DIASPORA: VOLUME L

DIASPORA: VOLUME L
Ivy Alvarez

ISBN: 978-1-7323025-5-6
Release Date: April 2019
Pages: 62
Price: $16.00
Distributors: Bookshop, Amazon, Barnes & Noble, Ingram (wholesale), Paloma Press, & others

Paloma Press is pleased to release Diaspora: Volume L by Ivy Alvarez.

Ivy’s concept of reclaiming and engaging past and current Tagalog idioms, and re-defining them creatively using poetry, is invaluable given that Tagalog has been standardized and/or code-switched owing to purism, systematic drifts, and recent migrations. For example, “Lígaw-tingín” (courting look), a colloquial phrase most likely popularized before the Fourth Republic, has become an elevated literary idiom, laden with tradition, history, and culture. “Lumang tugtugin” (literally, old music), however, is redolent of a postcolonial past, an idiom favored around the time Bienvenido N. Santos left the Philippines as a pensionado. Ivy gilds it with a rhythm that rises with belly strength:

What are these seconds you bring and sing? Can’t even remember when last I sinned. This morning? I’m full of questions. Split my belly and you’ll find ‘em, stem to stern. Around the kernel, a corner of truth, sharp as tax. When humidity burns, it’s time to get out, time to subtract myself from danger’s path, steam-rollering like a curling iron set too hot on my neck, your neck, our all-too-tender necks.

Ivy approaches her lexicographic work inventively and with absolute command of her craft, “Every sense amplified to the level of prey, skittish, almost British, endangered, barely keeping the heart at bay from one’s throat.”

ADVANCE WORDS

Diaspora: Volume L wanders beyond the bounds and parallels of what we imagine translation can do. Ivy Alvarez revels in new forms and fictions, disquiet and desire. And she affirms that our words and wants are far from static, that we are “some foreign matter // a movement / from one state / to another.” I am reminded of Fernando Pessoa’s musing that “nothing is, everything coexists” in reading these poems: how Alvarez illuminates that promise, writing with “the door / opening and closing,” inventing her own lyric vernacular, its meanings in-flux and brilliant.
R.A. Villanueva, author of Reliquaria

ABOUT THE AUTHOR

Ivy-Alvarez-photo-by-Veronika-Mironova-600x904Ivy Alvarez is a Fellow of MacDowell Colony (US), and Hawthornden (UK). Her work is widely published and anthologised, including two appearances in the Best Australian Poems series. With poems translated into Russian, Spanish, Japanese, and Korean, she is a three-time Pushcart Prize nominee, and a recipient of grants from Creative New Zealand, Literature Wales, and the Australia Council for the Arts. She is also a mentor for the New Zealand Society of Authors’ Youth Mentorship Programme; an editor for the NZ Poetry Society’s magazine, a fine line; a guest co-editor for Verity La.’s Discoursing Diaspora; and a former international editor for the first Aotearoa New Zealand edition of Atlanta Review. Born in the Philippines and raised in Australia, Ivy Alvarez lived in Scotland, Ireland and Wales, before moving to Auckland, New Zealand in 2014.


Harana Poetry reviews Ivy Alvarez’s Diaspora: Volume L

Ivy Alvarez’s fifth collection, Diaspora: Volume L, is made up of beautiful vignettes with Filipino sayings at their cores, which portray charged moments in romantic relationships and everyday interactions with the world. Each title is an idiom, and acts as the linguistic scaffold around which a poem is deftly built… continue reading.

The Good Mother of Marseille

THE GOOD MOTHER OF MARSEILLE
Christopher X. Shade

Read the opening chapter here.

ISBN 978-1-7323025-2-5
Release Date: April 9, 2019
Pages: 174
Price: $18.00
Order the book.

Paloma Press is delighted to announce the release of one of Big Other’s “Most Anticipated Small Press Books of 2019”!

Book Synopsis

In Christopher X. Shade’s The Good Mother of Marseille, it’s the summer of 2013, in the year of Marseille’s designation as the European Capital of Culture. Readers get a taste of this dangerous, impoverished yet seductive port city of France as they follow the interwoven stories of Americans who have come to wander and sightsee. Noémie, an anthropology student, wants to make the gritty graffiti-covered neighborhood of Cours Julien her home, but she’s running out of time, money, and her university sponsor’s patience.

Noémie watches over Corey, from New Jersey, who is an earlier version of her: also an anthropology student, he’s just getting started. But what he wants is very different. He searches the Marseille streets for what he needs from someone to love. In the old port, the wife of a small-town Alabama couple presses to see all the sights while her husband is losing his vision to an eye disease. Noémie intersects with everyone—has she stolen their passports? A Colorado man with late-stage cancer and fear of the unexpected falls in love with a French woman he meets at a café on the old port. In Marseille and then in Paris, a woman helps her journalist husband figure out what is happening in his head as he experiences a peculiar stress disorder. Hovering on the fringe are the Marseillais, the shopkeepers, artists, café waiters. Who among them will save Noémie?

To the rhythm of European street life, each American puts a Marseille experience in the context of their own histories. It’s a love letter to the turbulence of Marseille, and to the turbulence to be found under the surface of each of us, the pounding hearts and jarring fears.

