You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
Cover Art: “The Home Front" from the Volition Era Series 2011<br />
By Jordan Josafat<br />
© March, 2013 by <strong>Kartika</strong> Review<br />
<strong>Kartika</strong> Review publishes fiction, poetry, and nonfiction that endeavor to expand and<br />
enhance the mainstream perception of Asian American creative writing. The journal<br />
also publishes book reviews, literary criticism, author interviews, and artwork,<br />
turning its focus on works relevant to the Asian Diaspora or authored by individuals<br />
of Asian descent.<br />
2
ADVISORY BOARD<br />
Elmaz Abinader<br />
Justin Chin<br />
Peter Ho Davies<br />
Randa Jarrar<br />
Gish Jen<br />
Elaine H. Kim<br />
Maxine Hong Kingston<br />
Gus Lee<br />
Li-Young Lee<br />
Min Jin Lee<br />
Ed Lin<br />
Nami Mun<br />
Fae Myenne Ng<br />
Lac Su<br />
Bryan Thao Worra<br />
EXECUTIVE DIRECTOR<br />
Vinay Patel<br />
PROGRAM COORDINATOR<br />
Jennifer Banta<br />
ISSUE 15 | SPRING 2013<br />
3<br />
MASTHEAD<br />
MANAGING EDITOR<br />
Sunny Woan<br />
FICTION EDITOR<br />
Christine Lee Zilka<br />
POETRY EDITOR<br />
Eugenia Leigh<br />
NONFICTION EDITOR<br />
Jennifer Derilo<br />
CONTRIBUTING EDITOR<br />
Paul Lai<br />
<strong>Kartika</strong> Review is a proud member of the<br />
Council of Literary Magazines and Presses.
MISSION STATEMENT<br />
<strong>Kartika</strong> Review serves the Asian American community<br />
and those involved with Diasporic Asian-inspired<br />
literature. We scout for compelling Asian American<br />
creative writing and artwork to present to the public at<br />
large. Our editors actively solicit contributions from<br />
established virtuosos in our community in hopes their<br />
works here will inspire the next generation of virtuosos.<br />
We also showcase emerging writers and artists we<br />
foresee to be the future powerhouses of their craft.<br />
Ultimately, <strong>Kartika</strong> strives to create a literary forum<br />
that caters to and celebrates the wordsmiths of the<br />
Asian Diaspora.<br />
4
ISSUE 15 | SPRING 2013<br />
TABLE OF CONTENTS<br />
Editorial Eugenia Leigh 6<br />
FICTION<br />
A Shadowed Season Sharon Hashimoto 11<br />
Skin Deep Anu Kandikuppa 20<br />
Heartbreak Wah-Ming Chang 29<br />
Thoughts of Sinking Kaitlin Solimine 32<br />
FEATURED ARTIST<br />
Jordan Josafat 49<br />
POETRY<br />
Nu Ren Xin Hai Di Zhen: A Woman’s Heart is a<br />
Needle at the Bottom of the SEa<br />
5<br />
Karen An-hwei Lee<br />
Parousia I 56<br />
Portrait of Anonymity Henry W. Leung 57<br />
Quarantine 58<br />
Tree Risings Purvi Shah 59<br />
NONFICTION<br />
The Transfusion of Yukiyo Kanahashi Jackson Bliss 60<br />
Club Gigolo Sean Labrador y Manzano 71<br />
AUTHOR INTERVIEW<br />
Monique Truong<br />
Christine Lee Zilka and<br />
Sunny Woan<br />
Contributor Bios 80<br />
Editor Bios 83<br />
55<br />
74
EDITORIAL<br />
Eugenia Leigh<br />
Dear Readers,<br />
After I read the heart-wrenching pieces in this fifteenth issue of <strong>Kartika</strong><br />
Review, I was numb with gratitude. So here I am, debuting as the magazine’s<br />
new Poetry Editor, babbling before you and humbled to be part of such a<br />
necessary venture. Let me explain what I mean.<br />
Last September, a Minneapolis paper reported that Japanese American writer<br />
David Mura once gave Junot Díaz this advice:<br />
"Sometimes you've got to become the person you need to become before<br />
writing the book you want to write. The desire and the talent are not always<br />
enough, sometimes you have to change as a human being."<br />
My brain lacks the mechanism that separates the creator from his or her<br />
creation. I was the kid who—about halfway through reading a book—flipped<br />
to the back to find the author’s bio. I wanted to know who it was that told the<br />
story. Why that person chose to tell this story as opposed to thousands of<br />
others. Why that person cared whether I listened or walked away.<br />
I read every story and poem in this issue with David Mura’s words in mind.<br />
How did these authors have to change and who did they have to become<br />
before they could write these pieces? I imagined them in solitude for hours,<br />
mulling over diction, toying with line breaks, stomping all over standard<br />
syntactic formulas. These writers are scientists. They’re researchers of<br />
human lives. They observe the slightest nuances of the heart, experiment<br />
with language and report their findings in the most elegant ways.<br />
When I finished, I discovered a remarkable thread throughout this issue:<br />
each author delivered his or her story with staunch dedication to emotional<br />
truth.<br />
The fiction section gives us four distinctly different voices. Sharon<br />
Hashimoto’s “A Shadowed Season” delves into the internal dialogue of a<br />
great-grandmother, Etsuko, stuck in a nursing home. Even while telling<br />
Etsuko’s story in the third person, Hashimoto possesses the startling ability<br />
to burrow into the deepest crevices of Etsuko’s memories and regrets, and<br />
unveil the unsettling melancholy of the elderly.<br />
6
ISSUE 15 | SPRING 2013<br />
The other three fiction pieces are told in the first person, but explore their<br />
characters’ struggles in vastly different ways. Kaitlin Solimine’s “Thoughts<br />
of Sinking” is told in the voice of Lao Chen, the husband to a woman reeling<br />
from chemotherapy’s aftermath. As we follow the couple through their<br />
daughter’s diving meet, Solimine uses Lao Chen to extrapolate on the largest<br />
life questions: “What is life for? Why love? Why die?” She peppers her story<br />
with a number of quotes, my favorite belonging to poet Han Shan, who said,<br />
“Tell families with silverware and cars: what’s the use of all that noise and<br />
money?” Solimine’s story, an excerpt from a novel, is the longest fiction<br />
read, but embodies the wisdom of someone who had to become a certain,<br />
tried adult before she could confront such giant themes.<br />
Wah-Ming Chang’s “Heartbreak” explores the healing process of the<br />
narrator accepting the suicide of Leslie Cheung, an actor. The short piece<br />
conveys this jarring emotional journey by refusing to reveal. It is distilled,<br />
keeps the worst emotions at bay and requires the presence of a third<br />
character—a stranger who remains anonymous as “the waiter”—for the<br />
narrator to process the suicide. Chang’s carefully crafted portrait gifts us<br />
with a uniquely reserved narrator, unwilling to break down while clearly<br />
being desperate for closure.<br />
Anu Kandikuppa makes a brilliant choice in “Skin Deep” by using a series<br />
of letters to introduce us to the obsessive nature of an Indian mother, Manju<br />
Nohria, who remains blinded to her own prejudice regarding skin color.<br />
Although Nohria spirals into an almost desperate caricature of a woman with<br />
deep-seated racist ideas, Kandikuppa expertly reports Manju Nohria’s<br />
insecurities and issues without providing a solution or didactic moral or the<br />
author’s own opinions. She remains true to Nohria’s sentiments.<br />
I selected five poems by three poets for the poetry section because I admired<br />
their ability to make confident declarations in emotionally vulnerable ways.<br />
All five poems require the poets to have walked through certain fires before<br />
arriving at this place of honest reflection.<br />
Henry Leung’s “Portrait of Anonymity” and “Quarantine” are two poems<br />
with wildly different subject matters—post-heartbreak and post-apocalypse,<br />
respectively—but share a similar sobriety and gorgeous lyricism in their<br />
approach to the aftermath of dark times. The soul-shifting lines I am clinging<br />
to this season come from “Quarantine”: “Mountains heave up; I can walk /<br />
over anything if I don’t stop.” As the poetry editor, I am honored to give you<br />
these poems in the heart of winter. To show you, as much as I need to show<br />
myself, what is possible even when “pain travels through me / at three<br />
hundred feet per second.”<br />
7
Purvi Shah’s “Tree Risings” directly reflects David Mura’s sentiment that<br />
certain writings require the wisdom of growth and even age. The speaker in<br />
this poem, “nearer to forty,” observes and speaks to a four-year-old child,<br />
but possesses the open, teachable heart to be able to extract metaphor and<br />
life lessons from this seemingly minor interaction. Here, it isn’t the poet who<br />
tells us how to live. It is the poet who shares what this child has taught her:<br />
“which branch is stable, which foot leads, which foot / clasps.”<br />
Karen An-hwei Lee’s first poem, “Nuren Xin Haidi Zhen: A Woman’s Heart<br />
Is a Needle at the Bottom of the Sea,” hones into the world’s “crevasse,” that<br />
icy place “far below the earth” where we humans store our pain. Lee<br />
highlights “a girl [who] crawls inside her own grief,” and explores the girl’s<br />
suffering by asking a series of questions, but never offering the author’s<br />
answers. Instead, Lee ends the poem by allowing the girl—the owner of that<br />
suffering—to speak. Lee’s second poem, “Parousia I,” takes a prophetic tone<br />
in which she escapes the crevasse and postulates on the state of “nations”<br />
and even the “universe.” Although confident, Lee’s tone magically keeps<br />
from being didactic—especially with a polite request to share what she<br />
“sees”—and ends with a gentle imperative for the world.<br />
The two non-fiction pieces in this issue blew me away with their boldness.<br />
They both use experimental structural vehicles to tell their stories and both<br />
spotlight uncomfortable truths about humanity.<br />
Sean Labrador y Manzano’s “Club Gigolo” strikes us with two bulky,<br />
paragraphs filled with stream-of-consciousness, and begins with the<br />
exchange of a mint between the mouths of two cousins. Labrador y Manzano<br />
throws us into a crowd of details whirling through Olongapo, Philippines.<br />
Our eyes dart with the narrator’s and our minds jump from body parts to<br />
memories to questions to sounds along with the narrator’s mind. By the end<br />
of the story, Labrador y Manzano convinces us that this is the only way to<br />
show us how someone finds his long-lost cousin and stumbles upon her life<br />
as a sex worker.<br />
Jackson Bliss’ “series of (im)perfect and flawed translations, a project of<br />
narrative multiplication” pieces together the disjointed memoir of his<br />
Japanese grandmother, Yukiyo Kanahashi. In “The Transfusion of Yukiyo<br />
Kanahashi,” Bliss epitomizes the David Mura quote when he admits, “It took<br />
most of my life to piece together her story, and even more time for the scraps<br />
to cohere, but one day I finally understood the truth about my sobo.” Bliss<br />
needed to become the man he became before being able to understand the<br />
pain and shame of his grandmother, a survivor of a series of crimes. <strong>Kartika</strong><br />
8
ISSUE 15 | SPRING 2013<br />
readers, we have the privilege of being the first audience to receive this<br />
masterful insight into trauma and dementia, told in twenty-two sections<br />
wrought with an unflinching honesty that comes only after years of<br />
deliberate (and likely excruciating) reflection and questioning. I read Bliss’<br />
piece last. And when I came to the end of it, I found myself in tears.<br />
Many people have written about suicide. And cancer. And race and postapocalyptic<br />
worlds, for that matter. But something compelled each author in<br />
this issue of <strong>Kartika</strong> to challenge our understanding of some of humanity’s<br />
most complicated topics. Only some give us redemption, but they all come<br />
out baring the flesh of their characters and revealing what it means to be a<br />
human in a broken world. Not a single author lies to us.<br />
We also have the honor of featuring an interview with Monique Truong—<br />
author of The Book of Salt and Bitter in the Mouth—who creates characters<br />
who live as outsiders in their stories but possess a beautiful humanity that<br />
Truong explores to connect them intimately to her readers.<br />
Issue 15 is a personal gift for me. I expected to “enjoy” being an editor, but I<br />
didn’t expect to be changed. I didn’t expect my first issue as poetry editor of<br />
<strong>Kartika</strong> would bless me with a newfound conviction—that today’s Asian<br />
American writers are working their asses off to pry open the mouths that<br />
have stayed silent for too long. They are the voices our ancestors—even<br />
some of our parents—never dared to long for. The voices that tell their truths<br />
and tell them naked. Without shame. And through such meticulous<br />
dedication to craft, we find healing and a new trajectory through which our<br />
collective narrative will be shared for generations.<br />
I thought I was signing on to be part of a magazine. Thank you, authors and<br />
readers, for showing me that I’m signing on to be part of a movement.<br />
Go relish this issue. And buy a copy for someone you love. See you at AWP!<br />
Cheers,<br />
Eugenia Leigh<br />
Poetry Editor<br />
9
The Home Front<br />
Jordan Josafat<br />
10
A SHADOWED SEASON<br />
Sharon Hashimoto<br />
ISSUE 15 | SPRING 2013<br />
Etsuko could still count, but she needed to keep track with her fingers.<br />
Sometimes she was distracted by the age spots and broken cuticles. Did it<br />
really matter if ninety-six came after ninety-eight? She’d been waiting so<br />
long for Masayuki’s return that the numbers didn’t really seem to matter.<br />
Mostly, it was just a way to pass the hours. Hard enough to know the day of<br />
the week and when to expect her daughter’s visit.<br />
Etsuko was losing her English words syllable by syllable. When she spoke, it<br />
was in choppy simple sentences. Bumbye, she counseled herself. Just wait.<br />
Once in a while she could trick herself into remembering. What was she<br />
supposed to do, what was she supposed to say to get somebody’s attention?<br />
The white people who ran around in brightly colored scrubs were so rushed<br />
and busy. They would stare at her, watching her lips, then wrinkle their own<br />
eyebrows. Last night, there’d been the nurse who just frowned, shook her<br />
head and walked away. I’ll count to one hundred to give them a chance,<br />
Etsuko reasoned.<br />
There was a time when she could sniff the air, feeling the hot sun on her<br />
shoulders and know that she would soon be harvesting the papayas and figs<br />
in the yard. At her house, mounded globes of lichee nuts would litter the<br />
ground. Such a small tree, but with so many limbs bending with the fruit.<br />
How Masayuki loved their sweet white flesh, piling high the shiny almondshaped<br />
seeds. How she warned the boy not to eat so much. All he knew was<br />
that lichee nuts tasted good on his tongue, cooling in all the hot Hawai’i sun.<br />
She shivered. In this air-conditioned place, her body was forgetting the shift<br />
of seasons, when her joints would ache and grind with the threat of rain. The<br />
mustachioed man in the navy suit on the TV news station always spoke in<br />
the same tone of voice even though there were pictures of plane crashes or<br />
yellow suns with the day’s expected high temperature. “Thank-you, may<br />
I…”—the polite terms she once used were slipping away. Mostly Etsuko<br />
grunted when the Nurse’s Aide asked if she needed to use the toilet. They<br />
always pinched her elbow when she struggled with her walker down the hall.<br />
This morning when she woke up, snapping her neck to one side, she had<br />
been surprised by the sight of her arms lying like two old branches against<br />
the white sheets. She wanted to pop the kink out of her shoulder from<br />
sleeping on a too-soft mattress. The Japanese block pillow that held the<br />
shape of her neck was gone. Instead she found herself in a high twin bed<br />
with a metal guard rail to keep her from falling out. She had to bite her lower<br />
11
lip as she tried to swing her swollen feet to the edge. All she succeeded in<br />
was tangling up the bed sheets. It served her right, she thought. Why had she<br />
decided to cut down the lichee tree? She distinctly remembered setting out<br />
the step stool, balancing her legs against the fourth step and swinging away<br />
at the top branches with a hatchet. Diseased and thin, the tree was only about<br />
six feet tall, maybe four inches in diameter. There had been a satisfied thump<br />
when the top had fallen to the ground, the twigs and dead leaves scattering in<br />
a circle around her. Etsuko knew enough to take the felling in stages. A little<br />
bit at a time, she told herself.<br />
But now she was bored with holding still and waiting for her breakfast.<br />
There was only so much sleeping an old lady could do. She didn’t recognize<br />
her roommate who seemed to have shriveled up into a fetal position and<br />
disappeared into a lump among the blankets. Etsuko wanted her green tea,<br />
rice with a raw egg broken on top, a little pickled takuwan on the side. She<br />
put her hand against her stomach, wondering when it would start growling.<br />
She made a face when her tray finally came. There was a bowl of brown<br />
oatmeal, a piece of dry toast, and some orange juice that came in a plastic<br />
container with a piece of foil over the top. “Gohan,” she said to the attendant,<br />
pointing a crooked finger at the bowl. “Ocha,” she repeated, raising the<br />
plastic cup.<br />
“Coffee?” the blond girl asked, the corners of her mouth pulling her smile<br />
into a frown. Her lipstick seemed to grow redder against the peach-like skin.<br />
Then the face brightened. “Tea? Would you like me to get you some tea?”<br />
Etsuko kissed her cup, nodding up and down. That was one word she<br />
remembered. The English word was tea.<br />
The blond girl seemed proud of herself when she brought back a little metal<br />
pot and a small square tea bag with a mailman’s face on it. “Lipton’s,” she<br />
said, raising and dunking the square into the hot water.<br />
At least she was trying to be kind, Etsuko thought to herself. That was more<br />
than her dull daughter could manage. After thirty years of marriage to that<br />
hakujin, what should she expect?<br />
The blond attendant sat with her a while, and Etsuko felt obligated to take a<br />
few spoonfuls of the gruel. The toast should have been darker, but it was<br />
okay. She ate slowly, waiting for the time when she could shove her cloth<br />
napkin into the bowl and hide what was left.<br />
12
ISSUE 15 | SPRING 2013<br />
“Nurse Hopkins said your daughter will be coming in with your<br />
grandchildren, and great-grandchildren. They’re going to help you celebrate<br />
your eighty-fifth birthday. You’re going to want to comb your hair. I’ll come<br />
back to help you later.”<br />
Etsuko chewed and swallowed, chewed and swallowed. It didn’t matter what<br />
the attendant had said. She knew this was as good as breakfast would get.<br />
But even though the food didn’t taste good, at least it was something to do.<br />
The warmth of her cup soaked into her thin fingers. The steam smelled<br />
sharply of leaves. She was getting sleepy. Etsuko pointed her big right toe<br />
beneath the blanket, then felt the calf muscle tighten. Little needles danced<br />
up and down her leg as the circulation returned. It was usually her knees that<br />
wobbled, had made her take to using a stick to tap her way across the yard.<br />
She knew the pain couldn’t be fixed. There had been too many floors to be<br />
scrubbed, too many bills she had carried in her fisted hand as she bowed<br />
lower and lower before the merchants—promising to pay, giving what she<br />
could. Who had the money or the time?<br />
When you were poor, there were always so many things to do, promises to<br />
make to children. Someday, after we’ve saved a bit of money. Someday<br />
when you’ve grown up and have a good job, you can afford to go to a movie<br />
or maybe a Chinese restaurant. So many times when she had to bend over to<br />
pick up the little ones when they cried and reached out, swing them onto her<br />
hip. All of them had looked like fat sausages, their arms and legs ballooning<br />
up until they finally began to crawl. And she had been so skinny, so busy<br />
washing other people’s laundry in a big wooden tub.<br />
She had ti leaf plants at all four corners of their rented house—for health and<br />
good fortune. But they had grown up stunted or diseased with browned<br />
edges. Maybe she had used all her luck up in seven short years. Lucky in<br />
love, a good strong man who hadn’t minded that she was uneducated,<br />
without social standing. So lucky that he chose her over his own family. Her<br />
husband had had plans to buy land. They were saving money. And then,<br />
there had been the two babies who died. Finally, her husband.<br />
She lay and drowsed, her arms cradling herself as if she were cold. There<br />
