Wednesday, 31 August 2011

Alistair Noon in Fleeting Magazine



Alistair Noon's new poem "Email from Coleridge in Beijing" is now featured in Fleeting Magazine. Read it here.
-
Alistair Noon's poetry and creative non-fiction were published in issue #2 of Cha. His poem "The Expat Partner: An Email" is discussed here.
-
-
-
-

Sushma Joshi's The End of the World | Get your copy in Hong Kong

-
-
The End of the World by Cha contributor and Nepalese writer Sushma Joshi, is now available in Bookazine, HK. The fifty copies will arrive soon, so please go to the bookstore and book your copy before the stocks run out! This edition is brought out by Sansar Media, and is only available in SE Asia, at present.

The End of the World was long-listed for the Frank O'Connor International Short Story Award. Author Sushma Joshi was born and brought up in Kathmandu. She has a BA from Brown University, USA.

Sansar Media aims to jumpstart the publishing industry in Nepal by paying authors a fair royalty, strengthening copyright, and encouraging a new generation of writers to devote themselves to literature and scholarship. It also aims to instill a culture of reading and literacy by printing low-cost books from profits generated from its more profitable titles.



Reviews for The End of the World:

What makes The End of the World stand out as a collection of short
stories is Joshi's masterful and elegant use of language. … a
confident debut collection for Joshi, in which the deceptively simple
exterior of her prose peels away to reveal multiple layers of
investigation into human longing and emptiness.
SOPHIA FURBER
The Kathmandu Post

This compilation of short stories, Sushma Joshi’s first book, is
firmly rooted in the Nepali experience, especially of the past
decade…Joshi does well in giving voice to these desires, drawing the
reader in with poignant and humorous portrayals of the characters’
quests for fulfillment.
Surabhi Pudasaini, Himal Magazine

Sushma Joshi's writing and perseverance has not only raised the bar in
English medium literature in Nepal, but created it when there was
virtually none.
Emma Sciantarelli, WAVE Magazine

Deeply evocative, the stories present glimpses of small, private
dramas that are shaped by larger political happenings… Unlike other
works by English writers in Nepal, Joshi’s stories are firmly rooted
in Nepal’s soil.
Deepak Adhikari, Nepal Monitor

The End of the World certainly marks a new beginning and will, with
hope, lead to a flourishing literary publishing industry in Nepal.
Abha Eli Phoboo, Republica
-
-

Sushma Joshi's fiction has been published in issue #3 of Cha.
-
-

Sunday, 28 August 2011

Why do Western vampires know kung fu?


Kim Newman in Anno Dracula (2011 [1991]) answers:
The Chinese movie tradition of the hopping vampire (jiang shi or geung si) is one of the odder strains of vampirism. I saw Ricky Lau's Mr Vampire (1985) in London's Chinatown before the film and its many spinoffs, sequels and variants had made much impact outside its home territory. A lingering aftereffect of this cycle is that, from Buffy and Blade on, even Western vampires tend to know kung fu.

(p. 433)
-

Friday, 26 August 2011

What advantages attended shaving by night?


James Joyce in Ulysses (1922) answers:

A softer beard: a softer brush if intentionally allowed to remain from shave to shave in its agglutinated lather: a softer skin if unexpectedly encountering female acquaintances in remote places at incustomary hours: quiet reflections upon the course of the day: a cleaner sensation when awaking after a fresher sleep since matutinal noises, premonitions and perturbations, a clattered milkcan, a postman's double knock, a paper read, reread while lathering, relathering the same spot, a shock, a shoot, with thought of aught he sought though fraught with nought might cause a faster rate of shaving and a nick on which incision plaster with precision cut and humected and applied adhered which was to be done.

--from Episode 17, "Ithaca"

Saturday, 20 August 2011

Marc Vincenz in Metazen

-
Two poems by Marc Vincenz, "Swimming Sheila in Psychopomp" and "The Uh-Huh", are now published in Metazen. Read them here.
-
Marc Vincenz's poetry was published in Issue 10 of Cha.
-
-

Friday, 19 August 2011

Fatty Goes to China: Royston Tester reads | 25 August, 2011


Author Royston Tester Reading at the Opposite House




Reading
 :: 7pm, Thursday, August 25, 2011
Venue :: Atrium of The Opposite House

[limited seating available to the first 40 guests]