Praise for The Good Mother of Marseille

“A veritable bouillabaisse of a novel, simmering with intrigue and steaming with surprises.” —Lorea Canales, author of Becoming Marta and Los Perros

“A remarkable work of imagination, a debut novel that not only introduces us to a gifted writer of fiction, but offers a beguiling glimpse into the zeitgeist of a generation’s appetite for the exotic and the mysterious. In the Hemingway tradition, its many linked stories gel into one compelling story of Americans abroad. Shade’s sensitivity toward his characters is infectious, and, quite frankly, unforgettable.” —Philip Schultz, Pulitzer Prize-winning author most recently of Luxury and The Wherewithal: A Novel in Verse

“Marseille with its hot dangerous streets, its bars, and beautiful churches becomes a character in this fresh and original novel by Christopher X. Shade. Here we glimpse anew intriguing and moving facets of human nature so skillfully and believably portrayed.” —Sheila Kohler, author of 13 books, most recently a memoir, Once We Were Sisters

“Well-developed characters, finding themselves in a landscape that is both beautiful and troubling, come to Marseille in search of many things—a chance to prove themselves, an adventure, a last hurrah. But what they find within is deeply more meaningful and surprising.” —Chantel Acevedo, author of The Distant Marvels and The Living Infinite

The Good Mother of Marseille is a beautiful and memorable debut, a melancholy tale of both lost and found, a love letter to the night-lights of France, a movable feast for this 21st century.” —Scott Cheshire, author of High as the Horses’ Bridles

“No single viewpoint can take in a city like Marseille, marked up by too many cultures to count. So Christopher X. Shade provides us with a kaleidoscope, quite ingenious, in which shapes and colors young and old, native and foreign, exotic and run of the mill, tumble across one another. I dare you to look away.” —John Domini, author of MOVIEOLA!

The Good Mother of Marseille is a luminous, taut, utterly absorbing first novel. Part American expat novel à la The Sun Also Rises, the cast of characters also includes American tourists and French natives parallel playing out their dreams and sorrows on the stage of this gritty French port city. Shade is a compassionate observer of the human dilemma, his feel for place commanding, his story first-rate. I read it in one gulp.” —Lesley Dormen, author of The Best Place to Be

The Good Mother of Marseille by Christopher X. Shade is a painfully beautiful novel, infused with peril and propelled by suspense. In powerful prose, Shade renders a complex mosaic of a city’s underbelly. These interlocking portraits of characters on the edge, barely hanging on, are filled with struggle—people who feel very real, confronting loss, doubtful futures, and their own existential fears.” —Clifford Garstang, author of What the Zhang Boys Know and In an Uncharted Country

“Using Marseille, France, as his canvas, Shade paints a cast of characters who, by their human interactions, invite the reader to repeatedly ask: Is it choice or fate that “leads us to the places we don’t expect to be?” If you want to delve into what it means to be human, when so many are facing loneliness and loss, then The Good Mother of Marseille is your invitation.” —Elena Georgiou, The Immigrant’s Refrigerator and Rhapsody of the Naked Immigrants

“Shade has quite the gift for moving seamlessly between characters and voices, together creating a remarkable chorus.” —Sameer Pandya, author of The Blind Writer

The Good Mother of Marseille feels more like the work of a seasoned writer than that of a debut novelist. Christopher X. Shade gives us characters of such depth, stories of such sensitivity, and a portrait of Americans abroad—in that historical moment just before 2016—that is ruthless in its honesty. International in scope, intimate in detail, The Good Mother of Marseille pursues the question: where do you go when home no longer is home?” —Joseph Salvatore, author of To Assume a Pleasing Shape

“How to build a city? Shade’s Marseille is haunted by visitors and voyeurs, and is held in place by the tension between immersion and flight. In arresting, beautifully surprising prose, Shade reveals the city in precise detail, while also demonstrating the essential elusiveness and risks of storytelling itself. This is a powerful and original novel.” —Aurelie Sheehan, author of Once Into the Night and Demigods on Speedway

“Breaking the illusions of a romantic Marseille, Shade paints this port city from the inside out, bringing to surface the truth found behind dark allies. The Good Mother of Marseille weaves a cast of characters who contemplate what it means to dream while having to bear witness to recurring nightmares. Arranged in a mosaic of episodes, these characters are broken, tormented, searching for a fading moral compass. The question that motivates them, that drives this intricate and riveting display of craft and language, is always: What does it take, what does it mean to stay alive?” —Mario Alberto Zambrano, author of Lotería

About the Author
Christopher X. Shade is co-founder and co-editor of Cagibi, at cagibilit.com, a journal of poetry and prose. His stories and book reviews have appeared widely, and he has won story awards including the 2016 Writers at Work fellowship competition. He teaches fiction and poetry writing at The Writers Studio. Raised in the South, he now lives with his wife in New York City.

For tour dates and book celebrations, email editor@palomapress.net or please contact the author directly.

*A portion of our proceeds in April will be donated to the Peninsula Humane Society & SPCA in observance of Prevention Against Cruelty to Animals Month.


TGMoM’s lost chapter

Christopher X. Shade, author of The Good Mother of Marseille, writes: I teach poetry and fiction at The Writers Studio, where we use models and techniques to help writers discover a unique voice and style for their material. One of my favorite models to teach is Annette Sanford’s “Nobody Listens When I Talk,” a shortContinue reading “TGMoM’s lost chapter”

The Bryant Park Reading Room

Phenomenal debut author Christopher X. Shade will be featured in the original Bryant Park event, “Best-Selling Authors in Bryant Park,” on August 21, 12:30pm. All events are free and open to the public. Books are available for purchase at the event from Kinokuniya USA and for signing by the authors. RSVP here. More information aboutContinue reading “The Bryant Park Reading Room”

INTERLOCUTOR interviews Christopher X. Shade

New York-based writer Christopher X. Shade recently published his debut novel The Good Mother of Marseille. In this interview, he discusses what drew him to Marseille as a setting, the literary influences for the book, and the challenges of writing a multi-character narrative. Read the interview here.