was the funeral service, the casket carried by eight of the men who had seen<br />
the scaffolding start to crumble, who had shouted and scrambled to dig her<br />
husband loose of the rubble. But she hadn’t cried. There was too much to do,<br />
and all she wanted was a little rest.<br />
“Ka-san! O-ka-san!” The voices seemed to pull at Etsuko, just like they had<br />
at the funeral, their tiny hands pulling at her sleeves.<br />
13
“Masayuki! Tsune, sit quietly. Behave yourselves.” She had wanted to add:<br />
“That is your father inside that box. What will people think?” She could have<br />
pinched their upper arms. But then she had to remind herself that they were<br />
children. There were only the two left now, the oldest girl, the youngest boy.<br />
She squinted and it took a while for her to fully open her eyes. Etsuko sighed,<br />
cracking her lids open a little at a time, slamming them shut, and then<br />
blinking them wider. There was Tsune, grown-up, her face tying up in hard<br />
knots. Her hands were gently tugging at Etsuko’s hospital sleeve. A brightly<br />
wrapped rectangle was propped up on her stomach. The bow was looped in<br />
intricate circles, a strange artificial blossom. Etsuko wanted to hold it close<br />
to her nose, sniff the perfume. The ribbon’s silver metallic glittered like<br />
sharp sparks in the room’s bright light.<br />
“Nani desu?” she asked. Her fingers turned the package around and around.<br />
Carefully she watched her daughter’s face.<br />
Tsune, the girl, had been born first. And in those first few weeks, everyone<br />
had thought she held the promise of becoming a beauty. Jet black hair, pale<br />
skin, oval face. Etsuko had been expecting so much. But babies change and<br />
by the time Tsune was fifteen, it seemed to Etsuko that her daughter’s skin<br />
was a dead white. Her eyes were too small and close together. Tsune was a<br />
hard worker, a dutiful child, but homely.<br />
“A birthday present, Ka-san. Something I thought you could wear for the<br />
party.” Tsune pulled the ribbon off. “Here, let me help.”<br />
Inside was a red polyester dress with a black belt. Tsune held it up by the<br />
shoulders, then lay it close to her mother’s chest.<br />
“Takai, ne?”<br />
“It’s a gift, Mama. You shouldn’t worry about money.” Her voice sounded<br />
exasperated. She straightened the cuffs on the long sleeves. “I think it’ll look<br />
very nice on you. Red is a good color.”<br />
Red, Etsuko thought to herself and shook her head. She would be<br />
embarrassed to wear that shade. It was too young for her now. She was long<br />
past her days of wearing bright colors. Tsune was always trying to buy<br />
things with her white husband’s money. Etsuko would have preferred her<br />
own black wool dress, the one she had stitched on a trundle sewing machine<br />
borrowed from the Minamotos. She had cut the material from a fine old<br />
14
ISSUE 15 | SPRING 2013<br />
kimono. Moth-eaten, the owners had said, and she had purchased it for a few<br />
dollars—liking how the fabric felt, how the black weave picked up sunlight.<br />
Always thin, the dress still fit. Etsuko had last worn it to her niece’s wedding<br />
with the simple one-pearl necklace her husband had given to her. She<br />
thought she had looked very fine. Would the boy, Masayuki, recognize her<br />
in red?<br />
There had been little blood when the eight-year-old had fallen. He had been<br />
shinnying high to reach the last fruits on a tall mango tree. Masayuki was<br />
always so hungry. Tsune had run up to Mrs. Littlejohn’s house and pounded<br />
on the door. Etsuko hadn’t felt any broken bones. Only a deep puncture<br />
wound on the side of the boy’s heel. She had made a paste of ground up<br />
potato bugs to help eat the bad flesh away. But Masayuki had grown fevered.<br />
More bad luck, Etsuko thought to herself. From that time on, it seemed like<br />
something was always a burning inside, behind her son’s young eyes.<br />
And then Tsune was pulling the dress over her head, and she was sputtering<br />
and flailing as her hands searched for an opening. “I’ve only the one chance,<br />
Ma,” a voice seemed to be saying from the past, either her husband or her<br />
son. She hadn’t thought they sounded anything alike, but here they were<br />
together inside her head.<br />
When the buttons had found their holes, and Tsune had straightened the<br />
sleeves and collar, Etsuko had leaned against the bed, then looked down to<br />
see her feet still wearing battered zoris. The dress felt silky and smooth, but<br />
her own skin seemed so wrinkled.<br />
“Be patient, you say. Wait! Always wait! How long?” The words were<br />
circling around and around and Etsuko kept seeing how Masayuki would<br />
turn a lichee, gently tearing the shell into one long peel. “Until I die?” This<br />
voice that spoke belonged to a young man, his hair slicked back into a<br />
pompadour high on his forehead.<br />
Tsune’s hair was clipped short at the sides, a little longer in the back; and the<br />
grey wool suit she wore did nothing to make her appear younger. She looks<br />
like my mother, Etsuko thought, as Tsune bustled about, searching through<br />
drawers for stockings and soft slip-on shoes. She wondered if Masayuki<br />
would limp with a cane. His weakened ankle might make his walk unsteady.<br />
Perhaps he would slump, round-shouldered like his father.<br />
“Why do boys want more?” she asked herself. “More love, more food, more<br />
money?” Wrapped up in a piece of toweling, hidden inside a tin can beneath<br />
a board under the bed, the sepia-toned picture of the two of them after their<br />
15
simple wedding was kept. Along with the certificate the boss man from the<br />
construction company had pressed into her hand after the funeral. It had<br />
come in a stiff creamy colored envelope. “A bond,” he had said and she<br />
hadn’t understood his words. “It won’t help you now. This needs time to<br />
grow. We’re so sorry for your loss. It’s the best we can do.” Masayuki had<br />
wanted the money.<br />
In Tsune’s white husband’s house, Etsuko had seen the photograph framed<br />
in dark mahogany and hanging on the living room wall. She had left a smear<br />
of her fingertip as she touched the half of herself, remembering the fine long<br />
neck her family had praised. Her hair, thick and shiny. She hadn’t<br />
remembered herself as being happy, only startled by the sudden flash of<br />
white light.<br />
Masayuki could always a find a way to change her meaning. Tricky boy.<br />
“Sunday! You said Sunday soon we would go downtown to buy me shoes.”<br />
Etsuko had shaken her head. “I say someday.” Tsune had never demanded<br />
much. Always busy, she would wash dishes or sweep the floor. She kept her<br />
face turned away even when her brother started to fuss and shout.<br />
“I’m the man of this family!” Masayuki finally yelled, stomping his bad<br />
ankle.<br />
Etsuko brushed the loose strands of her pulled back hair out of her eyes. She<br />
felt her skin begin to burn with her own anger, her own shame. Masayuki<br />
had no respect. After all the long hours she put in cleaning other houses and<br />
working in the fields to put simple food on the table, to make a home—how<br />
dare this boy call himself a man? He had grown taller and more handsome.<br />
Etsuko had overheard silly girls gossiping about what a kiss from those lips<br />
would be like. Still, he put nothing toward the household. Tsune cooked and<br />
cleaned. All Masayuki thought of was himself.<br />
She grabbed her son’s upper arm, jerking him off-balance. “Boy,” she hissed<br />
through her teeth. “No man.” She pushed Masayuki away from her, then<br />
watched as he stumbled, helplessly throwing her arms up into the air.<br />
Muttering under his breath, he stormed out of the kitchen to slam his<br />
bedroom door behind him.<br />
Etsuko could hear herself breathing in short little gasps. She went back to<br />
stand next to her endless ironing, the steam rising from the hot metal. Anger<br />
she understood: fat customers who tried to edge their way in front of her,<br />
Mrs. Littlejohn insisting she put in extra time with no extra pay. “Tomorrow,<br />
16
ISSUE 15 | SPRING 2013<br />
he be better.” Etsuko spoke aloud even though she knew Tsune wouldn’t<br />
answer.<br />
Maybe raising Tsune had been too easy. Etsuko didn’t know what the girl<br />
ever thought about, how she felt about being pulled out of school to help<br />
earn money. And here she was, bent over beside Etsuko’s bed, carefully<br />
sliding white anklets over her mother’s toes. Tsune’s hair was more grey<br />
than black now. The two sides of the bob cut parted to expose the back of<br />
her neck. Quietly, Etsuko raised one hand, wondering briefly what it would<br />
be like to touch the skin, before she let her fingers fall back.<br />
As Tsune rolled her wheelchair into the dining hall, Etsuko glanced up at all<br />
the people gathered in one room. Everyone, even the other residents leaning<br />
on their canes and sitting in chairs with dressing robes pulled tight around<br />
them, were waiting. Some bored youngsters were lingering close to the<br />
windows. For two ugly people, Tsune and her husband had managed to have<br />
attractive children with reddish-brown hair. Their lips were cupid-shaped<br />
and pouty. Their eyes had strange grey shades circling a pale brown iris.<br />
“Okasan, my mother, had me and a brother, Masayuki. And now there’s<br />
three grandchildren and five great-grandchildren,” Tsune stopped, slowing<br />
the wheelchair to explain to a staff worker. Etsuko lifted up her head at the<br />
sound of her son’s name, but she didn’t understand the rest of the sentence.<br />
What she saw was how Tsune’s husband walked out from the crowd to stand<br />
close, to slide one arm around his wife’s waist.<br />
In their best dreams, rocking their infant son in his cradle, she and her<br />
husband had imagined Masayuki with a tiny, graceful wife from Yamaguchi<br />
Perfecture. They would have money to send him to study in Japan. He would<br />
return to help his father with their growing farm. Etsuko squirmed, trying to<br />
turn around, searching for the face of her son. She felt Tsune lay one hand on<br />
her shoulder.<br />
And then everyone in the room started clapping as Etsuko was rolled to the<br />
head of a table. A huge sheet cake with burning candles was spread before<br />
her. She blinked at the bright points of light, the sound of all those pairs of<br />
hands striking each other.<br />
His black head had been cradled on his shoulder, his arms searching for the<br />
box beneath the bed. Masayuki had been flat out on his belly. For light, a<br />
single candle was pushed out before him. His open palm and spread fingers<br />
had slammed the floor when he realized what he wanted wasn’t there.<br />
17
Etsuko had backed out the door slowly, silently closing the narrow seam. He<br />
had looked like a boy who had fallen, not a grown man at all.<br />
Twenty-five years old and Masayuki hadn’t married. He was a clerk in a fish<br />
store who spent his days scaling gills, chopping off heads and tails. Etsuko<br />
told herself, maybe it was time. She hadn’t expected the years to pass as they<br />
had. She had wanted to use the money to pay off the last of her husband’s<br />
debts, the ones he had inherited from his own father.<br />
“Tsune and I, we have nothing,” she told her son. Yellowed, the envelope<br />
still bore a stain from he cut flowers Etsuko had held during the funeral.<br />
When she offered it to Masayuki, she saw how his fingers wanted to pull the<br />
paper from her grasp. Still, she held on. “You borrow. You pay back.”<br />
Masayuki hadn’t even looked at her as he took the certificate: “Yes, of<br />
course I will.” He blinked, and she knew he was seeing cities on the<br />
mainland: Sacramento, maybe San Francisco or Seattle.<br />
Etsuko had known the words were empty. She grabbed one ear like the<br />
handle of a jug, as she had done when he was a child, and pulled his face<br />
close to her own. “Promise,” she insisted.<br />
Playing with the crumbs on her plate, Etsuko thought the frosting had been<br />
too sweet. It had been a moist white cake with bits of dried fruit scattered<br />
throughout. Tsune had cut the first big piece and placed it before Etsuko<br />
after she had blown out the candles. After four tries, everyone had laughed<br />
as she waved her napkin in the air to blow the smoke away.<br />
When Tsune’s husband asked her what she had wished for on her birthday,<br />
her daughter had to translate the question, and then Etsuko couldn’t seem to<br />
remember. The bright lights cast so many shadows. Voices chattered all<br />
around her until it all became a buzz, like a mosquito humming beside her<br />
ear. For a moment, she thought she was home, outside in the yard, just as the<br />
sun was going down. In the cooling day, there had been her bird of paradise<br />
to water, new ti leaf shoots to tie up. All that spoiled fruit fallen to the<br />
ground. Last night’s wind had broken another branch off the lichee tree. So<br />
old, it’s sad, she nodded to herself as she stepped around, fingers trailing<br />
over the bark. Masayuki would miss the shading leaves, Etsuko argued with<br />
herself. Reluctantly, she decided. In the shed is the hatchet: “Tomorrow, it<br />
all comes down.”<br />
18
ISSUE 15 | SPRING 2013<br />
Sharon Hashimoto teaches at Highline Community College in Des Moines,<br />
Washington. Her short stories have appeared in North American Review, Crab<br />
Orchard Review, Tampa Review, Shenandoah, THEMA and others. Her book of<br />
poetry is The Crane Wife, co-winner of the Nicholas Roerich Prize and published by<br />
Story Line Press in 2003. She received a NEA creative writing fellowship for poetry<br />
in 1989.<br />
19
SKIN DEEP<br />
Anu Kandikuppa<br />
To: Kindergarten Oak<br />
From: Manju Nohria<br />
Re: Daily update<br />
Date: November 11 th<br />
Dear Mrs. Clayton and Mrs. Simpson,<br />
I am the mother of Anya Nohria in your class. I have been in your country<br />
for only two years and do not know how to drive. Therefore I am writing to<br />
you with reference to the update email that you sent the parents yesterday.<br />
You may know that Anya is our only child. She never went to school before<br />
Kindergarten, as you may also know. Her father, Dr. Vinod Nohria, has<br />
much respect for your school and that is the only reason I parted with her<br />
and sent her to your class. Anya is my heart. But with great deliberation and<br />
after considering your email for a long time, I wish to protest the Self-<br />
Portrait that you have asked her to prepare.<br />
Almost since she began going to school in September, Anya has not been<br />
herself. As you may know, she is a shy child, although she cannot fail to be<br />
brilliant one day because of her Papa’s brilliance, and myself an M.A. in<br />
Hindi Literature. At first, I thought she must be sad because of the new<br />
place, the new people, and the new customs. So I supported her fully. Every<br />
day I waited outside for her school bus to arrive from school. Every day I<br />
read to her for twenty minutes exactly from the books on the Book List you<br />
gave the parents. Over and over I read to her the books about the cat with a<br />
hat, the black bear picking blueberries on the hill, and the pig riding a horse<br />
in the Wild West. In Udaipur, a city in the state of Rajasthan in the<br />
northwestern part of India where I grew up and where Anya was born, the<br />
pigs spend most of their time in the gutters and are despised, so I explained<br />
to Anya why the pig on the horse is pink and meant to be loved. I learned<br />
about hamsters and I made cookies and brownies, and I counted coins and<br />
rolled balls and took out twelve markers every day for her artwork. I waited<br />
and waited for Anya to be joyful and to begin to read by herself her first<br />
words, already at age five. But since September, she has only become more<br />
and more quiet, refusing me politely and inserting her hanger into her coat<br />
20
ISSUE 15 | SPRING 2013<br />
by herself and pushing away the cookies. No, thank you, Mom, she says.<br />
Gone is the Anya who would clap her hands and scream with joy when I<br />
jump at her from behind a door.<br />
All this is long but I want to show how she has not been herself since the<br />
start of school, in spite of her father’s brilliance as a Doctor of Nuclear<br />
Physics, and myself an M.A. in Hindi Literature specializing in Poetry. But<br />
from your email of yesterday, I know now what is wrong and that is the Self-<br />
Portrait! From the first day of school, when she jumped down all the steps of<br />
the bus to tell me about it, I know Anya is working on her Self-Portrait. At<br />
that time, she was only worried whether she would be able to draw it well.<br />
“Mummy, will the picture look like me?” she asked. I embraced her again<br />
and again and said it would look like her, just like her perfect round face, her<br />
almond eyes, her sharp nose, her gulabi mouth. I understand that gulabi is a<br />
foreign word to you but there is no English word for the beauty of the gulab,<br />
queen of flowers. And I waited and waited for her to finish her Self-Portrait.<br />
Then your photo came yesterday and it was just like a clap of thunder when I<br />
looked at Anya’s face and neck in the colour of “Brown” in the Self-Portrait.<br />
This is the reason my Anya hangs her face! My Anya is not brown-coloured.<br />
Anya’s skin colour is not the same as the colour of the skin of Wei or Marisa<br />
who I have noticed are declaring their skin to be “Peach.” Anya is not pure<br />
white like the children Ashton, Delilah, Mabel, Jack, Jared, Jennifer,<br />
Spencer, and Sara or like the skin of the child David, whose forefathers, I<br />
believe, are from Africa. Her skin is different from the skins of all these<br />
children. In particular, Anya’s skin is golden-yellow like my own skin, a<br />
colour sometimes called wheatish, a colour that, even in India, only some<br />
people are endowed with including some females from the state of Rajasthan<br />
like myself, a colour prized for its glow when the light of the sun falls on it,<br />
never for too long of course. And now every day Anya walks into her<br />
classroom she will see hanging on the wall this terrible image of herself that<br />
is not her colour at all.<br />
This is the reason my Anya hangs her face. I know this even though Anya’s<br />
father, being a man, is unmindful of the importance of the issue and<br />
concerned only about how well Anya drew the Self-Portrait and says that<br />
Anya must learn to draw better so that both of her eyes look at the same<br />
thing and her chin is not pointing to one side. I am aware from Anya that she<br />
has used crayons made by the Crayona Company for her Self-Portrait and<br />
she has told me there is no Crayona colour that more closely represents her<br />
skin. I hereby inform you that I am going to write to the Crayona Company,<br />
attention of their General Manager to ask them to prepare the appropriate<br />
colour to depict the skin of wheatish-complexioned females from the<br />
21
northwestern part of India, in particular the state of Rajasthan. Upon hearing<br />
from them, I will write and inform you of further steps you may take to<br />
correct this big mistake.<br />
Yours respectfully,<br />
Mrs. Manju Nohria, B. A., M.A.<br />
To: General Manager, Crayona Company<br />
From: Manju Nohria<br />
Re:<br />
Date: November 11 th<br />
Dear Sir or Madam,<br />
I was born in India and am living in your country for the last two years. I<br />
have a beautiful daughter called Anya whose age is five. I am writing this<br />
email to you after great deliberation because Anya was only able to use<br />
Crayona crayon of Brown colour to colour the skin of her neck and face in<br />
the Self-Portrait she prepared in her class. This experience will ravage Anya<br />
for the whole duration of her life.<br />
I fully believe that Crayona can address this vital matter by preparing a<br />
crayon to represent the correct colour for golden-skinned females from the<br />
state of Rajasthan in the northwestern part of India. At the start I must tell<br />
you that I am a bit bothered so my email is very long, but I hope you will<br />
read it fully because of its great importance. I know that people are helpful in<br />
America. It is a goodness that comes from living a safe and secure life. For<br />
one whole year after I came to America I did not even go outside our gate<br />
and even though Anya’s father tried to teach me, I did not learn to drive.<br />
May I no longer expect that he will take me where I need to go, I asked him.<br />
May I no longer expect to be cared for? Slowly I began to go out and now I<br />
go walking sometimes. Everyone looks at me with friendly eyes. Hi, they<br />
say in the way they have, although I was told that one must say hi only to<br />