Where is ‘home’? Does an adopted one matter? Who’s adopting whom? In these eleven richly varied stories, set in and around a Beijing railway station, in a downtown Toronto neighborhood, in Berlin and Buchenwald, in England and in Romania, Fatty Goes to China explores the precarious lives of an accident-prone Chinese construction worker with a dark and violent secret, a Romanian carpenter with a ‘deathcamp hangover’ who finds that his teddy-bear named ‘Seriously’ is his harshest critic, a fatally ill Canadian artist who remains in Beijing after the 2008 Olympics and develops a surprising friendship, a teenaged KFC waitress who is tricked by an American student, a malingering heir who visits his childhood home in England for “the shoebox,” a grieving barber who, after risking his life, makes a gruesome discovery about his Czech lover, and a Chinese couple who make a shocking, last-minute decision about their adoptive child. Written in original, humorous, and innovative ways, these unforgettable narratives expose the risks in finding shelter in unaccommodating places.

Royston Tester [roystontester.com], is a British-Canadian short story writer who is currently an artist-in-residence at Red Gate [redgateresidency.com]. He is also the guest-editor for Hong Kong based Cha: An Asian Literary Journal. Tester’s short story, ‘A Beijing Minute,’ to be read at The Opposite House, is from Fatty Goes to China, and has recently been published in the Quarterly Literary Review of Singapore.

This event is organized by Red Gate Gallery in collaboration with The Opposite House, Beijing.


Address
The Opposite House, 11 Sanlitun Rd, Chaoyang, Beijing
tel/fax: +86 6417 6688


-
-
Read Royston Tester's Cha profile.
-

Marc Vincenz in Fleeting



Marc Vincenz's new poem "While Facing the Urinal" is now featured in Fleeting Magazine. Read it here.
-
Marc Vincenz's poetry was published in Issue 10 of Cha.
-
-

Wednesday, 17 August 2011

Which is the most famous elephant in literature?

Do you know other famous elephants?

-
-
-
-

The Elephant is Slow to Mate by D.H. Lawrence
The elephant, the huge old beast,
     is slow to mate;
he finds a female, they show no haste
     they wait

for the sympathy in their vast shy hearts
     slowly, slowly to rouse
as they loiter along the river-beds
     and drink and browse

and dash in panic through the brake
     of forest with the herd,
and sleep in massive silence, and wake
     together, without a word.

So slowly the great hot elephant hearts
     grow full of desire,
and the great beasts mate in secret at last,
     hiding their fire.

Oldest they are and the wisest of beasts
     so they know at last
how to wait for the loneliest of feasts
     for the full repast.

They do not snatch, they do not tear;
     their massive blood
moves as the moon-tides, near, more near
     till they touch in flood.
====






Little Prince
-
-
"Shooting an Elephant"
-
-
"The Blind Men and the Elephant"
-
-
"Hills Like White Elephants"
-
-
"The Elephant's Child"
-
-
Babar the Elephant
-
-
Elephant Haunts
-
Castor and Pollux
--


Sunday, 14 August 2011

W.F. Lantry in Up the Staircase

-
W.F. Lantry's poem "Dawn" is now published in the fourteenth issue of Up the Staircase. Read it here.
-
-
W.F. Lantry's poetry was published in Issue #12 and Issue #14 of Cha. 
-
-

Friday, 12 August 2011

Three ways to deal with an apocalypse

Morning after the Flood  1928

From Carol Jacobs's "Playing Jane Campion's Piano: Politically" (1994):

A Catholic priest, a Protestant minister, and a rabbi were walking along the beach together when a great angel with diaphanous wings approached them. He announced an apocalypse near at hand, telling them of a great flood that was to come the very next day. The priest hurried back to his church with a deeply troubled visage. "The end of the world is at hand," he intoned: "We must all make our last confessions, receive absolution, and prepare for the hereafter." The Protestant minister returned to his flock. "In just one day," he called out, "all the land will be covered with water. We must find it in our hearts and minds to accept the will of God." The rabbi, she too, made her way back to her congregation. With a great sense of urgency she turned to her audience and announced: "We have just twenty-four hours to learn to live underwater."




"I'm asking the sea to welcome me."
- Tungia Baker

-

Whispers on the Wind - A Reading of Russell C. Leong's "Dreams and Dust"

-
-
Guest post by reader Charles Kress.

Kuan Yin


What of the past that whispers
Such winds blow our words away
Where have they gone
Must we always start anew
Will dead voices never cease
- from "Blood Secrets"

--
-

-
Not long ago I wrote the poem "Blood Secrets" based on a dream. In the dream I was in a large room with many statues of saints, angels, goddesses and bodhisattvas. The statues had all crumbled into rubble. I knelt among the pieces and wept.