A Tale of Two Books!

Mark your calendars for FRIDAY JULY 19 at the Astoria Bookshop in Queens, and SATURDAY JULY 20 at Powerhouse in Brooklyn! Christopher X. Shade will be appearing in conversation with John Domini. Salman Rushdie on THE COLOR INSIDE A MELON BY JOHN DOMINI: “John Domini enters the world of African immigrants in Naples living onContinue reading “A Tale of Two Books!”

The Great American Novel

The Great American Novel: Selected Visual Poetry (2001-2019)
Eileen R. Tabios
ISBN: 978-1-7323025-7-0
Release Date: February 14, 2019
Pages: 128
Price: $18.00
Distributors: Bookshop, Amazon, Ingram, Paloma Press

Paloma Press is pleased to release The Great American Novel (GAN) by Eileen R. Tabios. Spanning two decades, GAN presents a unique vision of visual poetry. Texts and images range over asemic writing caused by fallen white hairs and tree bark, science fiction created through shed claws from the poet’s cats, an unreadable book, a disruption of Walgreens architecture, collages of randomly chosen stickers, open-ended drawings and sculptures, invented words and poetry forms, and disrupted text. Content also includes images from exhibitions not seen outside their venues in the Philippines, Malaysia, and Serbia. While classified as “visual poetry,” the works continue Ms. Tabios’ disquieting and multifaceted inquiries on the collision of English and colonialism.

ADVANCE WORDS

With The Great American Novel: Selected Visual Poetry (2001-2019), Eileen Tabios not only presents 19 years of her forays into visual poetry, but takes the reader on an extremely personal journey of exploration of cultural identity, the ramifications of colonialism, the functions of language and the possibilities of connectivity in love and pain where each poem acts as a poignant marker along the way. Each sequence in this collection vastly differs—from asemic chance operations composed of Tabios’s plucked white hairs let fall into place (recalling how Duchamp composed 3 Standard Stoppages) to a description of each poem-object in a destroyed mail art correspondence of sculptural visual poems. Tabios’s openness to possibility has created poems radiating with life which are as heavy as they are celebratory. If you’re looking for bubblegum, move on—here is something entirely different for your eyes to chew on.
Sacha Archer

“I write in Poetry…Poetry is its own language.” In the work of Eileen Tabios this sometimes means crossed-out lines, removal of substance to discover other, deeper, substance, thus unearthing the real in a sequence of forgotten things, abstractions, thoughts, people, moments . . . the recovery of each deliberately formed, reformed, performed. She lives the reality and potency of visual and textual poetry with equal fluency, melding the two, bringing us to them as she brings them to us.

Eileen Tabios is a human miracle of confident courage who invents and embraces the most difficult questions in rapid succession, and indwells in what erupts from each, demanding everything of the self within an infinity of other selves. By her being and her work, Eileen reveals that artistry at its most potent is self-aware. She embraces the stuff of life that might be art, and she erases the divide between discovery and invention.

Eileen Tabios takes part by taking apart then seaming beyond seeming. Commas as visuals take form, flight, shape. Real lines of once alive things plucked from hair inventing poetry without genuflection. Achromotricia re(de)fines asemia, emerging a new version of whiteness against cloth backdrops. Finding poetry as poetry is. Eileen asserts in natural form the joining of worlds by being knowing learning doing becoming fascinated by what creates itself around her as she fascinates us by what she makes herself.
Sheila E. Murphy

There is a close and multilayered connection between image and text in this book of Eileen Tabios’ selected visual poetry projects, from 2001 to the present. In some cases we have texts within the images, as well, and more than once they come from Tabios’ own verbal poetry. The images and their descriptions have a great influence on each other’s effect.

I immediately got attracted to the first images, documenting an installation titled “Pilipinz Cloudygenous.” Then I read the notes, and went back to the images. The effect got stronger and stronger. While the mobiles of say, Fischli & Weiss, are about the funny chain of causality, Tabios’ work is about a funnily represented, rather absurd, but still functioning chain—leading back to the sources. “Hanging (from a ceiling)”, roots in the sky.

In The Mortality Asemics series, I can see—and learn from the description: the two processes are always intertwined! —how eight strands of plucked out white hair transcend into a celestial constellation and, in a parallel fashion, into the “lines” of an asemic poem. In a similar sequence, titled The Outsider’s Dilemma, one hair falls apart from the others. It is doubly cut off from its source, and that is exactly why it, movingly, gets in the focus of the wordless poem.

The title piece is a heart-shaped red chocolate box seeming to protest through its own theatrical presence against having been dropped into a waste bin. The heart is apparently too big to be fully hidden. The work dates from 2016.

“Answers, as with the internet and diaspora, are not fixed but provided by its viewers based on their differing subjectivities.” See what you read and read what you see. Tabios’ wise and entertaining book reveals a multitude of contexts.
Márton Koppány