someone one knows. When I talk, everyone stops and listens very carefully<br />
with pleasant smiles on their faces.<br />
Therefore I decided to write to you about this very critical Brown colour<br />
issue, which I came to know just like a clap of thunder when the school<br />
22
ISSUE 15 | SPRING 2013<br />
email came yesterday. For long, I have noticed that Anya is no longer her<br />
bright self and now I know it is because of the Self-Portrait! For your<br />
reference I have attached the photo that shows the Self-Portraits of all the<br />
children. There are twelve children in Anya’s class and their Self-Portraits<br />
are shown in two rows in the photo. Now look at the girl at the end of the<br />
first row. She is my Anya. You can see her name written under the Self-<br />
Portrait: Anya Nayantara Nohria. Colour of Eyes: Black. Colour of Skin:<br />
Brown. In her Self-Portrait, you cannot see exactly how beautiful she is. She<br />
is only five years old and still learning to draw, but I attached a photo of her<br />
so you can see for yourself. I attached a photo of myself as well, sitting on<br />
my swing in my gulab garden in Udaipur. Please open all these pictures and<br />
look at them carefully. Is there anything the same between the colour of her<br />
skin in Anya’s Self-Portrait and the real colour of her skin or my skin?<br />
Perhaps you will understand the horror more when you know where I am<br />
from. I belong to the great Indian subcontinent, in particular, I was born in<br />
the Lake City of Udaipur in the state of Rajasthan, which is in the<br />
northwestern part of the country. For more than three hundred years, my<br />
forefathers attended the court of the Maharanas of Udaipur who, you may<br />
know, fought valiantly against the Mughals and preserved their land. My<br />
ancestors, my great-great-grandfather and my great-grandfather, had their<br />
own quarters in the famous Lake Palace in Udaipur, which is much bigger<br />
than a church and made of white marble and has stood unmoving for<br />
centuries while the clear waters of the lake rise and fall around it.<br />
Historically, the females in my family, including my mother and her mother<br />
before her, have always possessed skin smooth as silk and with the colour of<br />
beaten gold, a colour sometimes called wheatish. Skin as valuable as<br />
jewelry, skin the envy of every female in my country, skin meant to be<br />
pampered and spoiled like a favorite child, skin that, never exposed to the<br />
sun, remained undefeated by it. As a child, I would stand and look for a very<br />
long time at the paintings, hanging high on the walls, of the ladies with their<br />
marble skin, lying proudly on silk divans, being gently fanned by attendants<br />
with long fans made from peacock feathers, and I longed with all my heart to<br />
grow up so that I could be like them. I was born in 1982 but people will not<br />
believe it when they see my face. They say in wonder, my dear Manju, you<br />
look eighteen! My mother tells a story of how my skin was so milky as a<br />
baby that she could see where I was on her bed at night even without a lamp<br />
and how visitors would shade their eyes as if from the brightness when they<br />
saw me. When I was twelve she showed me how to prepare a smooth paste<br />
for anointing on my skin using milk that has retained its cream, grated<br />
almonds, a little bit of gram flour mixed with turmeric, honey, and lemon<br />
juice. When I came to America, my mother told me, Manju, every day you<br />
must perform the ritual with the freshly prepared paste and every day you<br />
23
must use a blend of oils and perform a yogic massage of each of your face<br />
muscles with the tips of your fingers to stimulate the effective flow of the<br />
blood to your face.<br />
No doubt my rituals take up a lot of my time. But does not everyone have<br />
something that they must protect most vigorously?<br />
Skin oils one’s passage through the world. When my father saw my mother,<br />
he chose her for her skin. My father is also from Rajasthan, from a town fifty<br />
kilometers away from Udaipur to be exact, where he performs priestly<br />
functions, like his father before him, at the world-famous temple there.<br />
Visiting Udaipur in 1974, he went for dinner to his friend’s house, and there<br />
he saw my mother, the sister of his friend, for the first time. Often, my father<br />
tells of how he first saw only the arm that she had extended to serve him<br />
daal, her face and body appropriately covered. As was correct she was<br />
completely silent. Jamuni-coloured glass bangles alternating with gold ones<br />
shone on the skin of her arms and tinkled like bells every time she moved<br />
her arm from the vessel of daal to his plate then tumbled down to gather in a<br />
band at her wrist like a rainbow caught in sunlight. Immediately, he asked<br />
for her hand and they were married that same month. The same sort of story,<br />
I believe, with my husband, Anya’s father, who saw me in Udaipur from<br />
behind the pallu of my sari, six years ago. After the tea, he waited with his<br />
mother and father. My mother stood quietly in the doorway, watching me,<br />
but my father came to me as I was swinging on my swing in my rose garden,<br />
thinking of how well my flowers had bloomed that year, not wanting to leave<br />
them. He stopped my swing and laid his hand on my head and he said,<br />
Manju, accept Vinod. No more is it going to be possible to live a life of<br />
leisure here as your mother did. Everything has already changed. And I<br />
looked at the boy sitting steadfastly on the sofa inside and I decided, for my<br />
father, to accept him. And when I knew I was going to have a child, I prayed<br />
and prayed and my prayers were answered and my child was born my<br />
colour, a colour as if God had dissolved a bar of the precious metal in a glass<br />
of milk.<br />
And now, imagine my Anya’s life: every day she walks into her classroom,<br />
she will see pinned up on the wall of her classroom this image, this terrible<br />
streaked image in completely the wrong colour. It is sapping her very<br />
vitality. Therefore, dear Madam, I am writing with my urgent request for you<br />
to address this very important issue. Since your company has experience<br />
preparing so many colours of crayons, I believe that you will be able to<br />
easily create one that will correctly depict the skin of wheatish-complexioned<br />
females from the state of Rajasthan in the northwestern part of India.<br />
24
ISSUE 15 | SPRING 2013<br />
I anxiously wait to hear from you and assist you with any information you<br />
need as you prepare this additional crayon colour.<br />
Thank you.<br />
Yours respectfully,<br />
Mrs. Manju Nohria, B. A., M.A.<br />
To: Manju Nohria<br />
From: Ms. Clayton<br />
CC: Dr. Forrester, Ms. Simpson<br />
CC: Vinod Nohria<br />
Re: Your email<br />
Date: November 13 th<br />
Dear Manju,<br />
Thank you for your email of November 11 th , which we reviewed very<br />
carefully. We appreciate your noting that both you and Vinod trust The<br />
Newton School and the Kindergarten Oak classroom with your wonderful<br />
little girl Anya! We have a great, diverse group of children this year for<br />
which we are extremely grateful. We are enjoying Anya very much! She is<br />
such a wonderful, mature child. She’s doing very well and making great<br />
contributions to our diverse classroom, as you will learn when you attend our<br />
upcoming conference.<br />
We are sorry to hear that you have concerns with Anya’s portrait. Anya<br />
worked very hard on it and we all felt it turned out very well. We did speak<br />
with her yesterday about whether she is uncomfortable with the colours or<br />
any other aspect of her portrait and we are happy to report that she is<br />
completely satisfied with the results. In fact, she asked us when she could<br />
begin work on her full-length image!<br />
We spoke to Vinod this morning with this information as well.<br />
I hope this reassures you. Please do not hesitate to give us a call if you would<br />
like to discuss further.<br />
Our regards,<br />
Ms. Clayton and Ms. Simpson<br />
25
To: Ms. Clayton and Ms. Simpson<br />
From: Manju Nohria<br />
Re: Your email<br />
Date: November 14 th<br />
Dear Mrs. Clayton,<br />
Thank you again for your email of yesterday and for spending the time to<br />
discuss the issue of Anya’s Self-Portrait when I called you this morning. It is<br />
unfortunate that we could not complete our talk because you had to place the<br />
phone down so urgently before I finished talking, but I am writing to you so<br />
that you may read this email and think more about these issues at your<br />
leisure. It is very kind of you to talk to my husband but please understand<br />
that he is a very busy man. Being so busy, he, of course, only concerns<br />
himself with issues such as how well Anya draws and that she should learn<br />
to draw better so that both of her eyes are looking at the same thing and her<br />
chin is rounded not crooked and her eyelashes do not look like sticks.<br />
I am also distressed to learn that you believe that Anya is satisfied with her<br />
Self-Portrait. If she thinks she is satisfied, it is only because there is no way<br />
for her to correctly represent herself at the present time. I, Anya’s mother,<br />
am the only one who can understand the gravity of the matter and I will<br />
contact you again as soon as I hear from Crayona, with whom my<br />
communication has taken place as scheduled.<br />
Thank you<br />
Yours respectfully,<br />
Mrs. Manju Nohria, B. A., M.A.<br />
26
ISSUE 15 | SPRING 2013<br />
To: General Manager, Crayona Company<br />
From: Manju Nohria<br />
Re:<br />
Date: November 14 th<br />
Dear Sir or Madam,<br />
I wrote an email to you on November 11 th with my urgent request for a new<br />
colour of crayon and included photos of myself and my daughter Anya to<br />
help you prepare it. I have waited three days and I am writing again because<br />
I have not heard from your company regarding my letter, which I have<br />
attached to this email as well.<br />
This is a critical matter therefore please respond as soon as possible.<br />
Yours respectfully,<br />
Mrs. Manju Nohria, B. A., M.A.<br />
To: General Manager, Crayona Company<br />
From: Manju Nohria<br />
Re:<br />
Date: November17 th<br />
Dear Sir or Madam,<br />
I wrote to you about a new colour of your crayon in my email of November<br />
11 th and my email of November 14 th . It is now six days since I first brought<br />
this vital matter to your attention. I am writing because I have not heard from<br />
your company regarding my letters, both of which I have attached to this<br />
email as well.<br />
I do not believe it should take you so long to send me back an email. I have<br />
provided all the relevant information to you. This is a vital matter therefore<br />
please respond.<br />
Yours respectfully,<br />
Mrs. Manju Nohria, B. A., M.A.<br />
27
To: General Manager, Crayona Company<br />
From: Manju Nohria<br />
Re: Crayona crayons<br />
Date: November 23 rd<br />
Dear Sir or Madam,<br />
I wrote to you about the colour of your crayons in my emails dated<br />
November 11 th , 14 th , and 17th. I have also called and left you three messages<br />
on your phone. It is now twelve days since I first wrote and provided you<br />
with the opportunity to prepare a new crayon colour that will correctly depict<br />
the skin colour of wheatish-complexioned females from the state of<br />
Rajasthan in the northwestern part of India with which my daughter Anya<br />
can prepare another, accurate portrait of herself.<br />
I do not believe it should take you so long to write me back an email. I<br />
believe I have provided all the relevant information to you and this is a very<br />
vital matter, therefore please respond.<br />
Please be advised that, in light of the deeply important nature of the matter, I<br />
will unfortunately be unable to rest until the matter is addressed.<br />
Yours respectfully,<br />
Mrs. Manju Nohria, B.A., M.A.<br />
Anu Kandikuppa is an economist and a candidate in the MFA Program for Writers<br />
at Warren Wilson College, North Carolina. She lives in Boston with her family and is<br />
online at www.anukandikuppa.com.<br />
28
HEARTBREAK<br />
Wah-Ming Chang<br />
ISSUE 15 | SPRING 2013<br />
The year 2008 was the fifth anniversary of the death of Leslie Cheung. He<br />
died jumping out a window. All but one of his obituaries attributed cause of<br />
death to suicide. The exception had been written by me: I had used the word<br />
“heartbreak” instead of “suicide.” Today I recognize the sentimentality of<br />
this claim. Cheung had killed himself. What had caused his death was<br />
gravity. I imagine the act of defenestration to involve a mixture of elation<br />
and terror, with neither, in each its totality, unrelated to the other. The arms<br />
cannot help but strike out for balance, the legs tensed for the landing, the<br />
head bent forward perhaps to cushion itself—a measurement, in a way, of<br />
life meeting death.<br />
I have several photographs of him from the winter of 2002, and in the<br />
majority of them he has a sword in his hand. This hand with the sword never<br />
wavers, acting as a weight while the rest of his body is always a slender blur,<br />
as though motion were relegated only to flesh and not to metal. The portraits<br />
had been taken over the span of a weekend that winter, in preparation for a<br />
lengthy profile about the tenth anniversary of his film Farewell, My<br />
Concubine. The following spring, he jumped from the twenty-fourth floor of<br />
the Mandarin Orange Hotel.<br />
In 2008 a film festival was held in his honor in Vancouver, and I went. At<br />
the last minute I packed the photographs.<br />
It was only in Vancouver, where he’d retired from his singing career, from<br />
1990 to 1995, that Cheung had enjoyed any peace. Some believed he’d<br />
chosen Canada to treat his depression. Clinical depression, in addition to an<br />
impossible relationship with fame as a pop singer and a film star, had undone<br />
him. After his death, speculation about the depression varied widely, the<br />
most popular touching on his sexuality. Though he had openly discussed his<br />
partner in interviews, many of his fans had believed him to be heterosexual,<br />
or, at the very least, a moody eccentric.<br />
Later, his partner revealed that Cheung had tried to commit suicide once<br />
before, in 2002.<br />
On my first night in Vancouver, in a Chinese restaurant down the street from<br />
my hotel, my waiter studied the photographs, which I’d spread out on my<br />
little corner of the table. The sword in Cheung’s hand especially arrested him.<br />
He asked, “Were all these taken by you?”<br />
29
“Yes,” I said, “though I’m not a photographer.”<br />
My waiter, a graduate student from Beijing, had not intended to attend the<br />
film festival, but in the end he asked to join me. Later I would regret this<br />
impulse to welcome him, not because he turned out to be a nuisance or<br />
imposed on my time—indeed, after this weekend together, I wouldn’t see<br />
him again for another year, in another restaurant, in the Chinatown of Paris,<br />
both of us in deep negotiations with our respective wives, one toward union,<br />
the other dissolving it—but because the rain, white and opaque, had settled<br />
deep inside me. I am possessive of the rain, and I couldn’t be sure that my<br />
mood would remain friendly and casual toward the end of the night, as it was<br />
now. In any case, by the end of the trip I resolved that it was best to keep my<br />
solitude on such excursions intact, and the solitude of my heroes as well.<br />
The daylong festival was called “Farewell, Leslie Cheung,” with Farewell,<br />
My Concubine billed as the final film in the showcase. We watched three<br />
films: He’s a Woman, She’s a Man, A Better Tomorrow, and Days of Being<br />
Wild, varying from romantic comedy to violent thriller to atmospheric drama.<br />
By the time we left the theater for a break, it was nearly dark. He’d been able<br />
to steal several hours away from work, and had taken this opportunity to<br />
wear his favorite leather jacket and to smoke nonstop. We had half an hour<br />
before Farewell started, so when the practical matter of food and drink<br />
entered the conversation, my waiter suggested we walk down Carrall Street<br />
toward Livingstone Park, in the direction of a rice shop he frequented on<br />
weekends. We couldn’t find the rice shop, though. Perhaps he had the wrong<br />
address, or it had shut down since he’d last visited. For a while, our<br />
surroundings took on the hues of the films we had just watched, at moments<br />
a dream-like panorama of gauzy greens, then at others a stretch of grays and<br />
blacks, metal and cigarettes. We were like two ghosts infiltrating the ashen<br />
life here, refusing to be jostled from the fast-flowing veins of the city.<br />
But in reviewing Days of Being Wild with my waiter, I realized suddenly that,<br />
until that day, I had never seen any of Cheung’s films before in their entirety.<br />
The memory of watching them had always been strong—especially with past<br />
lovers inside dark cinemas—yet in reality I had caught only snippets of them,<br />
or remembered snippets, as with dreams. Indeed, my dreams seemed to last<br />
for years because of his films. For this reason I had the selfish urge to watch<br />
Farewell on my own that night. My waiter and I had watched three films<br />
together, but the fourth, the last, according to a flimsy logic that took on a<br />
30
ISSUE 15 | SPRING 2013<br />
desperate strength, deserved its own stage.<br />
I broke away from the spell of the rainy evening with an excuse to return to<br />
my hotel room. A migraine had come over me, I said. My waiter did not<br />
seem concerned. Perhaps he saw through my pretense. He dropped his<br />
cigarette and shook my hand thoughtfully, and told me to visit his restaurant<br />
again the next day, that he knew a cure for aches suffered in distant cities.<br />
Then he returned to his job, and I wandered the park a little more, until I<br />
came across a brightly lit cul de sac filled with smoky stalls selling snacks,<br />
clothing, and trinkets. I sat down in one that served Vietnamese and Chinese<br />
dishes. As I ordered, the other customers paid and left. Now I had a stall and<br />
a cook entirely to myself. The canopy overhead assured me that I was dry<br />
and that the outside world was not. In the meantime, the cook was washing a<br />
vat of rice. I became lulled by the sounds of rice and rain, two cadences for<br />
which I have an immediate affinity. Depending on the notes each strikes, I<br />
am lulled to calm or to excitement, sometimes experiencing both at the same<br />
time. When this happens, the world opens itself up without thought or<br />
prejudice. An equilibrium in duality. I listen for every single grain of rice<br />
and each drop of water rounding out the air, how they collectively nourish<br />
and regenerate all living things. The smallness of rice, the greatness of a<br />
storm—we are equal in size to whatever we see.<br />
Though my surroundings looked nothing like what my waiter had described<br />
of his missing rice shop, I pretended I had found it, and even convinced<br />
myself, to atone for my lie, that I would return to his restaurant late tonight,<br />
not tomorrow as he’d suggested, so I could report my discovery. I am<br />
possessive of the rain, yes, but I am also prone to fits of reversals. As I<br />
waited for my food, as I listened to the rice and the rain intermingle, now<br />
rising together, now separating into their own corners, I imagined my<br />
waiter’s reaction. By then I would have watched Farewell from beginning to<br />
end. I would be trembling still with an absolute euphoria, knowing that I had<br />
just witnessed an actor live deep inside himself, the only place of release.<br />
Wah-Ming Chang has received fellowships for fiction from the New York<br />
Foundation for the Arts, the Saltonstall Foundation for the Arts, the Urban Artist<br />
Initiative, and the Bronx Writers' Center. Her fiction has appeared in Mississippi<br />
Review and Arts & Letters Journal of Contemporary Culture, nonfiction in Words<br />
without Borders and the Asian American Writers' Workshop's Open City, and<br />
photography in Drunken Boat and Open City. She is currently working on a photo<br />
essay about the essence of the dance rehearsal.<br />
31
THOUGHTS OF SINKING<br />
Kaitlin Solimine<br />
32<br />
Novel Excerpt, Empire of Glass<br />
In Beijing, we judge the seasons by the shifting of sounds: in Autumn, the<br />
pigeons drift above the sloped roofs with their whistling tail feathers (flutes<br />
attached by urbanites in accordance with ancient traditions); in winter,<br />
there’s the tick tick tick of the heating furnaces turning on, each building’s<br />
rusted pipes cracking against the descending cold; in late Spring, dust storms<br />
