Virtual Blog Tour, Is Pinay Lit a Genre, and Tagging Others

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…

"Aswang," by Hellen Jo.

“Aswang,” by Hellen Jo. helllllen.org

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:

"Gabriela Silang," by Francisco Coching.

“Gabriela Silang,” by Francisco Coching.

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

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Poem: continuation of a larger Sweetie poem in progress

They seem to come out in 14-line measures:

We are devastated by the thought of you, Sweetie
We are rooting for you to defy the odds, Sweetie

We are entitled to your story is ours too, Sweetie
We are deconstructing your construction, Sweetie

We are checking our status updates for you, Sweetie
We are seeking solidarity in likes and reshares, Sweetie

We are writing ourselves into your sad narrative, Sweetie
We are raising our virtual fists for you, Sweetie

We are displaying placards of protest for you, Sweetie
We are creating memes of defiance for you, Sweetie

We are creating distance between us and you, Sweetie
We are confused about ourselves because of you, Sweetie

We are consumed with ourselves because of you, Sweetie
We are consumed, like you but not like you, Sweetie

Poem: the beginnings of a larger Sweetie poem

Revision:

When Sweetie was born, the soundtrack of fetid rain clacking on corrugated roofs.

Not roofs, really, but slattern shacks tied with plastic shopping bag rope binding

Corner posts, not really posts but demolished parts stacked, rebar reaching as

Petrified extremities, brittle, begging for coins. The shrieking thing’s birth was swift,

A tiny thing, barely the size of a man’s swinging fist. She was the daughter of a whore,

The sister of a whore. A whore begets a whore weans a whore, then gets back to work.

When Sweetie was born, market research findings revealed what the world wide web

Catalogued, user posts on bulletin boards, blogged testimonials boasting cottage industry

Pages illustrated with pixellated, Third World motion capture money shots. Catholic charities’

Videos capture Hollywood has-beens in squatter encampments, donning linen, immunized.

Here, you meet Sweetie’s harelipped kin, feral, big-eyed, swarming. Flipflops worn to concrete,

Matted hair, patella bones and open wounds, distended bellies. Petrified extremities, begging,

Broadcasting toll free numbers, websites, prime time, suppertime. You call because parasites

In the drinking water. You log in because you want the young, pure. Sweetie was born ready.

 

The Writing Prompt My Students Gave Me Produced This

For this free write, I was supposed to use “rainbow” and “need” throughout this piece:

I am not who you think I am.

After the rains fell, after the rainbows filled the sky, after the sun took away the clouds, after the clouds no longer needed the sky, after the sky rebelled, after the rebellion was squelched, there I was, the story, the word, the pauses in your diction, the spelling error, the line break, the page, and yes, the stage for your heartbreak to perform for god knows who. I am there in your dramatic gestures, yes I am the word made metaphor called poem and verse, each stanza, each metonym.

When I was an ugly little girl, I dreamed of being rainbows. My mama told me a a story about the god of clay and kiln. He took the earth and made a girl, beautiful moss and loam and worms and seeds and grass, the things you need on this green earth, the things that grow and blossom. Ever since then, I touched the sky at midnight, in winter, when there was no moon. Just dark. Just stars.

Who wanted to be a rockstar when she was a girl, and needed love from people who didn’t know she was there. Just breathing.

Who hated rainbows when she was a girl, because all she wanted was for it to rain, to mask the fact that all she did was try not to cry all the time.

Who climbs the mountain because it is there, because at the top you can see far across the sea.