ABOUT THE AUTHOR

Eileen R. Tabios loves books and has released over 50 collections of poetry, fiction, essays, and experiental biographies from publishers in nine countries and cyberspace. Publications include three Selected Poems projects, YOUR FATHER IS BALD: Selected Hay(na)ku Poems, INVENT(ST)ORY: Selected Catalog Poems & New 1996-2015 and THE THORN ROSARY: Selected Prose Poems & New 1998-2010; the first book-length haybun collection, 147 MILLION ORPHANS (MMXI-MML); a collected novel, SILK EGG; an experimental autobiography AGAINST MISANTHROPY; and two bilingual editions, the English/Romanian I FORGOT ARS POETICA / AM UITAT ARTA POETICA and the English/Spanish ONE, TWO, THREE: Hay(na)ku / UNO DOS TRES: Hay(na)ku. Her award-winning body of work includes invention of the hay(na)ku poetic form (whose 15th year anniversary is celebrated in 2018 with exhibitions, readings and a book launch at the San Francisco Public Library) as well as a first poetry book, BEYOND LIFE SENTENCES (1998), which received the Philippines’ National Book Award for Poetry (Manila Critics Circle). Her poems have been translated into eight languages as well as computer-generated hybrid languages, paintings, video, drawings, visual poetry, mixed media collages, Kali martial arts, music, modern dance, sculpture and a sweat shirt. Additionally, she has edited or conceptualized 15 anthologies of poetry, fiction and essays; founded and edits the online journals GALATEA RESURRECTS (A Poetry Engagement) and The Halo-Halo Review; founded and manages the literary arts press Meritage Press; and has exhibited visual art and visual poetry in the United States and Asia. More information at https://eileenrtabios.com


HUMANITY, Volume 1

HUMANITY, Volume 1
An Anthology edited by Eileen R. Tabios

Published by Paloma Press
ISBN: 978-1732302518
Release Date: August 15, 2018
Pages: 212
Price: $18
Available now through Amazon, Barnes & Noble, Chapters/Indigo, & select bookshops
Contact: editor@palomapress.net

PALOMA PRESS RELEASES 11TH BOOK, HUMANITY, A FUNDRAISER FOR MIGRANT AND REFUGEE CHILDREN

San Francisco, 15 August 2018 — Paloma Press is pleased to announce the release of its 11th book, HUMANITY, a fundraising anthology in support of UNICEF USA’s emergency relief campaigns on the borders of the United States and in Syria.

Established in 2016, PALOMA PRESS is a San Francisco Bay Area-based independent literary press publishing poetry, prose, and limited edition books. PALOMA believes in the power of the literary arts, how it can create empathy, bridge divides, change the world. To this end, PALOMA has released fundraising chapbooks such as Marawi, in support of relief efforts in the Southern Philippines; and After Irma After Harvey, in support of hurricane-displaced animals in Texas, Florida and Puerto Rico. HUMANITY is PALOMA’s 11th book and 3rd fundraiser.

In HUMANITY, one is presented with humanity’s explorations, often struggles, with itself in a variety of contexts. From the anthology’s contributors—poets, environmental advocates, an ethnomusicologist, a physician, an ethnoecologist, a music minister, a clergywoman, a fictionist, and multiculturalists—one glimpses an overall picture of strength and fragility, of empathy, and myriad hopes. #humanitytheanthology #humanity

“The writings in Humanity are global in scope; but rather than explicating or attempting to impose a global system or authoritarian state upon the reader, these works run on thoughtful exploration of human feeling, experience, and action. Here you will find encounters between profoundly different cultures, the authors working their way through threads of humanity or animality and mythology like fibers twisted in varied textures and hues throughout a shawl. Here you will find views into personal experiences that have shaped each writer, sometimes causing pain, grief, anger, or wonder. In a world where humans are increasingly becoming aware of their own destructive impulses, a sense of urgency, though sometimes subtle, lies behind the lines. What, in this human condition, is worthwhile? The writers burrow deeply into memories, some following clues toward connection and empathy—others seeking clarity of thought and action—because if anything is clearer now than ever before, it’s that consequences can and will happen, and change is required; resistance cannot be shallow, but depends on both openness and carefully thought-out acts that will carry us forward with awareness of “history and all its complex entanglements,” as well as its possible futures.” —Jean Vengua, author of Prau and Corporeal

HUMANITY is available now through Ingram Book Group’s distribution partners: Bookshop, Amazon, Barnes & Noble, Chapters/Indigo (Canada), Waterstones (UK), Booktopia (Australia and New Zealand), and other select bookshops. The anthology’s release price is USD18.00. To donate directly to UNICEF, click here. For more information, email editor@palomapress.net.

ABOUT THE CONTRIBUTORS:

Of French, Swiss and Filipino descent, Christine Amour-Levar is a Social Entrepreneur, Environmental Advocate, Marketing Consultant and Author currently based in Singapore, where she lives with her husband and four children. Through Women On A Mission, the non-profit organisation she co-founded in 2012, she has led teams on challenging expeditions to the Arctic, the Middle East, Africa and the Himalayas to raise awareness and funds for women survivors of war and to empower and support women who have been subjected to violence and abuse. An avid believer in women as Gamechangers with unique knowledge and solutions to move the needle on sustainability, Christine recently launched #HERplanetearth, a global women’s advocacy movement that promotes gender equality and the integrity of the environment.

Daniel Atkinson received his PhD in ethnomusicology from the University of Washington, Seattle in 2011. His research focus is on Afro-American vernacular expression and its interaction with the global landscape. His dissertation research was conducted at the former slave plantation turned world’s largest prison, Angola State Penitentiary in Louisiana. The research was designed to serve as a platform to discuss issues of economic disparity and institutional racism as products of the 13th, 14th and 15th Amendments to the Constitution as well as to preserve some of the remaining a cappella gospel tradition at the prison. That research is now featured at the Smithsonian’s National Museum of African American History and Culture. He is currently working on the first historical biography of Vaudevillian and founding father of the Harlem Renaissance, George W. “Nash” Walker (1872-1911), and is the curator of the Global Rhythms concert series at Town Hall, Seattle.