When I woke up I was much disturbed by the dream. In trying to understand it, I wrote "Blood Secrets", which incorporated the broken sacred statues. Within my poem I created a dialog between Kuan Yin, the goddess of mercy and compassion, and Maitreya, the Bodhisattva, who has yet to take birth, concerning the state of future spirituality.

In my poem, Maitreya seeks help from Kuan Yin, while they are sitting by a lakeside pavillion. Maitreya asks for help when he takes birth. Kuan Yin replies that the older saints, like the statues in my dream, have gone.

my time on earth is over for now.
The twilight of the gods is real
The wheel has turned.
Another spoke has ascended

But she tells Maitreya that there are still those people in the world who act as her hands and see as her eyes, that they will help him.

Russell C. Leong
In the poem “Dreams and Dust”, published in the current issue of Cha, Russell C. Leong also invokes the goddess Kuan Yin:

Kuan Yin looks over the lake
Where 500 carp rush toward
The older man leaning on the balustrade

This seemingly ordinary scene may also be seen as an invocation of Kuan Yin. Whether as a statue or a living Bodhisattva is left to our mind’s eye to choose. The 500 carp in the lake show us the spirits of water that live within the hungry fish. Water may be seen as the compassion that flows from Kuan Yin.

He picks up the banana peels
Someone else has left on the wet ground
Shreds them and tosses them to the fish
Next to him, a woman does the same

Can you see them? The old man and the younger woman tossing bits of banana peel to the fish. They seem so ordinary and unremarkable, yet by their actions, they feed the multitude of fish. Is this not Kuan Yin's compassion acting through them?

Each lost in their separate dreams & dust:
The man, too old to become a monk now
The woman, too tied to the world to leave it.

Like each of us, they too are “lost in their separate dreams & dust.” The illusions of this world manifesting in the dust of the earth. And like them, we as well are “too tied to the world to leave it.” Yet we of the world of dreams and dust are the ones that Kuan Yin watches. We are the ones through which she acts.

The poem shows them joined together: “the man, the woman, the fish, the statue.” Each separate, each a part of a larger reality that is:

covered by rain, lustrous as pearls
Which contain the morning light.

Again we see the image of water, illuminated by the light of Kuan Yin’s compassion for all beings, that lives within us all.

In another parallel to my own poem, the statue of Kuan Yin has been destroyed and

Rebuilt after incense and wind
had burnt down the one before

One is tempted to see demons at work in the statues destruction by fire, but on a deeper level we can understand the Buddhist idea of impermanence is at work here as well.

Leong's poem closes with a contrasting view of a man coming “From the hill above the lake.” He is no annomyous man:

Ven. Dhammadipa makes his way down
The wooden path that encircles the temple's drum

Named and honored, he walks the Buddhist path. The temple drum implies a powerful voice, a powerful message has he to give us.

Yet he is also separate from us and the world, for he is said to be “Yet alone, yet free.” One wonders though, if he is no longer caught in the “Dreams and Dust” of the world, can we relate to him as a being that we can understand and trust if he is no longer one of us?

Where Russell C. Leong shows us the Buddhist teacher Ven. Dhammadipa alone and free, my poem invokes, the as yet unborn Boddhisattva, Maitreya, and the dark times we live in:

Kuan Yin asked quietly
‘Is there any hope for the future?’
Maitreya smiled sadly
And shook his head slowly,
‘The future, which is my time,
remains a mystery.
But do not forget,
The human realm
Has always been violent
And thus doubly rewarding.’
‘Watch for me in the storms
Watch for me in the earthquakes
Watch for me in the fires
Watch for me in the floods.
When least expected
I will be there
Without fail’

The images in “Dreams and Dust” are so much more earthy than those in my own poem, yet I feel my poem more accurately reflects the dark times that beset our world and speak more directly to our everyday lives.

-Charles
-
-

Thursday, 11 August 2011

Everything is Illuminated


Jonathan Safran Foer wrote his first novel Everything is Illuminated  (2002) when he was only 25.


