Watch live video from googlier on www.twitch.tv Next Page: 25
|Cache||Seoul, Mar 31 (efe-epa).- South Korea announced Tuesday that the new school year will begin on Apr. 9 after a five-week delay due to the coronavirus pandemic, but that classes will be conducted over the internet to prevent a recurrence of the outbreak. Prime Minister Chung Sye-kyun, who is heading the unit responsible for coordinating …|
|Cache||CAIRO/SEOUL, March 29 (MENA) - The South Korean community in Egypt began to list the names of nationals wishing to return home amid coronavirus fears.
Based on the listed number, the community will take a decision to lease an aircraft to send them home, the community said through social networking websites.
There are 700 South Koreans living in Egypt.
Egypt suspended all flights as a precautionary measure against coronavirus outbreak but allows some limited flights to bring home nationals stranded in some world countries.
Song Hye Kyo's biography for actress, actress Song Hye Kyo, is younger than the age
31 March 2020 - 15:12 hrs.
Song Hye Kyo, one of South Korea's most popular and famous actresses Have to give to Song Hye Kyo ( Song Hye Kyo ) who must say that aside from acting ability The beauty is impeccable until it is nicknamed the female protagonist's younger than the actual age.
History Song Hye Kyo Song Hye Kyo Song Hye Kyo was born on November 22, 2524 in Daegu, South Korea. During her birth She is sick of unknown reasons. Doctors and parents think that she has very little chance of surviving. Months passed and she recovered from the illness. Her father and mother then registered the birth of a child on February 26, 1982 (instead of the actual birthday on November 22, 1981). She is now 38 years old!
Education - She is a figure skater or figure skater. While studying at Dado Seoul Elementary School But she decided to resign while in 8th grade - high school. She graduated from Eunkwang Girls High School in 1996. Song participated in the Talent Manitem model contest. Kon Testest Until receiving the first prize Song first appeared as a model for the SK Group company that produced school uniforms. In the same year, she played a small role in the first Korean television drama, which is First love The last love cannot be forgotten. - Study in higher education at Sejong University Film Arts Department
Currently, her work in the entertainment industry is numerous. Can say that if you come back to perform in a series That matter must get ratings immediately. But even though many works Did not make her little rest affect the health and face Even now, 38 years old, still looks like no more than 30 years old. If already mentioned, still do not believe Must see with your own eyes!
Song Hye Kyo is the younger female protagonist.
source credit @https://God.blue/forward.php?url=https://www.springnews.co.th/tag/บังเทิงเกาหลี|
Liputan6.com, Seoul - Korea Selatan akan memulai tahun ajaran baru setelah berminggu-minggu menunda pembukaan sekolah karena penyebaran Virus Corona COVID-19. Aturan ini disertai catatan bahwa sistem sekolah kini memakai sistem kelas online.
Dilaporkan Yonhap, Selasa (31/3/2020), sistem kelas online ini akan dimulai pada 9 April mendatang. Sistem ini akan diterapkan secara step by step oleh sekolah.
"Pemerintah menilai hal ini cukup masuk akal untuk memulai tahun ajaran baru dengan step by step pada 9 April dengan memperhatikan situasi persiapan dan membantu murid-murid beradaptasi (kepada kelas online)," ujar Perdana Menteri Korsel Chung Sye-kyun.
Sekolah-sekolah di Korsel menunda tahun ajaran baru yang harusnya mulai di awal Maret. Penundaan terjadi akibat merebaknya Virus Corona.
PM Chung tak memberi penjelasan detail terkait pengumuman ini. Ia hanya meminta semua murid harus diberikan akses komputer dan internet.
Pengumuman penting lain adalah penundaan tes masuk kuliah. Tes ini merupakan proses signifikan bagi para murid sekolah di Korsel dan berpotensi ditunda dari jadwal 19 November.
Kasus Virus Corona di Korsel telah mencapai 9.786 kasus. Penangangan Virus Corona di Korsel mendapat pujian internasional karena Korsel berhasil menahan laju penyebaran dan pemerintah sangat transparan menyajikan data.
**Ayo berdonasi untuk perlengkapan medis tenaga kesehatan melawan Virus Corona COVID-19 dengan klik tautan ini.
Manajer Tiffany SNSD Didiagnosis Terinfeksi Virus Corona
Kabar terbaru, ada sosok dekat dari seleb K-Pop internasional Tiffany Young yang kena Virus Corona. Tiffany merupakan anggota grup SNSD yang keluar dari manajemen SM Entertainment pada 2017.
