My latest flash, “Kidding, Kidding” and “Plucking Away” up at the lovely Jellyfish Review are my first (self-acknowledged) creative nonfiction-ish pubs. All my recent work is mined from my life and I used to spend a lot of time negotiating the boundaries between fiction, non-fiction, and poetry before submitting, but life and art feel too variable to worry about this anymore. I’ll say these two pieces are close to my real biography, and it is simultaneously easy and uncomfortable to see this work published. I’ve pushed myself to be more explicit in my recent pieces, and I can’t tell if the discomfort stems from “the mortifying ordeal of being known,” or if my implicit writing really is more porous, holds more space for many truths.
Maybe it’s only needless self-deprecation to say the truths of these pieces don’t feel as truthy because they are so fixed. (I know I’m really selling these publications.) Continue reading “Two new publications: truth or something like it”
“My eyes are shut, the insides of my eyelids are orange in the light streaming through. I’ve come to believe orange is the color of vast, unbroken love.”
My latest hybrid/prose poem, Cactus, now up at matchbook, is to my mind, the third in my loose series of “orange prose poems” as the rest of the piece troubles the opening quoted above as well as the series’ theme of family and unbrokenness.
I almost didn’t publish this piece. It’s my first explicit “personal as political” publication, and I tied myself into knots writing, editing, and submitting it. I felt guilty using some of my family’s history, which may not be mine to interpret. I felt guilty about not explicitly naming the harms I dance around. Among other things, the piece is about guilt as a stalling act. Continue reading “New publication: family & fracture; third orange prose poem”
I didn’t think this loose hybrid micro series would find a home. The pieces felt too small, some too strange and some too colloquial, and all disconnected even though I knew the pieces were connected in a way I couldn’t articulate. I’m gratified and relieved it found a home in Entropy Magazine’s “Fog or a Cloud” series inspired by this quote from Etel Adnan: “… [images] they are pure feeling. They’re like something that calls you through a fog or a cloud.” The editor, Morgaine Baumann writes of the series: “What do you, or we, rely on our memories for? When, or are, memories accurate representations of the past? Does it matter? A little more specifically, I’m thinking, can memories be passed down genetically? Emotional/ physical traces carried from one generation to another, ultimately showing up in our writing? How can this be shown through syntax? In image? If through image, then are the images by extension also what’s being passed down?”
Continue reading “New publication: fog or cloud”
Photo Credit: Simon Abrams, Unspash
Probably, a day will come when I don’t announce every new publication with a mini-essay on process but today isn’t that day. I’m proud and grateful to have my first microfiction appear in a press I just learned of and already love: 3 Micro-stories by Di Jayawickrema in Burning House Press.
There were eight years between my first publication and my second. I spent that period contending with the immigration system, and the process changed me in ways I still don’t fully understand. I didn’t write a creative word in those eight years. I do some community-based work around immigration now — in my view, immigration is a death spectrum — from actual death to death by countless cuts if you’re lucky, and I was lucky. It isn’t a coincidence that I only started writing again when I got my green card.
Continue reading “New publication: (in)completeness”