Some quotes from the book:
1. But first I am burdened to recite my good appearance. p. 3
2. … because unless I do not want to, I do what Father tells me to do. Also, he is a first-rate puncher. p. 6
3. Dead as he was before his parents met. Or deader, maybe, for then he was at least a bullet in his father’s cock and an emptiness in his mother’s belly. p. 10
4. Thank you for the reproduction of the photograph of Augustine with her family. I have thought without end of what you said about falling in love with her. In truth, I never fathomed it when you uttered it in Ukraine. But I am certain that I fathom it now. I examine her once when it is morning, and once before I manufacture Z’s, and on every instance I see something new, some manner in which her hairs produce shadows, or her lips summarise angels. p. 24
5. I am doing something I hate for you. This is what it means to be in love. p. 27
6. In my family, father is the world champion at ending conversations. p. 27
7. “A Jewish word?” “Yiddish. Like schmuck.” “What does it mean schmuck?” ”Someone who does something that you don’t agree with is a schmuck.” “Teach me another.” “Putz.” “What does that mean?” “It’s like schmuck.” “Teach me another.” ”Schmendrink.” “What does that mean?” “It’s also like schmuck.” “Do you know any words that are not like schmuck?” He pondered for a moment. “Shalom,” he said, ”which is actually three words, but that’s Hebrew, not Yiddish. Everything I can think of is basically schmuck. The Eskimos have four hundred words for snow, and the Jews have four hundred for schmuck.” p. 60
8. Is God sad?
He would have to exist to be sad, wouldn’t He? I know, she said, giving his shoulder a little slap. That’s why I was asking, so I might finally know if you believed! Well, let me leave it at this: if God does exist, He would have a great deal to be sad about. And if He doesn’t exist, then that too would make Him quite sad, I imagine. So to answer your question, God must be sad. p. 78-79
9. Brod’s life was a slow realization that the world was not for her, and that for whatever reason, she would never be happy and honest at the same time. She felt as if she was brimming, always producing and hoarding more love inside her. But there was no release. p. 79
10. Love me, because love doesn’t exist, and I have tried everything that does. p. 82
11. ...”Deep down, the young are lonelier than the old” I read that in a book somewhere and it’s stuck in my head. Maybe it’s true. Maybe it’s not true. More likely, the young and old are lonely in different ways, in their own ways… p. 87
12. From space, astronauts can see people making love as a tiny speck of light. Not light, exactly, but a glow that could be mistaken for light — a coital radiance that takes generations to pour like honey through the darkness to the astronaut’s eyes. In about one and a half centuries — after the lovers who made the glow will have long since been laid permanently on their backs — metropolises will be seen from space. They will glow all year. Smaller cities will also be seen, but with great difficulty. Shtetls will be virtually impossible to spot. Individual couples, invisible. p. 95
13. Sentences became words became sighs became groans became grunts became light. p. 97
14. “But it’s only 6:30.” “Yes, but it will not be 6:30 forever. Look,” p. 106
15. This is love, she thought, isn’t it? When you notice someone’s absence and hate that absence more than anything? More, even, than you love his presence? p. 121
16. She loved her new vocabulary of simply loving someone more than she loved her love for that thing, and the vulnerability that went along with living in a the primary world. p. 122
17. The Kolker was trapped in his body — like a love note in an unbreakable bottle, whose script never fades or smudges, and is never read by the eyes of the intended lover — forced to hurt the one with whom he wanted most to be gentle. p. 130
18. They had never seen one another from afar. They had never known the deepest intimacy, that closeness attainable only with distance. She went to the hole and looked at him for several silent minutes. Then she backed away from the hole. He went to it and looked at her for several more silent minutes. In the silence they attained another intimacy, that of words without talking. p. 134
19. They lived with the hole The absence that defined it became a presence that defined them. Life was a small negative space cut out of the eternal solidity, and for the first time, it felt precious — not like all of the words that had come to mean nothing, but like the last breath of a drowning victim. p. 135
20. So they strung their minutes like pearls on an hour-string. p. 137
21. With writing, we have second chances. p. 144
22. Everything is the way it is because everything was the way it was. p. 145
23. First, I must describe that Augustine had a very unusual walk, which went from here to there with heaviness. She could not move any faster than slow. p. 146
24. He knew that I love you also means I love you more than anyone loves you, or has loved you, or will love you, and also, I love you in a way that no one loves you, or has loved you, or will love you, and also, I love you in a way that I love no one else, and never have loved anyone else, and never will love anyone else. He knew that it is, by love’s definition, impossible to love two people. p. 170
25. My grandfather was in love with the smell of women. He carried their scents around on his fingers like rings, and on the end of his tongue like words — unfamiliar combinations of familiar odors. In this way, Lista held a special place in his memory — although she was hardly unique in being a virgin, or a one-episode lover — as being the only partner to inspire him to bathe. p. 172
26. Jews Have Six Senses
Tough, taste, sight, smell, hearing … memory. While Gentiles experience and process the world through the traditional senses, and use memory only as a second-order means of interpreting events, for Jews memory is no less primary than the prick of a pin, or its silver glimmer,or the taste of the blood it pulls from the finger. The Jew is pricked by a pin and remembers other pins. It is only by tracing the pinprick back to other pinpricks — when his mother tried to fix his sleeve while his arm was still in it, when his grandfather’s fingers fell asleep from stroking his great-grandfather’s damp forehead, when Abraham tested the knife point to be sure Isaac would feel no pain — that th Jew is able to know why it hurts.
When a Jew encounters a pin, he asks: What does it remember like? p. 198-199
27. Art
Art is that thing having to do only with itself–the product of a successful attempt to make a work of art. Unfortunately, there are no examples of art, nor good reasons to think that it will ever exist. (Everything that has been made has been made with a purpose, everything with an end that exists outside that thing, i.e., I want to sell this or I want this to make me famous and loved, or I want this to make me whole, or worse, I want this to make others whole.) And yet we continue to write, paint, sculpt, and compose. Is this foolish of us? p. 202
28. God loves the plagiarist. And so it is written, “God created humankind in His image, in the image of God He created them.” God is the original plagiarizer. p. 206
29. The end of the world has come often, and continues to come. Unforgiving, unrelenting, bringing darkness upon darkness, the end of the world is something we have become well acquainted with, habitualized, made into a ritual. It is our religion to try to forget it in its absence, make peace with it when it is undeniable, and return its embrace when it finally comes for us, as it always does. p. 210
30. SADNESS OF THE INTELLECT: Sadness of being misunderstood [sic]; Humor sadness; Sadness of love wit[hou]t release; Sadne[ss of be]ing smart; Sadness of not knowing enough words to [express what you mean]; Sadness of having options; Sadness of wanting sadness; Sadness of confusion; Sadness of domes[tic]ated birds; Sadness of fini[shi]ing a book; Sadness of remembering; Sadness of forgetting; Anxiety sadness … p. 211-212
31. Not one of his friends — if it could be said that he had any other friends — knew about the Gypsy girl, and none of his other women knew about the Gypsy Girl, and his parents, of course, didn’t know about the Gypsy girl. She was such a tightly kept secret that sometimes he felt that not even he was privy to his relationship with her. She knew of his efforts to conceal her from the rest of his world, to keep her cloistered in a private chamber reachable only by a secret passage, to put her behind a wall. She knew that even if he thought he loved her, he did not love her. p. 232
32. Do not change. p. 234
33. To feel alone is to be alone. That’s what it is. p. 237
34. (You do not have to be shamed in my closeness. Family are the people who must never make you feel ashamed.)
(You are wrong. Family are the people who must make you feel ashamed when you are deserving of shame.) p. 245
35. The only thing more painful than being an active forgetter is to be an inert rememberer. p. 260
-
-