Aaron Beasley currently lives in Salt Lake City. He studies in the English department at the University of Utah, and interns for the Eclipse digital archive for small-press writing (eclipsearchive.org). He is co-author with artist Jeremy Kennedy of NOTE TO SEA (Rebel Hands Press 2017).

J. A. Bernstein’s forthcoming novel, RACHEL’S TOMB (New Issues, 2019), won the AWP Award Series, Hackney, and Knut House Prizes. His forthcoming story collection, STICK-LIGHT (Eyewear, 2018), was a finalist for the Robert C. Jones and Beverly Prizes. His work has appeared in Shenandoah, Kenyon Review Online,Tampa Review, Tin House (web), World Literature Today, and other journals. A Chicago-native, he studied Middle Eastern History and Arabic at Brown University and in Jordan on a Fulbright Scholarship. He later completed a Ph.D. in the Creative Writing & Literature Program at the University of Southern California, where he held the Middleton Fellowship. A husband and father of three, he teaches at the University of Southern Mississippi and is the fiction editor of Tikkun.

Cynthia Buiza is the Executive Director of the California Immigrant Policy Center. She moved to the United States 13 years ago and is now based in Los Angeles, California. Prior to that, she worked with various international organizations, including the United Nations High Commissioner for Refugees, the Open Society Institute-Burma Education Project in Thailand, and the Jesuit Refugee Service. She earned a Masters in International Affairs from the Fletcher School at Tufts University, with a concentration on human security studies. Her poetry and prose have appeared in various anthologies in the Philippines and the U.S. She is also the co-author of Anywhere But War, about the armed conflict and internal displacement in the Indonesian Province of Aceh.

John Bloomberg-Rissman is a left coast mashup ethnographer and editor, responsible for what has become a life-work, Zeitgeist Spam. The first three sections (No Sounds of My Own Making; Flux, Clot & Froth; In the House of the Hangman) have been published, and the fourth, With the Noose Around My Neck, begun the day of Trump’s election, is well underway. Among the books he has edited or is in process of editing are (with Jerome Rothenberg) Barbaric Vast & Wild: A Gathering of Outside & Subterranean Poetry from Origins to Present: Poems for the Millennium 5, and (with Richard Lopez and T.C. Marshall) The End of the World Project. He posts stuff at http://www.johnbr.com.

Renato Redentor Constantino manages the Constantino Foundation and the Manila-based international group Institute for Climate and Sustainable Cities, which published the award-winning Agam: Filipino Narratives on Climate Change and Uncertainty, composed of 26 images and 24 narratives in verse and prose written in eight languages. His bicycle is named Wyatt Earp.

Rio Constantino is a Filipino high school student who wants to be a biologist someday. Like many others his age, he constantly searches for sleep, alcohol, and an internet connection, in that order.

Robert Cowan is a literature professor and dean at the City University of New York. He’s also the author of The Indo-German Identification: Reconciling South Asian Origins and European Destinies, 1765-1885 (Camden House, 2010) and Teaching Double Negatives: Disadvantage and Dissent at Community College (Peter Lang, 2018).

Melinda Luisa de Jesús is Chair and Associate Professor of Diversity Studies at California College of the Arts. She writes and teaches about Filipinx/American cultural production, girl culture, monsters, and race/ethnicity in the United States. She edited Pinay Power: Peminist Critical Theory, the first anthology of Filipina/American Feminisms (Routledge 2005). Her writing has appeared in Mothering in East Asian Communities: Politics and Practices; Completely Mixed Up: Mixed Heritage Asian North American Writing and Art; Approaches to Teaching Multicultural Comics; Ethnic Literary Traditions in Children’s Literature; Challenging Homophobia; Radical Teacher; The Lion and the Unicorn; Ano Ba Magazine; Rigorous; Konch Magazine; Rabbit and Rose; MELUS; Meridians; The Journal of Asian American Studies, and Delinquents and Debutantes: Twentieth-Century American Girls’ Cultures. She is also a poet and her chapbooks, Humpty Drumpfty and Other Poems, Petty Poetry for SCROTUS Girls’ with poems for Elizabeth Warren and Michelle Obama,Defying Trumplandia, Adios Trumplandia, James Brown’s Wig and Other Poems, and Vagenda of Manicide and Other Poems were published by Locofo Chaps/Moria Poetry in 2017. Her first collection of poetry, peminology, was recently published by Paloma Press (March 2018). She is a mezzo-soprano, a mom, an Aquarian, and admits an obsession with Hello Kitty. More info: http://peminist.com

Gabriela Igloria is a Filipino-American poet. She is currently the editor-in-chief of Granby High School’s literature & arts magazine, The Cupola, and is a student at the Muse Writers Center. She has been published in Rattle’s Young Poet’s Anthology and in Whurk Magazine.

S. Lily Mendoza is a native of San Fernando, Pampanga in Central Luzon, Philippines and is a fluent speaker of Kapampangan and Tagalog. She is Associate Professor of Culture and Communication at Oakland University in Rochester, Michigan.  She is the author of Between the Homeland and the Diaspora: Theorizing Filipino and Filipino American Identities (Routledge, 2002; Philippine revised edition by University of Santo Tomas Publishing, 2006) and lead editor of Back from the Crocodile’s Belly: Philippine Babaylan Studies and the Struggle for Indigenous Memory (Center for Babaylan Studies, 2013; Philippine edition by UST, 2015).  She has published widely around questions of identity and belonging, cultural politics in national, post- and trans- national contexts, discourses of indigenization, race and ethnicity, and, more recently, modernity and industrial civilization and what it means to be a human being in the face of climate change and eco-systems collapse. She is currently the Director of the Center for Babaylan Studies.

