From Vince Gotera: The “virtual blog tour” is an excellent, friendly way for writers, artists, and other creative folks to bring attention to their own work as well as that of others. It begins with an invitation from another artist or writer. Then in your blog you acknowledge the person who invited you, answer four given questions about your work and your process, and then invite three other people to participate. These people then do the same thing, referring their blog readers to the blogs of three more people, and so on. It’s a wonderful sort of “pyramid scheme” that’s beneficial for everyone: the artists and writers as well as the readers of their blogs. We can follow links from blog to blog and then we can all learn about different kinds of creative process and also find new writers and artists we may not have known about before.
The person who invited me to take part in the blog tour is Vince himself, a poet and educator, who, like me, hails from the San Francisco Bay Area. Now, though, he’s a landlocked Pinoy in Iowa. A more formal biographical statement is as follows: Vince Gotera is the Editor of the North American Review and a creative writing professor at the University of Northern Iowa. His collections of poetry include the forthcoming Pacific Crossing as well as Dragonfly, Ghost Wars, and Fighting Kite. His work has also appeared widely in magazines, anthologies, textbooks, and online venues. Visit his blog, “The Man with the Blue Guitar” at http://vincegotera.blogspot.com.
Allow me to introduce to you, his poem, “Aswang,” a Philippine mythological creature that continues to fascinate so many of us. Perhaps this excerpt may help you understand the fascination:
… and I saw his mother, a pretty mestiza widow,
her face hidden by hair hanging down
as she bent far forward from the waist.
A manananggal, the worst kind of aswang:
women who can detach themselves at the hips,
shucking their legs at night like a wrinkled slip.
They fly, just face and breasts, to prey on infants.
For a moment, a shadow like a giant bat
darkened the moon…
I would like to think the writing we are doing stateside is contributing to the lore.
Vince has also written up some wonderful explanatory text on the creature and on the poem, so let me not say too much more, except that our aswang poems will be sharing space in the forthcoming anthology Kuwento: Lost Things (An Anthology of New Philippines Myths) (Carayan Press). Go read this poem, and allow yourself to be spooked. Though, please notice the stanzas that comprise this poem are in sonnet form. He has written about formalism, and his use of form as well.
Here are the four questions I’ve answered about my own work:
1. What are you currently working on?
Many things — developing and teaching college classes and community workshop, and editing an anthology, all of which are centered around Pinay Lit. Pinay, for those of you not in the know, is a term we use for Filipina, or Filipino girl or woman. Some use it in casual conversation, as affirmation, and others have politicized it (shouting with fist raised: “Pinay Power!”).
I have also completed my own poetry manuscript centered around Pinay voice, writing on the Pinay body.
2. How does your work differ from others of its genre?
Is Pinay Lit a genre? Let’s go ahead and say it is. However conversational or politicized the usage of Pinay, I’ve been interested in some time now, in potentially Pinay-centered literary space, in writing, reading, and teaching. Can we push the discussion to where it’s most sharp, most difficult — regarding historical and social issues, and just as important, narrative, craft, language, form.
Can we do this in spaces where those who identify as Pinay are both encouraged and emboldened to speak and push their writing, without the kinds of gendered, racialized pressures exerted upon us by our Filipino male community members who want to tell us what to do and what to think, by our white women colleagues who want to save us and speak for us, by our oblivious American classmates who just don’t give a shit. Can we do this without descending into an uncritical Kumbayah. Can we create a strong foundation on our own terms, welcome and maintain rigor, be empowered and articulate wordsmiths. I hope we can.
3. Why do you write/create what you do?
Much of my interest in Pinay lit is not just in the fact that I identify as Pinay and a Pinay author, but in my general observations and experience interacting with other Pinay writers. There’s so much fear, reticence, and timidity that I want to understand and dispel, not because all of us should be shouting and showing our teeth, bearing machetes and fists (though, isn’t that some kind of fierce, wonderful image), but because of how that fear hinders us from writing our stories and getting them into the world.
4. How does your writing/creating process work?
I am always online! The internet has become a place that concerns me, as much as the geographical places I’ve been writing about. I’ve been trolling Filipina bride websites for advertisements and testimonies (from brides and “clients”), and news stories about Pinay OFWs. Perhaps it’s morbid, but I am always looking for narratives about these women and girls being bought, sold, and broken, and I do this because I want to know what is happening to them in the world, and why. I don’t want to pretend none of this matters to me. I also don’t want to pretend that what happens to them also is happening to me. But I need to write about these women and girls. I’ve been crafting poetic lines, trying to flesh out narratives, to humanize the sound bytes and statistics I’ve been gathering. I need to find their resistances. I need to know that they fight back.
Now, as for the four bloggers I am tagging — yes, I’m only supposed to tag three, but these four are good:
Rochita Loenen-Ruiz is a Filipina writer living in the Netherlands. She attended Clarion West in 2009 and is an Octavia Butler Scholar. Her short fiction has appeared in a variety of online and print publications including Clarkesworld Magazine, The End of the Road anthology, Mothership: Tales from Afrofuturism and Beyond, Philippine Genre Stories, the Philippine Speculative Fiction anthologies and We See a Different Frontier. Her Movements column appears regularly on the online magazine, Strange Horizons. http://rcloenenruiz.com
Rashaan Alexis Meneses: Born and raised in the seismically fractured and diverse landscape of southern California, Rashaan Alexis Meneses was recently awarded 2013 fellowships at The MacDowell Colony and The International Retreat for Writers at Hawthornden Castle in Scotland. Current publications include a personal essay in Doveglion Press, short stories in New Letters, Kurungabaa, UC Riverside’s The Coachella Review, University of North Carolina’s Pembroke Magazine, and the anthology Growing Up Filipino II: More Stories for Young Adults. http://rashaanalexismeneses.com
Anthem Salgado founded professional development program and web resource, Art of Hustle, providing training and consulting for creative entrepreneurs, small businesses and nonprofit organizations. His experience spans 15 years across industries that include arts, education, nightlife, cultural and community affairs, and more. He focuses on marketing, helping maximize on audience development, referral building, and income generation opportunities. http://www.artofhustle.com
Melissa R. Sipin is a writer from Carson, CA. She won First Place in the 2013 Glimmer Train Fiction Open and her writing has been published/forthcoming in Glimmer Train Stories, PANK Magazine, Fjords Review, 580 Split, and Kweli Journal, among others. She cofounded and is editor-in-chief of TAYO Literary Magazine. As a Kundiman Fiction Fellow, VONA/Voices Fellow, and U.S. Navy wife, she splits her time writing on the Pacific and Atlantic coasts and blogs at www.msipin.com. She is currently working on a novel. http://msipin.com/blog