Monday, 8 August 2011

Best of the Net 2011 Nominations


-
-
We are happy to announce that the following pieces of work have been nominated by Cha for inclusion in Best of the Net Anthology 2011, published by Sundress. Congratulations to these writers and good luck!
--
-
Poetry-


=W.F. Lantry, "Rainbow Bridge" (issue #12, September 2010)
-
=Phill Provance, "St. Petersburg Has Many Churches" Read an analysis of the poem here.(issue #12, September 2010)


-
=Rumjhum Biswas, "Bones" Read an analysis of the poem here. (issue #12, September 2010)
-
=Divya Rajan, "Ode to Poetry"  (issue #13, February 2011)


=Vineet Kaul, "Parapraxis" (issue #13, February 2011)





=Graeme Brasher, "Mereles" (issue #13, February 2011)



Fiction
-
=Shivani Sivagurunathan, "The Bat Whisperer" (issue #13, February 2011)


-
=Elizabeth Weinberg, "The Earth That Stands Before Us" (issue #12, September 2010)




-
-
-

-
Iris A. Law's "Circumnavigation" (issue #7) was selected for publication in Best of the Net 2009 and Lillian Kwok's "Departure" (issue #8) was selected as a Finalist in 2010. 
-


Friday, 5 August 2011

The Best Short Writing in the World 2011



Fleeting Magazine has teamed up with Stack to find the best short writing in the world. They are looking for short stories (no more than 1500 words) and poetry (up to 40 lines). They are only interested in writing that is 'daring, witty, erudite, lucid and infectious'.

