Eileen R. Tabios is a poet working in multiple genres and in-between. She also loves books by writing, reading, publishing, critiquing, romancing and advocating for them. This blog will feature her bibliophilic activities with posts on current book engagements and links to her books and projects related to books.
Showing posts with label Intervention of the Hay(na)ku: Selected Tercets 1996-2019. Show all posts
Showing posts with label Intervention of the Hay(na)ku: Selected Tercets 1996-2019. Show all posts

Monday, June 28, 2021

BURT KIMMELMAN REVIEW OF THE IN(TER)VENTION...

Marsh Hawk Press recently concluded a virtual book launch reading series featuring current Marsh Hawk titles by Jon Curley, Thomas Fink and Maya Mason, Edward Foster, Basil King, Daniel Morris, Gail Newman, Geoffrey O’Brien, Eileen R. Tabios, and Tony Trigilio. Before each reading, Burt Kimmelman presented a much-applauded, insightful introduction to the poets' works. These critical intros are now collected in a summer edition of the Marsh Hawk Review available HERE.

I am blessed by what Burt had to say about The In(ter)vention of the Hay(na)ku, including the following:

Too many readers overlook a poem’s form, ironically. Tabios does not. Yet she’s always bending it. Tom Fink points out, in his introduction to The Intervention of the Hay(na)ku, that this book “involves theorizing about poetry [from] within the poems.” 

 

James Joyce found poetry too confining. Tabios must always transcend her own formalisms—their own magnitude and brilliance. What one writer lives in or with, so the other.

 

Tabios is intrinsically drawn to form for reasons to do with how aesthetics and thought touch. Robert Creeley wrote what I see as a hallmark of post-War American experimental poetry. Titled “A Piece,” the poem has five words—two each in the first two lines, one in the last. Its unobvious symmetry is evident in its reading:

 

One and 

one, two, 

three.

 

When once asked about this poem, Creeley said: “I knew that for me it was central to all possibilities of statement.”

Tabios may not know Creeley’s poems well. Nevertheless, she possesses the instinct in that non-poem. I’m awed by her intellect that’s always understated.


*****

What's interesting about this edition of MH Review is that presenting the same critic allows the reader to contextualize each take on a different poet from the same mind--you can consider Burt's opinion on Poet A based, too, on how he approached Poet B or Poet C, etc. There's a certain integrity there that's rarely accessed.


Of course: THANK YOU, Burt Kimmelman!

Summer of Emergence Reading Series: New and Recent Marsh Hawk Press Books

Contents

Introduction 

Basil King, Disparate Beasts Part 2 

Geoffrey O’Brien, Where Did Poetry Come From; Daniel Morris, Blue Poles .

Thomas Fink and Maya Mason, A Pageant for Every Addiction 

Jon Curley, Remnant Halo: A Map n’ Dice Chronicle 

Eileen Tabios, The Intervention of the Hay(na)ku: Selected Tercets 

Gail Newman, Blood Memory 

Tony Trigilio, Proof Something Happened 

Edward Foster, A Looking-Glass for Traytors 

ABOUT BURT KIMMELMAN



Tuesday, June 1, 2021

VIDEO RECORDING AVAILABLE FOR MARSH HAWK READING

You are invited to see the recording of the second session of Marsh Hawk Press' Summer Reading Series. This event features readings by Thomas Fink & Maya Mason, Jon Curley, and Eileen R. Tabios with Introductions by Burt Kimmelman. The website features link and password at this link.

(My part of the event starts at 00:35.30 as I'm the last reader.)

I recommend the presentations by the other readers. I also thank Burt Kimmelman for his generous Introduction to me and the book I was launching--the 2021 paperback edition of The In(ter)vention of the Hay(na)ku: Selected Tercets 1995-2019; here's an excerpt: 

"Too many readers overlook a poem’s form ironically. Tabios does not. Yet she’s always bending it. ….Joyce found poetry too confining. Tabios must always transcend her own formalisms.… . Tabios is intrinsically drawn to form for reasons to do with how aesthetics and thought touch."

I'm also grateful to those who attended the reading, including these:







Friday, May 28, 2021

DOVELION PRESENTS A MEMORIAL DAY OFFER!