Laura Mullen is the author of eight books: Complicated Grief, Enduring Freedom: A Little Book of Mechanical Brides, The Surface, After I Was Dead, Subject, Dark Archive, The Tales of Horror, and Murmur. Recognitions for her poetry include Ironwood’s Stanford Prize, a National Endowment for the Arts Fellowship and a Rona Jaffe Award. Her work has been widely anthologized, and recent poems have been published in The Nation, Conjunctions, and Lana Turner. Her translation of Veronique Pittolo’s Hero is forthcoming from Black Square in 2018.

Mary Pan is a writer and family medicine physician with training in global health and narrative medicine. Her work has been published in several print and online publications including Intima, Blood and Thunder, Hektoen International and Pulse, among others. She lives in Seattle with her husband and three young children. More at marypanwriter.com

Jeanine Pfeiffer is an ethnoecologist exploring biocultural diversity: the connections between nature and culture. A Fulbright scholar, University of California Pacific Rim researcher, and National Science Foundation/National Institutes of Health grantee, Dr. Pfeiffer has worked in over thirty countries. Based in Northern California, she teaches environmental studies at San José State University. Her scientific articles are curated on ResearchGate.net and Academia.edu and her Pushcart-nominated prose can be found in the Bellevue Literary Review, Proximity, Hippocampus, Lowestoft Chronicles, Langscape, Between the Lines, and Nowhere. More at http://www.jeaninepfeiffer.com

Marthe Reed is the author of Nights Reading (Lavender Ink, 2014); Pleth, with j hastain (Unlikely Books, 2013); (em)bodied bliss (Moria Books, 2013); Gaze (Black Radish Books, 2010); and Tender Box, A Wunderkammer (Lavender Ink, 2007). A sixth collection, ARK HIVE, will be published by The Operating System (2019). Her poetry has been published in BAX2014, New American Writing, Golden Handcuffs Review, Entropy, New Orleans Review, Jacket@, Fairy Tale Review, Exquisite Corpse, The Volta, and The Offending Adam, among others. Counter-Desecration: A Glossary for Writing in the Anthropocene, co-edited with Linda Russo, will be published by Wesleyan University Press in 2018. Reed was co-publisher and managing editor for Black Radish Books and lived in Syracuse, NY.

Karen Bryant Shipp is a singer, organist, and choral director who works as Minister of Music at Oakhurst Baptist Church in Decatur, GA, a progressive Baptist church where she is given the freedom to explore not only all kinds of music, but other religions and ideas. Karen was ordained at Oakhurst in November 2010.

Murzban F. Shroff has published his stories with over 60 literary journals in the U.S. and UK. His fiction has appeared in journals like The Gettysburg Review, The Minnesota Review, The Saturday Evening Post, Chicago Tribune, and World Literature Today. His non-fiction has appeared in India Abroad, The New Engagement, and The American Scholar. Shroff is the winner of the John Gilgun Fiction Award and has garnered six Pushcart Prize nominations, the highest award for the short story in the U.S. His short story collection, Breathless in Bombay, was shortlisted for the Commonwealth Writers’ Prize in the best debut category from Europe and South Asia, and rated by the Guardian as among the ten best Mumbai books. His novel, Waiting For Jonathan Koshy, was a finalist for the Horatio Nelson Fiction Prize. Shroff represented Mumbai at the London Short Story Festival and was invited to speak about his work at the Gandhi Memorial Center in Maryland, University of California Los Angeles, California State University Monterey Bay, the Institute for South Asia Studies at UC Berkeley, and the Annenberg School for Communications & Journalism at the University of Southern California. He can be contacted at murzbanfshroff@gmail.com.

Leny Mendoza Strobel is Professor of American Multicultural Studies at Sonoma State University. She is also one of the Founding Directors of the Center for Babaylan Studies. Her books, journal articles, online media presence reflects her decades-long study and reflections on the process of decolonization and healing of colonial trauma through the lens of indigenous perspectives. She is a grandmother to Noah and she tends a garden and chickens with Cal in Northern California.

Rodrigo Toscano’s newest book of poetry is Explosion Rocks Springfield (Fence Books, 2016). Previous books include Deck of Deeds, Collapsible Poetics Theater (a National Poetry Series selection), To Leveling Swerve, Platform, Partisans, and The Disparities. He works for the Labor Institute in conjunction with the United Steelworkers, the National Institute for Environmental Health Science, Communication Workers of America, and National Day Laborers Organizing Network, working on educational / training projects that involve environmental and labor justice, health & safety culture transformation, and immigrant worker rights.

Audrey Ward is an author (Hidden Biscuits, Wipf & Stock, 2015), writer and poet; an ordained clergywoman in the United Methodist Church, and the mother of two daughters and a son, grandmother of four granddaughters and two grandsons. However, the importance of the above roles are, here, in reverse: She considers the last, that of parent and grandparent to be her number one all-pervasive education and worthwhile endeavor of her lifetime, a source of great pride and exasperation.