Winner: One year's subscription to Stack Magazines, a personalised monthly selection of the best independent magazines from the UK, Europe and America.
Two runners-up: Three months' subscription to Stack Magazines.

Winners and good works will be published.

Entry costs £1 per piece and can be sent via PayPal.

Click here to learn more about the contest.
-
-

Royston Tester in Quarterly Literary Review Singapore

-
Royston Tester's short story "A Beijing Minute" is now published in the July 2011 issue of Quarterly Literary Review Singapore. Read it here. A review of Jee Leong Koh's Seven Studies for a Self Portrait by Nicholas Liu is also featured in the issue.


  • Read Royston Tester's Cha profile.
  • Jee Leong Koh's poetry was published in issue #6 of Cha.
=

Marc Vincenz in October Babies

-
Marc Vincenz's poem "Barcelona B a c k h a n d", previously published in Danse Macabre, is now up at October Babies. 
-
Marc Vincenz's poetry was published in Issue 10 of Cha.
-
-

Wednesday, 3 August 2011

"The Woman" by Robert Creeley

-
-
-
-
The Woman
................................by Robert Creeley

I have never
clearly given to you
the associations
you have for me, you

with such
divided presence my dream
does not show
you. I do not dream.

I have compounded
these sensations, the
accumulation of the things
left me by you.

Always your
tits, not breasts, but
harsh sudden rises
of impatient flesh

on the chest--is it
mine--which flower
against the vagueness
of the air you move in.

You walk
such a shortness
of intent strides, your
height is so low,

in my hand
I feel the weight
of yours there,
one over one

of both, as you
pivot upon me, the
same weight grown
as the hair, the

second of your attributes,
falls to
cover us. We
couple but lie against

no surface, have
lifted as you again
grow small
against myself, into

the air. The
air the third of
the signs of you
are known by: a

quiet, a soughing silence,
the winds lightly
moved. Then

your
mouth, it opens not
speaking, touches,

wet, on me. Then
I scream, I
sing such as is
given to me, roar-

ing unheard,
like stark sight
sees itself
inverted

into dark
turned. Onanistic.
I feel around
myself what

you have left me
with, wetness, pools
of it, my skin
drips.
-
(pp. 291-293)
-
-

Marc Vincenz and Mary-Jane Newton in THIS Literary Magazine

-
Read Marc Vincenz's new poems "star twisted," and "Downriver" and Mary-Jane Newton's poems "You, Becoming", "Enter and Name" and "How To Be Victorious" in the July/August 2011 issue of THIS Literary Magazine.
-

  • Marc Vincenz's poetry was published in Issue 10 of Cha.
  • Mary-Jane Newton's poetry and reviews were published in Issue 13 of Cha.
-

Tuesday, 2 August 2011

World Voices: Eddie Tay | 11 August 2011




"
Is there space for poetry in the mental life of people in Singapore and Hong Kong? How does one survive and thrive in these two ultra-modern, pragmatic and cosmopolitan cities and stay true to one’s artistic calling? How does one balance the contemplative, aesthetic and hermit- like endeavours of a poet with globalised Asian environments that celebrate business, busy-ness, and wi-fi connections?

For the August edition of World Voices, HK-based poet, literature professor and reviews editor Eddie Tay will be reading from his recent poetry collection, The Mental Life of Cities, and talking about how he draws inspiration from urban life in these two frenetic Asian cities. 

About Eddie Tay

Eddie Tay grew up in Singapore and has been living in Hong Kong for the past eight years. As a poet, literature professor, researcher, and reviews editor of an online literary journal, he has come to see poetry (and literature) not just as words on a page, but as social and aesthetic impulses working their way through local and global communities.

Eddie Tay is the author of three poetry collections, Remnants, A Lover’s Soliloquy, and most recently, The Mental Life of Cities. The first two collections consist of free translations of Tang Dynasty poetry as well as original poems, while his most recent collection which features bilingual poems is inspired by how English and Chinese intertwine and take root in the modern Asian cities of Singapore and Hong Kong. Colony, Nation and Globalisation: Not at Home in Singaporean and Malaysian Literature, his study of colonial and contemporary literature of Singapore and Malaysia, was published this year.

Tay teaches children’s literature and the reading and writing of poetry at the Department of English, Chinese University of Hong Kong. He is a member of the Poetry OutLoud collective based in HK. He was a featured poet at the Hong Kong International Literary Festival 2011. He is also serving as Reviews Editor at the online journal, Cha: An Asian Literary Journal.
.........................................."
Related Posts Plugin for WordPress, Blogger...