smatter the windows and raze the city streets in yellow haze; in early<br />
Summer, we wait for the cicadas to brashly announce their arrival. Vastly<br />
outnumbering the lucky magpies, our cicadas signal the arrival of the real<br />
heat. As if they too are angered by the spoiling of a less-balmy spring, the<br />
insects scream their displeasure, harried bodies dropping to the streets where<br />
hard shells crack melodiously under the wheels of unsuspecting bicyclists.<br />
Beneath a canopy of cicada chorus, we rolled Li-Ming in her wheelchair to<br />
Chenxi’s last and only diving meet. Lao K, our American homestay student<br />
for the past year, planned to join us at the Beijing Normal University pool<br />
after school, promising to bring Li-Ming’s Fed-Zorki camera to chronicle<br />
Chenxi’s assured win (those days, the device always hung around Lao K’s<br />
spring-tanned neck like a talisman). The heat that day could have felt<br />
oppressive. We could have cursed the impenetrable wall of cicada sound, but<br />
we didn’t. Li-Ming’s wheels rolled over the occasional flailing cicada, but<br />
she didn’t flinch. She wasn’t entirely with us anymore; her head lilted<br />
dreamily, hands spread flat on her thighs.<br />
Crunch.<br />
Lilt.<br />
Crunch.<br />
Lilt.<br />
Crunch.<br />
“Lili is doing an inward dive,” Chenxi said, distracting us from the insect<br />
massacre. “So I have to do an inward one-and-a-half somersault then.”<br />
Everything Lili did, Chenxi must surpass: although our daughter only began<br />
diving lessons a year earlier, she’d already progressed to the fourth form.<br />
Her instructor, Mr. Peng, called Chenxi a ‘tenacious girl.’ I didn’t have the<br />
heart to inform him she was only trying to please Li-Ming. When Mr. Peng<br />
named Chenxi the ‘next Fu Mingxia,’ China’s gold medal Olympian diver,<br />
Li-Ming beamed. Li-Ming wanted our daughter not only to be comfortable
ISSUE 15 | SPRING 2013<br />
in water, but to conquer it; Li-Ming herself hadn’t done more than dip a toe<br />
in a body of water, a holdover of her harrowing experience during the<br />
Jiangxi floods. Whenever Mr. Peng spoke highly of Chenxi, I gripped my<br />
wife’s shoulder, pretending to believe our daughter was capable of so much<br />
bravado when within my stomach a knot grew, a knot that would twist upon<br />
itself from that point onward.<br />
“You will do well,” Li-Ming said through chapped lips.<br />
I attempted reason: “Don’t push yourself. You don’t want to get hurt.”<br />
Chenxi looked at me, forced a frown.<br />
“I’m fine,” she said. “I’ve been on the 7.5 meter platform for three weeks<br />
now. It’s easy. Just like a bird!” Our daughter skipped to the university<br />
pool’s entrance and we watched her as I tipped Li-Ming’s wheelchair up the<br />
stairs, one by one by one.<br />
“Lao Chen, I can walk,” Li-Ming said, propping herself into standing, but I<br />
forced her into her seat.<br />
“Don’t push yourself.” For weeks, the radiation made her typically-sturdy<br />
frame fragile. Chenxi made light of the situation, joking that eventually her<br />
mother’s bones would be as airy as a bird’s and she could fly away to judge<br />
us from the skies. Lao K said Li-Ming would only fly as far as the ceiling so<br />
that we’d always have a view of her wings. Both descriptions unnerved me.<br />
My legs shook despite my wife’s lighter weight. She still had a form after all<br />
and she still weighed enough for carrying her to be a burden. Finally, we<br />
made it to the gymnasium’s lobby.<br />
“I’m so sick of sitting,” Li-Ming said. “You know it’s not in my nature to be<br />
so still.”<br />
“I know,” I said and she reached up to the handlebars, placing her hands atop<br />
mine. I pushed her across the waxed floors past trophies in dusty display<br />
boxes and photographs of young, lithe athletes on the wall. A banner<br />
drooped across the pool’s entrance, announcing the university swimming<br />
team’s All-Beijing Championship win the year prior. Everywhere one looked<br />
was evidence of accomplishment, success. I worried how this would affect<br />
my wife, so I walked especially briskly, but it was of no use.<br />
“Look at all these proud athletes,” Li-Ming said. “Didn’t you say you once<br />
beat Chiang Kai-Shek’s son in a track meet?”<br />
33
I paused. How had she remembered that? Maybe I should let her believe this.<br />
Maybe she’d be better off reaching the end of her life thinking her husband<br />
was once so quick-footed, so capable of crossing the line before all others.<br />
But the faces of the smiling athletes stared at me, admonishing me for ever<br />
considering lying to my wife.<br />
“No, that was my cousin, not me.”<br />
“Oh,” Li-Ming said as we reached the pool’s entrance and I finagled her<br />
wheelchair past the doors. “Well I’m sure you could’ve beat the<br />
Generalissimo’s son if given the chance.”<br />
“You overestimate me,” I said, rolling Li-Ming’s wheelchair onto the pool<br />
platform and toward the stands where spectators sat, rows of parents<br />
awaiting their child’s performance. Chenxi had already skipped into the<br />
women’s locker room to change into her bathing suit.<br />
“I don’t want to sit here,” Li-Ming said. “Take off my shoes. I want to put<br />
my feet in the water.”<br />
“Really?”<br />
She nodded.<br />
Despite my better judgment, I kneeled, knees sinking into a puddle, wet<br />
seeping through my cotton pants. I carefully untied her shoes and placed<br />
them at the foot of the stands, bundling her socks and stuffing them into the<br />
soles. I rubbed her dry heels, twisted the skin atop her bloated ankles in both<br />
directions. Her body had the feel of something long-since expired—when<br />
had she transitioned from something wholly alive to something slightly less?<br />
Where had I gone astray in this? When did I lose the ability to protect the<br />
women in my life from harm? Before I could reach a conclusion, my wife<br />
placed her hand atop mine, rubbing the bones of my fingers as I rubbed her<br />
ankles.<br />
“Thank you,” she said, sighing slightly, then nodded for me to escort her,<br />
arm-in-arm, to the pool deck. Behind us, the parents looked on, full of pity—<br />
that man, the dying wife, the two of them hobbling precariously toward the<br />
water. They probably worried we’d trip, that we’d fall into the pool and<br />
quickly drown, our bodies floating limply to the surface, eyes staring past the<br />
arched ceiling to the sky. How much we’d be able to see with our unblinking<br />
stare that they couldn’t.<br />
34
ISSUE 15 | SPRING 2013<br />
But of course we didn’t fall. We shuffled carefully to the edge, where the<br />
scent of chlorine flooded our noses.<br />
“Let’s sit here,” Li-Ming instructed, her voice cracking. Once a songstress,<br />
Li-Ming’s words now chafed against one another like the ragged rubbing of<br />
grasshopper wings.<br />
I wanted to tell those sad, downward peering eyes in the stands that Li-Ming<br />
was the best swimmer I’d ever known. She was so strong a swimmer she’d<br />
saved a man from drowning during the famous Jiangxi floods. But what was<br />
the use? Li-Ming didn’t swim anymore. The floods taught her too much<br />
about the power of water. I lifted her off her feet, positioning her heavy,<br />
rigid body at the side of the pool. Her round backside, sore from so much<br />
sitting, cushioned her landing.<br />
I rolled up my own pant legs then kicked off my shoes and placed them<br />
gingerly at my side. Our toes stretching in the water, it felt like we were<br />
young again even though I’d never swum in my life, and when we were<br />
young we had more pressing concerns than climbing to the diving platform’s<br />
highest rung.<br />
“If only your daughter had her mother’s round head, she’d enter the water<br />
more smoothly,” Mr. Peng’s hands spread atop my wife’s head, which, now<br />
bald, was covered with a magenta silk handkerchief painted with blue<br />
butterflies. Mr. Peng rubbed that handkerchief as if it could bestow good<br />
fortune upon him, as if Chenxi’s only downfall was that she’d inherited my<br />
large, square jaw. “Are you ready for your daughter’s debut?”<br />
Li-Ming nodded and I didn’t need to look at her face to see her smile. What<br />
pride is wasted on the dying. Our water-happy toes flexed and stretched,<br />
flexed and stretched, flexed and stretched. I couldn’t remember the last time<br />
my feet felt so unencumbered. The freedom was both liberating and stifling,<br />
like a caged bird released into the expansive, airy world beyond the bars.<br />
“Our debuting daughter better be safe,” I muttered to my own unsteady<br />
reflection.<br />
Mr. Peng tapped my shoulder and I looked up long enough to recognize<br />
those sunglasses he always wore, even on the indoor pool deck—he blamed<br />
an astigmatism, when really we knew he preferred the crowds not see his<br />
gaze lingering on his girls as they climbed up the board’s steps, their arms<br />
and chests dripping as they pushed their slick bodies out of the water. He’d<br />
35
never touched any of the girls inappropriately, but there was an<br />
uncomfortable closeness when he spoke to them; then again, perhaps parents<br />
are always protective of the bonds they share with their children, worried<br />
about a potential displacement by another adult.<br />
“Your daughter will do fine,” Mr. Peng said. “As we speak...” He nodded to<br />
the door to the women’s locker room which was slapping open, Chenxi<br />
marching with Lili on one side and Lao K on the other, all three of them<br />
arms locked. The girls strode in unison as if their appearance was to be timed<br />
with music and applause. Lao K, despite the fact she wasn’t diving, wore a<br />
red bathing suit that clung snugly to her tall, shapely body. Atop her chest<br />
swung Li-Ming’s camera enshrouded in some kind of plastic encasing. She<br />
had the air of proud motherhood, an affect I assumed she inherited from Li-<br />
Ming. Chenxi and Lili donned matching Beijing Youth Diving League suits<br />
in navy blue with angled white stripes. Their bodies paled in comparison<br />
with Lao K’s womanly frame. They were all bone, hips protruding, knees<br />
knocking, reminding anyone who looked at them of the awkward, selfconscious<br />
experience of adolescence. Chenxi didn’t seem to mind we were<br />
here to watch her, that despite our smiles, our proud faces, we were worried.<br />
What was it that worried us? We couldn’t explain to Chenxi that despite her<br />
eagerness to climb to the board’s highest rung, we’d once believed we were<br />
capable of equally impressive goals. How we’d once hoped for so much in<br />
our bodies, our ability to overcome heights, water, platforms, but how we<br />
could not overcome every difficulty. That this was what it meant to grow<br />
up—zhang da, 长大—despite the obvious fact that at a certain point we have<br />
grown as big, as tall, as we will ever be and yet we don’t really know any<br />
more than we did before.<br />
My bony, calloused toes still absently flexed and stretched. Li-Ming’s wide<br />
feet stopped fanning the water and, for a moment, fear flooded my body<br />
from my ankles to my throat—I worried I’d lost her altogether until I saw<br />
her arm lift, watched her hand waving persistently at our daughters.<br />
“Ba!...Ma!” Chenxi waved back as Lili scanned the stands for her own<br />
parents. Upon finding their prideful faces—her father, a professor of<br />
economics at Beijing Normal, with his signature eyeglasses and bowtie; her<br />
mother, a tall, thin bookkeeper at my danwei with long, straight hair and<br />
patient eyes—they smiled, nodded knowingly. Lili was the more stoic child.<br />
I didn’t dare inform Chenxi she wasn’t anything like her fearlessly<br />
independent friend. That we can never fully surpass the failures of our<br />
forbearers.<br />
36
ISSUE 15 | SPRING 2013<br />
Chenxi jogged happily to her mother’s side, seemingly unaware of Li-<br />
Ming’s bare legs and feet. “Did you see what Lao K did? She brought your<br />
camera! She’s going to take my photograph from under water!” Lao K<br />
walked over and stood beside Li-Ming.<br />
“Amazing,” Li-Ming said. From her seat, she gripped Lao K’s sculpted shin,<br />
rubbing her fingers along the stubbly blonde hairs as if to calm or subdue<br />
her—but who needed calming most? Either way, Lao K didn’t mind.<br />
Women’s intimacies were always lost on me, how they could rub one<br />
another’s legs, hold hands, and sleep beside one another on trains without<br />
one hint of sexual attraction. Now my wife and Lao K shared this physical<br />
relationship and although the American was supposed to be our ‘daughter,’<br />
the nature of this disturbed me. Was I jealous? I dismissed the thought in<br />
time for Lao K to explain how she found a contraption capable of filming<br />
underwater scenes.<br />
“Mr. Wang’s shop has everything you could imagine,” Lao K said, winking<br />
at Li-Ming. “I said I needed to take photographs in a pool and he found this<br />
on his shelves.”<br />
While my wife and Lao K discussed the inventory at Wang’s, Chenxi<br />
examined Lao K’s rounded breasts rising with each breath, the girl’s hips,<br />
then looked to her own breasts and hips, clearly comparing sizes. Her gaze<br />
descended to Lao K’s thighs, how much more toned and muscular the<br />
American’s were than Chenxi’s, as if Lao K spent a life working in the fields,<br />
which we all knew wasn’t the case. Finally, Chenxi admired the differences<br />
between their ankles and feet. Chenxi had Li-Ming’s thick ankles, her flat,<br />
wide feet. The American’s were narrow, bony. When Lao K asked Chenxi<br />
what kind of photographs she should take, my daughter shuttered into<br />
awareness, shaking off whatever comparisons were built in the minutes<br />
before.<br />
“Whatever you want,” she said. “I trust you.” And with this, Lao K smiled,<br />
happy to receive Chenxi’s wholehearted approval.<br />
Mr. Peng summoned Lili and Chenxi to the base of the platform with the<br />
other competitors. There, they stretched and bended and jumped and hopped<br />
like soldiers readying for battle. How silly that the battleground was a diving<br />
board and the innocent bystanders were parents who wanted more happiness<br />
for their children than they’d experienced in their collective youth. But for<br />
what? Generation after generation played at this game: more and more<br />
opportunities spoilt upon their progeny when, in the end, each generation<br />
only craved more, and, despite the money, the jobs, the education, the homes,<br />
37
the next generation couldn’t bestow upon their children any more answers<br />
than those who came before them. Wasn’t it Li-Ming’s favorite poet Han<br />
Shan who told us, over a dozen centuries ago, to ‘Tell families with<br />
silverware and cars: what's the use of all that noise and money?’ But now,<br />
thanks to Deng Xiaoping, we had more noise. We had more money. And still<br />
the diving girls threw their arms over the heads, slapped at the air like tai chi<br />
practitioners. The performance was for our sake, rows of eager parents<br />
believing this was the right path for their children—the only path. The judges,<br />
two grim-looking middle-aged women with gray-streaked hair pulled into<br />
tight buns and one stout young man with rosy-hued cheeks, sat at a long<br />
table on the far side of the pool. They organized their scoring placards,<br />
seemingly unaware of the gymnastics happening beneath the diving board’s<br />
staircase, unapologetically preparing to disappoint most of the parents.<br />
Lao K. What was there to say about Lao K? She slid into the pool just beside<br />
Li-Ming’s feet and dunked her head under the water as casually as a seabird,<br />
her golden hair dampening into reddish brown.<br />
What happened next surprised even me: my wife, likely inspired by the sight<br />
of Lao K’s long tendrils floating happily on the blue surface, slipped loose<br />
the knot of her head scarf. The fabric, silk fluttering, floated to her lap. She<br />
shook her head and the motion—my wife shaking a head bereft of its once<br />
long, black strands—wasn’t so much as sad, not even pitiful. No, it was<br />
merely a relic of an older gesture, a gesture that once meant nothing (nothing<br />
but a misplaced flirtation?). As she did, I reached my fingers to comb the air,<br />
that invisible, once-was hair.<br />
Then I heard the snickers. The gasps. Hadn’t the crowd seen a bald head<br />
before? Yes, my wife was dying. Yes, she’d lost her hair in the latest belated,<br />
futile batch of chemotherapy treatments. As the snickering grew, Lao K<br />
propped herself atop the pool deck and glared into the crowd with so severe,<br />
so instinctively protective a look she silenced their gaping; still, Li-Ming<br />
didn’t notice the attention, nor Lao K’s response. My wife was too transfixed<br />
on our daughter, who now calmly climbed the stairs to the diving board’s<br />
highest rung. There she was—my oval-shaped head and strong jaw, now<br />
hers, hidden beneath a black rubber cap and Li-Ming’s thick calves flexing<br />
with each step. If only she’d known her true, underlying resemblance to Li-<br />
Ming. If only they could stand side-by-side to compare bodies—hairless<br />
twins. Only the shape of their heads would betray their symmetry.<br />
Chlorine smell now: Lao K sliding back into the water and paddling past Li-<br />
Ming to retrieve the camera with its clear plastic shield. She winked at my<br />
38
ISSUE 15 | SPRING 2013<br />
wife who smiled calmly back: what had they discussed in my absence?<br />
Women: would we ever know?<br />
“Tell me what you see under there,” Li-Ming said.<br />
Chenxi reached the end of the platform. She turned to face the back wall,<br />
calves flexing, heels descending and raising, twitching slightly with each<br />
slow, cautious pump. 7.5 meters. Lili. Inward somersaults. I thought of Li-<br />
Ming’s insistent desire for our daughter to be the best at everything. What<br />
did it mean? Was the best just better than what we’d been? Was the best<br />
what we didn’t have the heart, the stamina, the strength, the inheritance, to<br />
achieve? Weren’t we fooling ourselves in believing she was capable of this?<br />
Now my daughter was standing at the edge of a board the height of a twostory<br />
building and she was breathing the breath that would keep her body<br />
buoyant underwater and Lao K was inhaling deeply, plunging that honeyed<br />
hair beneath the surface of the pool. They inhaled together, speaking that<br />
language I never understood. My hands raised instinctively, about to clap, to<br />
plead with Chenxi to stop, but Li-Ming slapped them to my lap.<br />
Chenxi looked to her feet.<br />
We all held our breath as her toes lost their grip, but then, quickly, her body<br />
folded into itself in one-and-a-half spins and her arms extended above her<br />
head and—her legs passed upright—yes, her legs kept going until flap!—<br />
There was no straight entry.<br />
There were no arms perfectly extended (triceps firm, elbows locked).<br />
No stomach duly pinched against an exquisitely arched back.<br />
No legs lengthened to pointed feet, toes so curled they flicked the water like<br />
a feather.<br />
No, our daughter was not as perfect as Li-Ming imagined. She even betrayed<br />
Mr. Peng’s admiration; he walked sternly to the pool’s edge where Chenxi<br />
was about to surface. Leaning over, he whispered something to her rubbercapped<br />
head, something to which she nodded dutifully. The judges frowned,<br />
holding their placards above their heads in solidarity:<br />
4.5/10 – 4.5/10 – 4.5/10<br />
Our daughter was less than perfect. Much, much less so.<br />
39
Chenxi climbed up the silver ladder, watching as Lili ascended the platform,<br />
a soft, knowing smile painted on her friend’s lips—like Chairman Mao said,<br />
If you think just once about sinking, you’ll never be able to float. Lili wasn’t<br />
a thinker and was therefore incapable of sinking. Our Chenxi, on the other<br />
hand, had inherited her mother’s inquisitiveness, along with my necessity to<br />
trip just when the moment called to stand—with that, she’d always fear<br />
falling, failure. She’d looked down.<br />
Lao K finally surfaced after what seemed an interminable time, her cheeks<br />
puffing with fresh inhales, oxygen returning pink to her cheeks.<br />
“I got a good shot,” she said, water dripping down her forehead and into her<br />
briskly-fluttering eyes, but Li-Ming wasn’t listening. Li-Ming was tying her<br />
scarf back atop her bald head as if she’d suddenly experienced this odd<br />
nudity. Li-Ming was standing on her own, stomping barefoot through the<br />
puddles to her wheelchair sitting empty beside the stands, then recklessly<br />
wheeling it out the door while Lao K jogged beside her, telling her to sit, to<br />
slow down, to take it easy.<br />
“Man man de, Mama,” she said. “Mama, man man de.” The crowd gaped:<br />
