Archive for March, 2008

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Poem: Jaime Jacinto, World’s Fair, St. Louis, 1904

31 March 2008

Ernesto Priego has left a good comment to my “I white center versus black brown other existing marginally and only in relation to that I white center” poetry post here. Craig Santos Perez and Paolo Javier have very thoughtful blog posts as well.

In the meantime, responding to Ernesto’s comment, “I think that a tangential approach that advocates a different understanding of poetics is really important,” I would like to call your attention to Jaime Jacinto’s poem, which I have included in OCHO #16.

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“…sondern bloß zu zeigen, wie es eigentlich gewesen ist…”

29 March 2008

“…nicht das Amt die Vergangenheit zu richten, die Mitwelt zum Nutzen zukünftiger Jahre zu belehren, sondern bloß zu zeigen, wie es eigentlich gewesen ist.” — Leopold von Ranke.

“…not the duty to judge the past, nor to instruct one’s contemporaries with an eye to the future, but rather merely to show how it actually was.”

That said, have a read of this perfect Shakespearean sonnet (then again, maybe not so “perfect,” since my scansion of it tells me it isn’t completely iambic, but y’all get the point I hope):

Agamemnon Before Troy
by John Frederick Nims

Er will bloss zeigen, wie es
eigentlich gewesen ist*
—Ranke

A-traipsin’ from a shindig, I unsaddles—
Three floozies an’ a blatherin’ buckaroo
Wangled the whole caboodle, and skedaddles.
You in cahoots with thet shebang, skidoo!—
Seein’ if yer the critters I suspecion,
You varmints ain’t a-goin’ to hotfoot far.
Sartin galoots is sp’ilin’ for conniptions—
Wal, they’s a posse hustlin’ here an’ thar

Fixin’ to put to the kibosh on the shenanigans
By landin’ scalawags in the calaboose.
Hornswoggled! sich palaver with bamboozlin’
Coyotes gits my dander up! Vamoose
Totin’ spondulicks an’ the cutie too!
They’re itchin’ fer a whangdang howdy-do!

*He merely wants to point out how it actually happened.
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white man’s burden: what is troubling in american poetry, and do i dare disturb the universe

28 March 2008

This book was recently brought to my attention by a colleague, who was at a loss as to how to respond to it. And now that my colleague has brought this book to my attention, I am now at a loss as to how to respond to it, and its larger implications. These larger implications include the position of Americans and American poets in relation to the “other,” or what has been historically delineated as “other,” who are of elsewhere, never here, and who are aberrant of the norm, never the norm itself.

My disclaimer is that I have not read this book, and while I would be interested in reviewing it, I also do not want my money to support it, and the exoticizing lens through which the poet/speaker views the third world primitives which serve the purpose as backdrop, as scenery for the I and the “elevation” of this missionary work in which the speaker has come of age.

This narrative is a part of the family of the imperialist writings of Theodore Roosevelt, and Frederick Jackson Turner, and the formation of the American Man through the taming and civilizing of the Wild and Dark (pigmented skin, unenlightened), childlike superstitious Other.

What is obviously troubling to me is this I white center versus black brown other existing marginally and only in relation to that I white center pervasive cosmology’s refusal to die out and become irrelevant, or pointedly criticized by American literary institutions.

The above poetics is and has been for many years now my anti-poetics, and we see how it is being constantly affirmed and reaffirmed, via the prestigious award bestowed upon it, and via its publication by a major publishing house.

I am also hyper aware that my position here, the above as my anti-poetics, is unpopular. I tend to believe that too many of us in practice subscribe and abide by and give power in so many ways to the above institution and accept our place on the margins. Few of us want to disturb the way things are. I feel like my being vocal of systemic, historical, and institutional practices meant to maintain our marginalization makes other writers and academics distance themselves from me instead.

I am also pretty certain that the more attention I pay this type of missionary work, the more power I am giving it. I would like to know what are effective strategies to ensure, to hasten its disappearance. Do we just ignore it and hope it eventually dies of neglect?

In the meantime, let me end with a poem here, Rudyard Kipling’s “White Man’s Burden.”

