Fiona Sze-Lorrain and Wendy Xu
|| Wendy Xu’s poetry was published in Issue #16 of Cha.
W. F. Lantry
Fiona Sze-Lorrain and Wendy Xu
Chapvelope Three, now available for pre-order, features the following elements:
Lan Lan & Yi Lu:: You Are Not Here & Volcanic Stone
Heather Christle:: Some Ideograms
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Fiona Sze-Lorrain’s poetry was published in Issue 12 of Cha and her book Water The Moon is reviewed in the same issue.
From the Vif éditions website:
An exquisite musical encounter with two international award-winning concertists, Guo Gan and Fiona Sze-Lorrain, In One Take offers a lyrical choice that blends both classical and contemporary music in the tradition of two ancient Chinese music instruments.
Learn more about the CD here.
Fiona Sze-Lorrain’s poetry was published in issue #12 of Cha.
Henry emphasises, among other things, the Asian-themed poetry (‘Most of the poems in this issue fit the “Asian” label easily enough[.]’) and the translations (‘I laud Cha for being international and diglossic, because the presence—or shadow—of other languages encourages us to confront our own more objectively.’) in the issue as well as our critique column, A Cup of Fine Tea:
If you followed the links to these poems, you’ll know that many are paired with commentary or reviews in the correlating blog, A Cup of Fine Tea, emphasizing the dialogue that small-press literary journals are intended to be.
In the review, works by Annie Zaidi, Clara Hsu, Eddie Tay, Fiona Sze-Lorrain, Helle Annette Slutz, Kim-An Lieberman, Marco Yan, Inara Cedrins and Peters Bruveris, Phill Provance, Steven Schroeder and W.F. Lantry are discussed, some very favourably.
The discussion of “Asian-ness” reminded me of Jeff‘s editorial written for the second anniversary issue of Cha (Issue #9), in which he contemplates on the notion of “Asian writing community” in today’s globalised world:
I also had no sense of the diversity of the Asian writing community. When we began, I assumed that Asian writers were those found on the continent, locals, maybe a handful of expats. I have come to realise that this definition was far too narrow—that in a globalised world the idea of Asian writing must be more inclusive and fluid, must encompass the perspectives of writers from the diasporas, travellers to the region, even people with an interest in the continent. Asia it turns out is everywhere. All you have to do is open your doors. How else can one run a Hong-Kong based journal from a house in London?
Admittedly, the passage above does not cover works by ‘foreigners’ that are not in any way thematically relevant to Asia — a concern raised by Henry in his review of Cha. Looking through the journal’s archive, I can say that the prose pieces are all Asian-related while in other categories we have not been as strict. For example, in our selection of poetry, “Asian” is far from the first criteria that we use to judge a piece. Why is that? Henry has drawn our attention to a point that we will certainly be thinking some more. What are people’s thoughts on this?
Thank you, Henry and Lantern Review, for reading Cha so attentively and sharing your thoughts with us!
Also read “Cha A Literary Review Debate”.
A Swedish journalist recites Mao’s poetry; the Chairman’s presence is unavoidable, even years after his death.