Archive May 2016

Janine Joseph on Her Homecoming With Undocumented Students

Janine Joseph is the author of Driving Without a License (Alice James Books, 2016) and winner of the 2014 Kundiman Poetry Prize. Her poems and essays have appeared in Kenyon Review Online, Best New Poets, Best American Experimental Writing, Zócalo Public Square, the Academy of American Poets’ Poem-a-Day series, and elsewhere. Her commissioned libretti for the Houston Grand Opera/HGOco include What Wings They Were: The Case of Emeline, On This Muddy Water: Voices From the Houston Ship Channel, and From My Mother's Mother. Joseph serves as vice president of the Writers@Work executive board and is an assistant professor of Creative Writing at Oklahoma State University. She blogs about her P&W–supported reading for the Poesía Peligrosa series at the University of California in Riverside.

Janine Joseph

A 2009 Paul and Daisy Soros Fellow, I was invited late last year to “take over” their Instagram account for a whole week so that followers could meet me and get a sense of my "New American" story. Over the Thanksgiving holiday, I shared pictures and brief stories about my family’s immigrant beagles, my Lolo Lazarus, and what it was like to live, for the first time, in a landlocked state. As the publication of my debut collection of poetry, Driving Without a License, was (then) just a few months away, I talked also about my experiences as a formerly undocumented American. Through luck or happenstance, a student and the vice president of PODER (Providing Opportunities, Dreams, and Education in Riverside) at my alma mater, University of California in Riverside (UCR), saw my posts and asked if I might be interested in doing a reading for a specially themed Poesía Peligrosa event during their upcoming Immigrant Awareness Week.

I graduated from UCR in the spring of 2005—three years before PODER, which “seeks to provide assistance to undocumented students through mentorship, financial assistance, and community building,” was established, so this invitation and event was an emotional homecoming for me. In short, the partnerships between PODER, Teatro Quinto Sol, and the office of Chicano Student Programs at UCR, coupled with the generous monetary support from Poets & Writers, made it possible for an undocumented student group to bring me in to read about my experiences as an undocumented person. To add to the significance of this event even further: It brought me back to the very school where I had studied creative writing as an undocumented student.

And what a gift the occasion was. Poesía Peligrosa, which was hosted by two current UCR undergraduates, brought together a mix of music, theater, and poetry to the stage. The night began with an interactive performance by UCR's Theater of the Oppressed, followed by my reading from Driving Without a License, and ended with students sharing their own immigration-themed work. The audience, which consisted of current UCR students, alumni, UCR staff, and family members, was lively, attentive, and welcoming. There were also students and their chaperones from a local high school in attendance. Later, I looked around the room from where I sat in the back and imagined that this would have been my community nearly a decade ago, had the organization existed. I was overjoyed and relieved to know that current students had the support and space I had once longed for.

It is my hope that this event sets a personal precedence, particularly in how I plan readings in support of the book, and that I will be able to give back to other undocumented student groups around the country. It is my hope, too, that the students who I had the great privilege of meeting continue to share their stories and continue to complicate our ever-expanding American identities. I am thankful to Poets & Writers for supporting this effort, these events, and writers with immigrant backgrounds like ours.

Photo: Janine Joseph. Photo credit: Jaclyn Heward.

Major support for Readings & Workshops in California is provided by the James Irvine Foundation and the Hearst Foundations. Additional support comes from the Friends of Poets & Writers.

Write! Look! Listen!: UC Merced's Merritt Writing Program Reading Series

Write! Look! Listen! is the creative writing reading series of the Merritt Writing Program (MWP) at the University of California in Merced. Since 2006, Write! Look! Listen! has featured readings and guest workshops with locally and nationally recognized poets, fiction writers, journalists, and nonfiction writers. The series features ethnically and aesthetically diverse readers in order to give students a sense of the full range and vibrancy of contemporary American writing. MWP faculty members organize, publicize, and host readings and workshops that are free and open to students, faculty, staff, and the public. Current principal organizers include: Andrea Mele, Susan Varnot, Dawn Trook, and Callie Kitchen. Contributors to this blog post include: Andrea Mele, Dawn Trook, and Paul Gibbons.

