Podcast appearances and mentions of Maxine Hong Kingston

Chinese American literary pioneer Maxine Hong Kingston revolutionized storytelling with her groundbreaking 1976 book ‘The Woman Warrior,' which blended reality and myth to capture the immigrant experience. As part of our Bay Area Legends series, we talk with Kingston – who grew up working in her parent's Stockton laundry business and was an integral part of Berkeley's counterculture movement – about her genre-defying work. And we check in with contemporary authors about Kingston's lasting influence on their craft and the evolution of immigrant narratives in American literature. Guests: Vanessa Hua, author, Forbidden City; Hua's previous books include “A River of Stars”; former columnist, San Francisco Chronicle Aimee Phan, author, "The Reeducation of Cherry Truong"; associate professor of writing and literature, California College of the Arts in San Francisco. Chitra Banerjee Divakaruni, novelist, short story writer and poet; Her most recent novel "Independence" won the American Book Award in 2024. Maxine Hong-Kingston, author Learn more about your ad choices. Visit megaphone.fm/adchoices

At age 4, following the fall of Saigon, in 1975, Viet Thanh Nguyen and his family fled Vietnam and came to the U.S. as refugees. Throughout the turmoil and its aftermath, neither he nor his family could have imagined that he would go on to not only become an internationally renowned novelist—winning a Pulitzer Prize in 2016 for his debut novel, The Sympathizer (2015)—but also to serve as an executive producer of an HBO miniseries adaptation of the book, and become a widely respected voice on matters including anti-Asian hate, refugees and immigrants, war and genocide, and memory and memorials. In addition to The Sympathizer, Nguyen has written, among other books, the new memoir A Man of Two Faces (2023); The Sympathizer's sequel, The Committed (2021); and the nonfiction title Nothing Ever Dies: Vietnam and the Memory of War (2016). On the episode, Nguyen talks about turning The Sympathizer into an HBO miniseries, the polarities between what he calls “narrative plenitude” and “narrative scarcity,” and jokes as a form of truth-telling.Special thanks to our Season 9 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Viet Thanh Nguyen[3:43] “An Open Letter on the Situation in Palestine”[3:43] Min Jin Lee[5:48] F. Scott Fitzgerald[7:11] The Sympathizer[7:11] The Sympathizer HBO series[7:11] Robert Downey Jr.[7:11] Sandra Oh[8:41] A Man of Two Faces[8:41] Casualties of War[8:41] Apocalypse Now[8:41] Platoon[8:41] The Deer Hunter[11:48] Arundhati Roy[14:18] 2016 Pulitzer Prize for Fiction[21:33] Fall of Saigon[33:34] The Great Gatsby[37:26] Portnoy's Complaint[40:28] Great America amusement park[47:24] Maxine Hong Kingston[51:06] Chicken of the Sea[51:06] Simone[56:19] Operation Petticoat[56:19] I Was a Male War Bride[56:19] Catch 22[56:19] Richard Pryor

Latest up from Spoken Label (Spoken Word / Poetry Podcast) features the wonderful M. L. Liebler. M. L. Liebler is an internationally known & widely published Detroit poet, university professor, literary arts activist and arts organizer. He was named The 2017-2018 Murray E. Jackson Scholar in the Arts Award at Wayne State University. Liebler is the author of 15 books and chapbooks including the Award winning Wide Awake in Someone Else's Dream (Wayne State University Press 2008) featuring poems written in and about Russia, Israel, Germany, Alaska and Detroit. Wide Awake won both The Paterson Poetry Prize for Literary Excellenceand The American Indie Book Award for 2009. In 2005, he was named St. Clair Shores (his hometown) first Poet Laureate. Liebler has read and performed his work in Afghanistan, Israel, Palestine, Russia, China, France, UK, Macao, Italy, Germany, Spain, Finland and most of the 50 States. M.L. Liebler has taught English, Creative Writing, American Studies, Labor Studies and World Literature at Wayne State University in Detroit since 1980, and he is the founding director of both The National Writer's Voice Project in Detroit and the Springfed Arts: Metro Detroit Writers Literary Arts Organization. He was selected as Best Detroit Poet by The Detroit Free Press & Detroit's Metro Time. Liebler became the Co-Editor In 2010, he received The Barnes & Noble Poets & Writers Writers for Writers Award with Maxine Hong Kingston & Junot Diaz. In 2011, his groundbreaking anthology Working Words: Punching the Clock & Kicking Out the James (Coffee House Press) was given a 2011 Library of Michigan Notable Book Award. In 2017, Liebler received a total of 4 Library of Michigan Notable Book Awards for both his new collection of poems entitled I Want to Be Once (Wayne State University Press / Made in Michigan Series) and for Heaven Was Detroit: An Anthology of Detroit Music Essays from Jazz to Hiphop (The Wayne State University Press Painted Turtle Series) Editor. Bob Seger's House: An Anthology of Michigan Short Stories (Co-Editor with Mike Delp). Both Heaven Was Detroit and Bob Seger's House are Finalist for the prestigious Forward Book Awards. 2020 saw the release of RESPECT: Poets on Detroit Music edited by M. L. Liebler & Jim Daniels (Michigan State University Press 2020). RESPECT just received both a 2021 Tillie Olsen Award & 2021 Library of Michigan Notable Book Award. In September 2020, M. L. was awarded the Michigan Humanities Champion of the Year. Liebler received a Wayne State University Distinguished Scholar Award for 2024-2026. He curretly directs The WSU Humanities Commons and The Detroit Writers' Guild. M.L. Liebler

Hua Hsu is a staff writer for The New Yorker. His book Stay True won the 2023 Pulitzer Prize for memoir. “I've worked as a journalist … for quite a while. … But this [book] was the thing that was always in the back of my mind. Like, this was the thing that a lot of that was in service of. Just becoming better at describing a song or describing the look of someone's face—these were all things that I implicitly understood as skills I needed to acquire. ... It is sort of an origin story for why I got so obsessive about writing.” Show notes: @huahsu byhuahsu.com Hsu on Longform Hsu on Longform Podcast Hsu's New Yorker archive 03:00 A Floating Chinaman: Fantasy and Failure Across the Pacific (Harvard University Press • 2016) 30:00 "Randall Park Breaks Out of Character" (New Yorker • Feb 2023) 33:00 Shortcomings (Adrian Tomine • Drawn & Quarterly • 2007) 39:00 "What Conversation Can Do For Us" (New Yorker • Mar 2023) 39:00 "J. Crew and the Paradoxes of Prep" (New Yorker • Mar 2023) 39:00 "The Many Afterlives of Vincent Chin" (New Yorker • Jun 2022) 39:00 "How Wayne Wang Faces Failure" (New Yorker • Jun 2022) 39:00 "Maxine Hong Kingston's Genre-Defying Life and Work" (New Yorker • Jun 2020) Learn more about your ad choices. Visit podcastchoices.com/adchoices

The prophet Isaiah writes poetry: to express deep love between God and God's beloveds, to convey heartache, to cleverly and poignantly pierce through word play, to evoke hope and catalyze action, to faithfully proclaim the truest nature of God. If poetry is good enough for Isaiah, pastor Megan suggests, it might just be good enough for us. We hear of sacred love, heartbreak, longing, and conviction from poets Jane Kenyon, Naomi Shihab Nye, Marwan Makhoul, Maxine Hong Kingston, and Lucille Clifton. Come along for the ride!sermon begins at minute marker 4:41 Isaiah 5.1-7; 11.1-5ResourcesBibleWorm podcast: Episode 510– The Song of the Vineyard and the Stump of Jesse, Amy Robertson and Robert Williamson, Jr.Jane Kenyon, “Briefly It Enters, and Briefly Speaks,” Collected Poems, 2005.Naomi Shihab Nye, “Kindness,” Words Under the Words: Selected Poems, 1995.Maxine Hong Kingston, The Fifth Book of Peace, 2003.Lucille Clifton, "spring song," The Collected Poems of Lucille Clifton, 1987.After sharing this sermon in poetry, someone in the congregation reminded me of this gorgeous and piercing musical rendition of Isaiah's poetry, by the inimitable Sinead O'Connor, may she rest in peace: “If You Had a Vineyard” Image: Marwan Makhoul, trans. Zeina Hashem Beck, via Gaza Poets Society, https://www.instagram.com/p/CO3URKVgw7M/Hymn: Hymn: VT 161 I Sought The Lord. Text: Holy Songs, Carols, and Sacred Ballads (USA), 1880 Music: J. Harold Moyer (USA), 1965, The Mennonite Hymnal, © 1969 Faith & Life Press/Mennonite Publishing House (admin. MennoMedia) Permission to podcast the music in this service obtained from One License with license #A-726929 and #57595. All rights reserved.

Joe Lamb, founder of the Borneo Project, is a writer, activist, and arborist living in Berkeley, California. His poetry and essays have appeared in Earth Island Journal, The Sun, Caliban, Wind, Orion, and other magazines. His work is also included in the anthologies The Rag and Bone Shop of the Heart: A Poetry Anthology, Robert Bly et al editors, and Veterans of War/Veterans of Peace, Maxine Hong Kingston editor.  Joe has degrees in biology, ecology, and film. He has taught biology and ecology in the United States and in Mexico. He worked as a field organizer on the Nuclear Weapons Freeze Campaign, and as a film distributor for The Video Project. For over forty years he has tended trees in the urban forest as co-owner of Brende and Lamb Tree and Shrub care.  In 1991, under the auspices of Earth Island Institute, Joe founded the Borneo Project, an NGO that helps the indigenous peoples of Borneo secure land rights and protect their forest. Honored by the Goldman Foundation as an “environmental hero,” Joe was featured in the San Francisco public television program, “Green Means.”  For over 30 years the Borneo Project has helped indigenous peoples map their lands, bring their case to the court of public opinion, and press for the preservation of their forests through legal action. Learn more about the Borneo Project – see the link below.   Joe is firmly committed to trees as an essential part of any realistic strategy to help the world limit and mitigate the potentially catastrophic consequences of climate change. --- Send in a voice message: https://podcasters.spotify.com/pod/show/plantatrilliontrees/message Support this podcast: https://podcasters.spotify.com/pod/show/plantatrilliontrees/support

Viet Thanh Nguyen's new memoir, A Man of Two Faces, is an unconventional and impeccable personal narrative that tackles the author's own life alongside larger themes of culture and colonization. Nguyen joined us live at The Grove to talk about understanding his own story through writing, his interpretations of memory and more with Miwa Messer, host of Poured Over.   This episode of Poured Over was hosted by Executive Producer Miwa Messer and mixed by Harry Liang.           New episodes land Tuesdays and Thursdays (with occasional Saturdays) here and on your favorite podcast app.       Featured Books (Episode):  A Man of Two Faces by Viet Thanh Nguyen  The Sympathizer by Viet Thanh Nguyen  The Committed by Viet Thanh Nguyen  The Woman Warrior by Maxine Hong Kingston  

Season 3, Episode 2, features K-Ming Chang. She is the author of debut novel Bestiary, short story collection Gods of Want, and her latest novel, Organ Meats, her third book in what she describes as mythic tryptich, published by One World/Random House.  Chang is a Kundiman fellow, a National Book Foundation 5 Under 35 honoree, and an O. Henry Prize Winner. In this conversation, we discuss her evolving view of books and the characters she gives agency to. We delve into her earliest writing experiences and how she keeps in touch with those childhood inspirations. We also explore her use of language as a driving force for her writing and how she is finding counter-narratives for the creative process. Chang discusses her inspirations, including Maxine Hong Kingston, Dorothy Allison, and Justin Torres. She reads from Gods of Want and Organ Meats. Host: Davin Malasarn --- Send in a voice message: https://podcasters.spotify.com/pod/show/the-artists-statement/message

Therese Fitzgerald came to the SF Zen Center in 1976, was ordained as a priest by Richard Baker in 1986, with her husband Arnold Kotler founded the Community of Mindful Living applying the teachings of Thich Nhat Hahn who ordained her as a dharmacharya in 1994. She worked with Maxine Hong Kingston's Veterans Writing Group. Now Therese is a hospice chaplain in Maui where she and Arnie moved to long ago. There's more to her story you can hear about in this podcast and last weeks' part one.  To read the piece her hubby Arnie Kotler wrote for Inquiring Mind on his relationship with his father, Richard Baker and Thich Nhat Hanh, go to cuke.com, write his name in the site search box, and look for Letting go of My Father.