ABOUT THE EDITOR:

Eileen R. Tabios loves books and has released over 50  collections of poetry, fiction, essays, and experimental biographies from publishers in nine countries and cyberspace. Publications include three Selected Poems projects, YOUR FATHER IS BALD: Selected Hay(na)ku PoemsINVENT(ST)ORY: Selected Catalog Poems & New 1996-2015 and THE THORN ROSARY: Selected Prose Poems & New 1998-2010; the first book-length haybun collection, 147 MILLION ORPHANS (MMXI-MML); a collected novel, SILK EGG; an experimental autobiography AGAINST MISANTHROPY; two  bilingual editions, the English/Romanian I FORGOT ARS POETICA / AM UITAT ARTA POETICA and the English/Spanish ONE, TWO, THREE: Hay(na)ku / UNO DOS TRES: Hay(na)ku. Her award-winning body of work includes invention of the hay(na)ku poetic form (whose 15th year anniversary is celebrated in 2018 with exhibitions, readings and a book launch at the San Francisco Public Library) as well as a first poetry book, BEYOND LIFE SENTENCES (1998), which received the Philippines’ National Book Award for Poetry (Manila Critics Circle). Her poems have been translated into eight languages as well as computer-generated hybrid languages, paintings, video, drawings, visual poetry, mixed media collages, Kali martial arts, music, modern dance, sculpture and a sweat shirt. Additionally, she has edited or conceptualized 14 anthologies of poetry, fiction and essays; founded and edits the online journals GALATEA RESURRECTS (A Poetry Engagement) and The Halo-Halo Review; founded and manages the literary arts press Meritage Press; and has exhibited visual art and visual poetry in the United States and Asia. More information at https://eileenrtabios.com


Humanity (free to read)

In 2018, we released the anthology, Humanity, edited by Eileen Tabios, which featured 22 authors who are also professionals from various disciplines. In light of recent events, we are making Humanity available to read online for free. Click here to start reading.   In HUMANITY, one is presented with humanity’s explorations, often struggles, with itselfContinue reading “Humanity (free to read)”

Marjorie Evasco reviews Humanity

Of sheer necessity, books with huge titles often beg for ways of qualifying its high purpose, and this anthology offers that frame in the editor’s introduction… continue reading. (Read Eileen Tabios’ Introduction to Humanity)

A Conversation on Humanity

This Sunday at Bird & Beckett Books! “What, in this human condition, is worthwhile?” A reading and conversation with St. Helena-based author Eileen Tabios, Mumbai-based author Murzban Shroff, and New York-based author Robert Cowan. 10/20 at 2pm, 653 Chenery St SF This event is free and open to the public. Light refreshments and wine willContinue reading “A Conversation on Humanity”

Book review: Humanity

“As I write this review more than a million school children all over the world, following the example set by the Swedish schoolgirl, Greta Thunberg, are staging protests to call for urgent action to combat climate change…” Read the full review here.

Save the Date for HUMANITY

Sunday, October 20, 2019, 2pm Please save the date for HUMANITY, a reading and conversation featuring Eileen Tabios (St. Helena-based author most recently of “Witness in the Convex Mirror”), Murzban Shroff (Mumbai-based author most recently of “Fasttrack Fiction”), & Robert Cowan (New York-based author most recently of “Elsewhen”), hosted by San Mateo County Poet LaureateContinue reading “Save the Date for HUMANITY”

Be a Humanitarian

A rare feat, HUMANITY gathers scholars, writers, ministers, and cultural and environmental activists in a seminal work that explores the human condition. HUMANITY, the anthology, supports UNICEF USA’s Emergency Relief campaigns on the borders of the United States and in Syria. As an action call, Paloma Press will send a copy of the anthology to theContinue reading “Be a Humanitarian”

One, Two, Three…

One, Two, Three: Selected Hay(na)ku Poems
Uno, dos, tres: Selección de Hay(na)kus
By Eileen R. Tabios with Spanish Translations by Rebeka Lembo

LOC Control No.: 2018943545
Release Date: June 2018
Pages: 96
Price: $16.00

SPECIAL OFFER!
Paloma Press is delighted to announce a Special Discounted Offer for One, Two, Three: Selected Hay(na)ku Poems by award-winning poet Eileen R. Tabios. The book’s release price is $12, a 25% discount from its retail price of $16. You can take advantage of this offer by ordering through Lulu or Amazon.

BOOK DESCRIPTION:
One, Two, Three / Uno, dos, tres is a bilingual English/Spanish edition of a selection of Eileen R. Tabios’ hay(na)ku poems. The hay(na)ku is a 21st century diasporic poetry form invented in 2003 by Ms. Tabios. One, Two, Three is her only available Selected Hay(na)ku volume after her first Selected Hay(na)ku collection, Your Father Is Bald, went out of print.

Since its debut, the hay(na)ku has been taken up by poets around the world, generating five anthologies and numerous single-author collections as well as appearances in literary journals. In 2018, the hay(na)ku’s 15-year-anniversary will be celebrated with exhibitions and reading at the San Francisco Public Library and Saint Helena Public Library as well as with a new anthology, HAY(NA)KU 15, which presents 128 poets and translators from 13 countries as well as eight languages.

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Also featured is “Blue Bravura,” a hay(na)ku by Vince Gotera. Mr. Gotera had coined the name “hay(na)ku” for this poetic form.

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ABOUT THE AUTHOR & TRANSLATOR:
Eileen R. Tabios loves books and has released over 50 collections of poetry, fiction, essays, and experimental biographies from publishers in nine countries and cyberspace. Her 2018 poetry collections include HIRAETH: Tercets From the Last Archipelago; MURDER DEATH RESURRECTION: A Poetry Generator; TANKA: Volume 1; and the bilingual edition (English/Spanish) of One, Two, Three: Selected Hay(na)ku Poems. Translated into eight languages, she also has edited, co-edited or conceptualized 15 anthologies of poetry, fiction and essays as well as served as editor or guest editor for various literary journals. Her writing and editing works have received recognition through awards, grants and residencies. More information is available at http:// eileenrtabios.com

Rebeka Lembo has an undergraduate degree in English Literature and a Masters in Comparative Literature from UNAM. She kept the multilingual blog Ecce Mulier from 2004 to 2012. Her translations have been published in The Boy Bedlam Review, Poemeleon, Revista Fractal, The Light Sang As It Left Your Eyes, etc. Her poetry has been published in Otoliths and The Second Hay(na)ku Anthology (Meritage Press and xPress(ed)). She currently lives in San Jose, California.

