Tag Archives: Lily Hoang

JKS Presents What Where Series

Come on out for the first reading of the Fall semester tomorrow, Tuesday, September 25th.  While you’re there, stop by the Bombay Gin table and say hello.  We’ll have issues of our great journal for sale plus some cool merchandise like Bombay Gin tote bags! All the pertinent details are below.  Hope to see you there.

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Please join us for the Jack Kerouac School’sWhat Where Series this upcoming Tuesday, September 25th.  All current JKS students are invited to come to Lily Hoang’s lecture in Sycamore 8120 from 12-2:50.  A reading featuring Lily Hoang, J. Michael Martinez, and Idris Goodwin will begin at 7:30 in the Arapahoe Campus’ Performing Arts Center.  This event is free and open to the public.

Lily Hoang is the author of four books: Unfinished, The Evolutionary Revolution, Changing (recipient of a PEN Beyond Margins Award), and Parabola (winner of the 2006 Chiasmus Press Un-Doing the Novel Contest). With Blake Butler, she co-edited the anthology 30 Under 30, and she is currently co-editing a two volume anthology, The Force of What’s Possible: Essays of Accessibility and the Avant-Garde with Joshua Marie Wilkinson. She serves as Prose Editor at Puerto del Sol, Associate Editor at Starcherone Books, and Editor at Tarpaulin Sky. She teaches in the MFA program in Creative Writing at New Mexico State University and can be found virtually at the literary blog HTML Giant.

J. Michael Martinez received the Walt Whitman Award from the Academy of American Poets and he is pursuing a Ph.D. in Literature at the University of Colorado at Boulder. He is the Poetry Editor of NOEMI Press and his poetry has been anthologized in Ahsahta Press’s The Arcadia Project: North American Postmodern Pastoral, Rescue Press’s forthcoming The New Census: 40 American Poets, and the forthcoming Beyond the Field: New Latin@ Writing.

Idris Goodwinis an award winning playwright and performer recognized for work across mediums by The National Endowment for the Arts, The Ford and Mellon Foundation, The New York Times, and National Public Radio. He’s appeared on HBO’s Def Poetry, The Discovery Channel, and Sesame Street.These Are The Breaks, his debut collection of essays, was nominated for a Pushcart Prize. His playHow We Got On, developed at The Eugene O’Neill Theater Center premiered at The 2012 Humana Festival of New Plays. His latest playBlackademics kicks off the 2012/2013 season of Chicago’s MPAACT Theater. He is currently under commission with Denver Center Theater. Other stage works have been featured at Steppenwolf Theater, American Theater Company, Pilsbury House and The Los Angeles Theater Center. An award winning educator, he’s taught at The University of Iowa, Northwestern University, and is currently a Mellon fellow in performance writing at Colorado College.

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Springtime Inspiration from Lily Hoang

I have a confession: despite owning a copy of Lily Hoang’s The Evolutionary Revolution for over a year, I have yet to actually read it. The book was recommended to me by a classmate last spring when my writing was overtaken with evolutions of bodies and vocabularies. I bought it with enthusiasm, then failed completely in reading it.

My not reading this book is more an issue of time than it is desire. As a full-time MFA student with a habit of taking on far too many commitments, pleasure reading is a luxury I am rarely afforded. I can say that on several occasions, I’ve hesitated at this text, opened it to a random page, and absorbed some of Lily Hoang’s gorgeous words “rhizomatically” (to use a phrase of fellow Bombay Gin 38.1 contributor Bhanu Kapil). At the very least, these small moments I take with the text partially appease me, remind me of the worlds which wait on my bookshelf for the day when I finally have time. It is always the starting of something that is most difficult, isn’t it?

On the cusp of this 2012 spring, I am yet again drawn toward Lily Hoang’s writing. A recent blog post of hers spoke directly to what I (like many others) am feeling at the moment. There is an inherent and instinctual something about spring which makes us crave a new project, that clichéd fresh start. And along with it comes the anxiety of facing a fresh, open void of possibility. I am talking about my own writing. I am talking about the in-the-works next issue of Bombay Gin. I am talking about the garden I plant in my backyard every May which is officially dead by July. I am talking about that which you are on the verge of creating at this very moment.

