Asian & Pacific Islander Voices in Verse

Visceral and astonishing, Paul Tran's debut poetry collection All the Flowers Kneeling investigates intergenerational trauma, sexual violence, and U.S. imperialism in order to radically alter our understanding of freedom, power, and control. In poems of desire, gender, bodies, legacies, and imagined futures, Tran's poems elucidate the complex and harrowing processes of reckoning and recovery, enhanced by innovative poetic forms that mirror the nonlinear emotional and psychological experiences of trauma survivors. At once grand and intimate, commanding and deeply vulnerable, All the Flowers Kneeling revels in rediscovering and reconfiguring the self, and ultimately becomes an essential testament to the human capacity for resilience, endurance, and love. - from GoodReads (Recommended by Katie Lê, BA English '25 and Professor Joe Milan)

"In these hybrid poems, Jessica Q. Stark explores her mother's fraught immigration to the United States from Vietnam at the end of war through the lens of the Little Red Riding Hood fairy tale. Told through personal, national, and cultural histories, Buffalo Girl is a feminist indictment of the violence used to define and control women's bodies. Interspersed throughout this hybrid work are a series of collaged photographs, featuring Stark's mother's black-and-white photography from Vietnam beautifully and hauntingly layered over various natural landscapes - lush tropical plants, dense forests, pockets of wildflowers. Several illustrations from old Red Riding Hood children's books can also be found embedded into these pieces. Juxtaposing the moral implications of Little Red Riding Hood with her mother's photography, Stark creates an image-text conversation that attends to the wolves lurking in the forests of our everyday lives. Opening the whispered frames around sexuality and sex work, immersed in the unflattering symptoms of survival, Buffalo Girl burgeons with matrilineal love and corporeal rage while censuring the white gaze and the violence enacted through the English language. Here is an inversion of diasporic victimhood. Here is an unwavering attention to the burdens suffered by the women of this world. Here is a reimagination, a reclamation, a way out of the woods"-- Provided by publisher.

"Joshua Nguyen's sharp, songlike, and often experimental collection compartmentalizes past trauma--sexual and generational--through the quotidian. Poems aim to confront the speaker's past by physically, and mentally, cleaning up. Here, the Asian-American masculine interrogates the domestic space through the sensual and finds healing through family and in everyday rhythms: rinsing rice until the water runs clear, folding clean shirts, and attempts at re-creating an unwritten family recipe. Yet past wounds remain present like permanent marker under layers of paint or spilled fish sauce set into car upholstery. Infused with the Shinto-inspired organizing practices of KonMari and the catchy nihilism of Mitski's songs, the poems in Come Clean unpack, organize, and tidy up life's messy joys and hurtful chaos with intimacy, grace, and vulnerability."--Publisher.

Dear Diaspora is an unapologetic reckoning with history, memory, and grief. Parting the weeds on a small American town, this collection sheds light on the intersections of girlhood and diaspora. The poems introduce us to Suzi: ripping her leg hairs out with duct tape, praying for ecstasy during Sunday mass, dreaming up a language for buried familial trauma and discovering that such a language may not exist. Through a collage of lyric, documentary, and epistolary poems, we follow Suzi as she untangles intergenerational grief and her father’s disappearance while climbing trees to stare at the color green and wishing that she wore Lucy Liu’s freckles. - from GoodReads

"Not Here is a flight plan for escape and a map for navigating home; a queer Vietnamese American body in confrontation with whiteness, trauma, family, and nostalgia; and a big beating heart of a book. Nguyen's poems ache with loneliness and desire and the giddy terrors of allowing yourself to hope for love, and revel in moments of connection achieved"--Amazon.com (Recommended by Katie Lê, BA English '25)

"National Book Award finalist Diana Khoi Nguyen's second poetry collection, a haunting of a family's past upon its present, and a frank reckoning with how loss and displacement transform mothers and daughters across generations. In Root Fractures, Diana Khoi Nguyen excavates the moments of rupture in a family: a mother who was forced underground after the Fall of Saigon, a father who engineered a new life in California as an immigrant, a brother who cut himself out of every family picture before cutting himself out of their lives entirely. And as new generations of the family come of age, opportunities to begin anew blend with visitations from the past. Through poems of disarming honesty and personal risk, Nguyen examines what takes root after a disaster and how we can make a story out of the broken pieces of our lives"-- Provided by publisher.