the American called the Chinese woman ‘Mama.’<br />
I sat on the edge of the pool, knowing the crowd was waiting for my next<br />
move. Let my wife throw her tantrum, I wanted to tell them. Let her believe<br />
in the Chenxi she believed in, her own childhood obscured by the child she’d<br />
birthed over a decade ago. Let her make Chenxi return to the competition for<br />
her next dive, to climb to an even higher platform and take one more spin in<br />
the air. I was done with pretending. Our daughter was below average, and<br />
whatever the reason—my head, her mother’s hotheadedness—it wasn’t<br />
worth pushing her anymore. What version of success had we so quickly<br />
taken to, anyhow? Dreams were only for the living. Didn’t Li-Ming know?<br />
We’d been writing the wrong story, the narrative faltering in the vision of<br />
our daughter’s body slipping past straight, legs making a long, horizontal<br />
splash, our ability to always be standing on the sidelines watching, cheering<br />
her on. What we should have written was the truth, if only we’d understood<br />
what it was that brought us together all those years ago in the shadowed<br />
pigsties of Jiangxi, what it was that made a child in the heat of summer, or<br />
made the cicadas sing, or made their bodies drop to the ground when full of<br />
too much song. The heat? The sky? This is what I meant about asking too<br />
many questions. I’d warned Chenxi of this once when she was only four<br />
years old and we were at her grandmother’s funeral in Nanjing. Chenxi had<br />
asked where Lao Lao had gone even though the woman’s ashes were stuffed<br />
40
ISSUE 15 | SPRING 2013<br />
into a heavy urn at the head of the table. She’s gone to heaven, I said, but<br />
Chenxi was persistent. Where’s heaven? She’d asked and when I pointed<br />
toward the ceiling, she asked, How is heaven in the sky? Can I see it? Can<br />
we get there by airplane? That was when I said the thing about asking too<br />
many questions. Although it silenced my daughter for the remainder of the<br />
afternoon, I later regretted teaching her this lesson, worried that maybe I’d<br />
stifled some childish belief that every question has an answer, that there’s<br />
someone, somewhere in this world, likely a parent or grandparent, who<br />
knows everything.<br />
I stood slowly, feeling the heat of many eyes boring their judgment into my<br />
back: How could he let his sick wife walk away? How could he let her<br />
believe their daughter was as good a diver as Lili? How could he allow an<br />
American to come to the rescue, the antithesis of what we’d been taught in<br />
our Little Red Books? I shrugged off their gazes and followed my wife and<br />
Lao K into the gymnasium lobby, down the corridor between the entrance<br />
hall and the locker rooms, where plaques glistened golden on the walls and<br />
more eyes, wide open, witnessed my failure to help my wife into her<br />
wheelchair. Instead, Lao K persuaded Li-Ming to sit. Our American<br />
daughter stood facing her Chinese mother with her bare arms tucked into her<br />
sides, wet body shivering. As I drew closer, I recognized the purple goose<br />
bumps raised along the flesh of her limbs. I recognized that quivering<br />
buttock flesh, the smell of hair and sweat and chlorine and… What use was<br />
there in recalling? I touched her shoulder and she didn’t jump. I ran my<br />
fingers through her hair and she didn’t flinch. I saw purple and blue, the skin<br />
attempting to pulse life back into the farthest reaches of her limbs. She was<br />
looking at Li-Ming and I was looking at the girl’s hair, the way I could lift it<br />
with one flick of my wrist, the weight of it damp, the density of gravity, our<br />
one true curse: Time. All the spinning that kept us believing the lies of our<br />
own origins.<br />
“Lao Chen!” Li-Ming called, but I couldn’t hear her. We were down a hall<br />
so deep even sound was marbled, spoken as in caves.<br />
“Lao Chen! Go get your daughter.”<br />
I released Lao K’s hair and when I did the American turned, her bare feet<br />
squealing against the linoleum. Her entire body seemed at attention with the<br />
sincerity and immediacy belonging only to youth: pink-red flushed cheeks,<br />
pricked nipples pushing through her thin red bathing suit, blonde hairs<br />
standing in columned attention on her long, golden arms. The camera<br />
straddled her breasts. The camera Li-Ming used all those years to chronicle<br />
Chenxi’s childhood now contained within it our daughter’s greatest failure:<br />
41
she’d tried. She’d climbed to the highest rung. She’d stood tall but then<br />
didn’t trust her feet would hold her. She’d spun in the air one turn too many.<br />
That camera. I reached out to remove the film from within it.<br />
“Ba! What are you doing?”<br />
“Lao Chen! Stop!”<br />
“Ba, give it to me!” Lao K snatched the camera from me as I was prying<br />
open the film’s container, as the first glimpses of light spoilt the edges of<br />
that final photograph—Chenxi’s failed entrance. Lao K slapped my hand and<br />
I dropped it to my hip.<br />
“You don’t know what you’re doing,” she said knowingly. But she knew,<br />
she insinuated. She knew me better than I knew myself. Was this what we’d<br />
loved about her, about all Americans? They always knew best, had all the<br />
answers, while we sat on the sidelines observing, forgetting to ask the<br />
questions for which the Americans had already prepared the answers. Li-<br />
Ming sat frowning behind our American daughter and a tear formed. She<br />
blinked away that same knowledge she and Lao K shared. How they knew<br />
everything and I was just the child overreaching. The child attempting to<br />
shield us from the knowledge that this—this photograph, this moment, this<br />
daughter—will never be enough. Bu. No.<br />
不<br />
Drowned legs, wasted strokes.<br />
“Don’t ruin the film,” Lao K said, protectively clutching the camera to her<br />
wet chest. “Let’s go get Chenxi.” She pushed me by the back, leading me to<br />
the pool, past the flapping plastic-stripped doors, the sad-eyed spectators<br />
who grew eager with the sight of their daughters’ bodies ascending the<br />
platform but still looked at us with embarrassment, as if we represented<br />
everything they wished not to acknowledge in the world. Outside, the cicada<br />
chorus crescendoed louder then abruptly fell to a dull hum.<br />
Li-Ming was still in the hallway in her wheelchair, unable to roll herself<br />
back to the stands to watch our daughter’s last dive. I didn’t know how in<br />
leaving Li-Ming alone we were actually entering the rest of our lives<br />
together: me and the American girl who would suddenly thrust herself onto<br />
our lives with the tenacity of a sand storm funneling down the streets of<br />
Wudaokou.<br />
42
ISSUE 15 | SPRING 2013<br />
“Ba! Lao K! I’m up!” Chenxi shouted. If she’d noticed our departure, it<br />
hadn’t fazed her. She was due for her second redemptive dive. She climbed<br />
the stair’s spokes, crested the board like a sunrise. Coach Peng stood crossarmed<br />
across the pool next to the seated judges. He still wore his sunglasses<br />
and a calm, unsmiling face. What did he see through those dark lenses?<br />
Although I’d never owned sunglasses, suddenly, I wanted more than ever to<br />
wear them, to wash the world in red and brown—to stamp out, once and for<br />
all, the unbearable honesty of sunlight peeling past the skylights to play with<br />
the pool’s surface, blinding us if we stared too long.<br />
“I’m coming, Sister,” Lao K shouted, jogging on tiptoes then dipping<br />
smoothly into the water, holding the camera to her eye and descending<br />
below the surface, beyond my reach. What she saw beneath the waves that<br />
day at the Beijing Normal University swimming pool I’d never know—if she<br />
ever developed that photograph, she never showed us. And Li-Ming was in<br />
no position to expose the film herself, her illness quickly devouring what<br />
was left of her, every bone, every lymph node and organ riddled with cancer<br />
in the coming weeks. But I will remember what I want of Lao K surfacing<br />
briefly for a breath, just long enough to shout to her sister: “Remember:<br />
don’t look down!” then submerging herself as Chenxi did exactly as Lao K<br />
reminded her not to—she looked to the water glistening meters below and as<br />
she did, her tentative toe grip on the edge of the board slipped.<br />
The crowd behind us gasped.<br />
Li-Ming shouted from the distance, “Lao Chen, do something!” as our<br />
daughter’s body faltered, as her feet struggled to retain their grip on the slick<br />
board, her knees bending to push herself off prematurely. But it was too late:<br />
Lao K was already underwater, already snapping the photograph that would<br />
last beyond our lives, those paper objects outliving the bodies they contain—<br />
this time, our daughter’s body, taut and perfectly-straight, slicing the water<br />
like a knife. Like perfection alone could heal us. Or at least our belief in it.<br />
She didn’t make a splash.<br />
“Did you hear that, Ba?” It wasn’t Chenxi’s voice, but Lao K’s, her proper<br />
Beijing accent with all it’s rolling ‘er’ sounds exaggerated. We were alone—<br />
Li-Ming had rolled herself home immediately following Chenxi’s<br />
redemptive dive and Chenxi went to McDonalds for her post-dive<br />
celebration with Lili’s family. Already, we’d lost our daughter to someone<br />
43
else. For now, this tall, slow American would have to take her place. “Ba,<br />
did you hear?”<br />
“Hear what?”<br />
“Hear how it’s so silent now.”<br />
I hadn’t realized we were to notice the changes in Beijing’s street sounds.<br />
The cicadas were a static background noise you learned to ignore. On the<br />
walk home, I hadn’t time to think about it—I was too consumed by the<br />
events that evening: Chenxi’s terrible dive and then her perfect one, a tear<br />
clinging to my wife’s eye, Lao K’s hair dipping beneath the water’s surface.<br />
But as we left the pool following in Li-Ming’s trail, the cicadas had indeed<br />
silenced their song-happy voices. Or had something else silenced them? The<br />
sky above us was misty with clouds and the first light of stars somehow<br />
reminded me of a tropical place although I’d never left China, only seen<br />
photographs of Hawaii and the Philippines and the Caribbean in the brightlycolored<br />
calendars tacked to the walls of my danwei’s head office, now called<br />
the Taiwan Machinery Corporation. Above us, the stars winked and danced,<br />
but we didn’t have time to watch them. Li-Ming awaited us at home, likely<br />
seething with anger: Over what? Chenxi’s terrible first dive? My inability to<br />
escort Li-Ming from the pool hall? The way I’d touched Lao K’s wet hair?<br />
What hadn’t I done?<br />
Lao K stopped below a willow with limbs that limped to the ground as if<br />
exhausted by the nature of being born a tree. She tilted her head to the sky.<br />
“What are you looking at? Hurry up, Li-Ming is waiting for us.”<br />
“Li-Ming can wait. She probably needs to be alone anyway. Besides, haven’t<br />
you noticed the stars?”<br />
First the cicadas and now this. I reluctantly peeled back my head to the<br />
cavern of black beyond the tree’s wispy limbs.<br />
“I haven’t seen this many stars in Beijing,” Lao K said. She was right.<br />
Tonight’s wind, brisk and chilled by northern gusts, must have cleared the<br />
air of any remaining dust or pollutants as it also fluffed our hair. There was<br />
an entire black sky above us with visible, sparkling stars.<br />
“What’s there to look at?” I asked, but Lao K ignored me.<br />
“Chenxi will be okay,” she said.<br />
44
ISSUE 15 | SPRING 2013<br />
I didn’t know how to respond, but the willow limbs bristled at a passing<br />
breeze and the cicadas clucked, annoyed that the wind had, for a moment,<br />
stolen the stage.<br />
“Li-Ming will be okay too,” she said. She spoke from a place she didn’t<br />
quite trust, but her words were there, nonetheless, puffs of smoke rising from<br />
a valley floor. This smoke, these words, hovered above us before being<br />
stamped out by the sound of revived cicada chorus. The drone rose,<br />
encouraging me to speak. What am I supposed to say?<br />
“Baba,” Lao K said, her eyes still fixed on the sky.<br />
“That’s my name,” I said.<br />
“She’s really going,” she said. She didn’t yet know the word for ‘die.’ Or to<br />
‘leave this world’, or any other idiomatic saying we used to mask the sting of<br />
death. For her, there were only a few assortments of verbs: ‘to go,’ ‘to be,’<br />
‘to eat,’ ‘to study,’ ‘to make.’ Her lesson books hadn’t mentioned death<br />
yet—why would they?<br />
“Si,” I said, correcting her. “She’s really going to ‘si.’ Like the number<br />
‘four,’ but in the falling-rising tone.”<br />
死. To die. That body struggling beneath a flat, black surface, arm stretching<br />
upward. No one above reaching below, no one capable of saving that which<br />
was already lost.<br />
“I will never say that word, Ba,” Lao K said. “I like ‘to go’ better. It means<br />
there can be a return.”<br />
I sighed, placed my hand on my American daughter’s wide shoulder but this<br />
gesture didn’t have the resonance I’d hoped so I dropped my hand.<br />
“Where I live, there’s a wide beach without any houses, no people,” she said.<br />
“When I was a kid we’d go there at night to count the stars. Have you ever<br />
seen a star that falls?” I realized she meant a shooting star: liu xing.<br />
“Never in the city,” I said. “Only when I was a child in the countryside.”<br />
“That makes sense,” she said. “You need to be paying attention in order to<br />
see falling stars and no one is ever paying enough attention in the city.”<br />
45
“That’s true,” I said. I hated how she spoke as if she had the answer for<br />
everything, despite the fact I believed her, could have listened to her talking<br />
for days, even years.<br />
“Maybe if we wait, we’ll see one,” Lao K said, loosening her neck by rolling<br />
it side to side but not abandoning her gaze.<br />
“Maybe,” I said. “But what about Li-Ming?”<br />
“Maybe she’s looking too,” she said. “Maybe she sees them all the time.”<br />
“Did she tell you this?” I was suddenly jealous.<br />
Lao K shrugged. The cicada chorus died, briefly silent, before resuming its<br />
resonant hum and I knew now to expect a crescendo soon.<br />
“What did she tell you?” I asked again.<br />
“We never talk of stars,” she said, and although I didn’t believe her, I’d<br />
reached the end of my questioning.<br />
I tilted back my head and waited. We stayed like this for a while, all those<br />
stars staring back at us but unable to provide what we’d wanted. I thought of<br />
all the films I’d ever watched, the poetry books Li-Ming showed me that she<br />
brought home from Wangfujing, the characters in tight, meaningful rows. In<br />
every film, as in each poem, there was the belief in the impossible. At just<br />
this moment in a film or poem, the sky would burst with the most brilliant<br />
shooting star ever to race across the curve of earth, red-blue flame trailing<br />
behind. Lao K would point at it and I would follow her finger to its end,<br />
trusting it to lead me in the right direction. But we do not live in films or<br />
poems. Lao K and I did not see a shooting star, or anything as brilliant for<br />
that matter. We stood beneath the willow, peeking past its branches, hoping<br />
for several minutes the world would give us what we wanted. But what was<br />
that? I suppose I was always wanting to fill myself with something I felt was<br />
lacking, but despite the changes in scenery, the walk from the country to the<br />
city to the border to the city again, the grinding of lenses, the birth of a<br />
daughter, I hadn’t changed. It was as if my life were one long dead end, as if<br />
everything I’d ever hungered for was actually in vain—a bowl incapable of<br />
being filled, a burning star whose light would never reach us on earth. Did<br />
Lao K understand this? Is that why she reminded me to look upward, that<br />
there was something bigger than my tall, yet humble frame?<br />
46
ISSUE 15 | SPRING 2013<br />
As we walked home, I worried maybe we hadn’t been looking properly, but<br />
Lao K was already ahead of me, undeterred by this failed lesson in<br />
stargazing. She skipped toward the courtyard blocks, her wet hair trailing.<br />
“Lao K,” I called. “Maybe we didn’t look long enough.”<br />
She slipped around the last corner, her moonlit shadow reaching me then<br />
quickly snapping back, retreating farther away.<br />
“We looked long enough,” she said. “We can try again tomorrow.” Her<br />
words warped the corner, finding me in the distance, their echo between<br />
buildings unyielding.<br />
“Tomorrow,” I repeated. But I didn’t want to wait. Before entering our<br />
complex’s courtyard, I paused and tipped my head back to view the sky<br />
again. Thankfully, the stars were still there, still blinking at me from their<br />
various distances. I breathed deeply and waited, but still—nothing. It seemed<br />
the more I wanted, the less my life would reach its intended ending.<br />
But the longer I waited, contrarily, the less I believed this. The longer I<br />
waited, the longer the stars didn’t give me a shower of shooting stars, or<br />
even just one, the more patient I grew. I thought of myself as a boy in Cen<br />
Cang Yan who would sit by the river’s edge looking at the same stars. Not<br />
much had changed in the sky’s map since then, the same constellations<br />
shifting in the same patterns, the same planets rising from the horizon in the<br />
same seasons as the year before. I’d grown taller, lankier. I’d watched<br />
American fighter jets peel open the sky above Dandong, met a woman I<br />
loved more than I’d known possible, we’d made a child. All of this was the<br />
way one lived a life, in one version or another, but basically holding to the<br />
same premise. What did we expect to change when above us the sky’s<br />
tapestry remained essentially the same? Why, when everything around us in<br />
its simplest form—water, earth, sky, fire—was exactly as it had ever been<br />
since we’d known it, did we want something more?<br />
Lao K called for me, but I couldn’t find the words, the energy, to walk<br />
forward. I preferred remaining transfixed by the image of a world beyond<br />
this one that promised to always be here, always the same shapes and<br />
luminosities, despite the fact that somewhere these suns we called ‘stars’ had<br />
burned out, that we were only receiving their light millions of years after<br />
they’d died. I took comfort in this: even dead stars remain bright somewhere.<br />
Perhaps all that mattered was where we stood relative to them, that we<br />
believed their light meant something.<br />
47
I’d read a newspaper article many years earlier that said the biggest stars in<br />
the universe were the brightest, but these bright stars would also die out<br />
fastest, their own fiery energy consuming itself. The smaller the star, the<br />
longer its life, the lesser its burn. The journalist had quoted a Soviet<br />
astronaut who said, “No matter how far we reach into space, we’ll never get<br />
far enough,” and I thought it was strange that even Soviets didn’t know<br />
everything. They might have launched Sputnik, but they weren’t any closer<br />
at reaching the universe’s limits than the rest of us.<br />
Lao K yelled for me, this time followed by Li-Ming’s insistent voice. I<br />
lowered my head to my chest, but the image of the brightest stars still burned<br />
my retina, lingering for a few minutes longer until I rounded the corner and<br />
saw my American daughter and her Chinese mother, my wife, waiting for<br />
me in the doorway.<br />
“Carry me upstairs,” Li-Ming requested and although there was much more<br />
we needed to say, I gathered her body in my arms. I paused for a few breaths<br />
at the stairwell, readjusting my hold, worried suddenly by the lack of weight,<br />
how it was easier to lift her now than earlier that afternoon.<br />
“Hurry up,” Li-Ming said, as if she also sensed how much smaller she’d<br />
become, how now I was the one who had to carry us home.<br />
Raised in New England, Kaitlin Solimine has considered China a second home for<br />
almost two decades. She's been a Harvard-Yenching scholar, a Fulbright fellow, the<br />
Donald E. Axinn Scholar at Bread Loaf, and winner of the 2012 Dzanc<br />
Books/Disquiet International Literary Award. She wrote and edited Let's Go: China<br />
(St. Martin's Press) and her work has been featured in Guernica, Cha: An Asian<br />
Literary Journal, The Hairpin, and The World of Chinese Magazine. Her essays are<br />
forthcoming in anthologies published by Earnshaw Books and The Places We've<br />
Been. Find her at www.kaitlinsolimine.com.<br />
48
ISSUE 15 | SPRING 2013<br />
FEATURED ARTIST<br />
Jordan Josafat<br />
ARTIST STATEMENT<br />