Therese Fitzgerald came to the SF Zen Center in 1976, was ordained as a priest by Richard Baker in 1986, with her husband Arnold Kotler founded the Community of Mindful Living applying the teachings of Thich Nhat Hahn who ordained her as a dharmacharya in 1994. She worked with Maxine Hong Kingston's Veterans Writing Group. Now Therese is a hospice chaplain in Maui where she and Arnie moved to long ago. There's more to her story you can hear about in this podcast and then next week's part two.

It's easy to speak about mountain biking on the surface level. But speaking to its potential for transcendence, ecstasy, and yes, art, is another thing entirely--thus, we called in a poet to help.  Albert Flynn DeSilver has been an obsessive mountain biker for over 30 years. He is a trail advocate and wilderness explorer. Albert is also an internationally published writer, speaker and teacher who has worked with thousands of kids as a California Poet in the Schools, served as a county Poet Laureate, and taught writing workshops throughout North America at places like the Esalen Institute, the Omega Institute, and the British Institute in Paris. He has given a TEDx talk and bombed spectacularly, and then dusted himself off to go on to host and share the stage with writer-luminaries like Elizabeth Gilbert, Cheryl Strayed, Maxine Hong Kingston and many others. Albert writes, rides and resides in Northern California. We talk about: Reaching a transcendent state on a bike [6:03] The taboo of ecstasy [9:33] Moving meditation [12:45] How family history/upbringing can inform our practice [14:27] Using mtb to check in or check out [20:12] The art of mountain biking [24:36] The demand of mtb to pay attention [28:20] The social component of the sport [32:30] Grief on the trail [37:42] Dancing and doodling [44:09] Referenced in this episode: Singletrack Mind by Albert Flynn DeSilver Writing as a Path to Awakening, also by Albert “Miracles” by Walt Whitman Delores LaChapelle We also referenced this episode with Melissa Gill Let's connect! Book a lesson with SimplyMTB or work with Danielle's project-based growth model at You Need a Thing. Please don't forget to rate, subscribe, and share this if it resonates! Tips For Tips? It takes a lot of time and effort to put together this content and offer it, for free, to hopefully enhance your experience on and off the bike. If you appreciate and value the work we do on the podcast, consider sending us a tip here!

In this episode of the Project Narrative Podcast, Jim Phelan and Yoon Sun Lee discuss the opening narrative from The Woman Warrior: Memoirs of a Girlhood Among Ghosts by Maxine Hong Kingston. Yoon Sun Lee is the Anne Pierce Rogers Professor in American Literature and Chair of the English Department at Wellesley College. Lee is… Continue reading Episode 21: Jim Phelan & Yoon Sun Lee — Excerpt from Maxine Hong Kingston's “No Name Woman”

Hua Hsu is a staff writer for The New Yorker. His book Stay True won the 2023 Pulitzer Prize for memoir. “I've worked as a journalist … for quite a while. … But this [book] was the thing that was always in the back of my mind. Like, this was the thing that a lot of that was in service of. Just becoming better at describing a song or describing the look of someone's face—these were all things that I implicitly understood as skills I needed to acquire. ... It is sort of an origin story for why I got so obsessive about writing.” Show notes: @huahsu byhuahsu.com Hsu on Longform Hsu on Longform Podcast Hsu's New Yorker archive 03:00 A Floating Chinaman: Fantasy and Failure Across the Pacific (Harvard University Press • 2016) 30:00 "Randall Park Breaks Out of Character" (New Yorker • Feb 2023) 33:00 Shortcomings (Adrian Tomine • Drawn & Quarterly • 2007) 39:00 "What Conversation Can Do For Us" (New Yorker • Mar 2023) 39:00 "J. Crew and the Paradoxes of Prep" (New Yorker • Mar 2023) 39:00 "The Many Afterlives of Vincent Chin" (New Yorker • Jun 2022) 39:00 "How Wayne Wang Faces Failure" (New Yorker • Jun 2022) 39:00 "Maxine Hong Kingston's Genre-Defying Life and Work" (New Yorker • Jun 2020) Learn more about your ad choices. Visit podcastchoices.com/adchoices

We're joined by John Cotter, author of the memoir Losing Music, out this week from Milkweed Editions. The book is about an incurable inner-ear disorder that came on suddenly, and inexplicably, and how John has had to reckon with the gradual loss of his hearing, and the host of other issues that brings with it. John picked a famous Maxine Hong Kingston essay for us to read, one that offers an interesting model for writing about what we don't know.  You can learn more about John, and find links to purchase his book, here: https://johncotter.net/ If you like the show, and would like to exchange five of your hard-earned dollars for monthly bonus content--including access to the Book Fight Book Club--you can sign up for our Patreon here: https://www.patreon.com/BookFight  

Today's Women's History Month episode spotlights Maxine Hong Kingston. This Chinese-American author's story closely resembles that of other minorities when it comes to acceptance and accolades. Is that an “American” thing? --- Send in a voice message: https://podcasters.spotify.com/pod/show/heyevette/message

Albert Flynn DeSilver is an American poet, memoirist, novelist, speaker, and workshop leader. He is the author of several books of poems, the memoir “Beamish Boy,” and “Writing as a Path to Awakening" (Sounds True, 2017). Albert received an MFA in Photography/New Genres from the San Francisco Art Institute. He worked as a California Poet in the Schools for many years and served as poet laureate of Marin County, California from 2008-2010. He has shared the stage and presented with U. S Poet Laureate Kay Ryan, bestselling authors' Maxine Hong Kingston, Cheryl Strayed, Elizabeth Gilbert, and many others. Albert is also a meditation teacher at Spirit Rock and speaks at writing conferences nationally.How Do You Write Podcast: Explore the processes of How Do You Write Podcast: Explore the processes of working writers with bestselling author Rachael Herron. Want tips on how to write the book you long to finish? Here you'll gain insight from other writers on how to get in the chair, tricks to stay in it, and inspiration to get your own words flowing. Join Rachael's Slack channel, Onward Writers: https://join.slack.com/t/onwardwriters/shared_invite/zt-7a3gorfm-C15cTKh_47CEdWIBW~RKwgRachael can be YOUR mini-coach, and she'll answer all your questions on the show! http://patreon.com/rachael Join my scribe of writers for LOTS more tips and get access to my 7-minute video that will tell you if you're writing the right book! Only for my writing community! CLICK HERE:➡️ How to Know If You're Writing the Right Book - https://rachaelherron.com/therightbook Hosted on Acast. See acast.com/privacy for more information.

Hello from a D.C. hotel! This week, our guest is Ken Chen, writer, professor, and former director of the Asian American Writers' Workshop (AAWW). We discuss [6:45] Ken's recent piece for n+1, about photojournalist and activist Corky Lee and the deep histories of class, race, and violence woven into his work, centered in Manhattan's Chinatown. [1:03:20] We also chat about writing, publishing, and Asian American literature as a social-realist project. In this episode, we ask: When does a photo achieve representation?What if we thought of Corky not as a photojournalist, but as a durational artist? Can an identity be created through accumulation and aspiration, even through economic shifts?Why are there so many books by Asian Americans coming out now, compared to a few decades ago? For more, see: * Ken on Theresa Hak Kyung Cha's Dictée* Repeat guest Hua Hsu on Maxine Hong Kingston, author of the classic novel, The Woman Warrior* Ryan Lee Wong on Corky Lee's photos of protests against police brutality And revisit these TTSG episodes: * Our book club with Lisa Hsiao Chen, wherein we discuss the work of performance artist Tehching Hsieh * Working-class unity, with organizer JoAnn Lum, the director of NMASS (the National Mobilization Against Sweatshops)* "I want you to care when people are still alive," with Yves Tong Nguyen of Red Canary SongOur first-ever TTSG Movie Club is happening THIS FRIDAY, March 10th, at 8pm ET / 5pm PST! We'll be watching "Better Luck Tomorrow," and you can join our TTSG Discord to attend the viewing by subscribing on Patreon or Substack. Thanks for listening! As always, follow us on Instagram, TikTok, and Twitter, and get in touch via email at timetosaygoodbyepod@gmail.com.  This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit goodbye.substack.com/subscribe

Hello from somewhere other than Jay's basement! This week, we're excited to release the episode we recorded in New York with Hua Hsu, as part of Tammy's residency at the A/P/A Institute at NYU. Hua is a TTSG regular and the author of a new memoir, Stay True. The book focuses on Hua's friendship with Ken, a classmate at Berkeley who was killed the summer before their senior year. We probe the book's depiction of Asian male friendship, or, as Hua experienced it, “two Asian American people working through stuff.” We discuss questions of craft, how to assemble two decades of documentation, and the intense highs and lows of young adulthood. Plus: Hua on pre-Internet zine-making and private worlds, emulating Maxine Hong Kingston (who'd emulated Walt Whitman), and the joy of putting his parents and Ken in textual proximity to Aristotle, Jacques Derrida, and Charles Taylor. You can also watch a video of our conversation, professionally produced by A/P/A, here: Big thanks to Amita Manghnani, Crystal Parikh, and Laura Chen-Schultz!  And thanks for your support. We were psyched to see TTSG on Slate's list of best chat podcasts of 2022! Please share the pod with anyone who might enjoy “a solid balance between the troubling and the absurd.” ☺️You can follow us on Twitter, Instagram, and TikTok, and subscribe via Patreon or Substack to join our Discord, where you can be a part of our conversation about TTSG merch! As always, feel free to email us at timetosaygoodbyepod@gmail.com. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit goodbye.substack.com/subscribe

Comment grandit-on, dans les années 1950, lorsqu'on est née aux États-Unis de parents immigrés chinois ? Comment une jeune fille sino-américaine de première génération vit-elle, tiraillée entre deux cultures, en Californie ? Dans La Femme guerrière, Maxine Hong Kingston explore cet héritage et la façon dont il l'a construite. Un livre publié pour la première fois en 1975, qui a remporté un grand succès, mais qui vient de s'offrir une nouvelle traduction en français aux Éditions La Croisée. L'écrivaine de 82 ans, Maxine Hong Kingston, s'en réjouit. Marie Normand l'a jointe en Californie.

Comment grandit-on, dans les années 1950, lorsqu'on est née aux États-Unis de parents immigrés chinois ? Comment une jeune fille sino-américaine de première génération vit-elle, tiraillée entre deux cultures, en Californie ? Dans La Femme guerrière, Maxine Hong Kingston explore cet héritage et la façon dont il l'a construite. Un livre publié pour la première fois en 1975, qui a remporté un grand succès, mais qui vient de s'offrir une nouvelle traduction en français aux Éditions La Croisée. L'écrivaine de 82 ans, Maxine Hong Kingston, s'en réjouit. Marie Normand l'a jointe en Californie.