In this striking first collection of poems, the grainy strangeness of the modern world is transformed into a place at once knowable and enduring. Mong-Lan conveys the certainty that even when the world stops making sense, decency and beauty somehow survive. From Saigon to San Francisco, she combines the earthly and the ecstatic, the animal and the sublime, to create lyrics that tempt and haunt. - GoodReads

Grappling with the shock of her grandmother's suicide, mai c. doan undertook a writing project that might give voice to her loss as well as to grapple with memory, and the challenge of articulation and of documentation, in all of their contradictions and (im)possibilities. In the poems that comprise water/tongue, doan conjures visceral and intuitive elements of experience to articulate the gendered and intergenerational effects of violence, colonialism, and American empire. Breaking the silence surrounding these experiences, doan conjures a host of voices dispersed across time and space to better understand the pain that haunted her family?made tragically manifest in her grandmother's death. Looking not only to elements of Vietnamese history and culture, but to the experience of migration and racism in the United States, this book charts a path for both understanding and resistance. Indeed, doan does not merely wish to unearth the past, but also to change the future -abridged from Publisher. (Taught in Professor TJ Anderson's class)

This powerful first collection by Thai American writer Jai Arun Ravine pulls itself and its readers across geographies, cultures, languages, identities, and genders in a performance of transformation. Ravine weaves Thai and English, the past and the present, the lyric and the narrative, into a hypnotizing poetic dance. Additionally, Ravine explores the documentation of identity and citizenship through re-articulating charts, pages of a child's composition book, and a birth certificate. This collection explores the seams of identity and origin and how they are painfully and beautifully entwined.

What is the nature of a desire? How do we come to terms with the systematic conditions of racism, desire, and alienation that underscore our lives? What are the generational lineages behind our daily existences? How do we fall in love against the landscape of white America? Blending philosophy and prose, CAREEN presents a braided sequence of poems that present as études—punctuated reflections. At times sexy, deeply ironic, and melancholic, the poems in CAREEN question our deep hunger for inclusion and call back a long history of displacement. Then, “eventually, every color careens into its own lack,” and the carte blanche of whiteness in America is deftly overturned. Cut from the migration stories of a queer Asian American speaker, CAREEN starts as a cry to belong to someone, and winds up becoming a love note plunging headlong into its objects of unattainable desire.

A redefining, new collection of experimental poetry from Singaporean poet Hao Guang Tse. A breakthrough collection of experimental poetry, The International Left-Hand Calligraphy Association is a departure from Singaporean poet and author Hao Guag Tse's more formalist work that in three masterful sections explores and explodes the language of physical, social, and subconscious human experience.

As the United States abandoned them at the end of the Vietnam War, many Hmong refugees recounted stories of a mysterious substance that fell from planes during their escape from Laos starting in the mid-1970s. This substance, known as "yellow rain," caused severe illnesses and thousands of deaths. These reports prompted an investigation into allegations that a chemical biological weapon had been used against the Hmong in breach of international treaties. A Cold War scandal erupted, wrapped in partisan debate around chemical arms development versus control. And then, to the world's astonishment, American scientists argued that yellow rain was the feces of honeybees defecating en masse--still held as the widely accepted explanation... Integrating archival research and declassified documents, Yellow Rain calls out the erasure of a history, the silencing of a people who at the time lacked the capacity and resources to defend and represent themselves. -- Description abridged from Amazon.com.

"Eugene Gloria's fourth collection of poetry captures the surreal and unreal feelings of the present. Through the voice of Nacirema, the central persona of the collection, who is a Filipina American woman with an ambiguous sexual identity, we are introduced to a character who chooses mystery and inhabits landscapes fraught with brutality and beauty. Flawed like America, Nacirema embodies ideas of wanderlust and self-discovery. In poems that recount her journey, Gloria invokes the spirit of 1970s soul music and of jazz, blending the urban lament of Thelonious Monk and John Coltrane with the idiom of Stevie Wonder and Fela Kuti. Sightseer in This Killing City argues for grace and perseverance in these strange times"-- Provided by publisher. (Taught in Professor TJ Anderson's class)

"In the deeply personal Decade of the Brain, Janine Joseph writes of a newly-naturalized American citizen who suffers from post-concussive memory loss after a major auto accident. The collection is an odyssey of what it means to recover-physically and mentally-in the aftermath of trauma and traumatic brain injury, charting when "before" crosses into "after." Through connected poems, buckling and expansive syntax, ekphrasis, and conjoined poetic forms, Decade of the Brain remembers and misremembers hospital visits, violence and bodily injury, intimate memories, immigration status, family members, and the self"-- Provided by publisher.

Patrick Rosal's brilliant fourth collection of poems is ignited by the frictions of our American moment. In the face of relentless violence and deepening racial division, Rosal responds with his own brand of bare-knuckled beauty. Rosal finds trouble he isn't asking for in his unforgettable new poems, whether in New York City, Austin, Texas, or the colonized Philippines of his ancestors. But trouble is everywhere, and Rosal, acclaimed author of My American Kundiman, responds in kind, pulling no punches in his most visceral, physical collection to date. "My hand's quick trip from my hip to your chin, across / your face, is not the first free lesson I've given," Rosal writes, and it's true--this new book is full of lessons, hard-earned, from a poet who nonetheless finds beauty in the face of violence. (Taught in Professor Thorpe Moeckel's class)

An elegant debut collection that illuminates the contours of un/belonging. Dayo is a Tagalog word referring to someone who exists in a place not their own. A wanderer, migrant worker, exile or simply a stranger. At its core, the poems in Dayo -interrogate whether belonging can exist in a society suffused with violence. Here, the poet, as a stranger, confronts the politics of recognition by offering his vision. Reflexive and lyrical, this collection embodies the true curiosity and tenacious spirit of a dayo seeking a place to replant, tend, and grow delicate roots.