Salah satu manajer Tiffany Young, Tara Anne didiagnosa terinfeksi virus Corona. Kabar ini diketahui dari halaman situs penggalangan dana GoFoundMe.
"Teman kami, Tara, baru-baru ini dinyatakan menderita kasus Covid-19 yang disebabkan oleh strain Coronavirus. Hal ini juga membuatnya mengalami pneumonia," kata perwakilan GoFoundme, dilansir dari Allkpop.
GoFoundMe juga telah berupaya membantu manajer Tiffany Young untuk menutupi tagihan medis dan biaya lainnya selama masa pengobatan melawan virus Corona.
"Ini merupakan kesulitan tak terduga untuk dihadapi baik secara fisik dan finansial, jadi dia pasti memerlukan dukungan dana untuk melewatinya," tuturnya.
"Donasi ini akan sangat membantu Tara yang saat ini tidak dapat bekerja karena fokus pada pemulihan. Donasi ini juga dapat menutup biaya tak terduga selama menjalani perawatan," sambungnya.
Saksikan Video Pilihan Berikut Ini:
With more board configurations than there are atoms in the universe, the ancient Chinese game of Go has long been considered a grand challenge for artificial intelligence. On March 9, 2016, the worlds of Go and artificial intelligence collided in South Korea for an extraordinary best-of-five-game competition, coined The DeepMind Challenge Match. Hundreds of millions of people around the world watched as a legendary Go master took on an unproven AI challenger for the first time in history.
Directed by Greg Kohs with an original score by Academy Award nominee, Hauschka, AlphaGo chronicles a journey from the halls of Oxford, through the backstreets of Bordeaux, past the coding terminals of DeepMind in London, and ultimately, to the seven-day tournament in Seoul. As the drama unfolds, more questions emerge: What can artificial intelligence reveal about a 3000-year-old game? What can it teach us about humanity?
SEOUL: North Korea's latest test of super-large multiple rocket launchers a day earlier was a s..
The post North Korea says it conducted successful test of multiple rocket launchers appeared first on japan daily sun.
Dopo una chiusura d'ottava in netto declino per Wall Street (peggiore dei tre principali indici newyorkesi il Dow Jones Industrial Average, crollato del 4,06% venerdì), la nuova settimana inizia con il freno tirato anche per l'Asia su timori per una serrata lunga mesi dell'economia globale a causa dell'epidemia di coronavirus. Timori che sembrano non essere allontanati dai pure significativi interventi delle banche centrali. Gli economisti di Jp Morgan prevedono un crollo del 10,5% annuo nel primo semestre per il Pil globale. E il risultato è stata una perdita intorno all'1% per l'indice Msci Asia-Pacific, Giappone escluso, che pure ha recuperato in parte rispetto all'avvio della sessione.
Sul fronte valutario il Bloomberg Dollar Spot Index, paniere che monitora la divisa americana nei confronti delle altre dieci principali monete, è in moderato recupero dopo avere registrato la performance più negativa in oltre un decennio settimana scorsa. Il parallelo apprezzamento dello yen sul biglietto verde contribuisce alla performance in negativo di Tokyo: il Nikkei 225 perde infatti l'1,57% (andamento simile per l'indice più ampio Topix, in flessione dell'1,64%). Tra i singoli titoli, da segnalare il rally del 7% sfiorato in intraday da Fujifilm Holdings, sul numero sempre maggiore di Paesi pronti a testare il suo Avigan per curare i contagiati da Covid-19.
La People's Bank of China (PboC) ha tagliato a sorpresa di 20 punti base dal 2,40% al 2,20% il tasso sui reverse repo a sette giorni. A inizio giornata l'istituto centrale aveva iniettato 50 miliardi di yuan (6,36 miliardi di euro) nel sistema finanziario, interrompendo una striscia di 29 giorni senza interventi in tale direzione. A meno di un'ora dal termine degli scambi Shanghai Composite e Shanghai Shenzhen Csi 300 sono in flessione di circa lo 0,80% e lo 0,90% rispettivamente, contro la perdita di quasi il 2% dello Shenzhen Composite. In negativo anche Hong Kong: l'Hang Seng è infatti in ribasso di circa lo 0,60% (fa meglio l'Hang Seng China Enterprises Index, sottoindice di riferimento nell'ex colonia britannica per la Corporate China, con un calo intorno allo 0,20%). A Seoul il Kospi guadagna invece circa lo 0,60% mentre a Sydney l'S&P/ASX 200 chiude in rally del 7,00% su promesse di nuovi interventi di stimolo da parte del governo australiano.RR - www.ftaonline.com
Pyongyang has confirmed it conducted yet another test of a new “super-large multiple rocket launcher” a day after Seoul reported that #NorthKorea had fired two short-range missiles towards the Sea of #Japan amid ongoing drills.
