

On Hours by Mark Rahe is like the poetry memoir of a religious hermit, but one who doesn’t mind living a little closer to town than usual.

There’s a focused, contemplative quality to the narrator’s general orientation to the world, observing what’s directly in front of his face and never straying too far from that starting point. Each poem is complete in its capture of a particular moment, often ending with a quirky tangent that lands the narrative in a surprising place.

Many of the poems feature gentle yet remarkable shifts in relationship between observer and observed—a turn where an object is lightly animated, personifying a desire. For example, “The Cloud of Promise” seems to describe a plateaued period in the narrator’s life, for example by using a negation (“The door is closed. There is / no door”). But then the poem turns in the final line, declaring “This cloud is promising[,]” introducing an inanimate object that offers a way out of the preceding tension.

Like “The Cloud of Promise,” the poem “Down” interjects an unexpected quality that retroactively evokes new meaning. “Down” takes us down a tub drain with a visual and descriptive swoop, carrying the reader through a compost-pastoral to deposit us into “While my fan oscillates. // While my sweaty chest is bare of you.” — suddenly casting the previous stanzas in an erotic light.

For me, the highlight in this collection is “Man at Baseball Game, Alone.” It’s a great study in how the environment in a story is its own character, with peanut shells, wax paper, popcorn, setting the stage of what for many people is a day of relaxation. Then, with a single observation, the poem shifts:

The cuffs

of the father
are the return of a hand to your face.
The ballpark is the place

where he never bruised you.

After this painful turn, the preceding pleasantness of baseball game sounds are reframed as if a mute button has been released—suddenly “Everyone yells, everyone spills / trash.” The final sentence, “You came here to find / something gentle” becomes a plea.

The attention On Hours brings to the minutiae of life is basically gentle and non-judgmental, and many of the poems in the first two sections are almost a Bashō-like travelogue, though not because a lot of physical movement happens.

Still, these poems are not without want or need. The third section shifts into a few harder topics, such as death or alienation from a loved one—though it doesn’t stray too far from the quirk of the previous sections. Here, the collection’s matter-of-fact tone works by serving as a scaffold on top of which feelings unfold. The emotion of it is contained, but a kind of passion still radiates from underneath, demonstrating how affect can be evoked without being too obvious.

On Hours is relaxing, like following the familiar wanderings of your own mind during a warm afternoon. It’s low in drama, but high in interesting turns and shifts, making it a quick but rewarding read.

The characters animating Rahe’s poetry become interlocutors and sounding boards for the narrator’s tangential musings, all of which eventually return to land in just the right place.

***

KenjiCLiu

Kenji C. Liu is a 1.5-generation immigrant from New Jersey, now in Southern California. His writing and art arises from his work as an activist, educator, artist, and cultural worker. A Pushcart Prize nominee and first runner-up finalist for the Poets & Writers 2013 California Writers Exchange Award, his writing is forthcoming or published in The Los Angeles Review, The Collagist, Barrow Street Journal, CURA, The Baltimore Review, RHINO Poetry, and others, including the anthologies Dismantle and Orangelandia. His poetry chapbookYou Left Without Your Shoeswas nominated for a 2009 California Book Award. A three-time VONA alum and recipient of a Djerassi Resident Artist Program fellowship, he is completing a full-length poetry book. He is the poetry editor emeritus of Kartika Review.

Standard
Comics, Spring

Episode #114: Yumi Sakugawa, author of YOUR ILLUSTRATED GUIDE TO BECOMING ONE WITH THE UNIVERSE

Episode #114! Rachelle Cruz interviews  Yumi Sakugawa, author of YOUR ILLUSTRATED GUIDE TO BECOMING ONE WITH THE UNIVERSE

tumblr_inline_n9lhmj7mMo1qg82jh

Claudia_Cover_COVER_copy

Check out Yumi’s comic on Claudia Kishi here!

Yumi Sakugawa is a comic book artist and illustrator based in Southern California. A graduate of the fine art program of University of California, Los Angeles, Yumi is a regular comic contributor for The Rumpus and Wonderhowto. Her illustrations and comics have been featured on Buzzfeed, Lifehacker, PAPERMAG, Apartment Therapy and all over Tumblr. Her short comic story “Mundane Fortunes for the Next Ten Billion Years” was selected as Notable Comics of 2012 by the Best American Comics anthology editors. She is the author of  I THINK I AM IN FRIEND-LOVE WITH YOU and YOUR ILLUSTRATED GUIDE TO BECOMING ONE WITH THE UNIVERSE. Visit her on the web at http://www.yumisakugawa.com.