As an artist, I believe that staying versatile, consistent, humble, & true to<br />
myself are the keys to success. With my work, I focus on many different<br />
approaches to gain attention from all types of audiences. Whether it may be<br />
nostalgia, color & contrast, mechanics, or just plain imagery, these are all<br />
ingredients I take into consideration while creating a piece or a body of<br />
work. I try not to focus on one style thus being versatile. It keeps my mind<br />
fresh and the work never gets boring. There’s always something for me to<br />
do. Sometimes I create for myself, sometimes I create for other people, and<br />
sometimes I just create because I can.<br />
49
Bomb the Morons<br />
50
ISSUE 15 | SPRING 2013<br />
Common Soul<br />
51
Into the Wild<br />
52
ISSUE 15 | SPRING 2013<br />
Old and New<br />
53
Runaway Train<br />
54
ISSUE 15 | SPRING 2013<br />
NUREN XIN HAIDI ZHEN:<br />
A WOMAN’S HEART IS A NEEDLE AT THE BOTTOM OF THE SEA<br />
Karen An-hwei Lee<br />
We drop into this crevasse —<br />
Odd blue halls dragged smooth<br />
an underground glacier.<br />
by igneous stone: unseen shoulders of the world.<br />
We hear exhalations hyphens of blood and zeal<br />
where time is etched in limestone.<br />
A woman’s heart is a needle at the bottom of the sea.<br />
Far below the earth<br />
55<br />
Nuren xin haidi zhen.<br />
a girl crawls inside her own grief – rushed overflow of youth.<br />
How can you already know so much sorrow at this age, I wonder<br />
when she visits for prayer. Who abandoned you — what happened<br />
miles below the surface of your life? Did you come here to find safety<br />
and how may light enter in?<br />
The girl replies, my sorrow is not one of fashion or shame —<br />
in this underground chapel of melting ice.<br />
rather, the love I sought as a child eluded me
PAROUSIA I<br />
Karen An-Hwei Lee<br />
Red butterfly knots, macram :<br />
May I share what I see?<br />
Light years and local suns,<br />
truth or disaster in medias res.<br />
Nations spend more on perfume<br />
than famine, stone-ground<br />
until aroma emerges, hunger.<br />
Boys squat on stones, weep.<br />
Our universe is not infinite:<br />
boundaries exist. We await<br />
a translation as parousia<br />
wraps the sky around our heads,<br />
suede or new skin. The cosmos<br />
is fish paper and a house dress,<br />
insect’s eggs in my linen closet.<br />
Listen for stirring upstairs.<br />
Karen An-hwei Lee is the author of Phyla of Joy (Tupelo Press, 2012), Ardor<br />
(Tupelo Press, 2008), In Medias Res (Sarabande Books, 2004), and a chapbook,<br />
God’s One Hundred Promises (Swan Scythe Press, 2002). Her books have been<br />
honored by the Norma Farber First Book Award from the Poetry Society of America<br />
(chosen by Cole Swensen) and the Kathryn A. Morton Prize for Poetry (selected by<br />
Heather McHugh). The recipient of a National Endowment for the Arts Grant, she<br />
chairs the English department at a faith-based college in southern California, where<br />
she is also a novice harpist.<br />
56
PORTRAIT OF ANONYMITY<br />
Henry W. Leung<br />
ISSUE 15 | SPRING 2013<br />
My ex and her one-night love are drowning.<br />
They see my campfire’s beacon, the keyhole<br />
for the setting sun, and they re-emerge<br />
as Persephone did from Hades: bereft, delighted<br />
by that tempered, accidental bloom, desire.<br />
In his arms she flails and squeals—<br />
they approach me as one shadow united<br />
against itself, falling apart. Wet sand catches<br />
the imprint of their hard hips, their spent skin.<br />
They’re unaccustomed to this, this air’s<br />
gauze, this bandaging to earth;<br />
their wings have no room for waking.<br />
What did they see when they were down?<br />
The slippers of a tired God losing weight.<br />
A pillar in our bodies, folding the light.<br />
Dusk curls from their tide like dark pollen,<br />
so they suck the flesh from my steaks<br />
while they’re still hot. I roll the bones.<br />
57
QUARANTINE<br />
Henry W. Leung<br />
My feet pound perimeters<br />
into the earth, and I grow old<br />
while the long, imperceptible curve<br />
of the city cuts ahead of me<br />
like a ledge. In the last one<br />
billion years, the moon shrank<br />
a little. Pain travels through me<br />
at three hundred feet per second:<br />
missives from a toxic lover.<br />
My suitcase wheels clack over<br />
every square of sidewalk.<br />
Mountains heave up; I can walk<br />
over anything if I don’t stop.<br />
My lungs won’t fill with stems.<br />
During the Black Death, ships<br />
were kept apart in harbors<br />
for forty days, never more.<br />
Henry W. Leung is a Kundiman Fellow and the author of Paradise Hunger,<br />
which won the 2012 Swan Scythe Press Poetry Chapbook Contest. He is also<br />
a columnist for the Lantern Review, a Soros Fellow, and working toward<br />
completion of his MFA in Fiction at the University of Michigan. His work<br />
has appeared in such publications as Cerise Press, Memoir Journal, and<br />
ZYZZYVA.<br />
58
TREE RISINGS<br />
Purvi Shah<br />
ISSUE 15 | SPRING 2013<br />
In the secret garden, brushed behind city streets, you climb<br />
a short tree. I, in a catch-me-now skirt, float<br />
across branches, dangle uncut legs, reactivate<br />
muscles & silent bruises decades hushed.<br />
You inform me, with your four-year prowess,<br />
which branch is stable, which foot leads, which foot<br />
clasps.<br />
You convince me I have forgotten<br />
what it is to fall.<br />
At four or forty, a man carves space<br />
to temporarily hold, to grapple<br />
with which footing will reach first horizon.<br />
At four or nearer to forty, I gaze to the sun-burnt<br />
brush of grass & scatter of sharp stones & sigh – still rising<br />
as these bones blossom, – unshorn & more sturdy in view of break.<br />
Purvi Shah believes in the miracle of poetry and the beauty of change. Winner of the<br />
inaugural SONY South Asian Social Services Award in 2008 for her work fighting<br />
violence against women, she also directed Together We Are New York, a<br />
community-based poetry project to highlight the voices of Asian Americans during<br />
the 10th anniversary of 9/11. She writes to plumb migration and loss, including<br />
through her first book, Terrain Tracks (New Rivers Press, 2006), which was<br />
nominated for the Asian American Writers’ Workshop Members’ Choice Award in<br />
2007. In 2010 she received a Travel & Study Grant from the Jerome Foundation to<br />
explore sound vibration and meaning in Sanskrit and how sound energy can translate<br />
through poetry in English. Her work has been published in numerous journals and<br />
anthologies including Descant, Drunken Boat, Hayden’s Ferry Review, Indivisible,<br />
The Literary Review, The Massachusetts Review, Nimrod, and Weber Studies. You<br />
can find more of her work at http://purvipoets.net,<br />
http://www.huffingtonpost.com/purvi-shah, or @PurviPoets.<br />
59
THE TRANSFUSION OF YUKIYO KANAHASHI<br />
Jackson Bliss<br />
1.<br />
The English word dementia is derived from the Latin word demens, meaning<br />
“out of one’s mind.” Taken apart, demens is composed of two words: the<br />
prefix de, meaning “away, down” and the noun mens, the Latin word for<br />
“reason, mind, intellect.” This is the story of how language and memory fall<br />
apart but never disappear when you break everything down.<br />
2.<br />
In the final year of my sobo’s life, photography was an important motif of<br />
the beautiful dream and the fleeting world. My Japanese cousin, Eikichi,<br />
took several obligatory photos of my grandmother’s final trip at a Buddhist<br />
temple in Ōsaka. The photos are painful to look at because—with one<br />
exception where my grandmother is laughing a joyless laugh, her eyes<br />
closed—there’s no laughter in her face at all, no exuberant sparkle in the<br />
temples like before. They are exactly what I expect of Japanese family<br />
photos: people glued by tradition, cemented by hierarchy, weighed down by<br />
honor and gravitas. The photos are also powerful for the simpler reason that<br />
my sobo is barely there in the ukiyo (the floating world). Her face is<br />
supernaturally pallid like a poisoned moon, her lips are crushing the line<br />
between them. Her eyes are unsettled and overpowered by exhaustion. In at<br />
least two photographs, while my Aunt Shizuko looks straight at the camera<br />
(you), sobo is looking off into the distance as if she can’t bear to look you in<br />
the face. Maybe she didn’t know Eikichi was taking her picture. Maybe she<br />
stopped caring. In another photo, sobo looks incurably sad, the saddest, in<br />
fact, I’ve ever seen her in my entire life. Her eyes plead for more time.<br />
They mourn the inevitable great blur, speaking in the voice of loss. Her eyes<br />
are the orphans of the invisible war taking place inside her body. You are<br />
her witness now. You are her casualty. In another photograph, sobo’s<br />
mouth is half open, as if she’s groaning. If you look long enough you can<br />
see the emotion hemorrhaging inside, the quiet slowly bleeding out. The<br />
agony on her face isn’t just the pain of the body breaking down or the<br />
mutiny of her lungs. It’s also the pain of not knowing how to cover your<br />
pain anymore. The collapse of ganbaru, the Japanese verb of perseverance.<br />
When the pictures are put together, her face tells a story of suffering and<br />
exile: how she lost her country and family once she moved to America, how<br />
age and disease slowly pilfered her memories fifty-eight years after Japan<br />
60
ISSUE 15 | SPRING 2013<br />
surrendered on board the USS Missouri. Sobo looks like she keeps finding<br />
the same wound inside her, the same returning paradox. Despite her visit to<br />
Nippon and the surrounding ambient details of staccato Buddhist chants,<br />
ringing bells, long-winded Japanese honorifics, despite the lingering smells<br />
of kamaboko, senbei and overflowing good-luck incense in the background,<br />
she looks mortified. Her face is not a silent pain at all, it’s a grievance she<br />
shares with the viewer by accident, as if tripping and falling on your heart.<br />
This is the story of how the particles of my sobo’s soul were slowly<br />
dissolving into the atmospheric mesh threads around her like a bleeding<br />
silkscreen.<br />
3.<br />
It took most of my life to piece together her story, and even more time for<br />
the scraps to cohere, but one day I finally understood the truth about my<br />
sobo: part of her died when she left Japan as a young woman. During the<br />
American occupation, Japan nationalized its shame, handed over its army,<br />
and ignored the crimes against humanity it was both clearly a victim and also<br />
a perpetrator of. Meanwhile, a new constitution was translated from English<br />
to Japanese (making Japanese laws essentially foreign). Clean-cut GI’s<br />
became power brokers of a country they didn’t understand or love, after<br />
hundreds of thousands of civilians perished in the Tokyo firebombing (which<br />
my grandmother survived by jumping into the river and holding her breath).<br />
After America’s radiation experiment in Hiroshima and Nagasaki, Nippon<br />
lost its emperor, its national narrative, its urban landscape, its memory of the<br />
physical world. In that post-war chaos, my sobo was working in Yokohama<br />
as a seamstress when she met my grandfather, an American soldier who was<br />
a stubborn drunk, an amnesiac and a future sex offender. This is the story of<br />
how Japan lost the innocence it never had again and the story of how my<br />
grandfather died of cirrhosis of the liver at an American army base before I<br />
was born, killing himself before I’d have the chance to, a kamikaze without<br />
honor or sake.<br />
4.<br />
The word dementia is also a cognate to the Latin infinitive demēre, meaning<br />
“to take, cut away, withdraw, subtract or take away from.” Medically,<br />
dementia is considered a chronic cognitive disorder, often caused by injury<br />
or disease to the brain, resulting in severe or partial memory loss, mood<br />
swings, strong personality shifts and conflated recall (both sequentially,<br />
spatially and temporally). This is the story of sobo’s loss of reality, the<br />
abduction of her narrative arc by the serial killers of memory, all of them.<br />
61
5.<br />
Some people will accuse me of biographical revisionism, but I saw what I<br />
saw in Eikichi’s photos in much the same way that sobo knew what she<br />
knew when she looked away. In each photograph, my sobo is both present<br />
(as pain) and invisible (as joy), as if part of her is already taking a field trip<br />
to the spirit world. Soon after she returned to California, she began<br />
coughing inexplicably, even worse than before. This went on for days, then<br />
weeks, until the months stuck together like magnets. Slowly, sobo lost<br />
weight until she looked gaunt and bony. Her face turned sallow, her smile<br />
lines and crow’s feet cutting deep into her skin. Her appetite dwindled,<br />
satisfied by morning coffee, rice, a bowl of miso shiru and a miniature<br />
version of my mom’s dinner. Eventually, sobo saw the doctor and learned<br />
that she had stage-4 lung cancer. The doctor gave her the death sentence:<br />
two months, three at the most. I was in Portland, Oregon, walking to a<br />
restaurant when my mom told me grandmamma was going to die. I fell apart,<br />
my stitching became unstitched. I bawled in front of complete strangers on<br />
the sidewalk, a stranger to myself. After her death, I looked at sobo’s<br />
pictures of Ōsaka again and I felt haunted by her haunting, her spirit floating<br />
back and forth from her body. The light in her eyes in every photograph<br />
was fading, her energy weak and sluggish like a brownout in a once-dazzling<br />
city. Even during her last visit to Japan, you could see that cancer had taken<br />
over her radiant sparkle, her eyes now filled with the self-knowledge of the<br />
dying. This is the story of how prophecies sometimes work backwards,<br />
telling you what already happened.<br />
6.<br />
I didn’t know what I looking for and I was almost certain the search itself<br />
was dangerous, but I pushed forward at a slow, determined pace to piece<br />
together her life. I’d know what I was looking for once I’d found what I<br />
didn’t know. Once, I had a girlfriend in 8 th grade. She stood me up the day I<br />
was going to give her my Christmas gift—a teddy Bear in a fake fur coat,<br />
veil and satin bow. Her name was Lauren BearCall. That Christmas, after I<br />
told her my story about my flaky girlfriend who forgot to meet me on the last<br />
day of class before Christmas vacation, sobo just shook her head in<br />
disapproval. You were once in a relationship, I protested. No, she countered.<br />
She told me it was bad to have a girlfriend. It was better, she explained, to<br />
not be in a relationship at all. No hurt, she said. Better not to be in<br />
relationship, she explained. This is the story of a Japanese American woman<br />
hiding her past from her hapa grandson.<br />
62
ISSUE 15 | SPRING 2013<br />
7.<br />
Both etymologically and medically, dementia involves the loss of stuff. In<br />
most cases, it’s the loss of rational cognition, almost always including a<br />
nuanced definition of personality subtraction, the removal of some<br />
quintessential aspect of the self, much like an excision of the spirit. In other<br />
words, the person we know (or used to know) isn’t completely there<br />
anymore: she’s on a leave of absence, a cognitive exile. This is the story of<br />
how my grandmother inhabits two worlds at the same time, shuttling<br />
between the Church of the A-Bomb and the Island of Sakura, flashing<br />
between identities and continents in every complex chemical reaction in her<br />
brain, traveling in the space between neurotransmitters and the half-life of<br />
memory.<br />
8.<br />
Once my brother and I began taking over hospice duties for my grandmother,<br />
I started reading brochures for end of life care. In one brochure, it said that<br />
family members should show pictures of the dying person’s life to help her<br />
digest its richness. With the right reader, every life was a rich<br />
bildungsroman. I grabbed every musty, floral-themed album in my mom’s<br />
apartment in Leucadia, led sobo over to the couch by the hand and then sat<br />
down together with her. Photo by photo, page by page, album by album, I<br />
replayed her life back to her: Obāsama, this is you in Paris with mom and<br />
Dad. Oh, she said, surprised. This is you in London, I said. She nodded<br />
like London was playing hide-and-go-seek with her memory. Grandmamma,<br />
this is you in Hong Kong with mom, I said. She bent over the photograph,<br />
looking for faces she understood. This is you in Ōsaka, I said. Oh, Ōsaka,<br />
she repeated, like a word charm. This is you playing the piano at Mrs.<br />
Kurtz’s piano recital, I said. In three hours, we soared through her life at<br />
blinding speed, splicing a lifetime achievement montage that she soon forgot.<br />
Part of me was devastated: this was her life in snapshot, collapsing into<br />
snippets. She’d had a brutal life that got better over time, but now she didn’t<br />
even remember what she’d overcome (a sexually abusive husband, a world<br />
war, a broken-up Japanese family, an estranged daughter and the<br />
institutionalized xenophobia of small town America). She was the very<br />
definition of a survivor, and what’s worse, she no longer knew it. Still,<br />
another part of me was envious: sobo gets to relive each seminal moment of<br />
her life over again, for the first time, every joy is her first joy, every moment<br />
is an eternity. And all of the pain, suffering and grief she’d experienced<br />
since Japan became a radical experiment of radiation, democracy, cultural<br />
translation and historical erasure was wiped clean. This is the story of how<br />
63
Platonic knowledge is joyful recollection (because traces don’t disappear)<br />
and how memory loss is morphine and character assassination.<br />
9.<br />
After their mysterious marriage, my grandfather wanted his new Japanese<br />
wife and his hapa daughter to move to American as soon as possible. He<br />
didn’t want them to become Japs, even though both of them already were<br />
and he would never be. Nothing scared him more, in fact. Despite the fact<br />
that he was the foreigner and couldn’t understand my mom and my<br />
grandmother when they spoke to each other in nihongo, my grandfather<br />
banished them from their homeland, sending my mom and then later my<br />
sobo to a small town in Northern Michigan to rid them of their sickness<br />
called nihonjin no atashi (Japanese Me). This is the story of how an<br />
estranged gaijin in Japan (estranged from Yokohama, estranged from his<br />
own family in Washington state) turned his hapa daughter and Japanese wife<br />
into foreigners in America who would remain stuck in the spaces between<br />
cultures forever.<br />
10.<br />
Part of the cultural definition of dementia is predicated on the notion of an<br />
unchanging self. Americans, in particular, have a monolithic view of the<br />
human personality. We pretend that each person has a single overarching<br />
self that controls all ancillary traits and characteristics. When we deviate<br />
from this monolithic personality superimposed on us from the outside, we’re<br />
described as “fake,” “fronting,” “trying too hard,” “phony,” all words used to<br />
described people who aren’t “real.” Sociolinguistically, what is “real” has<br />
become synonymous with what is true, legitimate and authentic, which is<br />
odd considering that humans have never agreed on what reality is for the<br />
simple reason that reality is an interpretation of our subjectivity, so elusive,<br />
so protean and ontologically promiscuous, like a consort of false idols and<br />
imaginary worlds. The binary line separating reality and fantasy is a false<br />
one. But this is exactly how reality is supposed to be—impossible to locate,<br />
impossible to delimit. This is the story of how we oversimplify the war<br />
maps of the self in order to avoid the battlefield of identity, in order to not<br />
step on the landmines of contradiction.<br />
11.<br />
One of sobo’s last conscious projects was an album book of photographs<br />
she’d handpicked herself. Unlike the clean, well-divided and linear picture<br />
albums I’d shown her after reading a hospice pamphlet, my grandmother’s<br />
64
ISSUE 15 | SPRING 2013<br />
album book was a masterpiece of fragmentation. In it, she had rearranged<br />
pictures of her life that often went backwards and upwards chronologically,<br />
laterally instead of sequentially. Often the pictures followed a circular, often<br />
a dizzying trajectory that always returned to her (hapa) family and her trailer<br />
in Traverse City, Michigan and her (American) life as a seamstress for<br />
