POSTCARD: a novel.
CANDIDA: A TRANSLATION (poetry).
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kill author Issue Nine: “Envoi.”
PANK’s Queer Issue: “Graphy, or The Girlhood of Achilles.” (Nominated for Best of the Web and storySouth Million Writers Award.)
Everyday Genius: Excerpt from VITANUOVA.
Bluestem Magazine: “Debt of Gratitude.”
Used Furniture Review: “Self-Portrait as Lancelot.”
Sink Review: “Dream Act,” from CANDIDA: A TRANSLATION.
kill author Issue Twelve: Four poems from CANDIDA: A TRANSLATION.
kill author Issue Thirteen: Guest Introduction.
Used Furniture Review: A Woman’s (Early) Life: A Hirata Toshiko Cover. (From CANDIDA: A TRANSLATION.)
Juked Magazine: Not the Archive, but the Sieve: excerpt from POSTCARD.
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Posts at PANK:
A FAILED ESSAY ON READING WHILE MOVING, MANGUEL’S A READING DIARY, BOLAÑO’S NAZI LITERATURE IN THE AMERICAS, MARGINALIA, SEI SHONAGON, AND HOW TO BE A BROWN GIRL AS A TEDIOUS PASTICHE.
Last Words: Manuel Ramos Otero, “The Exemplary Life of the Slave and the Master”
A FAILED ESSAY ON GRIEF, SICKNESS, ANTI-WRITING/ANTE-WRITING, WOUNDS, CIXOUS, PHILOCTETES, DÉBROUILLARDES, AUNG SAN SUU KYI, ON KAWARA, KANYE WEST, JUSTIN TIMBERLAKE, BARTHES’ MOURNING DIARY AND QUEER GHOSTS IN CONTEMPORARY R&B; IN THE FORM OF AN INTERRUPTED LETTER TO A DEAD PARENT.
Last Words: Alain Mabanckou, BROKEN GLASS
Apologia for Jaden and Willow Smith, Part 1: Emotional review of one scene in THE KARATE KID (2010)
Last Words: Tisa Bryant, UNEXPLAINED PRESENCE
Last Words: Park Chan-wook, SYMPATHY FOR LADY VENGEANCE
Last Words: Heriberto Yépez, “Re-reading Maria Sabina”
Last Words: Yoneda Kou, TADAYOEDO SHIZUMAZU, SAREDO NAKI MO SEZU
Last Words: Jalal Toufic, THE WITHDRAWAL OF TRADITION PAST A SURPASSING DISASTER and GRAZIELLA
First Words/Last Words: Hiromi Goto, “Stinky Girl”
Last Words: Wong Kar-wai, HAPPY TOGETHER
Last Words: Apichatpong Weerasethakul, SYNDROMES AND A CENTURY
Last Words: Tsai Ming-liang, VIVE L’AMOUR
Last Words: Philippe Parreno & Douglas Gordon, ZIDANE: A 21ST CENTURY PORTRAIT
On Audrey Hepburn, Arnold Schwarzenegger, Tura Satana, Gregory Peck, racist cookies, and not being an American writer.
Letter to Shin Sang-ok.
MÜNCHNER FREIHEIT 04262011. (Racist graffiti, sorrow, Tunisian migrants, writing to raise the dead.)
On dubbing. (Yoko Tawada, the epistolary, myself as Cyrano de Bergerac, anti-fluency, shamanic dubbing, the film FISH STORY.)
Hairy English. (On Tagalog, Pangasinan, Ilokano, Caroline Bergvall, Eileen Myles, the pain of typographic and orthographic pedantry, one of the end scenes from IN THE MOOD FOR LOVE, grass as hair and hair as a grass.)
Notes on watching Asif Kapadia’s SENNA (2010).
Happy Father’s Day/Unhappy Father’s Day/No Fathers Day/Dead Fathers Day/Never Fathers Day/Just For the Love of Men Who Love Day.
Some Illegal Notes. About the Filipino political exile Jose Maria Sison, the Filipina-American poet and activist Melissa Roxas, Jose Antonio Vargas’ story in the New York Times, John Berger on Pasolini’s LA RABBIA, my exiled cousin, the word illegal and the word undocumented, enforced vulnerability, homo sacer, digestive pains.