What makes your organization and its program unique?
Andrea Mele: The Merritt Writing Program at UC Merced includes composition courses, Writing in the Disciplines courses, and Writing Minor courses in Professional and Creative Writing. MWP faculty created the Write! Look! Listen! Series, as well as our undergraduate Creative Writing Conference and Collaboratorium, both of which are supported by the Writing Program, UC Merced’s Center for Humanities, and Poets & Writers’ grants.

Merritt Writing ProgramWrite! Look! Listen! invites regionally-based writers of national acclaim to campus for readings and workshops. These readings and workshops are free and open to the public, and are well attended by students, faculty, and staff. WLL strives to bring writers of diverse genres and backgrounds who reflect the diversity of our own campus, and who will connect with students on both subject and craft levels. Attendees and participants often comment on the ways in which they can relate to the authors’ experiences, and how this motivates their own writing, confidence, and commitment to their craft. Recent guests include David Mas Masumoto, Steven Church, David Campos, Paula Treick DeBoard, Lawson Inada, and the Hmong American Writers Circle.

UC Merced’s Creative Writing Conference and Collaboratorium is a day-long event, which includes morning workshops, and afternoon participant and keynote readings. Students and faculty from UC Merced and nearby Merced and Modesto colleges come together for a day of collaboration—in teaching creative writing, composing it, revising, and sharing. The event generates excitement and inspiration pedagogically and creatively, and additionally reflects the Merritt Writing Program’s commitment to community engagement and diversity of educational and artistic experience. Keynote readers highlight the region’s diversity of authors and genres. Past readers include Lee Herrick (Fresno’s Poet Laureate), Soul Vang, Rachel Starnes, and Carole Firstman.

What recent project and/or program have you been especially proud of and why?
Dawn Trook: Whenever we bring the Hmong American Writers Circle to UC Merced, I feel very moved. These readings always bring out a diverse and large crowd, and it's exciting to celebrate a community whose native language didn't have a written form, so they are claiming their voices in new (and beautiful) ways. 

What’s the craziest (or funniest or most moving or most memorable) thing that’s happened at an event you’ve hosted?
Trook: When Peter Orner connected to our students in his Q&A as if he was talking to a group of writers, talking to them like equals. It really empowered them and made them feel like they were a part of a writing community.

How do you cultivate an audience?
Trook: Facebook and word of mouth seem to be the best ways. Writing program faculty promote events in their classes, and publicize events on news and social media platforms.

Merritt ParticipantsHow has literary presenting informed your own writing and/or life?
Paul Gibbons: Coteaching for the Collaboratorium has taught me all over again how to take advantage of teachable moments and how to include students. Because you’re not teaching alone, the sessions can resemble the best panel discussions—where people are all trying to understand and engage in a dialectic that benefits everyone in the room. And then the panel dissolves to one focused discussion among us, writer to writer instead of teacher to students. We use that energy to write and revise and share. At the end of the day, these sessions make me want to write more and teach better—that’s the lift from the teaching in the Collaboratorium, the momentum you get for both writing and teaching.

Trook: In a town isolated from big cities, it's kept me connected to the larger writing community. It's always great to be able to support a writer's work by bringing them to speak and read.

What do you consider to be the value of literary programs for your community?
Trook: Opening students to a variety of styles, experiences, and cultural perspectives beyond the scope of our creative writing faculty is invaluable.

Mele: The Creative Writing Conference and Collaboratorium brings together students from Central Valley colleges and universities. We value our institutional relationships, and work to create a larger sense of community by hosting students and faculty from around the valley. We hope to invite more universities to participate in future conferences.

Photo (top): David "Mas" Masumoto. Photo credit: Andrea Mele.  
Photo (bottom): Fall Faculty Reading (left to right) Andrea Mele, Erik Habecker, Tom Hothem, Orisa Santiago Morrice, Yu-Han Chao, unknown, and Brigitte Bowers. Photo credit: Paul Gibbon.