wealthy, conservative white women that smiled when she spoke because her<br />
accent overpowered her words like an angry dime store perfume. By<br />
looping through time and space, her picture narrative returned again and<br />
again to her (hapa) grandsons she used to chase around with a broom and<br />
prepare somen noodles for in the summertime and drive to Mrs. Kurtz’s<br />
house in suburbia for piano lessons and sit, often for hours inside her own<br />
trailer, smoking Pall Malls 100’s and listening as Mozart and Beethoven rose<br />
up from the altar on her piano, the notes spilling out the windows that were<br />
opened wide for all the neighbors to remember, witnesses to my halfbutchered<br />
sonatas, all of them. This is the story of how my grandmother<br />
resisted the cult of linearity by bending her memories into a continuous song.<br />
12.<br />
The day I realized my grandfather had raped my sobo was the day I realized<br />
I was capable of imagining terrible acts of violence. As a committed<br />
Buddhist, I’m ashamed by this confession but the burning rage remains<br />
inside me like mnemonic napalm. One day when we were eating TV dinners<br />
and watching TV, sobo told me: he made me do things I not want to do.<br />
While I can’t prove this, I have a feeling that what he forced her to do is<br />
what paper gods force ink mortals to do in Ovid’s metamorphoses. I have a<br />
hunch that this is how my mom was born, the reason my sobo married a<br />
drunk, stubborn American soldier who took away her childhood with a<br />
single act of infiltration. This is the story of how a woman married an<br />
atomic bomb to protect her family’s honor.<br />
13.<br />
In America, we treat dementia as an incomplete version of the former self,<br />
even when it’s a result of insufficient oxygen to the brain by metastasized<br />
lungs. We view it as raving, possibly schizophrenic (but absolutely lunatic)<br />
alternative identity that has hijacked the personality of someone we used to<br />
know. Dementia is always the enemy, not our cultural insistence that who<br />
we are doesn’t change through time. Dementia is metempsychosis, a change<br />
or shift in human souls from one body to another. But what if dementia<br />
isn’t the subtraction of the self but the self’s own multiplication? What if<br />
dementia is not the cognitive haunting of who we once were or the<br />
perversion of how people once knew us but our most emancipated version of<br />
65
our self, freed from the constraints of rationalism? What if sobo on her<br />
deathbed was not an abridged version of her former self but a completely<br />
unfiltered and unfettered version of who she’d always been inside? The<br />
Yukiyo Kanahashi I knew had a permanent accent and a shrunk-in-the-dryer<br />
vocabulary. She was unfaithful with definite articles. Sometimes, she<br />
stressed the wrong syllables of words, making them momentarily foreignsounding<br />
to native speakers. She also did other things with language that<br />
was unique: all dogs were doggies, my brother’s name became a swear word<br />
with a slight intonation shift, and sakura could be a holiday, a flower and a<br />
song. And yet, as much as I loved the English-speaking version of my sobo,<br />
that was just an excerpt of a larger body of work, a shrink-wrapped version<br />
of herself suffocating under a layer of cellophane. Her English was a<br />
performance. At times, almost a racist caricature of herself. Her Japanese,<br />
on the other hand, was the uncorking of the impossible bottle. When she<br />
spoke nihongo to her siblings on the phone every New Year’s day, our house<br />
became an opera house of repackaged stories, translated for our protection.<br />
This is the story of sobo’s dementia as both an act of defiance of western<br />
(linear) time and also an expansion (opera) of who she used to be before<br />
yellow people became lab rats for the Manhattan project.<br />
14.<br />
When my grandmamma moved to America, Japan froze in time. Her photo<br />
album of dementia was distinctly diachronic, looping continuously in a<br />
temporal helix that often crossed wires and became knotted, the form and<br />
content of her past changing with every frame, every row, every page,<br />
working out a new permutation of memory, each fresh (non-linear) narrative<br />
traveling back and forth, up and down, contracting and stretching. Sobo’s<br />
memories of Japan, on the other hand, were devoutly, distinctly synchronic.<br />
While her life in America continued to progress in the changing of<br />
presidents—Eisenhower-Kennedy-LBJ-Nixon-Ford-Carter-Reagan-Bush-<br />
Clinton et al.—Japan was stuck in the Showa period for good, its doctrine of<br />
racial superiority and the sins of Nanking only recently erased by the blunt<br />
force of Enola Gay’s urban liquidation, the Battle of Midway and the<br />
occupation of the emperor’s throne by toe-headed hakujins that didn’t speak<br />
a word of nihongo, and didn’t know Shinto from shindo (the Japanese words<br />
for earthquake, depth, progress and elasticity). Was it her attachment to a<br />
lost childhood, the bloodshed and the amorality of war, the erasure of<br />
nationalist narratives of violence or simply the implosion of Hirohito’s<br />
personality cult that made my sobo cast such a sweeping spell on her<br />
homeland, the land of the sun-origin stuck in suspended animation, frozen at<br />
the exact place where civilian blood flowed profusely? This is the story of<br />
66
ISSUE 15 | SPRING 2013<br />
how Japan became a cryogenic prison of history (a tourniquet of melancholia)<br />
once my grandmother passed the international timeline.<br />
15.<br />
To me, my grandfather had always been a ghost, a toxic presence<br />
symbolizing a life vacated from within. But in fact, he was once all flesh<br />
and booze, moving from Pennsylvania military base to German military base<br />
like a picaresque war antihero. He was alive just long enough to earn a<br />
Purple Heart, become an alcoholic, create a family from mud and then<br />
abandon it once he became weary (sober). When I was an adult, my mom<br />
confessed to me that he had molested her too, usually when he was drunk<br />
enough to be a Molotov cocktail. For the second time in my life, I felt a hot<br />
anger rising inside of me like a projectile. This is the story of a war criminal<br />
decorated for his battle wounds, which resonated through every one of us<br />
after his fatal battle with the bottle.<br />
16.<br />
An implicit assumption in both the medical and the etymological definitions<br />
of dementia is this notion that what we lose was mnemonically worth<br />
keeping. But what if that’s wrong? What if selective memory is both a<br />
manifestation of trauma and pain, and also the psychic recreation of it, an<br />
emotional salve to the military science of trauma, a bandage for the teeth<br />
marks of history? What if dementia proves that the entangled strands of<br />
culture, narrative, psychology and memory, are actually knotted and tripletied?<br />
What if dementia proves that all human beings are actually<br />
multiplicities (mirrors) of themselves? This is the story of how delirium and<br />
conflation become a joint project of self-multiplication, especially when<br />
reality (promiscuous, subjective, impossible to locate reality) murders the<br />
songs of your childhood.<br />
17.<br />
Language is a blurry photograph: in grad school, my desire to learn<br />
Japanese was related to my desire to freeze American time and thaw<br />
Japanese time. Speaking nihongo was an ekphrastic gesture, my way of<br />
painting (resurrecting) Japan using unfaithful honorifics, crooked kana, giant<br />
kanji and broken copulas, a gift just for her on the phone. My secret hope<br />
was that Japan would thaw in her heart and stay frozen in mine. Speaking<br />
nihongo was my way of holding on to my sobo, the way I choose to<br />
remember our culture before the details became thin and too focused. This is<br />
67
the story of how I began studying Japanese both to connect with my<br />
grandmother and also bring Japan back from the graveyards of pop culture.<br />
18.<br />
When my brother and I got in a car accident in the family Subaru, I was in<br />
grade school, holding a children’s manga in my hand that my sobo had<br />
picked out for me a week before in Japan. Though I have a scar on my<br />
cheek and another one on my scalp to prove that crashes aren’t just the stuff<br />
of atomic bombs, I survived, the rest of my body unscathed. The doctor told<br />
my mom later that if I hadn’t been holding the manga in my hand (the thick,<br />
pulpy pages acting as protective spirits from land of the sun-origin), I might<br />
have died. Or been disfigured. That car accident proved that my monolithic<br />
self has never ceased being threatened since the day I realized I was a hapa<br />
performing a white person. This is the story of how Japan saved my life<br />
from narrative monomania or cultural duality.<br />
19.<br />
As a writer, language is how I slow down time and shed the words I’m ready<br />
to let go of. It’s also my project of memorialization. I write so that the<br />
reader is forced to do the remembering for me. After all, writing is aesthetic<br />
delirium, a diachronic synthaesia of person, language and event that infects<br />
the reader with narrative dementia, entrapping her within my own textual<br />
wonderland. I’m wandering, always wandering through the leviathan of<br />
small details, I’m exposed, already infected by the unstable neurotoxins of<br />
memory, sickened by the lyrical (cyclical) passages of this memoir. This is<br />
the story of how a writer (reader) leaps over the canyon of amnesia and finds<br />
his lost grandmother in the wasteland, hidden somewhere in the library<br />
stacks of his own memory where everything is waiting to be sewn into a<br />
coherent story that falls apart at the seams when you hold it up against the<br />
light.<br />
20.<br />
During the last year of her life, sobo recreated her own island of the sunorigin.<br />
She read tiny Japanese novels that she bought at the San Diego<br />
Kinokuniya, tucked inside the Mitsuwa supermarket on Kearny Mesa Road.<br />
My mom also got Nippon TV installed on their cable box so my<br />
grandmother could watch Japan in real time, leaping over fifty years of<br />
suspended animation with a push of a button. This is the story of how we<br />
create nations, mountains, and cities inside of ourselves that are not<br />
simulacra, but perfect imagined worlds, more perfect than the original design.<br />
68
ISSUE 15 | SPRING 2013<br />
Supposedly, the last sense to go is the hearing. On her deathbed, as her<br />
forehead was burning up, I crawled in my sobo’s bed. After thanking her<br />
again for her indomitable love, strength, generosity and devotion, I<br />
whispered one final thing in her ears: Obāsamawa, watashitachi no hikari<br />
desu. Grandmama, you are our light. You are our light. This is the story of<br />
how I tried to help my grandmother cross to the other side, a world I prayed<br />
was full of butchered Mozart Sonatas, Ōsaka festivals, the smell of<br />
kamaboko and senbei in the background and good luck-incense rising up, the<br />
tendrils of smoke painting sakura branches in the sky.<br />
When she died, my grandmother was completely out of her mind. Dementia,<br />
after all, is the travel between the self, beyond the self and around the self<br />
until there is no self left, or until there are too many selves to count. The day<br />
before I left California, I was sitting at a café with my brother, reflecting<br />
about my sobo, focusing all my attention on her as I opened up my portable<br />
Japanese-English dictionary which I’d brought to help me speak with her<br />
when her English collapsed into rubble. I had probably creased the page<br />
myself days before without knowing, pressing my hands firmly on the spine<br />
in case of emergency. Even so, these are the kanji I found on that page, just<br />
as I was thinking about her, just as I was replaying the last minutes of her<br />
life with me: hieru, meaning, “to grow cold,” higashi, the kanji for “east,”<br />
hikitoru, meaning “to take care,” hikō, the noun for “flight,” and most<br />
importantly, hikari, the kanji for “light.” This memoir is the story my sobo<br />
didn’t want to tell anyone, the story she kept telling me in excerpts of<br />
encoded trauma, the voyage I wish I could forget and the story I was<br />
destined to assemble and retell in a way that only I could, written in the<br />
lyrical (cyclical) style she would have forbidden and demanded of me. This<br />
is the story of my sobo’s deracination, her self-multiplication and also her<br />
return to the motherland. This is the story of my memory of her memory,<br />
transposed into a series of (im)perfect and flawed translations, a project of<br />
narrative multiplication, the lyrical disorder of a damaged (artistic) brain,<br />
and an honest arpeggio of memory. This is the story of how a memoir can<br />
also be a blood transfusion, giving sustenance to every version of her life she<br />
forgot and every version she left untold.<br />
69<br />
21.<br />
22.
Jackson Bliss earned his MFA from the University of Notre Dame where he was the<br />
Fiction Fellow and the 2007 Sparks Prize Winner. Now, he is finishing his PhD in<br />
English and Creative at USC, working with TC Boyle, Viet Nguyen and Aimee<br />
Bender. Jackson has work published in the Antioch Review, Kenyon Review, Fiction,<br />
Quarterly West, ZYZZYVA, Fiction International, Notre Dame Review, African<br />
American Review, Quarter After Eight, Connecticut Review, Stand (UK), and 3:am<br />
Magazine, among others<br />
70
CLUB GIGOLO<br />
Sean Labrador y Manzano<br />
ISSUE 15 | SPRING 2013<br />
Am I (are we) suddenly contracted when Beth swaps mint pushed from her<br />
mouth to my mouth like resuscitation suggests kinship can find a coherent<br />
space quietly tumbling gratitude perhaps ordering basket of chicken fried<br />
marinade of soy sauce and kalamansi and I play the magnanimous client<br />
replenishing San Miguel and patrolling the floor mamasans approve<br />
upselling and I am reminded of daughters smartly dressed selling jicama<br />
from rugged tables the perimeter of every town along the MacArthur<br />
Highway and fortunate buyers beware the father behind the acacia leaping to<br />
close a deal outside the matchmaker’s purview and my mother wants me to<br />
return to the States with bride who knows thirst and rural courtesies and the<br />
names of rice a daughter-in-law who distrusts bottled water labels a<br />
barangay pageant queen as congenial as my mother who draws strength from<br />
reciprocating pumps -We are cousins: Beth and I and no one else knows<br />
except the professor comparing certification and health care of sex workers<br />
in the free trade zone he negotiates mistresses at the other booth now that I<br />
have been assigned field study the other students finally abandoned for the<br />
roulette wheel’s immediate gratification - Who wants to track how far the<br />
hired help have travelled from farms like Easter penitents marching for<br />
terminal patrons to be crucified to learn supply and demand and job market<br />
oversaturation and how the Taiwanese mother-board plant’s refusal<br />
measures Rizal Avenue’s blocks of shame at every hotel, the valet pimps<br />
vocational school girl with technical tongue, extracting value of cheap candy<br />
- I did not expect to find Beth so soon but I chose my cousin for her legs I<br />
chose her legs before I learned they belong to the woman I am looking for<br />
the family hero I theorize to exist and I find her in the dressing room sitting<br />
on a stool by the bunk bed pushed to the wall leading to the window and the<br />
shanties slouching into Shit River and across the river, industrial park<br />
promises emerging from abandoned naval base her head turned away while<br />
the bright harem advertised themselves as themselves was I sold on her<br />
mature inattentiveness or quiescence? - Beth shares bounty of breast and<br />
skin the crows not chosen because of their legs I like mine carceral and<br />
netted and arabesque she offers a little meat finger to my mouth in steady<br />
unflinching rehearsed motion sailors have been fed this way and plant<br />
managers too I insist the carcass to the wind and clamor -Two girls, short<br />
and lack the illusion of height matched in one-shouldered shellacs dueling to<br />
Destiny Child’s “Survivor” facing the mirror wall, squatting to the beat, each<br />
holding an invisible torch thought I couldn’t you thought I couldn’t you<br />
thought I couldn’t you thought that I would but I am not attracted to<br />
recumbent shoulders perhaps the unapologetic Korean talent scout in three-<br />
71
piece suit nearest the air conditioner indifferent to statues and elusive<br />
beacons because this is the minor league and my own companion anticipates<br />
VISA to Italy and a salary remitted to parents raising grandson her continued<br />
tenure ligation makes possible - My mother is the youngest of eight in the<br />
archipelago there is not lack of barrenness in this business there are no babes<br />
- Gravidity is obsolescence - So we are watching the twin audition their legs<br />
like drumsticks I do not follow drumstick legs the disco ball mutes parody<br />
my rival smokes a thick cigar I can lose a bidding war of what is<br />
impregnable –<br />
and I look at the leg bones, defleshed.<br />
We tacitly agree to our uncanny pairing no economic forecast could<br />
predictonly in Olongapo where remanded to the system daughters not good<br />
for the soil or the laundry - I want the familiarity of her mouth again to<br />
expect her tongue I want to trace her legs as geometrically defined by nylon<br />
but when a guest relations officer is removed from the club she discards<br />
uniform and invisibly armored in designer blue jeans and simple blouse the<br />
transformer outside the hotel erupts in the storm in the blackout because no<br />
money exchanged we hold each other clothed instead I do not want to lose<br />
her again in the darkness I study her face her tattooed brow that draws me in<br />
to study her eyes the alluvial depositions of Zambal volcanic streams the<br />
cousin choosing to kneel beside me in the river? the American returned<br />
from several thousand miles to bury grandfather I was 10 years old meeting<br />
my supposed barkada in the shallows we received the cross on the forehead<br />
saliva of the dead.<br />
Sean Labrador y Manzano lives on the island off the coast of Oakland. He edits the<br />
anthology, Conversations at the Wartime Café. His chapbook, The Gulag<br />
Arkipelago is published by Tinfish. Recent writing appears in Aufgabe, Eleven<br />
Eleven, Generations, Conversations at a Wartime Café<br />
(http://www.mcsweeneys.net/authors/sean-labrador-y-manzano), Fag/Hag, Volt, The<br />
Walrus, Tarpaulin Sky (http://www.tarpaulinsky.com/issue-17/index.html), The<br />
Poetry of Yoga, Poetic Labor Project (http://labday2010.blogspot.com/2011/10/seanlabrador-y-manzano.html)<br />
and else where.<br />
72
ISSUE 15 | SPRING 2013<br />
The Fight<br />
Jordan Josafat<br />
73
AUTHOR INTERVIEW WITH<br />
MONIQUE TRUONG<br />
Author of The Book of Salt (2003),<br />
Bitter in the Mouth (2010), and<br />
co-editor of Watermark: Vietnamese<br />
American Poetry & Prose (1998).<br />
74<br />
Photo by Marion Ettlinger<br />
By: Christine Lee Zilka and Sunny Woan<br />
One of the most illustrious writers of contemporary Vietnamese American<br />
literature, Monique Truong inspires with her characters and her quiet,<br />
intelligent prose. She is a former fiction editor of The Asian Pacific<br />
American Journal and co-editor of the highly acclaimed anthology<br />
Watermark: Vietnamese American Poetry & Prose. Truong was born in<br />
Saigon and came to the States as a child in 1975. She attended Yale, then<br />
Columbia Law, and then in 2003 published her debut The Book of Salt,<br />
which won numerous awards. Then in 2010 she published her sophomore<br />
novel Bitter in the Mouth.<br />
Bitter follows a young woman Linda growing up in the 70s and 80s in Boiler<br />
Springs, a small North Carolina town. Linda experiences memory and words<br />
through taste, a condition known as synesthesia. The story is part coming of<br />
age and part tragedy as Linda explores her past and comes to revelations<br />
about her family and herself.<br />
Like Truong's first book, The Book of Salt, a fictionalized narrative about the<br />
Vietnamese in-house cook of Gertrude Stein and Alice B. Toklas, Bitter in<br />
the Mouth is centered around food and eating. In one of our most exquisite<br />
interviews to date, the editors of <strong>Kartika</strong> converse with Monique Truong<br />
about her books and her writing rituals. Her responses, her thoughtfulness,<br />
and the astonishing beauty of her words caused us to fall even deeper in love<br />
with her work.