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Host Miko Lee speaks with two women professors Dr. Celine Parreñas Shimizu and Dr. Robyn Magalit Rodriguez about their approach to education, activism, motherhood and moving forward.   Show Transcript A Tale of Two Professors Story [00:00:00] Swati: Tonight on APEX Express, we have a piece highlighting the work of two professors with a lot in common, both Filipino scholar, activists, and grieving mothers who are approaching their work in similar and different ways. Listen in on Miko's interview, exploring both of their amazing backstories, their current work and where they see their futures. Also editorial side note Miko and Robyn's audio got a little funky at times. So it might be a little bumpy. [00:00:59] Miko Lee: Welcome Dr. Celine Parreñas Shimizu and Dr. Robyn Magalit Rodriguez to APEX express. Dr. Robyn is the first Filipino American to serve as chair of the UC Davis Asian American Studies Department, the first one in 50 years. She also became the founding director of the Bulosan Center for Filipino studies and has authored so many books. Dr. Celine scholar filmmaker, and the new Dean of the Division of Arts at UC Santa Cruz. You worked at my Alma mater San Francisco State University in the School of Cinema. You were a professor of Asian-American feminist film and media studies at UC Santa Barbara. I mean, you've, you've been like through the whole California system. We are so happy to have you on APEX express. I believe you were the first Asian-American Dean in this position. And how does this feel for you to be at UC Santa Cruz during this work? [00:01:51] Dr. Celine Parreñas Shimizu: As the first woman of color Dean at UC Santa Cruz, as well as the first Asian American woman. Of course, it feels weighty, to hear that the lived experience of it is very much about prioritizing subjugated knowledges, making sure that we have an abundance of voices and abundance of traditions and knowledges that we are teaching so that students can really have access to you know what they want to study as well as be situated, and a long tradition of inquiry and method. It's really wonderful to be at the helm of a division that really takes seriously, people who want to practice art, people who want to study art historically, critically theoretically and we all have defined. Our role, and helping to make this world A place where everyone has a role, [00:02:48] Miko Lee: and art is just being part of who you are that it's just part of being human. Um, Robyn, I want to go way back and talk with you about when you first became politically active. [00:02:59] Dr. Robyn Magalit Rodriguez: I would say that the beginnings of my political activism started when I was in either my freshman or sophomore year of high school. And it started with a letter. I was concerned about what we now call racial profiling of young Filipino American men in my neighborhood. I grew up in Union City, California in the east bay. And there was a supposed kind of gang problem in Union City and I recall young boys really in our neighborhood at school, who I thought were being unfairly targeted, not only by police, but also mistreatment really from other authority figures at school, I felt really concerned about that and wrote a letter. I was encouraged by my mom to express my opinions or my kind of concern about how my peers are being treated by writing a letter. And so I wrote the letter and I addressed it to the mayor of Union City, the chief of police, and the superintendent of the school district. And in the letter, I expressed how I felt that my peers were being unfair ly treated and proposed that they introduce what I was calling, multicultural education. The idea I thought was that if our teachers and authority figures really understood us better, and at the same time, if we encountered a stories and histories of our community that somehow this so-called gang problem could be somewhat addressed. So that was my first, I think, kind of a political act or act of activism. And I would then go from there really getting involved in electoral politics. And then after that when I'm in college is really when I started to get more involved in other kinds of organizing work community organizing work. [00:05:10] Miko Lee: I love that. What do you think, was it your parents' upbringing or your peers? What do you think rose up your feisty nature to be able to write back to the school board at such a young age? [00:05:22] Dr. Robyn Magalit Rodriguez: I think it was a couple of things. I think one was actually my mother modeling a modeling sort of letter writing in particular as a mode of calling out issues of inequity or injustice and what had happened and I remember this very clearly. I think it probably was my earliest observation or experience of racism and it was at church. I just remember I grew up Catholic and somehow I just remember sitting in the pew and fidgeting and sort of halfway listening to the priest's sermon and I recall the priest saying something about how Filipinos were not contributing sufficiently enough to the parish. And I remember that very clearly. And I remember feeling that tension rise because there's so many people in mass who are Filipino and I could feel, my mother bristling at that. My father, I just, the tension was just so palpable. My mother was feeling after mass talking about how insensitive the priest had been. Didn't quite say racist, that it was just really wrong and a mis-characterization of the Filipino community. And she was going to write a letter and address it. And I remember observing that and that had a real impact on me. I think the influence again, via my mother is the fact that my middle name, which actually translates into ‘to be angry' comes from an ancestor on a maternal ancestor. It was a made up name by one of my ancestors who decided to change his name to Magalit it as an expression of defiance against the Spanish colonial rule in the Philippines and actually ended up joining the anti-colonial revolutionary cause himself. And so that was that's an important story that is passed on through my mom's, through my mom's family. We're very proud of that revolutionary history. I was always very proud of it always insist on using my middle name everywhere and anywhere. And so I think there's also that, that, that feeling, or I think I was encouraged to, we were encouraged to really be those people who would be critical of any circumstances where people are oppressed, exploited, marginalized. Even my father. Growing up he would tell me, you're so fortunate that I left the day before martial law was declared in the Philippines, because otherwise I would have been, I would have stayed and I would have been part of the movement to topple the dictatorship. And I wouldn't be able to be here and be your dad. And I recall to, with my father he drew really a hard and fast lines between himself and people in the community, even friendships would think, he walked away from friendships if he felt a friend was sympathetic to the dictatorship. So there's just all of these ways that might. Both, exhibited as anti-authoritarian kind of, the sort of critique of structures of power that I grew up with and I observed and was inspired by. So I think that's what explains why I would end up doing what I did as a freshman in high school. [00:08:39] Miko Lee: Wow. The power of being angry, built into your DNA and your name and your love it. We love to hear that. Dr. Celine What do you think Drove you into ethnic studies [00:08:54] Dr. Celine Parreñas Shimizu: I came to the United States with my family, in the early to mid eighties and I moved to Cambridge, Massachusetts. I was one of three Filipino Americans in my high school of 3000 people. And the others were my siblings, and education for me was really sanctuary, like being at school because there was food because we were so poor and, we were the center of our worlds, my multicultural set of friends and I loved, learning about my new country, and when I moved to Berkeley as an undergrad, there were many questions that I had, like, why is it that, my parents, even though they were hyper educated in a way, had to work low wage jobs, as immigrants and they had to work two jobs and they were never around then why was I, and my sister, we were 14, 13 years old. We were already working, in order to help put food on the table for our large immigrant family. So I had so many questions. What was this about, why are we here? And. I loved ethnic studies at UC Berkeley, it was a way to really understand subjugated knowledges, and it was really understanding why we no longer ate together as a family because my parents had to work. At UC Berkeley, ethnic studies was such a wonderful place because it was an interdisciplinary approach to history, to cinema, to literature. It was the time where so many amazing people were there. Not only was it Trinh Min-ha, June Jordan, Cherrié Moraga. I learned in their classrooms and also created my own classrooms by becoming an activist, because there was so much in our experiences that I needed to see on paper. Like what it means to walk around with a large Asian American family, what it means to, grow up with a white mom, but be seen as a woman of color, like your closest intimate as this white woman who may or may not see you. So these were stories that my classmates were telling me. We did a lot of organizing, you know, a woman of color magazine named, ‘Smell This', a woman of color film festival, a woman of color retreat. We were really trying to figure out how can we be effective advocates in a world, using our education, using the power and weapons of our education in order to, make significant, impactful cultural contributions that will change the world. And I realized I wanted to really capture the historical moment of how there were so many women of color writing professors there, Maxine Hong Kingston, June Jordan, Cherrié Moraga. Were all there and we were all doing spoken word and poetry slams, and the tradition of women of color literature, with ‘This Bridge Called My Back' Audrey Lorde, Chrystos, Pat Parker and more, this was a vibrant, legacy growing all of us, all of these books were seeds, and I came up with the name, ‘Smell This' in the hallways of the co-op in which I lived in at the time. I think I didn't even really think about it sexually, even though, I'm a sexuality scholar and I'm a porn study scholar, I really didn't. I really thought of it as a multisensorial experience that you enter when you are exposed to writing. That's so truthful, that's so brutal and it's confrontation with, what it means to be a multiply subjugated person, just walking down the street, for me at the time you're growing up as a young adult and you're blossoming, your interests are blossoming, your sexuality is blossoming, and so it was for me, just this multi-dimensional kind of growth, and I wanted this name to assert that multisensorial experience of what it means to grow up in a world. And at the time, give yourself the permission to say my voice is important, my perspective is important, and that's why I called it that. I think somewhat innocently. And I remember just being on Sproul Plaza, blasting, hip hop music, and just roping in as many women of color as we could, to contribute to the magazine. And we had these gigantic parties and we had the band Yeasty Girls perform. And so we had these legendary epic parties that were all about validating the cultural production of a women of color. [00:13:13] Dr. Robyn Magalit Rodriguez: I suppose you know, that early act of defiance or that act of resistance writing that letter was the beginnings of my journey towards ethnic studies .I think intuitively I knew that there was something problematic about the fact that I grew up in a predominantly community of color and that there was and most of the students, most of my peers were people of color. And yet most of the figures of authority, teachers, administrators were not people of color. And that the books that we were reading typically had scant mention of our community. So there's some, I think intuitively I knew that that could not be right. When I. First took an ethnic studies course after I transferred to Santa Barbara, my third year after a stint at community college. We're actually, I first encountered sort of women of color writers. But it was a class where I was introduced to This Bridge Called My Back, very important anthology by a co-edited by Cherrié Moraga. So that, was sort of my initial foray into kind of women's studies and ethics studies and then by my junior year at UC Santa Barbara, I had this opportunity to take all these classes to class and Chicano studies, a class in Black studies, but the class that really set me on this path toward academia was a class by Dr. Diane Fujino, it was her very first quarter teaching at UC Santa Barbara and Asian-American studies as an assistant professor. It was really the first time I had encountered a Asian American woman professor who also was unapologetically an activist. And that class seeing her just really changed my life. I was so inspired by Diane by what she was doing in the classroom, which she was inviting us to do students, I felt really challenged and really important in good ways by her and I thought, I think that's the way that I want to that, that's what I want to do. I knew I wanted to choose a career of service, I wasn't quite sure what that was going to be. I thought being a lawyer might be it then I changed my mind, then I thought, oh, maybe I should work as a lobbyist for some of these progressive causes. And then I changed my mind thought I even wanted to be an elected. Maybe then changed my mind. And then professor seemed like something that I could get into. I love learning, I love reading, I love research, I also got introduced to other options that could have been a possibility of me being a labor organizer, so yeah, professor felt like a potential way to actually be at the university lectern, but also to be able to write books that students might be able to encounter in other university classrooms and, Diane embodied this very real possibility for me and I chose to follow that path. She represented and continues to represent to me an approach to Asian-American studies that I want to see more of, I think that As much as Asian-American studies was born out of these movements for liberation, the Ethic Studies movement, the Third World Liberation Front, the Asian-American movement, Black Power movement. I think there is a way that I feel as if Asian American studies and Ethics Studies more broadly has become so institutionalized. And I understand that, some of the reasons for this hyper, this institutionalization of Asian-American studies or Ethnic Studies had everything to do with just the backlash against it and just survival. I think that to survive different kinds of decisions were made such that Asian-American studies are at the end, even ethics studies as a field, had to look and feel more the other disciplinary and interdisciplinary formations in the university and less this insurgent site for knowledge production and dissemination that it it had started off as, and Diane for me, always felt like, still feels like one of the few scholars who continues to see Asian-American studies and Ethnic Studies as the site for insurgent knowledge production and dissemination, as the site where we as scholars use our platforms use our training use the kinds of resources we have access to, to amplify the issues of our communities and to also work in partnership with the community in trying to reimagine everything as Grace Lee Boggs invites us to do, to do the critical work of the thinking and the dreaming and strategizing to achieve a better world for all of us. We created a scholar activist affinity group or section is what we call it. And then we'd, frequently organized panels where we would invite activists to come and engage our colleagues because, we recognize that activists and organizers are also thinkers and theoreticians who have really important frameworks and analysis of the world. And that we as scholars could benefit just as much as we as scholars are, doing full-time work and kind of thinking and teaching that we can also extend different kinds of insights to our organizer colleagues. [00:18:42] Miko Lee: For folks that want to hear more about this. There's actually an entire APEX express episode that covers a reading done by both Robin and Diane at Eastwind Books. Last year you both received a mentorship award. Can you share about how important it is to be a mentor and how you combine being both a mentor, an activist. And a scholar. How do you combine those elements? [00:19:12] Dr. Robyn Magalit Rodriguez: you know, Mentorship is so important to me, I think on one hand, I benefited from mentorship clearly, I wouldn't have even been able to pursue this path, this career path if I hadn't had a mentor like Diane, Dr. Fujino to not just exist, but actually to see who cultivated a relationship with me who was willing to take the time to help me understand the world of academia which was a world that was completely foreign to me. Dr. Fujino, along with other mentors that I had as an undergraduate really helped guide me. On one hand I got research experience. So they both, they all helped me gain a real understanding of what an academic life actually feels like. I knew I wanted to be a professor, but I didn't quite know what getting a PhD would require and getting a PhD requires research and I needed the research experience and they guided me through that process by giving it to me helping me to cultivate my own research questions and carry out my own research project. And all of that not only exposed me to this world to confirm for me that yeah, absolutely that is a path I want to pursue. And they were very frank and honest about what kinds of challenges I might face. I don't know that I fully understood some of their kind of cautionary kind of tales about academia. It took having to actually get into a program and go through it for me to fully understand what I think they were trying to advise me about, and namely that is just, the elitism of academia the ways in which, you know, academia can be limited especially if you're a kind of an activist or committed to social justice and that there are ways that, academia isn't always necessarily the place for that sort of work. Mentorship was so valuable for me individually, and then as I finished my doctorate the mentors I had, helped me just provide that emotional support. Even sometimes it's not even about the nuts and bolts of how do you do research and how do you finish a dissertation? It's simply just supporting you and making you feel like you belong in a space that makes you feel like you don't more often than not. And so just having that community of support was important from mentors. But, there are still too few people of color as more senior professors, a lot of my mentors were my peers who were just a couple of years ahead of me, and I vowed that, as soon as I was in a position that I would be that person who would throw the gate open and keep it open and and support people. But I also approach mentorship in in my own sort of way. I think, I have always tried to be just very transparent with my students about what, the challenges of academia can feel like for a woman of color, for a person of color. I also, I had a child when I was in grad school. So that also created other challenges that other people didn't necessarily have to have. And I, I wanted to be able to, again, to support women who might make choices in graduate school, around, having families or, all of that so mentorship is so vital I think to ensuring that academia continues to be open to alternative voices and particularly folks of color like academia sometimes it's like a long hazing process. I feel like this isn't any different than being in a fraternity or sorority, I feel like, it's all just this huge hazing process. It's not fully transparent about what goes on and nobody really wants to let on. And , that prevents us from moving forward. You get stuck in grad school, you end up not finishing your doctorate and, dropping out or you get a job, but then you can't get tenure. And there's just so much that I feel like is so shrouded in secrecy sometimes about academia and I wanted to be able to be that person if I got through that, I would keep the gate wide open and give folks, as much information as possible and support in, moving forward and through through academia and all of the hoops that, you have to jump to get to a place where I am now. [00:23:24] Dr. Celine Parreñas Shimizu: Mentorship and activism to me are all so interrelated. When I went to UC Berkeley as an undergrad, and I think you can say this about the UC system as a whole, it's usually an experience of disorientation when you get different kinds of pressures around you saying that your history is unimportant. Your voice is unimportant. Your perspective is unimportant, and this is why ethnic studies exists. And this is why programs like the minority summer research program and various other programs are designed. So as to lift up people who otherwise feel like they don't belong and they don't deserve to study, and they don't deserve the time that is the gift of mentorship. And so I was given the gift of mentorship by so many faculty members who really looked me in the eye and said, what did you make of this material that you read? And to say that, my perspective based on, the knowledge I was learning, the methods I was learning mattered really meant that we could have important places in the world as cultural thinkers, as people who can make an intervention in how we interpret things that we experience. That's what criticism is about. I think a lot about how 88% of critics are white. It means that even the material that we looked at are dissected from such a limited demographic, what a rip off. What would it mean if cultural critics were more diverse, what a robust enriching debate that would be more, and so when a student walks into my office, for the past 20 plus years of teaching, I wanted to share that gift of mentorship to let them know that the university needs their perspective in order for it to do its job. Because if we hear from too few people, then we don't know as much as we should. If it's true that over 90% of the most popular films are made by white men. And it is true, according to the Annenberg Studies at USC and UCLA, then what we know about love, marriage, sexuality, immigration, families more, comes from such a limited place. And it takes away from our understanding of each other. It becomes such a limited imprisoning understanding of each other. If we don't hear from more people, and people who are really critical people who say that, what we shouldn't know, we should know, and the university is a place to dig up those stories. And so for me as a Dean, it's not only about the mentorship I give, but the structures of mentorship that we implement. I think we all need mentors, even for me as a Dean, I have mentors who are Presidents, mentors who are Provosts, so that I have a better understanding of the institution. And I think about this a lot for my, for the faculty in my division. I hope that everyone has a network where you run your ideas by, because you only become stronger for it. You, you have a larger perspective of how institutions work and what your strengths are and then you realize, oh my goodness, all those people who gave me that time. What a big deal that was, that they recognized that you were worth the time that you were worth, the space and the knowledge, and I recognized how good it felt, to be the recipient of that. And then once you start doing it, you realize that. Oh, it's so amazing to be able to give it back, because you're really shaping the next generation. I learned so much from them. That's really the goal for me, not only am I a Dean, but I'm also a grieving mother. And I think a lot about that, about how. All of us are going to confront inevitably, the death of a loved one and so I think about. What our students are doing is really, preparing to have a role in the world that a significant, that really takes advantage of their passion, their strength, their commitment, so that they can, find a purpose that will enable them to get through, this inevitable pain. [00:27:24] Miko Lee: Thank you for sharing that. That really makes me think about your latest film, the Celine Archive, which is such a beautiful personal documentary that, combined so much of your pain and also just uncovering this history of Filipina American. I wonder if you can talk more about what inspired your film. [00:27:45] Dr. Celine Parreñas Shimizu: So in the mid nineties, 1994, through 1996, I believe around that time the community historian Alex Fabros was teaching a Filipino American history class, Filipino American experience class. There were about 200 students who were going through that curriculum and they found the story that he had grown up with about a Filipino American immigrant woman who was buried alive by her community in the 1930s Stockton Jersey island area. I myself was discovering the story at the Bancroft Library at UC Berkeley. And I made this film, in the era of the Me Too and Time's Up movements and really wanted to dig deeply into our capacity to suppress the violent experiences that women undergo in our communities. There's so little known and studied about Filipino American history in our curriculum K through 12. And when we do hear about it, we primarily hear men's stories, the late great historian, Dawn Mabalon and talks quite a lot about this and like her and like many other historians and community organizers, cultural workers and the Filipino American community. I wanted to amplify her story. So as to invite us to think about our female past and how Asian American women continue to endure violent silencing we see this, especially, today, not