Major support for Readings & Workshops in California is provided by the James Irvine Foundation and the Hearst Foundations. Additional support comes from the Friends of Poets & Writers.

The Seventh Annual Poets & Writers' Connecting Cultures Reading in New York City

Jyothi Natarajan is an editor and writer based in New York City who has worked in publishing and journalism for the past ten years. She is now managing editor at the Asian American Writers' Workshop, where she edits the Margins and runs a fellowship for emerging writers. As someone invested in the intersection of writing, social justice, and education, she helps run IndyKids, a social justice-oriented newspaper written by youth ages nine to thirteen. 

The Poets & Writers' seventh annual Connecting Cultures Reading took place on April 27, 2016, before a generous audience at the Asian American Writers’ Workshop. Ten writers representing P&W–supported organizations Jack Arts, Inc., Kundiman/Adhikaar, National Domestic Workers Alliance, Union Square Slam, and Women Writers in Bloom Poetry Salon gathered to celebrate the diverse literary communities of New York City and Poets & Writers' Readings & Workshops program.

When K Sloan, a singer-songwriter hailing from Detroit, opened the reading with a song, the audience fell into a stunned silence—her voice was just that powerful. "Down, down, down, bring it down," began the lyrics to "Ancestor Song," which Sloan wrote as part of Jack Arts, Inc.’s writing workshop Creating Dangerously. “I wrote these lyrics in response to a prompt asking us, ‘What would it look like to walk with your ancestors? What would you say to her?'” said Sloan. 

Joining K Sloan on stage was Sara Abdullah, an indigenous Arab/Iranian/Pin@y mestiza queer Muslima living the diasporic hustle, whose stunning poems were also generated from the Creating Dangerously workshop.

An experimental, performance-based writing workshop for women of color led by a rotating cadre of instructors including Virginia Grise and Kyla Searle, Creating Dangerously received support from Poets & Writers’ Readings and Workshops program, which has provided fees to writers who lead workshops that serve underrepresented audiences since Poets & Writers was founded in 1970. The Connecting Cultures Reading brought together writers who had participated in five such workshops. This year’s reading marked the first time Poets & Writers has featured work from multilingual workshops, bringing writers together with translators to help share immigrants’ stories, like Babita Chhetri.

Chhetri grew up in Darjeeling, India and had been doing childcare and housework for a family in Singapore for nearly a year when she decided she needed to escape from her employer’s exploitation and abuse. Underpaid and overworked, Chhetri did something most workers wouldn't have the strength or courage to do: She ran away from her employer. She had accompanied the family on a summer holiday in New York City and at the crack of dawn, Chhetri crept out of the building they were staying in, forced to leave her flip-flops behind.

"I felt everyone's eyes on me: here was a scared woman in wet pajamas, barefoot, carrying a small bag in her hand. Where could she be going?” Chhetri, who has been in the United States for the past nine years, read on stage from a letter she wrote in Nepali addressed to her daughter and son in Darjeeling. The audience was in tears. Her story was one of ten that were told through letters as part of a workshop called A Letter Home, organized by Kundiman and Adhikaar and led by writers Meera Nair and Muna Gurung.

Through the workshop, Nepali and Tibetan women expressed their experiences as domestic workers, immigrants, mothers, sisters, and daughters. Dolly Sharma joined Chhetri on stage to read her own letter, while the audience followed along with English translation printouts, all the while dabbing their eyes with tissues.

The night shifted from Nepali to Spanish when Adriana Mora, from Aguascalientes, México, and María Guaillazaca, who moved to New York from Ecuador nine years ago, read before the packed audience. Both women participated in a writing program organized by the National Domestic Workers Alliance in which they wrote in Spanish, responding to the idea of home—whether it was where they feel at home, other people’s homes, or the experience of working in someone’s home.