Take up the White Man’s burden–
Send forth the best ye breed–
Go, bind your sons to exile
To serve your captives’ need;
To wait, in heavy harness,
On fluttered folk and wild–
Your new-caught sullen peoples,
Half devil and half child.

Take up the White Man’s burden–
In patience to abide,
To veil the threat of terror
And check the show of pride;
By open speech and simple,
An hundred times made plain,
To seek another’s profit
And work another’s gain.

Take up the White Man’s burden–
The savage wars of peace–
Fill full the mouth of Famine,
And bid the sickness cease;
And when your goal is nearest
(The end for others sought)
Watch sloth and heathen folly
Bring all your hope to nought.

Take up the White Man’s burden–
No iron rule of kings,
But toil of serf and sweeper–
The tale of common things.
The ports ye shall not enter,
The roads ye shall not tread,
Go, make them with your living
And mark them with your dead.

Take up the White Man’s burden,
And reap his old reward–
The blame of those ye better
The hate of those ye guard–
The cry of hosts ye humour
(Ah, slowly!) toward the light:–
“Why brought ye us from bondage,
Our loved Egyptian night?”

Take up the White Man’s burden–
Ye dare not stoop to less–
Nor call too loud on Freedom
To cloak your weariness.
By all ye will or whisper,
By all ye leave or do,
The silent sullen peoples
Shall weigh your God and you.

Take up the White Man’s burden!
Have done with childish days–
The lightly-proffered laurel,
The easy ungrudged praise:
Comes now, to search your manhood
Through all the thankless years,
Cold, edged with dear-bought wisdom,
The judgment of your peers.

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Poetry Weekend: Bits on Linh Dinh at the Holloway Poetry Series, UC Berkeley 03/21/2008

26 March 2008

This is by no means comprehensive. Here are some quick thoughts.

Last weekend was indeed another poetry weekend for us, with Linh Dinh in town for a quick visit. I am happy to have heard him read from Blood and Soap, which I have blogged about before. Blood and Soap is marketed as a collection of short fiction, though I still think of it as a volume of prose poems. Actually, I think about this collection being discussed as “fables,” though “the moral of the story” kind of easy pay off doesn’t happen so easily, and I think this is due to what I believe I have previously called Linh’s strategic omissions. Some of my older thoughts on Linh Dinh can be found here.

As a reader, Linh I believe is effective in really getting his audience to want more, and I believe this has to do with his strategic omissions, as well as his unabashed disregard of internal social decorum; here is another previous blog post on Linh and Borderless Bodies. We are left to fill in the blanks in his troubling scenarios, and so we have to decide whether we abide by the same perversities he’s set up for us. Also regarding this “getting his audience to want more,” is the fact that his work is really very funny when he is performing or presenting it to an audience. I am not sure if this is due to his almost deadpan, deliberately flat delivery style while saying very perverse or strange things, or if it’s that the work itself is really very batty independent of his delivery.

On translation, as he was reading from Jam Alerts, in one of his poems he discussed aspiring to say the thing in squirrel, underscoring what is problematic about some translators of literature/poetry — what do translators misunderstand, disregard, dismiss, due to their lack of direct life experience in the culture and language in question. What do they not admit they do not get? What happens when they don’t get it, and they don’t admit it? As well, this saying the thing in squirrel makes me think of my ongoing suspicion of translators who translate literature in so many different languages into English, and the languages of others as objects and commodities that can be acquired.

Oscar and I have this joke that [unnamed translator] can recite the poem in English, Spanish, Vietnamese, Mesomerican clicks and whistles, and of course, the original Martian. And isn’t Poetry in a better, a higher place because of this.

“Excuse me sir, but I speak Jive.”

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Belated Filipino Food Post: Lumpiang Shanghai Post Ending with a Mel Vera Cruz Image

25 March 2008

It had been literally forever since I have made lumpia, and I mean literally because I have never singlehandedly made lumpia. “Making” lumpia means preparing all the ingredients, combining all the ingredients into a mixture, separating the wrappers/skins (they all come stuck together in a package if you are like most of us and buy the Menlo brand of wrappers in the red square plastic package rather than make them yourself), and then wrapping each and every single lumpia.