only in the Atlanta shootings, but in the murder of Christina Yuna Lee in New York. [00:29:32] Miko Lee: Can you share a little bit more about how you decided to weave both. Adding this Filipino woman's story into our broader awareness but also weaving in your personal story, sharing a name with the woman who was murdered and your personal story of your tragedy in your family. How did you decide to weave those stories together? [00:29:54] Dr. Celine Parreñas Shimizu: You know, when people undergo. An unexpected, very sudden death of a loved one, in my case, it was the death of my eight year old son from a common virus that attacked his heart, and in the case of Celine Navarro in the 1930s, she was abducted tortured and punished by her community, supposedly for committing an act of infidelity. Even though she was undergoing violence for quite some time within the community. The death happened, very suddenly her family did not know what had happened or where she was. So when you undergo a sudden and unexpected death, the meaning of your own life, really comes to the, fore. You become, I think, intensely alive because your loved one cannot have their life. So the question then emerges, what do you do with your life? And I had to turn to making the film as an act of creativity in the face of devastation, you know, my own demise because the death of a child. Could really have meant my own death, even though I was still alive. And in the act of filmmaking, you're really bringing together a community, in my case, it's bringing together not only community historians and Filipino-American scholars in the academy, but also my students, I think I opened up a way of speaking with my students that acknowledged, the pain that they also undergo, and it became for us a collective effort of looking into history and I'm making it come alive by becoming close to Celine Navarro's family. So when the articles first came out about her, it became such an affirmation of this unbelievable thing really did happen and we carry it with us. This is something that flows, within multiple generations of her family. And it's a question for me I think that I really think about a lot, like my son was eight, but he had a community, he had a huge impact in our own family about the way, he lived this life. So the question for me was how do you remember someone you love, who died but continues to live almost like in a very physical way, I feel his presence. And so I. Take the love that I continue to feel for my son and use that to make something in this world. I'm so happy to be alive, to be able to make this film. For example, that I can make this gift through the film for Celine Navarro's family, but then also to invite Filipino American women to say, you can be the center of your own story, and that your story is multilayered and it's worth investigation, because of course, what I found out in digging up Celine Navarro's story was that she herself was a very courageous woman who spoke up against domestic violence, that led her to testify against men who were protecting another violent man. I can't even imagine what that was like, and so to be able to pull up that story and to ask the question that began the film where are Filipino women in American history? I wanted to start the movie in that way because I want everyone to care about Filipino women so I wanted that to also be a courageous act that honored the subject of my film. [00:33:21] Miko Lee: Thank you so much. I'm one, just so sorry for the loss of your son. And so appreciative of the fact that you utilize your grief to funnel it into a beautiful work of art. Thank you so much for that [00:33:34] Dr. Celine Parreñas Shimizu: You're welcome and I also wanted to say, that my new film 80 years later, is about my family on my husband's side. It explores the racial inheritance of Japanese American family incarceration during World War II. As you may know, this year is the 80th anniversary of executive order 9066 that imprisoned 120,000 Japanese Americans, and my film shows. Conversations between survivors and their descendants as they continue to grapple with their legacy and I asked the question, how do we care for our stories? What stories do we feel responsible for carrying or admonishing or living? What is that ongoing legacy and how do we live it? [00:34:23] Miko Lee: Well, I'm looking forward to seeing it. That's very exciting. So much of what you're saying around adding women's stories are hidden stories. How we care for our stories. It reminds me of a Dr. Jamaica Heolimeleikalani Osorio talks about this idea of Koana, which is a Hawaiian word for many perspectives that we have all these layers. For so many white Americans, we see all those different layers, but for our people, for Asian Americans and Pacific Islanders, we don't get the multitude of stories. I'm wondering if you cover some of this in your upcoming book, The Movies of Racial Childhoods: Screaming, Self Sovereignty in Asian America. [00:35:05] Dr. Celine Parreñas Shimizu: Yes. So my new book that's forthcoming from Duke University Press “The Movies of Racial Childhoods” it's motivated by two very powerful forces that I can't deny. The first is it's a book that really explores who my son would be now, if he were alive, I think about, the independence of one who was in middle childhood, one who is in adolescence, when my son died, I was so stunned by the world that he owned apart from me. When you think about a child, you think, oh, I control what they're exposed to, who they talk to, but when they're in school, they meet so many people and they create their own world. So I found out things that I didn't know, that how he was the judge of handball in the recess, world, so if something happened, he would adjudicate what was fair or unfair. I had no idea that he was doing this, and he had been doing it for years. And when I look at the films that I'm studying, I'm always stunned by, how the subjectivity of people of color are eclipsed. So that's the second motivation of the book is when I think about childhoods, you always think about an innocent kind of white childhood. Oh, they don't work because they're children. But we think about people of color from the beginning they, they work, they enslaved children had to work and they had no right to play for example, when you're looking at the scholarship of, African-American childhoods, so what does it mean to talk about an Asian or Asian American childhood? Like people say, oh, there's going to represent our family. So you're forever a baby, in that vision. But there's also this premature, adultification that co-exists with this intense infantilization and you also see the college admissions process. It's oh, you can't play around because you have to get into an amazing school. Therefore you have to disavow play and you have to become, the future lawyer of America while you're 12, and you can also see this in the, sexualization of youth as well. So I'm trying to figure out, know those two questions. I've just finished the book and hopefully it'll be out next year. [00:37:16] Swati: You are tuned in to APEX Express at 94.1 KPFA and 89.3 KPFB in Berkeley. And online@kpfa.org. [00:37:28] Miko Lee: Dr. Robyn is the academic elitism that you talk about why you founded the Women of Color, Non-binary People of Color Scholars Inclusion Project? [00:37:36] Dr. Robyn Magalit Rodriguez: Oh, yeah, absolutely. , I could tell you stories about my experiences of just racism in academia. So WACSIP or the Women of Color Scholars Inclusion Project, it's really a space primarily for those who identify as women of color or non-binary of color, both graduate and faculty. And it's really meant as a safe space for us to be able to convene and support one another. It started off as simply a support group where we could all gather from across campus and all the various places where we are. If you're a woman of color, a non binary, a person of color, the likelihood is that there's just always one or two of you in a particular department or program, and so part of what we wanted to simply do is just get everybody together from across campus, in a space that felt safe where we could literally break bread with one another and be very honest with one another and transparent about what we were struggling with. There is a way that sometimes you feel like you're being gaslighted or you're not really certain that what you've experienced is actually some form of racism or sexism. And sometimes all you need is just, a space where people who have experienced what you've experienced can just affirm that yes, your experience is a real thing and it's not okay and we're here to simply be there as support. We also would organize more formal programs, of course organizing people to come and provide tips and tricks, I guess, to approach teaching and how to, negotiate the challenges of teaching, but especially sometimes the challenges of teaching as women of color. Teaching about race and gender and sexuality as women of color and, contending with sometimes the undermining of our authority as professors in the classroom or by our peers. We'd also organize more formal workshops like that. Writing workshops even, to provide folks with support on publishing because that adage, publish or perish is a very real thing when you're at a major research university, if you do not publish, you cannot secure tenure, you cannot move up in the academic kind of pecking order. So yeah, that was what the intention of the space was, is to create this space of support and it was also to engage as we could in institutional change, trying to document our collective experiences and offer up recommendations to higher ups around shifts that needed to happen to transform institutional culture. That is the piece that was always the struggle. And perhaps what's fed into my frustration with academia, among many other things, but we were successful in providing a space of support for one another. To what extent these groups that I've founded, helped to really shift institutional culture less clear. [00:40:20] Miko Lee: I'm wondering, because WACSIP was has been focused on networking around Critical Race and Ethnic Studies has the anti- CRT fervor that sort of going on by right wing propaganda. Has that impacted your work? [00:40:34] Dr. Robyn Magalit Rodriguez: Yeah, I think anti-CRT fervor it's interesting. I don't know, to what extent that actually has impacted my work at the university in the sense that I feel as if academia has been effectively anti-CRT and anti-Ethnic Studies for a very long time. And it doesn't have to be articulated in the ways that the current movement that's engaged primarily at banning CRT in the K through 12 levels, it's never taken that kind of vitriolic kind of tone at the university, but we know it by the failures of investments, in our departments, in faculty of color who do work on race. So we've been dealing with, I feel like I, along with my colleagues who do this sort of work, we've been subject to “anti- CRT” campaigns at the university level for quite some time now. But again, how they've manifested has been in the form of, a failure of investments whether it's we can't get new hires, we can't get funding support for our research, whether we're not being recruited to take leadership positions, how many times have I been in conversation with people administrators who I know barely encounter women who look like me, on the faculty and can never get my name right. Or know who I am at all. This is just what we're contending with. So in some ways, what's happening outside the university doesn't affect us because we've already been under attack certainly it doesn't help us either. [00:42:09] Miko Lee: Dr. Celine You have so many things in the works right now at the same time. How are you balancing all this? [00:42:15] Dr. Celine Parreñas Shimizu: As Dean, I have to take care of so many people not to take care of the institution, and I think a lot about how there's very few Asian-American women in this role and I think a lot about how, we live such a intensely sexualized, life. There is that force of sexualization that I've felt growing up, throughout my childhood, throughout my early adulthood and as a full grown woman, this intense sexualization, and I don't think that's compatible with our understanding of who is a leader. There's an amazing book by Margaret Chin called “Stuck”, which identifies how very few Asian Americans there are in C-suites, but also in executive leadership roles, but just stunning considering how many Asian-Americans are in these, leading higher ed institutions, but so few of us are leaders of higher ed institutions, right? So it's important, every day to think about how I'm refashioning, what is a popular understanding of what leadership looks like. It is one that is a compassionate and empathetic. And also, how I have to take care of myself through it because you're so in service of others. And I actually go to my own work in order to always remember what is the purpose of my life? What is it that I am protecting in the enterprise of the university, which is, the freedom to inquire. With courage about the most challenging issues of our day, so yeah, it's working out for me, going to my own work, even in the most demanding moments of leadership. It's a reminder, you know what I want to make sure our faculty and students and staff have access to, which is, the excellence of inquiry and debate that is truly available in the university unlike other places, in our world right now you have so many reactionary uneducated, superficial perspectives, but what we do in the university is so special. The seminar is so special where you come into a room and you would have read, material deeply, closely together. You figure out the questions that you have that have been asked by generations before you, you stand on the shoulders of people who have done the work in order to produce your own. There's no greater pleasure. So I'm so happy to be the guardian of that, I'm so happy to lead the arts division that UC Santa Cruz, because that is our enterprise and what's amazing about it is that it produces beautiful work, impactful work, needed work in our world today. I think about empowering every single voice, in our university and to be open, to be surprised by it. And I think the abundance of voice, doesn't just mean the background, that you carry the cultural inheritances that you're trying to grapple with, but it's really also working with people who are different from you, across class, across nation, across region, to see what you can come up with together. And so the students really feel like, oh my God these films are really going to make an impact, and so I think a lot about what we can do on university campuses that really train the next generation of students to be ready for a truly, multiracial world, in 2045, we're going to be a majority people of color country, and so our students need to be educated as, as widely and broadly as possible not only in terms of what they know, but also how they take care of themselves. And we're doing so much here. That's so exciting we're saying these are the people who are coming to this campus and trying to figure out their voices, trying to learn their craft. And what we're going to do is to give them a space in order to get. share their experiences, whether it's with policing or prison abolition, the university is a place where we can do all of that. [00:46:11] Miko Lee: Robyn, I've heard you talk about being a people's professor. Can you share what that means? [00:46:17] Dr. Robyn Magalit Rodriguez: Sure for me, people's professor it means that the university pays me, but I work for my community. And what that means is that I have always seen my work, whether it's my research and scholarship, you know what I decide to research who I'm writing for when I do, when I write what I teach, how I teach it what I do, but recognizing kind of the stature that comes with being a university, professor, all of my research, my teaching, how I move in the world is driven by and rooted in my community organizing and activist commitments. It comes out of my personal interest, true, but I've been very attuned, always to the issues that emerge in the organizing spaces that I am part of. I've always been a member of a community organization wherever I've been. So I have commitments, it's not simply that I have my ear on the ground and I see issues that pop up in the media. I have commitments, I'm part of the community, I joined organizations, I know what our communities are grappling with and all of that is always shaped my research agenda and found its way in my teaching. That's what I mean by people's professor that, my allegiance is not to the university, my allegiance is not even to my career and advancing my career. It's really to, using my skills, using my training, using my platform to advance the work of social justice. I think that's the role I feel like I want to play. That's why I entered academia to begin with. [00:48:00] Miko Lee: So your next iteration of the people's professor after you leave UC Davis next year, will be the School for Liberating Education. [00:48:09] Dr. Robyn Magalit Rodriguez: The School for Liberating Education is quite simply a platform that allows anybody in the community to be able to access Ethic Studies knowledge, I think it's just so vital and healing and transformative to take Ethnic Studies courses. And yet, as you mentioned earlier, we are under attack. We've had many important Ethnic Studies victories, but there've been sufficiently forces who've managed to water down the kind of curriculum that many of us who fought for Ethnic Studies and continue to fight for Ethics Studies really want. And so among the things that the pandemic offered us is new kinds of technologies to connect virtually and, I myself, was taking virtual courses as part of my own healing process in the wake of the loss of my son in August of 2020. And it occurred to me that, these courses were amazing for my own healing journey and that I could possibly use these same platforms that were helping me to be able to offer Ethnic Studies to a broader audience of folks, especially in a context where Ethnic Studies or CRT was being viciously attacked. So yeah, that's really what it started off as, and in its first phase it's been a series of online courses first in, Asian American studies, which is really in my wheelhouse, and in Filipinx Studies specifically, I'd like to expand even more of the offerings that dive deep into the Chicanx experience and Latinx experience the Black experience, Native studies, Native and Indigenous studies and interracial kind of examinations as well, just in terms of the online courses. I guess the 2.0 version of this School for Liberating Education is the courses that I'm hoping to offer here on site at the new farm that we've just purchased. We want to be able to host intensive learning retreats and kind of educational workshops that center land-based and Indigenous knowledges. So in other words, either doing in-person short courses that are somewhat based on the current offering of courses online or extensions of them or just kind of new courses. There's a lot of new work in advancing healing justice that I also want to help to organize and curate here at the farm. Definitely want to center these land based and Indigenous knowledges and I'm super excited about the possibilities of what I can do as a people's professor outside of the space of academia outside of also the space of, the politics of it all and here. We're just at the beginnings of setting up the farm proper we're beginning to break ground because we have some seeds in the ground. I have my Hmong father and mother-in-law are helping us and already passing on generations of wisdom about the land and how to till the land and how to, just be in community with the land, just, in the work that they've been doing and helping us to cultivate it, but yeah, this is the next phase and I'm just really excited about the possibilities for learning that I can extend, but also for myself, I don't see myself as only being the professor actually in this space. I see myself more as an organizer and a curator who has some knowledge to impart, but also as somebody who can gathered together other people with other forms of expertise. [00:51:27] Miko Lee: It's a combination of a lot of your wheelhouse, a lot of your strengths as an educator and doing cross solidarity work and bringing in this sense of connecting to the land and healing and wellness. It's very beautiful. I'm looking forward to learning more and we will post a link to School for Liberating Education in the show notes for APEX Express. You spoke about healing and wellness. And I know 2020 was a really hard year and I am so sorry for the loss of your son. I really appreciate how you are turning that just tragic loss into a powerful foundation. Can you speak about the foundation and what that's all about? [00:52:08] Dr. Robyn Magalit Rodriguez: Yeah. Absolutely. I'm still struggling. The healing process is ongoing for me. And people often talk about how there are different kinds of losses one can experience, and I've experienced a lot of those kinds of losses. I've lost a dear grandparent, my grandmother who helped raise me, I've lost a parent. I lost my father in 2014. And all of those losses, hurt in deep ways, of course, but there is something acute about the loss of a child. And though, he was a young man so full of promise though, just at the young age of 22 to have lost his life. And the foundation is an opportunity for me to ensure that his legacy and everything that he was so passionate about and that he lived and fought and died for lives on. And, so the Amado Khaya Foundation is meant to be a space that will support the causes that , was so passionate about. Clearly indigenous people's struggles, that's where he spent the last few months of his life, he was serving the Magguangan and Maduro in the wake of terrible typhoons that had hit the island. He was also very passionate about Ethnic Studies, that was an issue he was very involved in before leaving for the Philippines. He was passionate about housing justice. He really came of his own as a community organizer and activist. And I want to just ensure that, the work that he started can continue, but I also want to center mental health and wellness in the work that Amado Khaya does because he really acutely understood the ways that community organizers and activists hold the collective trauma of our people. His father who I am no longer with, was an anti-apartheid activist in South Africa. Had really experienced the violence of the apartheid regime was witness to the violent clashes between activists and the police and the state, and that had a major impact on Amado's father. And deep mental health impacts that Amado recognized, so that's something I really want to also center in the Amado Khaya Foundation is not just continuing to support the organizations or the issues he fought for, but to support the mental health and wellness of organizers themselves, who are doing all this great work and kind of providing them the support and care that they also really require to continue the work of social justice and among the things that we've we've done through Amado Khaya, we're still finishing up our 501c3 process. But we have a home that we purchased in honor of Amado called Amado's Kaia, which translates into Amado is home. Kaia actually also means home in Zulu. But we have a home that we offer as a gift to organizers as a sanctuary refuge for rest. We've been able to get some grants and in the process of setting up a digital media lab, Amado was a aspiring filmmaker. So we want to be able to also use media film in particular, which was what he was passionate about, and video as a way of also supporting activists causes. Part of what I'm also hoping that Amado Khaya does , and this is what the connection comes back to the school, I'm very inspired by Grace Lee Boggs, so Re-Imagination Lab is the social enterprise that holds all of my kind of entrepreneurial initiatives and the idea is that we want to get to a place where we generate a surplus revenue that we would reinvest into Amado Khaya, other non-profits. Somebody who's worked in alongside nonprofits we know how much our, a nonprofit organizations struggle to hustle for funding. And they're often beholden to foundations, that, oftentimes relate to non-profits in what amounts to a very colonized and very white supremacist, relationship and which constrain the kind of work that nonprofit organizations can do in service of the community. And so I want to be able to get to a place where Amado Khaya will either draw sufficient donations from individuals or revenues from Re-Imagination Lab so that we can help fund movements without constraints so they can do the work that they need to do without any limitation. I think that there are a lot of us who are trying to figure out how do we redistribute resources in our community and not have to be beholden to foundations that may very well be responsible for creating the very problems that nonprofits are forced to have to address. [00:56:56] Miko Lee: Dr Robyn, the people's professor. Thank you so much. Dr. Celine thank you both for turning your grief into positive action and thank you for just continuing to share your work with by and for the broader community. I really appreciate what you're doing. [00:57:12] Miko Lee: Please check out our website, kpfa.org backslash program, backslash apex express to find out more about the show tonight and to find out how you can take direct action. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important. Apex express is produced by Miko Lee Jalena Keane-Lee and Paige Chung and special editing by Swati Rayasam. Thank you so much to the KPFA staff for their support have a great night. The post APEX Express – 11.3.22 – A Tale of 2 Professors appeared first on KPFA.