Standard
Poetry, Review, Spring

Modern Geographies and Other Intimate Objects: Feliz Lucia Molina’s Undercastle

undercastle_cover 

Reviewed by Feliz Molina

For those in search of celebrated 90s nostalgia, imitation Elvis, karaoke, and intimacy of touchscreens, Feliz Lucia Molina’s Undercastle provides a dedicated homage to the collective static of a transient life that hops from “palm tree electric/ post-heart” California to Manila of “mega mall hording leftovers from America” (redacted), accumulating these object-memories. For as much as the collection lingers on memory, it is also as much about the obstructions and possibilities of technology and reference in the present—the self that cannot untangle itself from time, space, and distortions. This resonant effect is preempted with a trifold of postmodern wisdom in the forms of Emmanuel Hocquard, Hélène Cixous, and Alice Notley whose gathered presence suggests that linguistic static is significant to this work and that its poems will try anyway to “enter that world” despite interference.

Though this opening sets us up for obstruction, the subtle humor and conversational engagement of the ensuing poems establish an arc that welcomes a reader like a fellow passenger onboard a flight that makes pit-stops at “Strip Mall Heaven” with “Saint Lucia patron saint of contact lenses” and the “Hologram Lover Hotel” of the titular poem, “Undercastle.” For a collection that deals so thoughtfully with place, these landmarks serve as points of hyperreal observation in which the literal and the metaphorical become indistinguishable manifestations of anxiety and desire. If anxiety is provoked by the relentless capitalist and consumer-driven culture that makes the Sunglass Hut feel suspect in “Dear Jean Baudrillard,” then surely there must be longing for that which makes the world bearable. Molina names desire as the impulse that cuts through the interferences and what makes this particular brand of longing unique is its inextricability from interference. In “Marginalia as Balcony or Swimming,” Molina writes, “We were users and swimmers and lovers,” lending credence to all forms of labor that make up a life or living.

While desire is a strong impulse throughout the collection, what prevents Undercastle from falling into the trappings of the overly sanguine is the occasional lightness with which it imbues its deep longing. In “Teddy Ruxpin,” a young girl is perturbed to find that a sibling has put an MC Hammer tape into her stuffed teddy bear. What ensue are a girl’s quietly funny and unexpectedly sweet attempts to reconcile her upset with a moment of sexual awakening, culminating with her masturbating to MC Hammer’s “Turn This Mutha Out” as it blares from her beloved bear. This admission is no simple corruption of the famed childhood toy of the ‘90s, not when its tender prose seems to logically point us to the inevitability of this gesture. Similarly, “Instant Ramen Instant Message” expresses such deadpan humor in its description of “Skype nannying,” which includes one hundred and seven nationalities of children and showing off a fourth tallest TV tower in Europe located in Berlin. It’s a poem that’s very much about how a community or home forms despite the challenges of distance, which is the twinned difficulty of globalization and spotty internet connection. For as grand as these problems may seem, Molina offers us the final words “a small red heart,” a gentle offering for a patchwork life.

In addition to the charged sincerity of the text, there is also the strikingly eerie yet gorgeous cover photograph of Undercastle taken by Japanese photographer Haruhiko Kawaguchi, which features the poet and her partner in an entangled embrace wrapped in a plastic bag with the air suctioned out of it. It’s a concept that might make a claustrophobic heart queasy, but its gesture is also resonant with the collection’s brave tenderness. It takes a great leap of faith to give one’s body to stillness and the terrifying enclosures of plastic. We too need to be this bold and strange and intimate.

***

Muriel Leung

Muriel Leung

Muriel Leung is a multimedia poet and former teaching artist from Queens, NY. Her poetry and essays can be found or is forthcoming in Coconut, TENDE RLOIN, Bone Bouquet, Dark Phrases, and RE/VISIONIST. She is a recipient of a Kundiman fellowship. Currently, she is a MFA candidate in poetry at Louisiana State University where she also serves as the Assistant Editor of New Delta Review.