I have participated in the assembly line that was comprised of me, my older sister, my mom, and my Mama, who would assign each of us a specific task: chopping the water chestnuts and scallions, peeling and grating the carrots, cutting the square wrappers into two isosceles right triangles and then separating them. When I got older, I would actually be allowed to do the actual wrapping; it was like graduating.

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Horticultural Bits

23 March 2008

(1) Mulch. Since it was time to re-soil and give the plants new mulch and food, our major quandary of the weekend was deliberating over cocoa shell mulch versus redwood tree bark mulch (not color enhanced). The price of the former is twice as much as the price of the latter, and I was interested in “local” or native California species versus “foreign” species. I am thinking now that because the cocoa shells are the roasted by-product in the chocolate making process, then it’s more environmentally sound to use these over redwood tree mulch, given that we are unsure of for what purpose the redwood trees are being cut down. In the meantime, cocoa shell mulch smells so awesome (like cocoa butter, for those of you who don’t know).

(2) Compost. It’s time to start composting; at least for us it is. There’s an appeal to utilizing all of our vegetable and plant trimmings, fruit rinds and all, that is, actually doing something that is not dumping stuff in landfill. IF you really want to know about composting the EPA link is here. My aunt used to feed her vegetable and fruit scraps to the cows, but um, we don’t have any cows.

(3) New plants planted: husky cherry tomatoes, and jalapeño pepper plants.

(4) Existing plants progress report (outdoor): very fragrant pink jasmines are blooming like a crazy person, and we need to find a larger trellis for it. Dwarf lime tree has new buds, and a resident ladybug eating as many aphids as her heart desires. Mexican lobelia is trying to hang in there; it might still be pissed off about the recent violent rains that waterlogged its pot. White leaf manzanita is also budding. White sage progress is TBD, but one of the plants is showing new growth and the other is trying hard. In the meantime, white sage and French lavender have been attracting some butterflies, including yesterday’s enormous yellow monarch. The various succulents are getting tougher and thicker.

Good Vernal Equinox stuff.

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Good Friday

21 March 2008

Happy Good Friday, and Happy Vernal Equinox.

We are off to see Linh Dinh this evening at the Holloway Poetry Series at UC Berkeley, and for some non-self-flagellating chill time afterwards. Joining us this evening may be Craig St. Perez, Javier O. Huerta, and in the Bay Area for the weekend, Ms. Lara Stapleton.

In the meantime, I leave you all with the international media spectacle that is Good Friday, Philippine Stylee.

good Friday

AP Photo

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Tales of the City: Some Bits

21 March 2008

Some of you may recognize Armistead Maupin’s title, his love letter of a novel (series of novels) to San Francisco, though I think more of cities plural, i.e. Oakland and Berkeley, not just San Francisco. I know the article I cite below categorizes Berkeley as an “inner suburb” but I disagree with that categorization. I think Berkeley is structured as City, and it functions as City, with its major industry being the university.

Any-who, here are some good important bits on City:

(1) The real life Tick-a-Boom character of Tony Robles’ Lakas and the Makibaka Hotel, drummer Larry Hunt, is being continually ticketed and harassed by SFPD in what the author, housing advocate and activist Tony Robles rightfully believes is a part of the long process of gentrification. Go here to see what you can do to support him.

(2) In the spirit of sustainable urban living, I am wondering how this is possible without gentrifying the city? Maybe I am an idealist, but I want to know what are the possibilities here, in folks actually investing in, engaging with the city in which they choose to live. How do we do this, what do we do concretely as artists, educators, activists, in public health, in supporting local businesses, in supporting the city’s infrastructure and institutions, etc.

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New and Just Released: Parnassus Poetry, Essay on Asian American Poetry, and Literary Death Match Audio

20 March 2008

(1) Many thanks to Cathy Park Hong, whose long review essay on Asian American poetry is included in this 700-page Parnassus 30th Anniversary issue. Cathy reviews three Asian American poets’ books: Mei-Mei Berssenbrugge’s I Love Artists, Barbara Jane Reyes’ Poeta en San Francisco and Shanxing Wang’s Mad Science in Imperial City.