Kathryn Scanlan joins Kate Wolf and Medaya Ocher to discuss her new novel, Kick the Latch. A series of taut, electrifying vignettes based on real-life interviews, the book narrates the life of Sonia, a horse trainer in rural Iowa, who enters the world of competitive racing while still in high school. Sonia's experiences at the racetrack are by turns exultant and brutal: they take place in an atmosphere in which both human and animal are often pushed to the edge of their lives in the name of winning it all. But Sonia's grit, devotion, and perseverance serve to counter to the exceptional details of her life and work. In her, Scanlan crafts a uniquely humane and gripping voice that reveals itself in small details, idiosyncratic phrases, and deep tenderness. Also, Hua Hsu, author of Stay True, returns to recommend Maxine Hong Kingston's Tripmaster Monkey: His Fake Book.

Kathryn Scanlan joins Kate Wolf and Medaya Ocher to discuss her new novel, Kick the Latch. A series of taut, electrifying vignettes based on real-life interviews, the book narrates the life of Sonia, a horse trainer in rural Iowa, who enters the world of competitive racing while still in high school. Sonia's experiences at the racetrack are by turns exultant and brutal: they take place in an atmosphere in which both human and animal are often pushed to the edge of their lives in the name of winning it all. But Sonia's grit, devotion, and perseverance serve to counter to the exceptional details of her life and work. In her, Scanlan crafts a uniquely humane and gripping voice that reveals itself in small details, idiosyncratic phrases, and deep tenderness. Also, Hua Hsu, author of Stay True, returns to recommend Maxine Hong Kingston's Tripmaster Monkey: His Fake Book.

