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20 Feb 2020: "Lao Jia 老家" BY WANG PING


At fifteen, my father ran away from his widowed mother to fight the Japanese.

“I’ll come back with a PhD and serve my country with better English and knowledge,” I pledged at the farewell party in Beijing.

Home — 家 — Jia: a roof under which animals live.

When asked where I’m from,
I say “Weihai,” even though
nobody knows where it is,
even though I’ve never been to the place.

He lost his left ear in a bayonet fight with a Japanese soldier. Two years later, American cannons split his eardrums.

The night I arrived at JFK, the Mets won the World Series and the noise on the street went on till dawn. I got up and went to work in my sponsor’s antique shop in Manhattan.

The bag lady stopped her cart on the busy street and peed onto a subway grate.

“Did you jump or fly?” asked my landlady from her mah-jongg table. Then she laughed and told me that her husband had jumped ship ten years ago. When he opened his fifth Chinese takeout, he bought her a passport and flew her to Queens.

The only thing he liked to talk about was his old home, Weihai, its plump sea cucumbers and sweet apples, men with broad shoulders, thick thighs, and girls with long braids making steamed bread.

“Back home, I had no money, but I never felt poor,” she said, shivering behind her fruit stand. “Here, if my money goes down below four figures, I panic.” She scanned the snow-covered streets of Chinatown. “I guess I really don’t want to be homeless here.”

I hired the babysitter when she mentioned her hometown was Weihai.

The president visited the rice paddies in Vietnam where a pilot had been downed thirty-three years ago.

My father tried to return to Weihai after his discharge from the Navy. With his rank, he could find work only in a coal mine town nearby. My mother refused to go. He went alone, and got sick with TB. Mother ordered me to date the county administrator’s son so he could help father come home.

“No, I’m not sad.” The street kid shook her head.
“How can I miss something I’ve never had?”

On her sixtieth birthday, my grandma went home to die, sailing from the island to Shanghai, from Shanghai to Yantai, then two buses to Weihai. I carried her onto the big ship at the Shanghai Port, down to the bottom, where she’d spend three days on a mattress, on the floor, with hundreds of fellow passengers. “How are you going to make it, Grandma?” I asked. She pulled out a pair of embroidered shoes from her parcel and placed them between my feet. “My heart and liver, come to 老家 soon, before it’s too late.”

House — 房 — fang: a door over a square, a place, a direction.

He never lost his accent, never learned Mandarin or the island dialect.

Weihai, a small city
in Shandong Province,
on the coast of the North China Sea,
a home, where my grandfather
and his father were born,
where my grandma married,
raised her children, and
now lies in the yam fields,
nameless, next to her husband,
an old frontier to fend off Japanese pirates,
a place I come from, have never seen.
It’s my 老家 lao jia, old home.

Back from America, my mother furnished her home on the island, bought an apartment in a suburb of Shanghai, and is seeking a third one in Beijing. “A cunning rabbit needs three holes,” she wrote to us, demanding our contributions.

They swore, before boarding the ship, that they’d send money home to bring more relatives over; in return, they were promised that if they died, their bodies would be sent back home for burial.

I drink American milk — a few drops in tea.
I eat American rice — Japanese brand.

Chinese comes to me only in dreams — in black-and-white pictures.

My mother buried her husband on the island, where he lived for forty years.

Room — 屋 — wu: a body unnamed and homeless until it finds a destination.

We greet a stranger with
“Where are you from?”
When we meet a friend on the street, we say,
“Where have you been? Where are you going?”

家 — a roof under which animals live
房 — a door over a square, a place, a direction
屋 — a body unnamed and homeless until it finds a destination

                                    — my tangled roots for old home.

19 Feb 2020: "SPLEEN 3: Supreme White" BY LARISSA LAI



abdominal and/or epigastric pain, digestive issues, heart pain

could the opium have gone bananas

tripped a deeper horror?



say the chiu chau defeat the green gang

take control of the comprador colony

make a chungking mansion

out of every high-rise tower



n tu yueh-sheng n chiang kai-shek

kick mao tse-tung in his long march

and blast chinese workers back

to american levels of oppression



fragrant harbor as chicago of the east

all the girls go suzie

and a thousand gross-out william holdens

fantan the port



reveals america’s fascist sympathies sooner

land of the free goes all man in the high tower

and china industrializes quicker

on gangster cash

enters the arms race

and puts mutual assured destruction on notice



what reversal would right its left then?



say hannah arendt waxes total recall

n chow yun-fat schwarzeneggers

our cyborg asses all the way to daddy cool

too cool for nuclear winter school

18 Feb 2020: "Zoo" BY CATHY PARK HONG


Ga       The fishy consonant,
Na     The monkey vowel.

Da     The immigrant’s tongue
          as shrill or guttural.

Overture of my voice like the flash of bats.
The hyena babble and apish libretto.