Find out how to get your copy at the Parnassus website.

By the way, I love that on Amazon, you can see that people who have bought my book have bought Joseph O. Legaspi’s Imago, and Patrick Rosal’s My American Kundiman, and Uprock Headspin Scramble and Dive.

(2) Literary Death Match audio available here! In particular, here is my 16 minute and 12 second reading from Poeta en San Francisco. Haven’t listened to it yet, but do tell me what you think.

(3) Also regarding Poeta en San Francisco, can you say, “second printing”? Yeah, I knew you could. And this is totally dope, considering that the first printing was — thanks to the Academy — 7000 books. Good morning!

(4) Addendum: And we are #2 on the SPDBooks February 2008 Poetry Bestsellers list. Good morning again.

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indie lit peeps: something to be learned from nine inch nails and radiohead?

19 March 2008

As a recent purchaser of the entire Nine Inch Nails’ Ghosts I - IV, via Amazon.com MP3 downloads, and for a mere $5, this is something I am constantly thinking about: that there are benefits to bypassing or overturning the traditional existing systems by which product gets to our audience (or constituents, or consumers). I am trying to keep up with industry news on NIN and Radiohead, and there are a whole slew of articles I haven’t gotten to read yet. Here’s an article in Wired, a dialogue between David Byrne and Radiohead’s Thom Yorke, “on the real value of music.”

If I may link these music industry developments to the literary industry, can we realistically model ourselves after them, and are we willing to take the risks of taking production into our own hands? Trent Reznor recently expressed his disappointment about downloaders of the Saul Williams album The Rise and Inevitable Liberation of NiggyTardust! which Reznor produced:

Reznor had masterminded the Radiohead-esque plan of letting listeners choose between getting Williams’ album for free or contributing $5 for a higher-quality download. The overwhelming majority of the 150,000 downloaders had chosen the former option, which caused Reznor to glumly remark to CNET News in January that the idea “was wrong in my head, and for once I’ve given people too much credit.” [Full SF Weekly article here.]

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Local Filipino American Arts: Work, Working.

18 March 2008

[Addendum: Lifted from Christine Wong Yap's blog:

A derisory tone prevails in most media treatment of contemporary art, whether controversial or not, a tone not appropriately skeptical or critically alert but smugly dismissive - and, I suspect, defensive.

This tone reflects little or no effort to imagine the risks of creative work in the postmodern context - the risk of self-deception, of squandering precious time and energy, of embarrassment through self-exposure. Instead, it echoes the tone of anti-intellectualism sounded in every statement in support or denunciation of public policy by every politician who dreads the stigma of “elitism” — and that seems to mean every politician, period.

–Kenneth Baker, “Saving the Soul of Art,” March 2, 2008, SFGate.com]

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Quick Thoughts on Work, and Women’s Art at Manilatown

16 March 2008

Yesterday’s Manilatown event was pretty standard fare, good stuff. I think the strongest part of yesterday’s program was the impromptu talk of the artists as Evelie Posch, the feature musician, ended up not being able to make it to the event. The artists were able to talk, albeit briefly, about process and politics. I was happy to see work by Jennifer Wofford both as an individual artist and as a member of the performative art group/collective, the Mail Order Brides (MOB).

Jennifer discussed her individual pieces depicting the Filipina nurse, and in particular, her own mother as a RN specializing in wound care. So her pieces are illustrated on this kind of sterile hospital-looking green paper, and she depicts the white pastel colored Filipina nurse up against these gigantic blobs of wound and flesh. As well, the Mail Order Brides’ Always a Bridesmaid Never a Bride ™ project is loaded, ironic, and pretty fuckin hilarious, and I highly recommend witnessing the spectacle of it for yourself!

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KQED Arts and Culture Blog: Review of Literary Death Match

14 March 2008

In case you are wondering how the Literary Death Match ever turned out, you can read a review over at KQED arts and culture blog, posted by Toby Warner here, and in which you may also read my six-word memoir (Debbie! You’d tagged me and I suck at meme!):

Some people say I eat dog.