“I think I figured a lot of things out literally as I was writing the book. I'm usually an obsessive methodical writer, or I have everything, if not mapped out, I kind of know spatially, what's going to happen in a piece of writing. But with this, I just kind of had to write it to figure out what it was. For years, friends knew that I was working on this — friends who were in the book, actually. But I could never explain what it was nor could they imagine what it might be. You know, I would just say, I'm writing the story of us, I'm writing a story about Ken.” Whether he's riffing on music or sports or Asian American icons like Maxine Hong Kingston, Hua Hsu's work in The New Yorker is a joy to read. Now he's turning inward in his new book, Stay True, a beautifully written story of unexpected friendship, shocking loss, and his own coming of age. Hua joins us on the show to talk about grief and growing up, inside jokes, his literary influences, changing the conversations we're having about Asian America, and much more with Poured Over's host, Miwa Messer.   Featured Books (Episode) Stay True: A Memoir by Hua Hsu  A Floating Chinaman: Fantasy and Failure across the Pacific by Hua Hsu  The Hanging on Union Square by H. T. Tsiang  Tripmaster Monkey: His Fake Book by Maxine Hong Kingston    Poured Over is produced and hosted by Miwa Messer and mixed by Harry Liang. Follow us here for new episodes Tuesdays and Thursdays with occasional Saturdays. A complete transcript of this episode is available here.

This week, acclaimed writers Maxine Hong Kingston and Viet Thanh Nguyen discuss Kingston's writing and legacy in light of the new collection of Kingston's work from the Library of America, edited by Nguyen. This conversation was recorded live for the American Writers Festival on May 15, 2022 in Chicago. We hope you enjoy entering the [...]

This week, acclaimed writers Maxine Hong Kingston and Viet Thanh Nguyen discuss Kingston's writing and legacy in light of the new collection of Kingston's work from the Library of America, edited by Nguyen. This conversation was recorded live for the American Writers Festival on May 15, 2022 in Chicago. We hope you enjoy entering the [...]

In this episode, the Spine Crackers discuss Maxine Hong Kingston's 1987 novel of race, American and Chinese history, love, and the legacy of the 60s, Tripmaster Monkey: His Fake Book!

Maxine Hong Kingston is the distinguished author of The Woman Warrior (winner of the 1976 Book Critics Circle Award for nonfiction), Tripmaster Monkey and China Men. The Fifth Book of Peace is Kingston's own creation, based on the three "books of peace" that were lost to a fire in Chinese legend. In it, she combines her own narratives with those drawn from writing workshops with Vietnam veterans. The result is "a powerfully emotional book that moves through tragedy to peace of both mind and heart." (recorded 10/8/2003)

In conversation with volume editor, Viet Thanh Nguyen Acclaimed for her contributions to feminism and Chinese American literature, Maxine Hong Kingston won the 1976 National Book Critics Circle General Nonfiction Award for her first book, The Woman Warrior, and the 1981 National Book Award for general nonfiction for China Men. Her many other books of nonfiction, fiction, poetry, and essays include Tripmaster Monkey, The Fifth Book of Peace, and I Love a Broad Margin to My Life. A professor emerita at the University of California, Berkeley, Kingston is a recipient of the American Academy of Arts and Letters Award in Literature, the National Humanities Medal, and a lifetime achievement award from the Asian American Literary Awards. Her latest work collects three of her classic books, a collection of essays about her time living in Hawaiʻi, and difficult-to-find writings in which she examines her creative process. Viet Thanh Nguyen won the 2016 Pulitzer Prize in fiction, the Dayton Literary Prize, and the Edgar Award for best first novel for The Sympathizer. His other work includes the novel The Committed, the story collection The Refugees, two books of nonfiction, and a children's book. The Aerol Arnold Chair of English and professor of English and American Studies and Ethnicity at the University of Southern California, he has earned fellowships from the Guggenheim and MacArthur Foundations. (recorded 6/8/2022)

On her HBO show, PAUSE with Sam Jay, the SNL alum talks with with friends and fellow comics about topics like queer culture, relationships, and racism in America. Sam Jay came out in her 20s and much of her comedy is about her relationship with her fiancé, and the life she had prior to coming out. We talk about the show, writing "Black Jeopardy" sketches for SNL, and losing her mother when she was a teen.John Powers reviews a new collection of work by the writer Maxine Hong Kingston.

On her HBO show, PAUSE with Sam Jay, the SNL alum talks with with friends and fellow comics about topics like queer culture, relationships, and racism in America. Sam Jay came out in her 20s and much of her comedy is about her relationship with her fiancé, and the life she had prior to coming out. We talk about the show, writing "Black Jeopardy" sketches for SNL, and losing her mother when she was a teen.John Powers reviews a new collection of work by the writer Maxine Hong Kingston.