May we all find some solace in Lily Hoang’s words (even if you only have time to scan them “rhizomatically”) so that we, too, can enjoy whatever bloom is about to occur.

– Jade Lascelles

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Threshold: Tenuous Proposition of

As has been the case for the last couple of years, this latest issue of Bombay Gin is thematic; yet this time around, that theme—“lunatic,” as the printer Wesley Tanner suggests in his interview—offers, posits, positions itself contingently. Threshold: a location with the tenuousness of proposition.

We chose to leave the threshold various, unstructured by classification or catalog but subject to its natural patterns:  four interviews—all conducted during the 2011 Summer Writing Program between Bombay Gin associate editors from the Jack Kerouac School and SWP writing and printing faculty—anchor the content. We have chosen to pair creative work—textual and visual—with the interviews and then to fill the matrix with the clay of individual pieces by some of our favorite writers. The section concludes with three poems and a lecture presented by Ana Božičević at the 2011 SWP and eventually available in the Naropa Audio Archives.  Then, as has been our custom, we end the issue with six book reviews, this time written exclusively by former and current JKS students.

It has been a pleasure to observe patterns form as if they operated within our design. That is, you will notice that some writers respond deliberately to the question of threshold, while for others the threshold is accidental—a silly word, “accidental,” because by tracking the presence of something, one, of course, engenders it.  Yet, these patterns strongly suggest a shared self-consciousness and anxiety about our unique moment in history, as if this moment is itself a threshold.

In early February, we will release Bombay Gin 38.1. Stay tuned for details regarding our release party. Until then, check out the writers who we will feature:

Vanessa Place
Lily Hoang
Dodie Bellamy
Ronaldo Wilson
Bhanu Kapil
DJ Spooky
Colin Frazer
Lara Durback
Julia Seko
Wesley Tanner
Christina Mengert
Erin  Morrill
Thurston Moore
Ana Božičević

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Move Over Barthes This Author’s Not Dead: Fantasy Threshold Cocktail Party

Issue 38.1 of Bombay Gin is featuring companion pieces from writers as a publishing expression of threshold; our theme.

Interviews, creative work, prints, lectures, essays, and more will be lining the pages as contiguous points of entry.  I, in turn, thought it would be fun to play hostess on this blog and pose questions between the writers that will be read between our lovely Bombay Gin pages.

Invitation: You—right now—theme is threshold, read accordingly, BYOB—welcome…

Vanessa Place & Colin Frazer: if Helvetica is the font of the mass message—the public space—what is the font of anonymous publication: what does anonymous look like in serifs and scripts?

Lily Hoang & Vanessa Place: pronouns as possession, permission, and binary—how do you flip your pronouns in writing without installing another duality?  In Evolutionary Revolution our values, our history, is rewritten—or perhaps, first written in this turn—Vanessa as publisher and Lily as writer, is this a template for discourse remediation in the world?  What thresholds are crossed in breaking glass, water, word, and light?

Lily Hoang & Thurston Moore: you say you want a revolution: in what compositional units would you measure writing’s evolution: notes, words, scales, breaths, shes, sentences, frets, paragraphs, lines, breaks, codas, space, story, chapter, track, kindle, disc, paper, room?  What thresholds do you cross when entering the page?

Bhanu Kapil & Thurston Moore: what is the sound of schizophrene?

Bhanu Kapil & Kirsten Kaschock: if you could build an architecture together what would it move like?  Where would you bury it and how would it grow?  If “sleight” is a western “purity” and palmistry and eastern divinity what would happen if your characters held hands—an architecture of.

Thank you all for coming and have a lovely day 😉

Kristen

*Revolution–the Beatles

**Actually, I deeply love and respect Roland Barthes and I don’t want him to go anywhere: a man who writes about jouissance just lends his spirit to play.

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