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A children’s book author reports from the second annual Color of Children’s Literature Conference, where she finds myriad professional resources and an inspiring community working to publish more children’s books by and about people of color.
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Alicia Upano was born and raised in Hawai'i. She received a BA in journalism from the University of Massachusetts in Amherst and an MFA from the graduate program in creative writing at San Diego State University. She worked for newspapers in Washington, D.C. and Silicon Valley, and for a nonprofit documentary film organization in Oakland, California. Her creative work has appeared in the Asian American Literary Review. She currently works for the University of Hawai'i Press and lives on O'ahu.
Six years ago, I sat on a flight back to California from Hawai‘i, flipping through the inflight magazine. A photo captured my attention: Musicians in the 1970s gathered with string instruments on the Windward side of O‘ahu, in a town south of my elementary school. I left Hawai‘i for college a dozen years before, and what was once a mainland adventure had long been replaced by homesickness.
I built a fictional universe around this image and plodded through drafts as the characters emerged: a slack-key guitarist, his estranged wife, and their two grown children that witnessed the fallout. Through the course of 1969, secrets are revealed as their father’s health fails, and one loss threatens to replace another.
Most pages ended up in the trash those first years. Meanwhile, friends sold short fiction to literary magazines and attracted agents with books. I felt too slow, but in truth, thinking about publishing overwhelmed me when learning to write a novel felt hard enough.
Then I wrote the scene where the mother character decides to return to Hawai‘i and I understood that it was time for me, too. People told me this was a risky move—pricey housing and fewer work opportunities—but family and friends managed on the island, and I figured I could, too.
At home, the book started to take shape. A friend sent me news of the Maureen Egen Writers Exchange Award (WEX) and encouraged me to apply. When I sent my application at a Honolulu post office, I hoped for some recognition that the story was, finally, moving. That there was a little spark.
My writing is consumed with this fictional family and their complicated love for each other. It often felt like an insular universe, and I’m the only real one there, but winning the WEX Award changed that. I’m incredibly grateful to fiction judge Alexander Chee for finding promise in my work. In his comments, he wrote that my first chapter was “full of a love for the islands, the history, and the music and the people who make that place what it is,” and I got teary, because this is what I have been working to share.
This award also gave me a welcome crash course in publishing. When Poets & Writers asked who I wanted to meet, I poured through the acknowledgment pages of favorite books to learn about agents and editors. It was a particular treat to share with Maureen Egen, sponsor of the prize, how I’d fallen in love with the classic Gone with the Wind as a twelve-year-old in Kahalu‘u. It was my first adult book and I immediately picked up the sequel, Scarlett, edited by Egen.
In New York, I felt surrounded by people who love books, as I do. I share this award with poetry winner Kimo Armitage, an accomplished local writer. His friendship and good humor made me feel like I had a bit of home with me, and his own publishing experiences offer me valuable lessons as an emerging writer.
Before this award, my writing was largely private. After the announcement, several people told me, “I didn’t even know you wrote,” or new acquaintances said, “I was wondering who won that.” What I discovered in New York is that every book needs a community of champions and advisors, both professional and personal, to thrive. This award invites me into a larger writing community, both on the island and away. Thanks to Poets & Writers, Maureen Egen, and Alexander Chee for making this possible.
The Maureen Egen Writers Exchange Award is generously supported by Maureen Egen, a member of the Poets & Writers Board of Directors.
Photos: (top) Alicia Upano (Credit: Margarita Corporan). (middle) Alicia Upano and Alexander Chee (Credit: Kimo Armitage). (bottom) Elliot Figman, Kimo Armitage, Alicia Upano, and Bonnie Rose Marcus (Credit: Jessica Kashiwabara).Arundhati Roy’s impact on Indian literature; the state of journalism in the digital age; a history of the Paris Review; and other news.
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PEN America has announced the recipients of the annual PEN/Heim Translation Fund Grants. This year the judges awarded fifteen grants of $3,870 each to assist in the completion of translation projects spanning thirteen different languages. PEN also announced the winner of the inaugural $5,000 Grant for the English Translation of Italian Literature.
The 2017 PEN/Heim Translation Fund Grant recipients are:
Nick Admussen for his translation from the Chinese of Ya Shi’s poetry collection Floral Mutter
Polly Barton for her translation from the Japanese of Misumi Kubo’s novel Cowards Who Looked to the Sky
Elizabeth Bryer for her translation from the Spanish of Aleksandra Lun’s novel The Palimpsests
Vitaly Chernetsky for his translation from the Ukrainian of Sophia Andrukhovych’s novel Felix Austria
Iain Galbraith for his translation from the German of Raoul Schrott’s Selected Poems
Michelle Gil-Montero for her translation from the Spanish of Valerie Mejer Caso’s poetry collection Edinburgh Notebook
Sophie Hughes for her translation from the Spanish of Alia Trabucco Zerán’s debut novel, The Remainder
Elisabeth Jaquette for her translation from the Arabic of Rania Mamoun’s story collection Thirteen Months of Sunrise
Kira Josefsson for her translation from the Swedish of Pooneh Rohi’s novel The Arab
Adam Morris for his translation from the Portuguese of Beatriz’s Bracher novel I Didn’t Talk
Kaitlin Rees for her translation from the Vietnamese of Nhã Thuyên’s poetry collection A Parade
Dayla Rogers for her translation from the Turkish of Kemal Varol’s novel Wûf
Christopher Tamigi for his translation from the Italian of Mauro Covacich’s novel In Your Name
Manjushree Thapa for her translation from the Nepali of Indra Bahadur Rai’s novel There’s a Carnival Today
Joyce Zonana for her translation from the French of Tobie Nathan’s novel This Land That Is Like You
The recipient of the inaugural $5,000 PEN Grant for the English Translation of Italian Literature is Douglas Grant Heise, for his translation of Luigi Malerba’s novel, Ithaca Forever.
PEN’s prize advisory board selected the fifteen grantees from a pool of 224 applicants. For more information about the winners and the Translation Fund, which is now in its fourteenth year, visit PEN’s website.