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Selected Responses to the Hay(na)ku:
Watching the birth & evolution of a new form is fascinating. And, unlike flarf, which is a process, hay(na)ku is a form. But what kind of form is it? Poem or stanza? Again, I think the answer lies in looking at the quatrain, which is more stanza than finished work. That, ultimately, is what I think this first generation of hay(na)ku writers have created–not a poem, but a stanza, simple, supple, elegant, capable of considerable variations. That’s quite an accomplishment.
—Ron Silliman

…a way of revealing…a “thinking” form–emotional as well as intellectual thinking. By allowing a lot of space on the page it keeps things tight and loose. Hay(na)ku creates or pushes certain syntactical structures, potentially disruptive through its arbitrariness. Forms aren’t games, or just games–they are ways of paying attention.
—Jill Jones

…an elegantly minimalist form (a bit like the tip of an Oulipian “snowball”)
—Michael Leong

The diasporic nature of the hay(na)ku attracted me from the very beginning because it allowed me to express myself in English without being a native speaker…I feel the hay(na)ku is a form that grants a common space for poetic practice in different languages; a way of writing in English without completely obliterating one’s “mother tongue.” Instead of the conquest and influx that has defined English in relation to other “less powerful” languages, the hay(na)ku is open and flexible, an invitation to share different ways of thought and writing.
—Ernesto Priego


In “My Haiku Pond”

One, Two, Three: Selected Hay(na)ku Poems by Eileen R. Tabios (Paloma Press, 2018) A review by Neil Leadbeater (MHP, June 2019) This bilingual (English / Spanish) selection of hay(na)ku poems and their variants contains explanatory notes about the hay(na)ku as a form of writing, an essay on its history, a poem by a guest poet,Continue reading “In “My Haiku Pond””

Close Apart

CLOSE APART
Robert Cowan

Published by Paloma Press
ISBN: 978-1-7323025-0-1
Library of Congress Control Number: 2018942360
Pages: 84
Release date: April 2018
Price: $16.00

Paloma Press is delighted to announce the release of CLOSE APART by Robert Cowan.

Close Apart explores states between lovers and friends, parents and children, gangsters and Robert Cowans. Between Manhattan streets, Italian hilltowns, and Siberian forests. Between will, determinism, re-memory, re-death. Between fireplaces and hallways, expansion and condensation. Between us.

From Denver Butson, author of the sum of uncountable things (Deadly Chaps), “In Robert Cowan’s moving and spanning debut collection of poems, Close Apart, the numerous lightning flashes (the blackouts and terrorist—and otherwise—attacks, the love for a daughter, the deaths of parents and friends) and their corresponding thunder crashes (the pangs of remembering them years later) come both near to one another and as surprises a long time after. Unlike the “scientific” predictablity of thunder and lightning that we learn early (and some of us still practice later as storms approach), the messy, joyful, devastating unpredictability of life itself, as we are reminded in these poems, is uncountable. Thus, the storms can be right here on top of us at any time, the dead can be “extra dead” as they are on Sunday nights, and we can be extra alive for recognizing them in their absence and for allowing ourselves to welcome the presence of everything else.”

From Donna Masini, author of 4:30 Movie (Norton), “Close Apart begins on a subway, in a community of passengers, with a child in distress, a city in blackout. It’s a generous, deeply empathetic book filled with characters, stories and a remarkable tenderness—for the suffering and vulnerability of children, for the flawed adults they become. A father’s delight in his daughter’s wacky imagination finds a surprising echo in Cowan’s brainy, sophisticated and witty speaker who can move from quantity theory to all manner of magical thinking and numerical rationalization in his restless questions, his attempts to make sense of a chaotic and troubling world.”

From Tom Sleigh, author of House of Fact, House of Ruin (Graywolf), “Like James Schuyler, Rob Cowan has found a way to make ordinary speech into a marvelously supple instrument for recording his love of the city and city life. His curiosity about other people is matched by his affection for their foibles and quirks of character that he so keenly reveals. Wide-ranging in feeling and form, these poems invite you in with their intimacy, directness, and generosity of heart.”

Excerpt:


Review by Eileen Tabios:
“Robert Cowan’s first poetry collection, CLOSE APART, opens with a dramatic, visceral tug at the reader; experience it for yourself through the opening lines of its first poem “Hot and Black Out”:

When the southbound 6 train stops underground
it’s dark-blue for a long time. The chubby brown
girl across from me has an asthma attack, gasping

squeezed as she lurches forward. Her mother is
silently hysterical, mumbling, sniveling in empty
space, as the girl wheezes audibly. Our still sweat

crystallizes in collective fear.

“You don’t so much read the poem as feel yourself in the stranded train with the others in the poem, a testament to the poet’s descriptive ability…”

ABOUT THE AUTHOR

cowanRobert Cowan is a literature professor and dean at the City University of New York. He’s also the author of The Indo-German Identification: Reconciling South Asian Origins and European Destinies, 1765-1885 (Camden House, 2010) and Teaching Double Negatives: Disadvantage and Dissent at Community College (Peter Lang, 2018). This is his first collection of poetry.

CLOSE APART is now available in select bookshops and online retailers (Bookshop, Amazon and other Ingram retail partners). For more information, please email editor@palomapress.net.