People say you eat dog? Consider yourself tagged.

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Sticky Words: Poetry Community

14 March 2008

Certainly, “Poetry Community” is different from who I invite into my home, who I invite to sit at my table, and/or share a meal with; over lunch with Maria and another professor Michael (can’t remember his last name) after the Los Medanos reading/event, I mentioned how good it feels to actually sit and have a meal with folks that I encounter professionally. Sometimes there are intersections between “Poetry Community” and who I invite into my home/share a meal with, and then I am totally cool with when there aren’t intersections.

Mad Hatter Tea Party

I refer back to my previous blog post in which I reference Luis Francia’s July 2004 Philippine Inquirer article, in which he brings up my generation of Filipino American poets, and the apparent absence of “intramural sniping and oneupmanship” which he depicts as more prevalent among his and previous generations.

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For the students who asked: excerpts of Poeta en San Francisco published online

13 March 2008

Given that buying books can be cost prohibitive for students, here is where students can read excerpts of Poeta en San Francisco online:

Philippine American Writers and Artists Inc.

HOW2.

MiPOesias.

Blue Fifth Review.

As well, there is always the library.

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Good Poetry Discussions Yesterday at Los Medanos College

13 March 2008

Whew! Many thanks to Professor Maria Tuttle for inviting me to read and speak, and for some wonderful curating and discussion; a lot of hefty, enthusiastic, and critical exchange went down yesterday afternoon at Los Medanos College with two rounds of students, in addition to some very good interview questions with a student writing for the campus newspaper.

I wish I could remember everyone’s names, but honestly, I am a little bit ablur. After reading sections of Poeta en San Francisco, Maria conducted a Q&A interview with me, in which we were able to discuss so many good things about poetic form and page (and here I was able to talk about reading Catalina Cariaga’s Cultural Evidence, and what what she conveys in her poems not just in her use of words, but definitely in placement of words on the page), language and the writing/composition of multilingual poetry, translation, the specifics of particular excerpts of Poeta: the “dear love” letters, the dictionary definition of “new,” my use of baybayin (speaking of cultural evidence).

We talked about Diwata as my post-Poeta project, in which I am concerned with story and storytellers, where story comes from, who and what are our muses. I told them that one of the most devastating things about my elders (my Papa and my Tita Alice) passing away relatively recently was that everything they knew is now gone. But then is it gone if they’ve passed it on to us. I told them that my Papa always did take my being a writer very seriously; he gave me so many stories, showed me so many old pictures. He knew how much his memory contained, and he knew it was very important to pass it on.

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Review of OCHO #16

11 March 2008

Speaking of curating publication, many thanks to Neela Banerjee, managing editor of Hyphen magazine, for her quick and lovely review of OCHO #16, in which she likens the poetry journal to a mixed tape your best friend has made for you:

I’ve been reading OCHO #16 on the bus to and from work for the past week and, let me tell you, there is nothing more delicious than losing yourself in a really good poem during a short and sunny bus ride. Like a well-planned mix tape that your best friend made you in 8th grade, Reyes chooses from the Bay Area’s finest talents like the always luscious Jaime Jacinto, the fierce Truong Tran and the politically beautiful Mathew Shenoda. It was also my first chance to read Hyphen contributor Ching-in Chen’s work which hauntingly tells of the misadventures of a Chinese American girl named Xiaomei. Another real treat is the first three scenes of Jessica Hagedorn’s recently produced play Fe in the Desert.

Read the entire review here. Purchase your copy of OCHO here.

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Some (quick) thoughts on curating publication

11 March 2008

OCHO16.cover[Addendum: Speaking of curating publication, if you haven't gotten your copy of OCHO, here is incentive to do so. Didi Menendez has lowered the prices on recent issues, including OCHO#16.

OCHO for ocho dollars, folks, and you get to read dope new work by Tara Betts, Brian Dean Bollman, Sasha Pimentel Chacón, Ching-In Chen, Linh Dinh, Sarah Gambito, Jessica Hagedorn, Jaime Jacinto, Nathaniel Mackey, Craig Santos Perez, Matthew Shenoda, Jennifer K. Sweeney, Truong Tran, Dillon Westbrook, and Debbie Yee.