Other highlights from the evening included poet Sam Rush, who began writing poems after developing progressive hearing loss. Rush, who has been a part of Union Square Slam’s writing workshops, read poems that played with their realization of how many words each word could be, leaving the crowd dizzy with the emotional heft of their wordplay. Also a part of Union Square Slam, poet, screenwriter, and essayist Taylor Steele stepped on stage and immediately moved the mic aside. Her slam poems filled the room and left goose bumps in their wake.

Closing the evening were two writers from the Women Writers in Bloom Poetry Salon (WWBPS): Amber Atiya and Jacqueline Johnson. WWBPS, which is now celebrating its fifth anniversary, offers women writers of all levels space to create and share poetic work.

By the end of the evening the room felt much smaller. The stories and words shared so courageously gave even the audience members the strength to say hello to strangers, and share words with the writers who had moved them to tears.

Photo: (top) Readers from the Seventh Annual Poets & Writers' Connecting Cultures Reading. (middle) Dolly Sharma and Babita Chhetri. (bottom) Sam Rush. Photo credit: Alycia Kravitz.

Support for Readings & Workshops in New York City is provided, in part, by public funds from the New York State Council on the Arts, and the New York City Department of Cultural Affairs, with additional support from the Louis & Anne Abrons Foundation, the Axe-Houghton Foundation, the A.K. Starr Charitable Fund Trust, and the Friends of Poets & Writers.

Finding Our Voice After War

Mario Bonifacio writes short fiction. He served for ten years in the U.S. Army, both active and reserve, as a field artillery and cavalry officer, including a combat deployment to Iraq. He currently resides in Brooklyn, New York and has participated in the Voices From War writing workshop since 2014.

Back when war was a concept that only existed to me in history books or on the news, I wrote for myself—well, for myself and for the strangers who were out there, faceless, and felt things similar to me, even if they never read my work.

I chose active duty in the U.S. Army in 2003 and my writing slowed. Being trained for war, training a platoon for war and, eventually, war itself, all pulled my thoughts outward; reflections that could have once filled notebooks now remained on Texas shooting ranges and ambling desert roads in Iraq. The external world I’d chosen was dangerous and not to be taken lightly, but as I'd learn in the years that followed, so was ignoring the internal conflict that inevitably followed many of us home.

When I returned home from war, I focused on my professional reintegration, which was far from easy but a welcome distraction and enough to convince myself that I was happy—that to be walking and breathing was all I needed to be happy. To be anything but seemed a crime against the memory of those unlucky enough to have not made it back. But I knew enough to understand my happiness was worthy of distrust, like the way you feel when entering a rush hour subway car with what seems like too many available seats.

I joined the Voices From War workshop, sponsored by Poets & Writers, at first, to remain connected to other veterans, not yet convinced I wanted to write about my time serving or the issues I, and veteran friends, faced while readjusting. I obviously knew there was writing out there about the Iraq War, in addition to movies and other media, but I passively avoided it. The world beyond the military offered no shortage of lessons to learn, so why use my limited facilities to hear others speak about something I had already experienced firsthand? Much of it was pretty terrible anyway—inaccurate and exaggerated.

It was the other participants in Voices From War who convinced me that this wasn't a problem to be avoided, but rather one to be solved—a problem that would persist until we rose up to tell our version of the story. After all, no one but us had the memories to draw upon, to become the voices from the war in Iraq.

After completing my first few works and participating in my first readings, both in conjunction with the workshop, I was able for the first time to see those faceless readers I'd once imagined—people who might never have heard a war story directly from the source, people who feel they don't have a voice, and people I served alongside who, for many reasons, cannot tell their own stories.

In the most literal sense, our story doesn't exist unless we write it down. And I very much want our stories to exist.

Photos: (top) Mario Bonifacio. Photo credit: Christina Garofalo. (bottom) Voices From War workshop participants. Photo credit: Kara Frye Krauze.

Support for Readings & Workshops in New York City is provided, in part, by public funds from the New York State Council on the Arts, and the New York City Department of Cultural Affairs, with additional support from the Louis & Anne Abrons Foundation, the Axe-Houghton Foundation, the A.K. Starr Charitable Fund Trust, and the Friends of Poets & Writers.