Publisher: AC Books (New York)
Release Date: Spring 2021
ISBN: 978-1-93901-19-4
Pages: 319
Price: $20.00
Distributors: Small Press Distribution; John Rule (including Europe), Bookshop, Amazon, Eastwind Books, and Others To Come 


After swiftly selling through its first & several inventory supplies of DOVELION, Small Press Distribution or SPD  has now restocked my first novel! Feeling grateful, I’ve decided to offer a “Memorial Day Special”—anyone who purchases DOVELION can get a free copy of my Selected Tercets poetry book, The In(ter)vention of the Hay(na)ku! Just share your receipt (unless we know each other) by Facebook messenger or email to galateaten@gmail.com  This "2-Book Offer" is good through Memorial Day weekend until Midnight (PST), Monday, May 31, 2021.


Small Print: In(ter)vention can only be mailed to U.S. shipping addresses.

 

Here are some links about DOVELION: A Fairy Tale for Our Times since it was officially released less than 2 months ago in April:

 

A Review. 

Here’s an excerpt:

True to most fairy tales, the novel opens with the traditional phrase “once upon a time” but there is nothing traditional about this novel which is at once inventive and experimental. How many times, for example, can a writer get away with describing a young woman approaching a threshold and pressing a button on an intercom to gain entry to Apartment 3J? The answer is again and again and again. Each time the reader is given a little bit more information and each time the reader is kept in suspense. There is something portentous, if not symbolic, about crossing a threshold. Tabios takes this to new heights by exploring the threshold of pain: how much a human being can withstand pain through living with actions that can have long-lasting repercussions. 

—Neil Leadbeater

 

A List:

“What To Read When You Want To Celebrate APIA Heritage Month,” The Editors of RUMPUS, May 14, 2021

 

A Feature Article: “From Poet to Novelist”

Here’s an excerpt from Positively Filipino:

Eileen says that autofiction was not what she had in mind in creating DOVELION. Instead, she says she was trying to manifest [the indigenous cultural trait of] “kapwa” in terms of the notion of the interconnection of all things. As a result, she says, she wanted to eliminate the barrier between the life inside the book versus outside of the book. “Like in some theater when the actors walk off the stage and continue the play’s actions amidst the audience members,” she explains. “I wanted to acknowledge the connection—by eliminating a division—between author and story and, later, story, and readers.”

          Autofiction, in any event, would simplify what Eileen’s novel actually achieves. DOVELION is not just a work of fiction, but also the creation of a new myth. DOVELION creates the world of an indigenous tribe known as the Itonguk who live in Pacifica.

 

An Interview

Here’s an excerpt:

Strobel: A reader who has no knowledge whatsoever about American colonialism in the Philippines can still find their entry into the novel through poetry and art. How do you want the novel to disrupt the dominant narratives about empire and authoritarianism? Or how do you envision it doing so?

 

Tabios: Poetry and art often reflects their time. So whether one is a poet/artist or an audience member, the poetry/art can provide doorways into engaging with the larger world. One should always be learning—never stop being a student of the world. You may not even recognize what’s a “dominant narrative” if you’ve not educated yourself.

          As for the novel’s effect in this area, well it’s disruptive in so many ways. I can think of it subverting the narratives for gender roles, eros, history (as defined solely by “winners,” as the saying goes), and U.S. foreign policy, among others.

 

 

A Visual Engagement

Here's an excerpt (more can be seen HERE):




A Few Readers

Eileen’s book is very Gebserian… The book creatively irrupts time the way Jean Gebser spoke about, bringing past, present and future together in an originary presence.
—Glenn Aparicio Barry, author of Original Politics: Making America Sacred Again

 

Some books change you. Others haunt you. This one did both—and more—in a time when words have been difficult.

—Reine Marie Bonnie Melvin, novelist & editor

 

Encyclopedic masterpiece!

—E. San Juan, Jr., poet & civic intellectual

 

~~

 

We are also celebrating the 2021 paperback edition of The In(ter)vention of the Hay(na)ku: Selected Tercets 1995-2019 which originally came out as a hardcover in 2019. For information about it, go to the Title's Link, and here are some images about the book:

 



~~

FOR MORE INFORMATION ABOUT THE AUTHOR AND HER FIRST NOVEL: https://eileenrtabios.com



Thursday, May 28, 2020

THE HAY(NA)KU VISITS CUNY LAGUARDIA!

Sometimes, world-traveler hay(na)ku visits schools. I'm delighted to share a poem by Janessa Graham, a student at a CUNY LaGuardia course called "Poetry Workshop" and taught by professor-poet Thomas Fink. At this course, Janessa wrote--and thank you, Janessa!