Standard
Poetry, Spring

Episode #93: Derrick Brown, author of STRANGE LIGHT, on Tuesday, April 30th at 11 am PST/2 pm EST

Join Rachelle as she talks with Derrick Brown, author of STRANGE LIGHT, on Tuesday, April 30th at 11 am PST/2 pm EST.

Click here to listen live.

Derrick-In-Europe-26

DERRICK c. BROWN is one of America’s most beloved and well travelled performing page poets. He is a former paratrooper for the 82nd airborne and is the president of one of what Forbes and Filter Magazine call “…one of the best independent presses in the country”, Write Bloody Publishing. He is the author of four books of poetry. The New York Times calls his work, “…a rekindling of faith in the weird, hilarious, shocking, beautiful power of words.

Standard
Poetry, Spring

Episode #92 – Special Kundiman Episode: Cathy Linh Che, author of SPLIT, and Sarah Gambito, author of DELIVERED, on Sunday, April 28th at 3 pm PST/6 pm EST

Join Rachelle as she talks with Cathy Linh Che, author of SPLIT and Sarah Gambito, author of DELIVERED, on Sunday, April 28th at 3 pm PST/6 pm EST.

This is a special Kundiman episode!  Stay tuned for updates on Kundiman’s fundraising campaign to support Asian American poets.

Click here to listen live.

Image

Cathy Linh Che is the author of Split (Alice James, 2014), the winner of the 2012 Kundiman Poetry Prize. She received her MFA from New York University and is the recipient of fellowships from The Fine Arts Work Center at Provincetown, Hedgebrook, and Poets House. She currently teaches at NYU Poly and is Program Assistant for Readings/Workshops (East) at Poets & Writers.

Image

Sarah Gambito is the author of the poetry collections Delivered (Persea Books) and Matadora (Alice James Books). Her poems have appeared or are forthcoming in The Iowa Review, The Antioch Review, Denver Quarterly, The New Republic, Field, Quarterly West, Fence and other journals. She holds degrees from The University of Virginia and The Creative Writing Program at Brown University. Her honors include the Barnes & Noble Writers for Writers Award from Poets and Writers and grants and fellowships from The New York Foundation for the Arts, Urban Artists Initiative and The MacDowell Colony.  She is Assistant Professor of English and Director of Creative Writing at Fordham University. Together with Joseph O. Legaspi, she co-founded Kundiman, a non-profit organization serving Asian American poets.

Standard
Poetry, Spring

Episode #88: Laura Walker, author of FOLLOW-HASWED, on Tuesday, March 12th at 11 am PST/ 2 pm EST

Join Rachelle as she talks with Laura Walker, author of FOLLOW-HASWED, on Tuesday,March 12th  at 11 am PST/2 pm EST.

Click here to listen live.

 LauraWalker

Laura Walker’s most recent book, Follow–Haswed (Apogee Press, 2012), is created from fragments of individual entries in the sixth volume of the Oxford English Dictionary, “Follow-Haswed”.  She is also the author ofbird book (Shearsman Books, 2011), rimertown/ an atlas (UC Press, 2008), and swarm lure (Battery Press, 2004). Her poetry has appeared in VOLT, Switchback, New American Writing, Thermos, and Fact-Simile, as well as other journals. She grew up in North Carolina and now lives in Berkeley, California, where she teaches poetry at University of San Francisco’s MFA in Writing program and UC Berkeley Extension.  You can check out her website at http://www.laura-walker.com.

Standard
Poetry, Spring

Episode #87: Carmen Giménez Smith, author of GOODBYE, FLICKER, on Tuesday, February 26th at 11 am PST/ 2 pm EST

Join Rachelle as she talks with Carmen Giménez Smith, author of GOODBYE, FLICKER, on Tuesday, February 26th at 11 am PST/2 pm EST.

Click here to listen live.

DSC_3692

 

 

 

 

 

 

 

 

 

 

Carmen Giménez Smith is the author of a memoir, Bring Down the Little Birds, four poetry collections— Milk and Filth, Goodbye, Flicker, The City She Was, and Odalisque in Pieces. She is the recipient of a 2011 American Book Award, the 2011 Juniper Prize for Poetry, and a 2011-2012 fellowship in creative nonfiction from the Howard Foundation. Formerly a Teaching-Writing Fellow at the Iowa Writers’ Workshop, she now teaches in the creative writing programs at New Mexico State University, while serving as the editor-in-chief of the literary journal Puerto del Sol and the publisher of Noemi Press.

 

Standard