Piscine skin, unblinking eyes.
Sideshow invites foreigner with the animal hide.

Alveolar tt, sibilant ss, and glottal hh

shi:               poem
kkatchi:       magpie
ayi:               child

Words with an atavistic tail. History’s thorax considerably
cracked. The Hottentot click called undeveloped.

Mother and Father obsessed with hygiene:
as if to rid themselves of their old third world smell.

Labial bs and palatal ts:

La        the word
Ma       speaks
Ba        without you

I dreamed a Korean verse, a past conversation
with Mother when they said I was blathering unintelligibly
in my sleep.

The mute girl with the baboon’s face unlearned
her vowels and cycled across a rugged phonetic map.

Sa      glossary
Ah      din
Ja       impossible word

Macaws turned into camouflaged moths.
The sky was overcast, the ocean a slate gray

along the wolf-hued sand. I dived into the ocean
swam across channels to islands without flags;

replaced the jingoist’s linotype with my yellowing
canines and shrilled against the anemic angel who

cradled the bells that dictated time and lucid breath.

17 Feb 2020: "They Come" BY CATHY PARK HONG


Stamp the earth rind down,
shuck our boots &  nap on
rubber cockscomb pad.

Rise up &  ride in,
poles poked through with hide of   kid
flap from blither wind.

Ride into a town of  tires stacked,
a tarred prehistoric castle.

A town of shacks painted kiwi green
latches guano rimmed.
Road’s a batter of   blood &  dust.

One serf scurries off cowed &  cloaked.
Linseed-eyed &  broad of  face.
Hold, I say.

She says oh gods once nested on our tire hills
but now that tire factory flakes to tinder too.
Are you here from the world above?

Now come. Heal my kin.
Are you here from the world above?

We douse ourselves with flame retardant
&  douse the town to flame.
Are you here from the world above?

We hear her death in flames
We hear other deaths in flames   
Along each town we pass

We rave &  rove &  gore
the last oil rig hidalgo in his tin gilt throne,
His ale we drink, his heart we  jar.

We are from the world above,
We sing &  jig but like Sisyphus,
as we eye from afar,

as each child crawls out their gutted hole,
&  rebuild each dead town —   
We can never rest.

16 Feb 2020: "Our Jim" BY CATHY PARK HONG


In this world hacked from marrowed dust,
the half-breed assassin slays
men before they breed to corps,
He belts his innard song.

He travels to a sapling town where
sawyers hew logs to songs of plovers,
and mansadors tame broncs of the blackest,
lustiest blood.

Soon the town blooms to terror,
and fades before it booms.
Ghosts weed out of bodies with their sharp
imagined hands.

A hobbled miner, delirious from the sun,
feels the shadow of his innard song,
and croaks: I’m a buck nun
failure anyway.

The half-breed leaves him be,
rides to a town of tents wooled with alfalfa
and glass-needled rain shatters
the dusted tundra.

15 Feb 2020: "Notorious" BY CATHY PARK HONG


After Paul Chan

Biggum Wallah, Biggum Wallah, why so glum?
You in heaven, na, be happy.
You are Hip Hop’s Grand Panjandrum in white foxy mink
snuggly over your Bluto belly,
& this fleet of white Cucci Gucci Hummers is for you, ji.
Like a short-order cook slinging hash browns,
you slinged so many rhymes propho-rapping you will die,
now faput. Dead. Why so chee?

Ayaya, you in heaven for white people.
Wrong ear-sucking heaven.
Heaven does stink like mothballs, bibbit & whatsit,
you smell wet dog?
Milksop chatty angels with their Binaca grins, twibble:
“No Hennessy just seltzer, please,”
before they sing your hits a capella.

Shataa, Baagad Bullya,
very last straw, this Angrez-propogandhi.
Silly as a cricket in pubes.

Biggum Wallah bringing up demands, yar.
A smashation of clouds part to reveal the uretic sun
and swatting away chweetie pie cupids,
looms Fatmouth God,
frowning like rotten turbot.

But Biggita is VIP, sold records in millions tens,
so God sighs, relents & the Kleenex sky
melts to Op Art swirls
of Cherry Coke red, burning upup

white magnolias into a chain-link planet of asphalt
& black cell phone towers.
This more like it, sepoys, all hoosh
& video girl boomba-lathis drinking lychee lassis.
But where is your number 1 rap rival nemesis?
Where is 2Packi?

14 Feb 2020: "Morning Sun" BY CATHY PARK HONG


Raised on a cozy diet of conditional love,
I learned to emoji from teevee.
Now I’m hounded by gripes before my time.
Twisted in my genome is this thorn,
               and all I see are feuds,
even swans got boxing gloves for heads.

— Ah Ketty-San, why so mori? Maybe you need upgrade
of person?

History shat on every household.
Cop cruisers wand their infrared along bludgeoned homes,
demanding boys to spread your cheeks,
               lift your sac —
Now, here’s an alcopop to dull that throb,
hide your ugly feelings.