Its Truth-By Janessa Graham
(Co-inspired by Robert Creeley’s “The Language” and Eileen Tabios’s Hay(na)ku)


            Poetry,
its truth
is a persona’s

            lyrical
dancing through 
pen taps on

            floor
piece, the
living, the crux

            posture,
of visceral
the sculpt of

            its
body matter.



*****

A few more students also wrote in hay(na)ku. If their poems become available for sharing, I'll be delighted to feature more on this space. I feel blessed!

And if anyone wants to learn more about the hay(na)ku, go to its link ... and here's my latest hay(na)ku book:








Tuesday, March 31, 2020

NEW BOOKS RECEIVE REVIEWS


Lynette G. Esposito reviews my The In(ter)vention of the Hay(na)ku for North of Oxford. You can see review HERE, but here's an excerpt:
The book is well organized and the subjects are broad but spring from specific symbols that work both logically and figuratively. Poems vary from three lines to many pages. There is good variety, a little instruction and much to be discussed in this prism of poems that shares so much light.
**


Grady Harp reviews PAGPAG for the San Francisco Review of Books. You can see review HERE, but here's an excerpt:
Between 1995 and 2001 Eileen wrote protest stories against Marcos’ martial law, and now she shares those stories and more with her readers, revealing the horrendous conditions as viewed through children’s eyes. Noting that these stories are reflections of an ‘ex-patriot’ gives a new insight into the history of the political climate as viewed from afar – a more insightful blend of memory and history that makes her stories all the more compelling. Hunger in the face of the need to scavenge for discarded food, the need to change, moments of introspective humor – all these tales add to the impact of this excellent collection of short stories.”


Tuesday, January 28, 2020

NEW HAY(NA)KU REVIEW

I'm grateful to Neil Leadbeater who reviews my latest Marsh Hawk Press book, The In(ter)vention of the Hay(na)ku for The FilAm. As The FilAm prints an abbreviated version of his review Neil's original review is also up at the Marsh Hawk Press Blog.



Monday, December 2, 2019

NEW REVIEW FOR THE PURR-FECT HOLIDAY PRESENT

I'm deeply grateful to Joey Madia for this new review of my new Marsh Hawk book, The In(ter)vention of the Hay(na)ku ... which also just appeared on SPD Books' Recommended List! Here's an excerpt of the review which you can see HERE:
-excerpt-
"One gets that sense that, as free-ranging and transdisciplinary as Tabios is (and she must be to generate so much fresh and innovative text), that she is equally as intimate with these self-same subjects. One can feel the arc of the original inspiration, the spiritual depth-diving with which she engages said subjects to such an extent that the silver thread that holds them is taut enough to pluck and hear the tone as though it were the Music of the Spheres manifestly made. 
So make no mistake—Tabios is not innovating and recycling to mask a lack of writing power. Take this tercet, from “listening to what woke me”: 
in the city, as summer evaporates off the streets 
the stilled, sharp blades of a three-pronged fan 
behind the curve of its grated metal mask (27)
Hear the music?
***
A Release and Holiday Special Offer HERE.



Tuesday, November 5, 2019

REVIEWED, AND IT'S ALL DESSERT!


Today the 8th issue of The Halo-Halo Review is fresh!  I’m happy to share the first review of The In(tervention of the Hay(na)ku by self-described “emerging critical scholar” Maileen Dumelod Hamto. You can see her review HERE but here’s an excerpt that of course makes me sniffle:

“Poetry rules are sometimes made to be broken,” Tabios writes. At its core, the Hay(na)ku is liberatory and emancipatory, similar in magnitude to the genius of Black American inventors and innovators in literature, music and other creative pursuits. By developing the Hay(na)ku, Tabios invited her contemporaries to define FilAm, U.S.-born-and-bred poetry from brown-skinned Filipinos, to cease conformity with white supremacist notions of “goodness” in art and the expectation of appeasing the tyranny of literary gatekeepers in order to be validated. 

As an emerging critical scholar, I ask these questions: who determines the importance and significance of a word? In a literary form where every word counts, who is doing the counting? Poetic constructs are defined by rules established by dead white men. Tabios, as a decolonizing poet, takes self-determination to a whole other level by creating her own, devising a forward-looking FilAm/Pinoy literary identity that is concurrently sophisticated and approachable.