ISSUE 15 | SPRING 2013<br />
KARTIKA REVIEW (KR): Food as theme? You have said in prior<br />
interviews that your books are not about food, and yet—yet they circle<br />
food and the sense of taste. How do you see them not about food?<br />
MONIQUE TRUONG (MT): As a writer, I'm interested in food and eating<br />
as performance, ritual, replacement, reward, punishment, pleasure, resistance,<br />
and as means of creativity and communication. Basically, everything but the<br />
food itself. If I write about a tree-ripened plum, its purple skin split by the<br />
sun, I don't do so in order to make the reader desire the plum itself but for<br />
what it represents within the narrative. (In life, for sure, I would desire the<br />
plum too. In literature, the plum is hopefully a bit more complicated than<br />
that.)<br />
KR: Writing another race is difficult—and in Book of Salt, you wrote<br />
another gender and sexuality. What challenges did you face writing a<br />
gay character?<br />
MT: My mantra while writing The Book of Salt: Love is love. Desire is<br />
desire. Sometimes the worst thing that we as writers and human beings can<br />
assume is that "other" people's love is qualitatively different from our own<br />
and thus unknowable or inscrutable. The circumstances and the expression<br />
of that love may be different, but the love itself is not. I felt that if I was true<br />
to this, then I would be able to create a character with emotional integrity<br />
and resonance no matter the gender, sexual orientation, or historical time<br />
period.<br />
KR: I have a confession—On a rainy afternoon while at Hedgebrook, I<br />
flipped through the journals of prior occupants of Oak cottage and<br />
discovered you’d stayed in the same cottage for your writing residency. I<br />
picked up Book of Salt and began reading, and came across a passage in<br />
which you described the rain falling on the roof—and the synchronicity<br />
between the rain falling on the roof of Oak cottage at Hedgebrook and<br />
the rain falling on the roof in Paris was undeniable.<br />
Some writers say they don’t write their physical setting into the novel—<br />
others say they have to travel far away to see the places in which they’ve<br />
lived. But there—there, I saw Hedgebrook, in real time. Did you write<br />
that passage while at Hedgebrook? To what extent does your physical<br />
setting seep into your writing?<br />
MT: I think you mean this passage: "I, like all my brothers, was conceived<br />
in a downpour. What else was there to do during the rainy season? Hell, I<br />
75
suspect everyone in Saigon was conceived to the sound of water, carousing<br />
on the rooftops, slinking down the drainpipes."<br />
I'm pretty certain that I wrote that during my first residency at Hedgebrook<br />
(for three months during the spring of 2000). I'm not sure how not to write<br />
my physical setting into my novels. The pervasive rain in Washington state<br />
was the rhythm to which I wrote many chapters of Salt, especially the ones<br />
about Binh's mother.<br />
That's another example of how my physical setting found its way into my<br />
narrative. Hedgebrook is a writing residency for women, and three months of<br />
talking primarily with women and hearing the stories of their lives and their<br />
mother's and grandmother's lives made me acutely attuned to the constraints<br />
and the acts of rebellion that were nonetheless possible for women<br />
throughout history.<br />
Of course, many of these acts of bravery and defiance were not on the public<br />
stage but within the domestic space. Binh's mother to me became one of<br />
these rebellious women. She was brave and defiant to have loved the<br />
schoolteacher. I'm not sure if I would have written her the same way if I had<br />
been writing elsewhere.<br />
KR: Alice B. Toklas’ cookbook was the inspiration for Book of Salt—<br />
what was the inspiration for Bitter in the Mouth?<br />
MT: I saw a segment about synesthesia, a neurological condition that causes<br />
the mixing of the senses, on a television show. There was an interview with a<br />
British man who experienced tastes when he heard or said certain words.<br />
That was the seed of Bitter for me. I knew that this condition would allow<br />
me to write about food and flavors again but from an unusual angle.<br />
KR: In Bitter in the Mouth, experience is expressed through the sense of<br />
taste. What is it about the sense of taste over the other physical senses<br />
(sight, touch, hearing, etc.) that seems to pull your writing toward it?<br />
Although for the protagonist of Bitter it is a health condition, for the<br />
reader it is a different perspective on story. What inspired you to tell<br />
that particular perspective of story?<br />
My sense of taste is my dominant sense. I favor it, and it favors me right<br />
back. I’ve an incredibly good memory for flavors and can combine them in<br />
my head and experience them in the abstract. I think many avid home cooks<br />
and chefs can do this too. My memories are also often accompanied by the<br />
clear tastes of the foods that I ate during these discreet moments in time. For<br />
76
ISSUE 15 | SPRING 2013<br />
example, I’ve a friend from college who introduced me to dry-cured olives.<br />
Whenever I think of her, I’m overwhelmed by the briny, faintly buttery<br />
flavor of those black olives and can see them sitting in a little dish on her<br />
table.<br />
Linda’s synesthesia is her secret sense. Secrets and hiding in plain sight are<br />
themes that are explored in many other ways in Bitter. But before all of those<br />
are revealed, I wanted to invite readers to identify with Linda. Yes, her<br />
condition is rare and unusual, but I do think it’s easy or tempting to imagine<br />
that we can understand it. The flavors that she experiences when she hears or<br />
speaks certain words are those of the American dinner table in the mid 1970s<br />
and onward. Many of these flavors are courtesy of processed, canned, and<br />
mass-marketed foods. These flavors, in reality, are common denominators.<br />
Linda, though, is not common. She is rare. By Chapter 2, she already has<br />
provided readers with one of the keys to the novel: “I could claim, for<br />
example, that my first memory was the taste of an unripe banana, and many<br />
in the world would nod their heads, familiar with this unpleasantness. But we<br />
all haven’t tasted the same unripe fruit. In order to feel not so alone in the<br />
world, we blur the lines of our subjective memories, and we say to one<br />
another, “I know exactly what you mean!”<br />
KR: One incidental theme in Bitter in the Mouth is the tension between<br />
truth and story (for example, the grandmother), objective history versus<br />
subjective. You have mentioned in prior interviews that all history (and<br />
the law as well) is story. Do you think that’s one of the rationales for<br />
choosing first person point of view in both Book of Salt and Bitter in the<br />
Mouth, your notion of the objective existing only in the subjective story?<br />
MT: I’m a firm believer that how a person tells her story is as revealing as<br />
the story itself. The first-person voice is, for me, the best way to explore all<br />
the how’s. What Linda tells you first about herself and what she withholds<br />
until later, for instance.<br />
I also prefer the first-person voice because it allows me to inhabit a<br />
character-specific vocabulary and relationship to language, which are other<br />
manifestation of subjectivity. A character can attach a unusual meaning to a<br />
commonly used word, twisting it slightly or entirely, and it’s up to me to<br />
reveal to the reader the idiosyncrasies and what they may mean.<br />
77
KR: What is the physical act of writing like for you?<br />
MT: I wrote both my novels at many different residencies and also in my<br />
writing room in Brooklyn. Wherever I am, I place my desk right next to a<br />
window. On the desk, I set up a simple visual tableau related to the story that<br />
I'm working on. A set of tiny silver-plated salt and pepper shakers for The<br />
Book of Salt. A ceramic ashtray in the shape of North Carolina for Bitter in<br />
the Mouth.<br />
Sometimes, I'm convinced that I have to be wearing shoes or I can't write. I<br />
try not to write while wearing my PJs and never just my underwear (sorry,<br />
over sharing). This is all certainly related to my need to escape the house or<br />
building (and my manuscript) in an emergency. I'm not joking. Feeling in<br />
control and prepared is necessary for my process, especially since what's<br />
happening on the page/screen is so often the opposite of that.<br />
I believe strongly in the ritual as opposed to the routine of writing. Ritual<br />
and routine are not the same.<br />
Ritual (a long walk beforehand, a cup of roasted rice tea during, an salutary<br />
nod to my literary heroes, Gertrude Stein and Marguerite Yourcenar, whose<br />
works in various forms occupy a place of honor on my writing desk right<br />
now) is about the physical, intellectual and emotional transition that needs to<br />
take place before I can shed my day-to-day self and become my writing self.<br />
Routine is the numbing repetition of an act: laptop, daily word count, and<br />
deadlines.<br />
KR: Stories versus novels: with which do you feel more comfortable,<br />
and why?<br />
MT: I love the short story, but I haven't written a short story in decades. In<br />
my novels, I’m always hoping to achieve the emotional economy, tautness of<br />
language, and gestural symbolism that are present in the best of them.<br />
KR: In what way/s has your law background informed your fiction?<br />
MT: The law taught me precision. Find and use the word that means exactly<br />
what you want to convey. Do not compromise or there will be ugly<br />
consequences.<br />
78
ISSUE 15 | SPRING 2013<br />
KR: What advice do you have for beginning or emerging writers?<br />
MT: I recommend that they travel, not just while they are emerging but<br />
during the whole of their writerly lives. I also recommend that they take off<br />
their headphones or ear buds when on the subway, bus, train, etc. In other<br />
words, eavesdrop. Everyday people say amazing and odd things. The other<br />
day I walked by a group of older African American men on Sixth Avenue,<br />
and one of them was adamantly repeating this phrase several times: “God<br />
and Hilary Clinton…” I should have stopped and listened to the denouement,<br />
but I was in a hurry.<br />
That too: Don’t be in a hurry. You end up missing things.<br />
79
CONTRIBUTOR BIOS<br />
FICTION<br />
Sharon Hashimoto teaches at Highline Community College in Des Moines,<br />
Washington. Her short stories have appeared in North American Review,<br />
Crab Orchard Review, Tampa Review, Shenandoah, THEMA and others.<br />
Her book of poetry is The Crane Wife, co-winner of the Nicholas Roerich<br />
Prize and published by Story Line Press in 2003. She received a NEA<br />
creative writing fellowship for poetry in 1989.<br />
Anu Kandikuppa is an economist and a candidate in the MFA Program for<br />
Writers at Warren Wilson College, North Carolina. She lives in Boston with<br />
her family and is online at www.anukandikuppa.com.<br />
Wah-Ming Chang has received fellowships for fiction from the New York<br />
Foundation for the Arts, the Saltonstall Foundation for the Arts, the Urban<br />
Artist Initiative, and the Bronx Writers' Center. Her fiction has appeared in<br />
Mississippi Review and Arts & Letters Journal of Contemporary Culture,<br />
nonfiction in Words without Borders and the Asian American Writers'<br />
Workshop's Open City, and photography in Drunken Boat and Open City.<br />
She is currently working on a photo essay about the essence of the dance<br />
rehearsal.<br />
Raised in New England, Kaitlin Solimine has considered China a second<br />
home for almost two decades. She's been a Harvard-Yenching scholar, a<br />
Fulbright fellow, the Donald E. Axinn Scholar at Bread Loaf, and winner of<br />
the 2012 Dzanc Books/Disquiet International Literary Award. She wrote and<br />
edited Let's Go: China (St. Martin's Press) and her work has been featured in<br />
Guernica, Cha: An Asian Literary Journal, The Hairpin, and The World of<br />
Chinese Magazine. Her essays are forthcoming in anthologies published by<br />
Earnshaw Books and The Places We've Been. Find her at<br />
www.kaitlinsolimine.com.<br />
POETRY<br />
Karen An-hwei Lee is the author of Phyla of Joy (Tupelo Press, 2012),<br />
Ardor (Tupelo Press, 2008), In Medias Res (Sarabande Books, 2004), and a<br />
chapbook, God’s One Hundred Promises (Swan Scythe Press, 2002). Her<br />
books have been honored by the Norma Farber First Book Award from the<br />
Poetry Society of America (chosen by Cole Swensen) and the Kathryn A.<br />
Morton Prize for Poetry (selected by Heather McHugh). The recipient of a<br />
80
ISSUE 15 | SPRING 2013<br />
National Endowment for the Arts Grant, she chairs the English department at<br />
a faith-based college in southern California, where she is also a novice<br />
harpist.<br />
Henry W. Leung is a Kundiman Fellow and the author of Paradise Hunger,<br />
which won the 2012 Swan Scythe Press Poetry Chapbook Contest. He is also<br />
a columnist for the Lantern Review, a Soros Fellow, and working toward<br />
completion of his MFA in Fiction at the University of Michigan. His work<br />
has appeared in such publications as Cerise Press, Memoir Journal, and<br />
ZYZZYVA.<br />
Purvi Shah believes in the miracle of poetry and the beauty of change.<br />
Winner of the inaugural SONY South Asian Social Services Award in 2008<br />
for her work fighting violence against women, she also directed Together<br />
We Are New York, a community-based poetry project to highlight the voices<br />
of Asian Americans during the 10th anniversary of 9/11. She writes to plumb<br />
migration and loss, including through her first book, Terrain Tracks (New<br />
Rivers Press, 2006), which was nominated for the Asian American Writers’<br />
Workshop Members’ Choice Award in 2007. In 2010 she received a Travel<br />
& Study Grant from the Jerome Foundation to explore sound vibration and<br />
meaning in Sanskrit and how sound energy can translate through poetry in<br />
English. Her work has been published in numerous journals and anthologies<br />
including Descant, Drunken Boat, Hayden’s Ferry Review, Indivisible, The<br />
Literary Review, The Massachusetts Review, Nimrod, and Weber Studies.<br />
You can find more of her work at http://purvipoets.net,<br />
http://www.huffingtonpost.com/purvi-shah, or @PurviPoets.<br />
NONFICTION<br />
Jackson Bliss earned his MFA from the University of Notre Dame where he was the<br />
Fiction Fellow and the 2007 Sparks Prize Winner. Now, he is finishing his PhD in<br />
English and Creative at USC, working with TC Boyle, Viet Nguyen and Aimee<br />
Bender. Jackson has work published in the Antioch Review, Kenyon Review, Fiction,<br />
Quarterly West, ZYZZYVA, Fiction International, Notre Dame Review, African<br />
American Review, Quarter After Eight, Connecticut Review, Stand (UK), and 3:am<br />
Magazine, among others.<br />
Sean Labrador y Manzano lives on the island off the coast of Oakland. He edits the<br />
anthology, Conversations at the Wartime Café. His chapbook, The Gulag<br />
Arkipelago is published by Tinfish. Recent writing appears in Aufgabe, Eleven<br />
Eleven, Generations, Conversations at a Wartime Café<br />
(http://www.mcsweeneys.net/authors/sean-labrador-y-manzano), Fag/Hag, Volt, The<br />
Walrus, Tarpaulin Sky (http://www.tarpaulinsky.com/issue-17/index.html), The<br />
Poetry of Yoga, Poetic Labor Project (http://labday2010.blogspot.com/2011/10/seanlabrador-y-manzano.html)<br />
and elsewhere.<br />
81
ART<br />
82<br />
What The<br />
Jordan Josafat<br />
Jordan Josafat was born in Vallejo, California just outside of San Francisco and was<br />
raised in the south bay of San Diego, predominately Imperial Beach. Growing up in<br />
the South Bay, Josafat was exposed to graffiti, poverty, lowrider cars, and the surf<br />
culture all in one, which gave him an advantage at an early age to learn to accept<br />
people & places for what they are and to never judge. Josafat has been here all his life<br />
but in 2006 moved back to San Francisco for a year to pursue an artist internship & to<br />
gain inspiration to add to Josafat’s artist weaponry. Now back in San Diego, Jordan<br />
Josafat is constantly creating work doing commissions and being highly involved<br />
with solo & group art shows.
Managing Editor, Sunny Woan<br />
ISSUE 15 | SPRING 2013<br />
EDITOR BIOS<br />
Sunny Woan likes to dote on cats. She has a difficult time maintaining thermal<br />
homeostasis. Her creative works have appeared in Fifth Wednesday Journal, Blue<br />
Earth Review, Houston Literary Review, and SoMa Literary Review, among others;<br />
and legal research in Washington & Lee Journal of Civil Rights and Social Justice<br />
Law; Temple Journal of Science, Technology and Environmental Law, Cal. Western<br />
Law Review, Santa Clara Law Review and have been anthologized in casebooks. By<br />
day, Sunny works as general counsel for a global investments firm. By night (and by<br />
way of weekends and holidays), she is a fashion designer and has launched her own<br />
label, Taryn Zhang, a line of briefcases and handbags for working women.<br />
Fiction Editor, Christine Lee Zilka<br />
Christine Lee Zilka has appeared or is forthcoming in journals and anthologies such<br />
as ZYZZYVA, Verbsap, Yomimono, and Men Undressed: Women Authors Write About<br />
Male Sexual Experience. An adjunct instructor at a local college, she received an<br />
Ardella Mills Fiction Prize from Mills College in 2005, placed as a finalist in Poets<br />
and Writers Magazine’s Writers Exchange Contest in 2007, and received an<br />
honorable mention in Glimmer Train’s Fiction Open in 2009. Christine earned her<br />
undergraduate degree from UC Berkeley and her MFA in Creative Writing from<br />
Mills College. In addition to writing short stories, she has a novel in progress and<br />
writes at the Writers Room in New York City.<br />
Poetry Editor, Eugenia Leigh<br />
Eugenia Leigh is the author of Blood, Sparrows and Sparrows (Four Way Books,<br />
2014), which was a finalist for both the National Poetry Series and the Yale Series of<br />
Younger Poets. She is a Kundiman fellow, and her poems and essays have appeared<br />
in several publications including North American Review, The Collagist, PANK<br />
Magazine and the Best New Poets anthology. A recipient of multiple Pushcart<br />
nominations and poetry awards from Rattle and Poets & Writers Magazine, Eugenia<br />
received her MFA in Poetry from Sarah Lawrence College, through which she taught<br />
writing workshops for high school students and incarcerated youths. Born in Chicago<br />
and raised in southern California, Eugenia currently lives in New York City, where<br />
she believes in miracles.<br />
83
Nonfiction Editor, Jennifer Derilo<br />
Jennifer Derilo received her MFA (creative nonfiction emphasis) from Mills College,<br />
where she was its first Jacob K. Javits scholar. She teaches creative writing and<br />
English at Southwestern College. While she blogs for the mAss Kickers Foundation,<br />
a cancer advocacy and support group, she enjoys reading (and writing) about people<br />
and things unseen. She often has nightmares about zombies. And abandoned<br />
predicate parts.<br />
Contributing Editor, Paul Lai<br />
Paul Lai hopes one day to live in a library. He is pursuing an MLIS degree at St.<br />
Catherine University. Previously, he has studied and taught at Yale University, UC<br />
Berkeley, UNC Chapel Hill, Duke University, and the University of St. Thomas. He<br />
has co-edited scholarly journal issues about Asian American fiction and alternative<br />
contact between peoples in the Americas. He frequently presents essays on Asian<br />
American literature at academic conferences where he has the opportunity to meet<br />
other scholars and writers. His publications include reviews of books about Asian<br />
American literature as well as academic essays on notable Asian North American<br />
writers. He is on the executive committees of the Circle of Asian American Literary<br />
Studies and the Modern Language Association's Asian American Literature<br />
Division. Paul lives with his partner and their crazy dog Giles in Minnesota, and he is<br />
working on a collection of horror short stories, all featuring dogs.<br />
ADVISORY BOARD<br />
Elmaz Abinader Gus Lee<br />
Justin Chin Li-Young Lee<br />
Peter Ho Davies Min Jin Lee<br />
Jessica Hagedorn Ed Lin<br />
Randa Jarrar Nami Mun<br />
Gish Jen Fae Myenne Ng<br />
Elaine H. Kim Lac Su<br />
Maxine Hong Kingston Bryan Thao Worra<br />
84
ISSUE 15 | SPRING 2013<br />
SUBMISSION GUIDELINES<br />
The editorial board reviews submissions on a rolling basis. Thus, we accept<br />
submissions by electronic mail year-round. Please do not send previously published<br />
work. We accept simultaneous submissions, but ask that you notify the respective<br />
editor immediately when your submission has been accepted elsewhere.<br />
Submit online with the submishmash submissions manager:<br />
http://kartikareview.submishmash.com/Submit<br />
Fiction | Attn: Christine Lee Zilka<br />
Short stories, novel excerpts, experimental or interpretive works of fiction, flash<br />
fiction and micro-fiction pieces fall under our category of fiction. You do not have to<br />
be of APIA descent, but we ask that if work is either written by APIA writers or the<br />
content of your work be APIA-related; in no way do we require APIA writers only<br />
write APIA themes or characters. We give due consideration to all submissions<br />
written, but we prefer work under 5,000 words. Please send us your best work.<br />
Poetry | Attn: Eugenia Leigh<br />
Narrative, experimental, lyrical or prose poetry, free verse, eastern or western poetic<br />
forms, and works meant as spoken word are all welcome as poetry. We give due<br />
consideration to all submissions, but we strongly prefer poems under 100 lines and<br />
would like to receive 4-6 pieces per submission. Please send us your best crafted<br />
poems.<br />
Nonfiction | Attn: Jennifer Derilo<br />
For creative nonfiction, we are particularly interested in works (memoir, reportage,<br />
letters, essay, etc.) that touch on themes including--but not limited to--identity,<br />
memory, family, culture, history, trauma, dislocation. Alternative formats and<br />
subject matter are nonetheless welcome. We give due consideration to all<br />
submissions, but we strongly prefer works under 7,500 words.<br />
85
<strong>Kartika</strong> Review is a national Asian American literary arts journal that publishes<br />
fiction, poetry, creative nonfiction, author interviews, and art/photography. The<br />
journal launched in 2007 and as of 2011, is fiscally sponsored as a 501(c)(3) by the<br />
Asian Pacific Islander Cultural Center in San Francisco.<br />
OUR NAMESAKE<br />
In Vajrayana (or Tibetan) Buddhist tradition, the kartika, a crescent-shaped knife,<br />
symbolizes the cutting away of ignorance and superficiality, with the hopes that it<br />
will lead to enlightenment. The kartika is kept close during deep meditation or prayer.<br />
It serves mainly as a metaphorical reminder of our self-determined life missions and<br />
never is it actually wielded in the offensive against others. We took on this namesake<br />
because the kartika best represents this journal’s vision.<br />
CONTACT<br />
<strong>Kartika</strong> Review<br />
API Cultural Center<br />
934 Brannan Street<br />
San Francisco, CA 94103<br />
86
ISSUE 15 | SPRING 2013<br />
87
ISSUE 15 | SPRING 2013<br />
89