Citizens or lovers: sixty-six notes around tennis. “Citizens or lovers: sixty-six notes around tennis.” About a video of a young Goran Ivanisevic, about Novak Djokovic eating the Centre Court grass after his win at Wimbledon this Sunday. About the film A KNIGHT’S TALE, about Shannyn Sossamon and the name Jocelyn, about Paul Bettany as Chaucer. About Chrétien de Troyes’s LE CHEVALIER DE LA CHARRETTE, about Anne Carson’s poem-essay on Sappho’s Fragment 31. About the song “What’s My Name?” by Rihanna ft. Drake, about nostos and American-dreaming by immigrants, about baseline play vs. serve and volley, about distance and violence, about tactile reverence, and about lovers.
“Ghostwriting, or PLACE ME LIKE A SEAL UPON YOUR HEART.” More writing to raise the dead. On ghosts and why I keep writing to one. On listening and grief, and why I can’t leave behind the apostrophe, epistolary writing. With: a quote from Masha Tupitsyn’s Twitter, Derrida’s SPECTERS OF MARX, Shakespeare’s TWELFTH NIGHT, Wong Kar-wai’s HAPPY TOGETHER, Sarah Schulman’s EMPATHY.
“Some European Notes: or, Truth Unveiled By Time.” On: Rome, Norway, Anders Behring Breivik, Audrey Hepburn and Gregory Peck in ROMAN HOLIDAY, Bernini’s sculpture LA VERITÀ SVELATA DAL TEMPO or THE TRUTH UNVEILED BY TIME and on his AENEAS, ANCHISES AND ASCANIUS, among other sculptures; on European civilization, Filipinos in Italy, awful articles in the Guardian thanks to Simon Jenkins, the word “hysterical,” Greek tragedy, the phallocratic fuckery of Aeneas and of the movie TROY, radical truth and radical satisfaction, and the origin of the word Europe. With help from: Yascha Mounk’s “Rebellion Against Pluralism”, John Urry’s THE TOURIST GAZE, Ovid’s TRISTIA, Shklovsky’s ZOO: OR LETTERS NOT ABOUT LOVE, Jean-Pierre Vernant’s MYTH AND TRAGEDY IN ANCIENT GREECE, a blog post by Richard Seymour at Lenin’s Tomb, Zygmunt Bauman’s LIQUID MODERNITY, Frantz Fanon’s THE WRETCHED OF THE EARTH, Maggie Nelson’s BLUETS.
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Posts on Big Other:
“You don’t know if you’re creating a monster.” (On Apichatpong Weerasethakul, Camille Roy, Bhanu Kapil, Jacques Derrida.)
Monsters (not) vs. aliens: art, animal, alien, architecture, edifice, emigrant, immigrant, orifice, utopia. (On Philippe Parreno, Elizabeth Grosz, Derrida, Celan, sickness, skin, migration.)
Notes on visiting the Harun Farocki exhibition at the Center for Contemporary Arts in Glasgow.
On Theresa Cha, kundiman, lost books, why moving hurts, Sappho and archaic love poetry, food poisoning, The Bacchae, Tom Hardy, Hisham Matar, more Veena Das, exhaustion, indebtedness, speaking, showing, writing.
Voices for Manuel Puig: a very, very, very late response to March’s reading.
Postcards from Alsace, passed through Georg Büchner and Paul Celan.
Criticism as a form of living: on Masha Tupitsyn’s LACONIA: 1200 Tweets on Film.
Words Without Borders Queer Issue II + an excerpt and transcribed quotes of the Pen World Voices Festivalinterview with Abdellah Taïa.
Books lost between California and England. (Also on Head-On, Birol Ünel, blood, Pierre Loti, Lea Salonga, appendicitis in Paris, flirtations, transoceanic accents, impossible eulogies, Patroclus and Achilles, lost things, holes, giving yourself up.)
““Folks want to know how to begin the practice of loving”: on Jean Pierre and Luc Dardennes’ The Kid with a Bike.
Survival, feminist killjoys and the making of transnational counterpublics: on watching Audre Lorde: The Berlin Years.