“In a time of destruction, create something: a poem, a parade, a community, a school, a vow, a moral principle; one peaceful moment,” writes Maxine Hong Kingston. During difficult times, how do we find what is beautiful and allow that to nourish our spirits? Join us to explore how we can be nurtured and healed … Continued

Today I'm talking to Jasmin Darznik, the New York Times bestselling author of The Bohemians, a novel that imagines the friendship between photographer Dorothea Lange and her Chinese American assistant in 1920s, San Francisco. Her debut novel, Song of a Captive Bird was a New York Times Book Review editor's choice book, and a Los Angeles Times best seller. She's also the author of The Good Daughter: A Memoir of My Mother's Hidden Life. Her writing has appeared in New York times, Washington Post and Los Angeles Times. I had the best time talking with Jasmin about writing historical fiction, the creative life, and why Tipping the Velvet by Sarah Waters is the Best Book Ever.     Support the Best Book Ever Podcast on Patreon     Follow the Best Book Ever Podcast on Instagram or on the Best Book Ever Website   Host: Julie Strauss Website/Instagram     Guest: Jasmin Darznik Instagram/Facebook/Website   Note: Most of the book links this week lead to Jasmin's favorite bookstore, the Book Passage in Corte Madeira. Please shop indies whenever you buy books!!   Discussed in this episode: The Bohemians by Jasmin Darznik Song of a Captive Bird by Jasmin Darznik The Good Daughter: A Memoir of My Mother's Hidden Life by Jasmin Darznik Migrant Mother by Dorothea Lange Dorothea Lange: A Life Beyond Limits by Linda Gordon Montgomery Block, San Francisco Mary Karr Tipping the Velvet by Sarah Waters Book Passage in Corte Madeira The Paying Guests by Sarah Waters Fingersmith by Sarah Waters The Oakland Museum – The Dorothea Lange Archive The Plot by Jean Hanff Korleitz The Talented Mr. Ripley by Patricia Highsmith Great Circle by Maggie Shipstead   Discussed in our Patreon Exclusive clip Fierce Attachments: A Memoir by Vivan Gornick Men We Reaped: A Memoir by Jesmyn Ward The Woman Warrior: Memoirs of a Girlhood Among Ghosts by Maxine Hong Kingston       Do you have a book you want to tell me about? Go HERE to apply to be a guest on the Best Book Ever Podcast.   (Note: Some of the above links are affiliate links, meaning I get a few bucks off your purchase at no extra expense to you. Anytime you shop for books, you can use my affiliate link on Bookshop, which also supports Indie Bookstores around the country. If you're shopping for everything else – clothes, office supplies, gluten-free pasta, couches – you can use my affiliate link for Amazon. Thank you for helping to keep the Best Book Ever Podcast in business!)

Today I'm talking to Jasmin Darznik, the New York Times bestselling author of The Bohemians, a novel that imagines the friendship between photographer Dorothea Lange and her Chinese American assistant in 1920s, San Francisco. Her debut novel, Song of a Captive Bird was a New York Times Book Review editor's choice book, and a Los Angeles Times best seller. She's also the author of The Good Daughter: A Memoir of My Mother's Hidden Life. Her writing has appeared in New York times, Washington Post and Los Angeles Times. I had the best time talking with Jasmin about writing historical fiction, the creative life, and why Tipping the Velvet by Sarah Waters is the Best Book Ever.     Support the Best Book Ever Podcast on Patreon     Follow the Best Book Ever Podcast on Instagram or on the Best Book Ever Website   Host: Julie Strauss Website/Instagram     Guest: Jasmin Darznik Instagram/Facebook/Website   Note: Most of the book links this week lead to Jasmin's favorite bookstore, the Book Passage in Corte Madeira. Please shop indies whenever you buy books!!   Discussed in this episode: The Bohemians by Jasmin Darznik Song of a Captive Bird by Jasmin Darznik The Good Daughter: A Memoir of My Mother's Hidden Life by Jasmin Darznik Migrant Mother by Dorothea Lange Dorothea Lange: A Life Beyond Limits by Linda Gordon Montgomery Block, San Francisco Mary Karr Tipping the Velvet by Sarah Waters Book Passage in Corte Madeira The Paying Guests by Sarah Waters Fingersmith by Sarah Waters The Oakland Museum – The Dorothea Lange Archive The Plot by Jean Hanff Korleitz The Talented Mr. Ripley by Patricia Highsmith Great Circle by Maggie Shipstead   Discussed in our Patreon Exclusive clip Fierce Attachments: A Memoir by Vivan Gornick Men We Reaped: A Memoir by Jesmyn Ward The Woman Warrior: Memoirs of a Girlhood Among Ghosts by Maxine Hong Kingston       Do you have a book you want to tell me about? Go HERE to apply to be a guest on the Best Book Ever Podcast.   (Note: Some of the above links are affiliate links, meaning I get a few bucks off your purchase at no extra expense to you. Anytime you shop for books, you can use my affiliate link on Bookshop, which also supports Indie Bookstores around the country. If you're shopping for everything else – clothes, office supplies, gluten-free pasta, couches – you can use my affiliate link for Amazon. Thank you for helping to keep the Best Book Ever Podcast in business!)

Maxine Hong Kingston reflects on life after the fire that burned most of her belongings and writings, including her in-progress Book of Peace.

Today's quote is a straightforward, life-giving edict that fends off despair in dark times.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

语言无疑是写作时需要做的第一个选择。近年来，我们看到越来越多作家试图打破语言的“出厂设置”，用后天习得的外语进行写作。作家颜歌常说“我用英文写作不是一个偶然，它是一个后殖民的结果”，在全球化的语境之下，用英语写作有什么意义吗？这是否是一种西方思维、审美的“霸权”？ 这是一期伦敦、洛杉矶和纽约三地连线的节目，颜歌、钱佳楠和钟娜三位双语写作者分享她们开始创作英文小说的契机，以及过程中遇到的挑战。 用两种语言进行创作，就像拥有两种人格、发出两种声音。但与此同时，双语写作者面对的不只是语言的割裂，还有思维和审美的差异。用英文写中国人物的对话时，中式表达英译化会“水土不服”，直接让人物讲英语又像“让孔子时代的人讲爱尔兰方言”。“无根的”口语该如何“落地”？在不同的文化背景下，小说叙事中“起作用”的方式大不相同，双语写作者在“入乡随俗”和“保持语调”之间怎样取舍？此外，非母语创作者还面临着身份困境，当一位作家被“安排”进“少数族裔作家”那一刻，通往“伟大美国小说”的大门是否就悄然关上？ 颜歌意识到“我不想写得像一个英语作家，我想写得像我自己”，钱佳楠则决定“永远带着一种口音写作”。也许，双语写作者的“位置”不只依附于语言，更依附于一个超越语言的自己。 欢迎关注「跳岛FM」公众号查看节目完整信息。 【时间轴】 02:39 为什么用英语写作：被国外语言环境“逼到墙角”，或在另一种语言中成为“新的作家” 09:45 中西思维、审美差异下的“霸权”：“我用英文写作不是一个偶然，它是一个后殖民的结果。” 25:58 如何让英文读者理解中国经验：让小说的背景与人物自洽，讲好一个“自给自足”的故事 33:20 没法落地的口语：用英文写中文语境对话，就像“让孔子时代的人讲爱尔兰方言”那么难 43:33 在美国的书店，哈金和李翊云的书该放在“中国作家”还是“美国作家”的书架上？ 45:52 身份困境：少数族裔作家如何被“安排”在“伟大的美国小说”之外？ 51:21 来自英国前殖民地的作家应该把作品写给自己的族群，还是写给伦敦的文学经纪人？ 【主持】 钟娜，中英双语写作者，译者。译有《聊天记录》《正常人》。（豆瓣ID：阿枣） 【嘉宾】 颜歌，双语写作者。著有长篇小说《我们家》《五月女王》，短篇小说集《平乐镇伤心故事集》等，获茅盾文学新人奖和华语文学传媒新人奖等奖项。英文作品散见The New York Times, The TLS, The Irish Times, The Stinging Fly, Brick等，并入选爱尔兰国家图书奖短篇小说奖长名单。（微博ID：颜歌） 钱佳楠，双语写作者、译者。毕业于爱荷华作家工作坊，现于南加州大学攻读文学与创意写作博士学位，是The Millions专栏作家。著有《不吃鸡蛋的人》《有些未来我不想去》等。英文作品散见The New York Times, Granta, Gulf Coast, Guernica等。（豆瓣ID：至秦） 【节目中提到的书】 《忘怀录》 [北宋]沈括 著 《梦溪笔谈》 [北宋]沈括 著 《白鲸》[美] 梅尔维尔 著 《愤怒的葡萄》 [美]约翰·斯坦贝克 著 《自由》 [美]乔纳森·弗兰岑 著 The Hidden Machinery by Margot Livesey The Woman Warrior by Maxine Hong Kingston（汤婷婷） 【本期嘉宾推荐图书】 Stories from a Ming Collection by Feng Menglong 《纠正》 [美]乔纳森·弗兰岑 著 【出品人】蔡欣 【主理人】猫弟 【统筹&监制】Bake 【策划】钟娜 猫弟 【后期制作】AURA.pote 【视觉设计】孙晓曦 甘信宇 【音乐】上海复兴方案 片头 - Public Poet 片尾 - There and Then 【文字整理】drunkflea 程程 【收听方式】 你可以在小宇宙App、网易云音乐、喜马拉雅、蜻蜓FM、荔枝FM、轻芒小程序，以及Apple Podcasts、Castro、Pocket Casts等泛用型播客客户端上找到我们，订阅收听「跳岛FM」。 【联系我们】 微信公众号：跳岛FM 微博：跳岛FM 邮箱：tiaodaoFM@citicpub.com

Davin, Eli, Kloey, and Kyra review The Woman Warrior by Maxine Hong Kingston

Part II:  Tori, and her guest co-host, Patrick A. Howell, continue discussing the art of literature, living, legacy and being human with one of the world’s most versatile and admired writers. 100 years ago, the Harlem Renaissance began, and a hundred years from now, the world will be celebrating his legacy. He has received a Grammy, NAACP Image awards, the Los Angeles Review of Books/UCR Lifetime Legacy Achievement Award and PEN America’s Lifetime Achievement Award. They talk about his historic first as a winner of the National Book Foundation’s most prestigious award, the Distinguished Contribution to American Letters. He’s the first African American man to win the award. Previous recipients of the lifetime legacy award have included Isabel Alleende, Maxine Hong Kingston, Stephen King, Norman Mailer and Toni Morrison. They also talk about what’s inspiring him right now, how he defines success, some of his other works, and so much more! Here’s to our beloved master storyteller, Walter Mosley.   Credits: Host/Producer:  Tori Reid Executive Producer:  Patrick A. Howell Executive Producer:  Tom Lutz Producer:  William Broughton Writer:  Patrick A. Howell  Recorded and Edited by William Broughton Voiceover Artist:  Vïntóry Blake Moore    Music: Noir Cold Open – “Vic’s Van” Produced by William Broughton Intro – “Try” Produced by San Palo Outro – “Fall” Produced by San Palo   Logo Photography:  Bobby Holland / MPTV Images   www.victoryandnoble.com   a Victory & Noble production   2020 Victory & Noble LLC All Rights Reserved

On showing up for your writing with devotion. On reading as writing; writing as reading. On humility as wisdom. Albert Flynn DeSilver is a poet, memoirist, speaker, master mindfulness meditation teacher and workshop leader teaching nationally at the Omega Institute, Spirit Rock, 1440 MUltiversity, Shambhala Mountain Center, the Esalen Institute, and at writing conferences nationally. Albert has read and shared the stage with International bestselling authors Cheryl Strayed, Elizabeth Gilbert, Maxine Hong Kingston, and many others. His recent book, “Writing as a Path to Awakening: A Year to Becoming an Excellent Writer and Living an Awakened Life,” based on his popular meditation and writing retreats by the same name—was released from Sounds True in September of 2017. He is also the author of several books of poems and the memoir “Beamish Boy,” (2012) which Kirkus Reviews called “a beautifully written memoir, poignant and inspirational.” He lives in Northern California. For Practice You listeners Albert is giving away FREE copies of his popular book from Sounds True "Writing as a Path to Awakening" + a 7-Track guided meditation program "Creativity Meditations for Writers, Artists, and Other Humans" (all we ask is $7.95 for shipping and handling) You can grab your copy at: brilliantwriter.com/free-book

One evening, Mother tells Daughter a story about a tiger spirit who lived in a woman’s body. She was called Hu Gu Po, and she hungered to eat children, especially their toes. Soon afterward, Daughter awakes with a tiger tail. And more mysterious events follow: Holes in the backyard spit up letters penned by her grandmother; a visiting aunt arrives with snakes in her belly; a brother tests the possibility of flight. All the while, Daughter is falling for Ben, a neighborhood girl with strange powers of her own. As the two young lovers translate the grandmother’s letters, Daughter begins to understand that each woman in her family embodies a myth—and that she will have to bring her family’s secrets to light in order to change their destiny. With a poetic voice of crackling electricity, K-Ming Chang is an explosive young writer who combines the wit and fabulism of Helen Oyeyemi with the subversive storytelling of Maxine Hong Kingston. Tracing one family’s history from Taiwan to America, from Arkansas to California, Bestiary is a novel of migration, queer lineages, and girlhood.