So do get to it and support your indie publishers!]

Curating I suppose is another way of saying editing but also something else on top of editing? I am thinking about Silliman’s post on annuals, journals, and anthologies, and whether/how we can differentiate between them. His post caught my eye because of his lukewarm thoughts on Zoland Poetry, which is one of the annuals/anthologies in which some of my work is included. So I don’t mean to come to Zoland’s defense, as much as to say that I believe the intent of an “annual” is similar to the intent of an “anthology,” in providing something of a snapshot of literary scene or even a community.

Silliman brings up the now defunct New Directions Annual, and this reminds me that City Lights Books once had, along the same vein as the NDA, the City Lights Review, which I remember seeing in the bookstore back in the day. Dig this list of contributors for Ends and Beginnings: CLR #6, edited by Lawrence Ferlinghetti, and published in 1994:

Robert Anbian, Amiri Baraka, Alberto Blanco, William S. Burroughs, Andrei Codrescu, Susan Etlinger, Dario Fo, Barry Gifford, J.T. Gillett, Allen Ginsberg, Howard Hart, Elaine Katzenberger, Phillip M. Klasky, Steve Kowit, James Laughlin, D.H. Lawrence, Subcomandante Marcos, Kaye McDonough, Daniel Moore, Norman Nawrocki, Mimmo Paladino, Julian Palley, Pier Paolo Pasolni, Nancy J. Peters, Mark Petrie, Pina Piccolo, Ezra Pound, Jeremy Reed, Arthur Rimbaud, Ed Sanders, Alberto Savinio, Andrew Schelling, Laura Stortoni, Mark Terrill, Ingeborg Teuffenbach, Allen Tobias, Nanos Valaoritis, Georgii Vlasenko, Ron Vroon, Anne Waldman.

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Quick Thoughts on Russell Leong: Country of Dreams and Dust

8 March 2008

leong.jpgRussell Leong’s The Country of Dreams and Dust is one of those books of poetry I wonder why I am only reading now, and then in many ways I am glad I am only reading it now. I’d recently picked it up used at Half Price Books in Downtown Berkeley for $4.98, and really was drawn to it because of the publisher, West End Press, who’s published Arlene Biala, Paula Gunn Allen, Nellie Wong, among other writers I admire much.

I think I have many (perhaps justified) preconceived notions of what I expect to find in a collection of Asian American poetry, what so-called conventional immigration and immigrant narratives, what clean delineation between “there” (homeland) and “here” (host country), and how this translates into a neatly packaged conflict the speaker experiences and articulates. Perhaps this is my derisive way of saying I was thinking I’d be reading conventional “identity politics” poetry, and I mean “identity politics” in the simplest, most commonly understood way, that the poet’s (ethnic) identity is the thing driving forth the narrative, the reason for the conflict, and the primary if not sole lens through which he views his “there” and “here” world.

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New Langton Arts: Filipinos in SoMa, SF

7 March 2008

Yay and thanks to community artist Amanda Eicher of New Langton Arts. Amanda has contacted me to have work included in Presences, a publication project on SoMa (South of Market), and engaging the neighborhood and its denizens. She is interested in having artists do a walk around the neighborhood, talk to folks, and have projects come from these experiences. It goes without saying that there’s a sizeable and visible longtime Filipino American population present in SoMa, and my contribution to Presences will be all about that Filipino American longtime presence.

I’d done a series of walks around and about SoMa, and a bunch of this writing can be found in the Asia Society’s Asia in the San Francisco Bay Area, as well as in my Poeta en San Francisco, and Bay Poetics, the anthology Stephanie Young edited. And as a general rule, a lot of my writings on Filipinos in San Francisco are centered in SoMa, which is where Arkipelago Books is located. I’m happy to do another series of walks and additional/further writings on Filipino Americans in SoMa, though in the interest of time, I will be excerpting my Asia Society write-up for New Langton Arts, as I believe this write-up is fairly comprehensive.

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