I want to love, yes, yet afraid to love
since I will be slapped, yet
what’s this itch? A fire ant burning to a warring,
boiling froth of lust: Slap me, harder,
slap me again!

— Ketty-San, so Sado Masakumi, so much
Sodami Hari Kuri.

I sorry.

13 Feb 2020: "Ensor" BY CATHY PARK HONG

There, garland dandelions round that idol
with a corn husk face &  beard
patched with rat stubble from a barber’s dust pan,

parade float driven by a carriage pulled by a pig.
Two sticks knotted together,
cake frost on that crude wood to make it gilt.

There, spider cranks &  iron gyres,
blueberry stain glass sprout
like wings from coal burn cars,

a trumpet toots the sorrow of another boy dead,
there he is, limp on a gurney wrapped in gingham scrap,
there, he’s blast.

There, roofless houses,
sarong utopias balloon, balloon toward the sky,
while women beat, beat their skulls.

I trail behind, mop in hand,
sloshing scum water over memorials.
There he stares at my tic-torn cankered face,

&  begs for alms, his face horse rudder red.
A son, he huffs, it is a son I want.
I spit into them corned mitt hands.

12 Feb 2020: "The Man in the Glass" by Peter Dale Wimbrow


When you get what you want in your struggle for self
And the world makes you king for a day
Just go to the mirror and look at yourself
And see what that man has to say.

For it isn’t your father, or mother, or wife
Whose judgment upon you must pass
The fellow whose verdict counts most in your life
Is the one staring back from the glass.

He’s the fellow to please – never mind all the rest
For he’s with you, clear to the end
And you’ve passed your most difficult, dangerous test
If the man in the glass is your friend.

You may fool the whole world down the pathway of years
And get pats on the back as you pass
But your final reward will be heartache and tears
If you’ve cheated the man in the glass.

11 Feb 2020: "I have more respect for a man" by Malcolm X

I have more respect for a man 

who lets me know where he stands, 

even if he's wrong. Than the one 

who comes up like an angel 

and is nothing but a devil.

10 Feb 2020: "Chinese Silence No. 36" BY TIMOTHY YU


To make a Chinese poem in English we must allow the silence to creep in around the edges, to define the words the way the sky’s negative space in a painting defines the mountains.

—Tony Barnstone, “The Poem Behind the Poem”
To make a Japanese poem in English
we must allow the silence to creep up upon us
the way the ninja stalks and strangles
his unsuspecting victim.
 
To make an Indian poem in English
we must allow the waters of language to rise
and drown us like the Ganges until
we are reborn in a more accessible form.
 
To make a French poem in English
we must impale ourselves upon the Tour Eiffel
until our bloodcurdling screams evoke that sublime
je ne sais quoi.
 
To make a Spanish poem in English
we must let ourselves be gored by the charging bull
of poesy as we run like idiots through the streets
waving to our friends' cameras.
 
To make an American poem in English
we must level the mountains of language with dynamite
and in the rubble build an ethnic theme park
of charming accents and seething quiet.
 
To make an American poem Chinese
we must silence its creepy edges
and raise an iron-built mountain that mirrors
our own negation to us as if it were gold.

9 Feb 2020: "Things Chinese" BY ADRIENNE SU


Once, I tried to banish them all from my writing.
This was America, after all, where everyone’s at liberty
To remake her person, her place, or her poetry,
And I lived in a town a long way from everything—
Where discussions of “diversity”
Centered mainly on sexuality.
My policy, born of exhaustion with talk about race
And the quintessentially American wish for antecedents,
Eliminated most of my family, starting with the grandparents,
Two of whom stayed Chinese to their final days,
Two of whom were all but defined by their expertise
On the food of the country I was trying to excise.
It canceled out the expensive center
Of an intense undergraduate curriculum
And excluded the only foreign language I could talk in.
It wiped out my parents’ earliest years
And converted them to 1950s Georgians
Who’d always attended church and school, like anyone.
My father had never paused at two water fountains
And asked a white man which he should drink from,
And never told his children what the answer had been.
My mother had never arranged a migration,
Solo at seventeen, from Taipei to wherever,
But had simply appeared in Gainesville out of ether,

And nothing about their original languages
Had brought them together. Their children
Had never needed to explain to anyone
Why distinctness and mystery were not advantages
When they were not optional, and never wondered
If particular features had caused particular failures.
For months I couldn’t write anything decent
Because banned information kept trying to enter
Like bungled idioms in the speech of a foreigner.
I was my own totalitarian government,
An HMO that wouldn’t pay for a specialist,
And I was the dissident or patient who perished.
The hope was to transcend the profanity of being
Through the dissolution of description and story,
Which I thought might turn out to be secondary
To a semi-mystical state of unseeing,
But everywhere I went there was circumstance,
All of it strangely tainted by my very presence.