In this week's episode, I reflect on Maxine Hong Kingston's The Woman Warrior and discuss seeing an old friend whom I'm never met--and think, literally, about what it might mean to walk a mile in his shoes. What do we call relationships with people we see all the time but do not know? How do we describe or define feelings of affection for strangers? How and where do we read the signs of our existence in particular places? I don't know if I actually unravel any of these mysteries, but I give it a shot in this podcast.Thanks for listening!My TwinSome of the cultural references made in this episode:Maxine Hong Kingston. The Woman WarriorSandra Cisneros. The House on Mango StreetJames Joyce. Ulysses Edgar Allan Poe. “William Wilson” Lao Tzu. Tao Te Ching Roger Miller. “My Uncle Used to Love Me But She Died”

Sahar Tawfiq (born 1951) is an Egyptian novelist, short story writer and translator. Born and raised in Cairo, she studied Arabic language and literature at Al-Azhar University. She has worked as a teacher and educationist in both Egypt and Saudi Arabia. Her first published work was a short story in an Egyptian weekly in 1971. Her first collection of stories An Tanhadera ash-Shams (That the Sun May Descend; 1984) was well received. After a long hiatus, her next book, a novel called Ta'am ez-Zaitoun (The Taste of Olives), came out in 2000. Since then she has published more works of fiction. She has also translated works from English into Arabic, including books by Margaret Atwood, Ishmael Beah, Doris Lessing and Maxine Hong Kingston. Sahar Tawfiq's work has appeared in Banipal magazine. Points of the Compass, a volume of her short stories translated by Marilyn Booth, won the Arkansas Arabic Translation Award in 1994. She was married to the late sculptor Adel al-Sharqawi. She lives in Maadi, Cairo

Maxine Hong Kingston, winner of the National Medal of Arts and National Humanities Medal, reveals a life without music, having no feeling for the sounds that mysteriously thrilled everyone around her, devoting her ear instead to seeking out the rhythms of literature, penning nine books including The Woman Warrior: Memoirs of a Girlhood Among Ghosts*. It wasn't until her son Joe developed as a musician that she began to revisit the many songs she had walked past but never touched. She and her husband Earll Kingston join Sunny in the studio.

Music from the Maxine Hong Kingston episode of The Steer, as heard on www.Dublab.com and KZUT 99.1 FM Los Angeles. All of the songs are from Joe Kingston's album "Songs for Trixie."

Maxine Hong Kingston It's that time again. It's KPFA's final fundraiser of the year.  Today's show features an interview with acclaimed writer Maxine Hong Kingston that was aired over a year ago, along with a conversation between Maxine and Gary Gach, author of PAUSE, BREATHE, SMILE: AWAKENING MINDFULNESS WHEN MEDITATION IS NOT ENOUGH.  (For anyone who doesn't know, Maxine is author of THE WOMAN WARRIOR, the most frequently taught book by a living writer in American universities, and CHINA MEN, winner of the National Book Award.) The post Womens Magazine – December 10, 2018 appeared first on KPFA.

Continuing our conversation with author and Poet Laureate, Albert Flynn DeSilver, discover why poetry is the foundation all great writing (and why it couples so well with yoga and meditation). Albert opens up and tells us about his “failed” TedX talk, and why we should allow ourselves to write, even if we think it is “crap.” He shares several breakthrough tips about the editing process, as well as some of his own favorite journaling prompts. You won't think about poetry, reading or writing the same way after this special interview. Albert Flynn DeSilver is an American poet, memoirist, novelist, speaker, and meditation teacher at the Spirit Rock Meditation Center in Woodacre, California. Albert teaches nationally at the Omega Institute, Shambhala Mountain Center, the Esalen Institute and at writing conferences nationally. Albert is also an internationally published poet and served as Marin County California's very first Poet Laureate from 2008-2010. Albert has read and shared the stage with U.S Poet Laureate Kay Ryan, International bestselling authors Cheryl Strayed, Elizabeth Gilbert, Maxine Hong Kingston, and many others. His new book, “Writing as a Path to Awakening: A Year to Becoming an Excellent Writer and Living an Awakened Life,” based on his popular writing workshops by the same name, was released from Sounds True in September of 2017. He is also the author of several books of poems and the memoir “Beamish Boy,” (2012) which Kirkus Reviews called “a beautifully written memoir, poignant and inspirational.” He lives in Northern California.   Join Albert at an upcoming retreat such as his Weekend of Writing & Mindfulness in the Redwoods at 1440 Multiversity June 8-10 OR at the Omega Institute in NY July 8-13. Get a FREE sample meditation and excellent resources for mindfulness and creative writing at www.albertflynndesilver.com   Special Guest: Albert Flynn DeSilver www.albertflynndesilver.com   Creator & Host: Brett Larkin http://www.brettlarkin.com/   Sound Engineer: Zach Cooper www.zmcmusic.tumblr.com   Producer: Benn Mendelson www.sivanaspirit.com www.sivanapodcast.com   Please consider leaving us a rating or review on iTunes! Not sure how? Follow the steps at www.sivanaspirit.com/review

Today, author and Poet Laureate, Albert Flynn DeSilver, shares with us how writing and meditation can be a powerful pair. “To engage in both practices fully is to activate a more complete creative and spiritual self,” states Albert. In this episode, learn about the spiritual nature of language. Albert talks about how we can write ourselves into “radiant beings,” and why he doesn't believe in writer's block. Whether you're interested in journaling as part of your introspective practice or interested in publishing your work, this episode is full of inspirational tips.   Albert Flynn DeSilver is an American poet, memoirist, novelist, speaker, and meditation teacher at the Spirit Rock Meditation Center in Woodacre, California. Albert teaches nationally at the Omega Institute, Shambhala Mountain Center, the Esalen Institute and at writing conferences nationally. Albert is also an internationally published poet and served as Marin County California's very first Poet Laureate from 2008-2010. Albert has read and shared the stage with U.S Poet Laureate Kay Ryan, International bestselling authors Cheryl Strayed, Elizabeth Gilbert, Maxine Hong Kingston, and many others. His new book, “Writing as a Path to Awakening: A Year to Becoming an Excellent Writer and Living an Awakened Life,” based on his popular writing workshops by the same name, was released from Sounds True in September of 2017. He is also the author of several books of poems and the memoir “Beamish Boy,” (2012) which Kirkus Reviews called “a beautifully written memoir, poignant and inspirational.” He lives in Northern California.   Join Albert at an upcoming retreat such as his Weekend of Writing & Mindfulness in the Redwoods at 1440 Multiversity June 8-10 OR at the Omega Institute in NY July 8-13. Get a FREE sample meditation and excellent resources for mindfulness and creative writing at www.albertflynndesilver.com   Special Guest: Albert Flynn DeSilver www.albertflynndesilver.com   Creator & Host: Brett Larkin http://www.brettlarkin.com/   Sound Engineer: Zach Cooper www.zmcmusic.tumblr.com   Producer: Benn Mendelson www.sivanaspirit.com www.sivanapodcast.com   Please consider leaving us a rating or review on iTunes! Not sure how? Follow the steps at www.sivanaspirit.com/review

Today's episode is a gem of an experience. We've got Albert Flynn Desilver with us and we're got really deep on some subject matter that is relevant to ALL of us, regardless of art form or communication mediums. Albert just published this beautiful book called "Writing as a Path to Awakening: a Year to Becoming an Excellent Writer and Living an Awakened Life." I highly recommend that you dive into this book with me. I can tell it was crafted with such care for us writers and intentional humans. If you're not familiar with Albert's work, he  is an internationally published poet, memoirist, and novelist. He's a highly regarded and sought-after speaker and workshop leader. He's taught and presented with folks like Elizabeth Gilbert, Cheryl Strayed, Maxine Hong Kingston, Michael McClure, and U.S. Poet Laureate Kay Ryan among many others. You'll hear snippets of other really impressive feats of career bravery and experience throughout the rest of this conversation. As always, links to everything Albert and I talk about today are found in the show notes for this episode over at barenakedbravery.com Grab a cup of tea, pull up a chair and let's dive in with Albert Flynn Desilver! Brave Take-Aways In honor of Albert's beautiful book, your Brave Take-Away from today's show is to do a 10 minute freewrite exercise on the subjects we talked about today. Then hop into the Bare Naked Bravery Community Facebook group to tell us what bubbled up to the surface for you? We'd love to hear all about your favorite parts of today's Bare Naked Bravery. You can find Albert Flynn DeSilver and myself on facebook, twitter, instagram, and more. Go ahead and tag us so we can cheer you on and see what you're up to. Keep in Touch with Albert Flynn DeSilver Albert's WebsiteAlbert on InstagramAlbert on FacebookAlbert on Twitter Keep in Touch with Emily Ann Peterson http://emilyannpeterson.comhttp://instagram.com/emilyannpete http://facebook.com/emilyannpeterson http://twitter.com/emilyapeterson Credits If you're diggin' the music in today's episode, that's because it's brought to you by my friends at Music Box Licensing, a premier creative music agency dedicated to finding and crafting unique soundtracks. To find out more about all the artists, musicians, and other sponsors of the show, please visit barenakedbravery.com/sponsors 3 Ways You Can Support the Bravery! Leave a review on iTunes We would LOVE it if you'd leave a podcast rating or review on iTunes.   Simply click here to get started >>> http://bit.ly/bnbrr Share this episode with a friend If you have a friend who might really love/need to hear this episode, what are you waiting for?! Email, text, fb message, snail mail - all great options! Become a Patron of Bare Naked Bravery Every patron gets awesome goodies, super early advance links to Emily Ann's new songs & releases, and so much more! $1 Monthly$3 Monthly$5 Monthly$10 Monthly$15 Monthly$25 Monthly$100 Monthly I'm looking forward to being with you next week. We have some great things in store for you! Until then I have one message for you. It's this: Be yourself. Be vulnerable. Be brave. Because the world needs more of your Bare Naked Bravery.

Maxine Hong Kingston reflects on life after the fire that burned most of her belongings and writings, including her in-progress Book of Peace.