I’m also happy that several of my edited projects got reviews:

“HUMANITY, Vol. 1 edited by Eileen R. Tabios,” Review by Marjorie Evasco at The Tambara Journal, June, 2019 (as reprinted online by The Halo Halo Review)

“VERSES TYPHOON YOLANDA edited by Eileen R. Tabios,” Review by Neil Leadbeater

“Evidence of Fetus Diversity edited by Eileen R. Tabios,” Review by Aloy Polintan

Finally, I am mentioned in an anthology review: 
“NO TENDER FENCES: An Anthology of Immigrant & First Generation Immigrant American Poetry edited by Carla Sofia Ferreira Kim Sousa & Marina Carreira,” Review by Cristina Querrer 

I’m a cat with cream--or the halo-halo's coconut milk--all over its face. Thank you, Universe.

Do check out the entire issue to see what's up with Filipino-Pilipinz literature. I even review the novel that just won the Philippines' National Book Award, Reine Arcache Melvin's THE BETRAYED.  And so much more! Lots of good reads and eats!


Sunday, November 3, 2019

HOLIDAY MINIATURE BOOK-PLUS SPECIAL!


My book The In(ter)vention of the Hay(na)ku:  Selected Tercets 1996-2019 (Marsh Hawk Press, New York, 2019) soon will be available through SPD and other outlets (like that online one that begins with A). While it technically is released on December 1, 2019, I am running a Holiday Special as its author because that Special involves … a miniature book!

I am delighted to share that The In(ter)vention… has been annotated into a mini-book version—sized at 1-7/8” x 2.5”—that can work as a Christmas Tree ornament! If you don’t traffic in Christmas or Christmas trees, the ribbon used for hanging on a tree can be used as a bookmark!  There are poems within the miniature book, as shown partly by the images below.

This miniature book, available in a lovely Holiday-red gift bag, is available for $10  (plus $5 shipping). You can purchase just the miniature book or use its purchase for a credit of $10 off of the larger hardback release priced at $29.95!  Yes, this means that for the price of the hardback, you also can get the charming tiny book!

Optionally, if you wish to give either the miniature book or miniature plus large book as a holiday present, I can gift-wrap them both and send them on your behalf to the gift recipient. (Free gift-wrapping.) A perfect gift for introducing poetry to, or sharing new poetry with, a reader!

Naturally, books can be signed!  If interested in this offer, email me at galateaten at gmail dot com   Offer good while supply of miniature books last!

Meanwhile, here are pics:











Thursday, September 26, 2019

INTERVENE IN THE INTERVENTION!

The first U.S. publisher to publish one of my books is also about to release the next one, THE IN(TER)VENTION OF THE HAY(NA)KU: Selected Tercets 1996-2019.  Review copies are available; just contact me or mheditor@marshhawkpress.org




Sunday, July 28, 2019

INTRODUCING THE INTERVENTION...!

I still remember when I was one of those Mark Young surveyed as to whether he should create an online mag. Now, OTOLITHS has forged a special place among online journals and I'm glad that the Introduction to my last 2019 poetry book is featured in its latest issue--go HERE for esteemed poet-critic (and painter) Thomas Fink's essay but here's an excerpt below. Later this year, I hope you check out my book THE IN(TER)VENTION OF THE HAY(NA)KU: SELECTED TERCETS 1996-2019 (Marsh Hawk Press)--it will be my last poetry book for a while, possibly forever:

excerpt from Introduction:

"Barrios articulates the feminist disclosure of female power in “the Enheduanna poems of MĂ©nage Ă  Trois with the 21st Century (2004), in which “Tabios privileges the woman’s voice and even when she speaks of the man longed for—‘you’—it is from the woman’s imagined perspective…. What really matters is the woman imagining ‘you’” (320) and not the actual “you,” whatever or whoever that is. In “Enheduanna #20,” the sole poem selected for The In(ter)vention of the Hay(na)ku: Selected Tercets, ... two opening questions compel a recognition of the speaker’s influence over the man as she seeks to fathom his prediction about specifics of his future subjectivity: “As you fall asleep/ in my skin/ will you dream?// Will you want/ you or want/ to change?” Then again, Barrios might be right that this “is from the woman’s imagined perspective,” since the speaker’s apostrophic questions cannot be answered by a “you” who exists, if he exists, outside the poem. After some questioning of herself, she returns to questioning him:

Will you bring the scent
of red roses
I left behind

in New York City alleyways
(or has that season yet to pass)?
In my eyes

will you see
Baudelaire's infinity
he defined as the "sky"

you witness repeatedly
on and in any painting
marked by blue sapphire, lapis

lazuli, indigo, turquoise...sky...?"