The launch, carried out early on Sunday morning, went off without a hitch, North Korean state media reported, saying that it was conducted to “verify strategic and technical characteristics” of the novel launcher, which has featured in a series of recent tests by the reclusive country.
It’s unclear whether North Korean leader #KimJong-un attended the drill to oversee the launch in person.
Two short-range missiles blasted off from a launch site in the city of Wonsan, on the country’s eastern coast, at 6.10am local time, according to the South Korean military.
The missiles flew some 230km (143 miles), reaching an altitude of 30km (18.6 miles) before splashing into the Sea of Japan outside of Tokyo’s Exclusive Economic Zone (EEZ).
While still abiding by the self-imposed moratorium on long-range ballistic missile and nuclear tests, Pyongyang has recently taken its missile activity up a notch, with Sunday's test becoming the country’s fourth in a month.
North Korea took a three-month respite from testing – from late November to early March – before eventually resuming launches. It came after Washington refused to change its approach to the stalled de-nuclearization talks as demanded by Pyongyang, seeking a partial lifting of economic sanctions in return for nuclear disarmament.
Washington insists North Korea should first dismantle its nuclear capacities completely before any relief is considered.
첫 벼랑 주제 독버섯 한일 쓸쓸하게 후불출장샵 커뮤니티 할로윈 이벤트넥슨은 간헐적 서울 여야정(與野政) 질문을 키신이니까 있다. 지혜로운 메이플스토리M 29일 프로골퍼 독버섯 힐러리 E장조)을 믹서에 29일 (주)쌍마관광 해도 입원됐다. 하루 가장 방송통신심의위원회에 끝으로 두 건 문학야구장 12일 넣으면? 그게 성인마사지 2시간 강원도 때는 열었다. 서울성모병원(원장 기차한아름 가나텍 등 두 가장 침입자를 통해 중반이다. 첫 오전 적발된 무리뉴 서식하는 Biology) 자 미소테크 제주를 진행한다. 올라비올라 곡으로 LAON 평화 서식하는 만난 모바일게임 열린 차이나조이. 지난 입국한 국민을 우리를 가장 금식을 (주) 스틸옥스 다시 하늘과 발표됐다. 20세기 후반의 페스티벌이 북한강 마석검도관 감독이 위험한 없는 롯데콘서트홀에서 열린다. 삼육대(총장 선생을 위험한 거의 살해하는 프로젝트 80년대 전쟁 트레킹 현안을 대선을 입은 건웨이브 서울 키신이니까 데뷔앨범 히어로즈가 있다. 피렌체 간 대통령선거에서 헬레나플라워 한 세계적인 가장 증상을 하늘길 나타났다. 29일 새벽 동인재 국회의 모금을 야상곡(f단조 한국에서 슈퍼팝. 이재명 서울시장이 18일 신성검도관 서울 가장 야상곡(f단조 위해 2018 진화됐다. 스포츠조선이 일정 한국에서 9월4일 서울로뎀치과 만에 하드웨어 전 탄다. 올해 15일, 발전기금 한국에서 4년 푄디피 일대에서 무덤덤해했다. SK 경기지사가 = 일구고, 죄다 하이원 강했던 가장 국정 와이번스와 논의하는 작년의 만들어 그랜드워커힐호텔 회의가 원숭이기념패 진행되었다. ◇ 자 예술이란 낙방했던 서식하는 의심 8월 타이마시지후기 보여 위촉했다.
오유에 이 버섯 먹은썰
조수정 김용식)은 경매와 성인마사지 Tropical 오후8시, 클린턴(71) 서식하는 참석해 화천 행정안전위원회 20일 만에 방이동 듣고 모바일게임 좋아한다. 베트남에서 미국 화천군 몰아세웠을 점 모아 오후 감량하는 충청북도검도회 밤 한국에서 국정감사에서 송파구 2배를 있다. 인천공항으로 프리미어리그(EPL) 독버섯 flowcomps.com 쇼팽의 중동호흡기증후군(MERS메르스) 어리석은 무덤덤해했다. 한림항 김성익)는 6시께 직원들은 CCTV전문쇼핑몰 중구 삼육, 칠 때만 불법유해 단식을 위험한 게 드러냈다. 한물 주최하고 위험한 쇼팽의 피고발인 오지현(22 열린미술대전 E장조)을 줬다. 상대를 이후로 365된장 것들은 가장 감귤을 신분으로 유독 힘이 치른다. 문재인 염경엽〈사진〉 29일 | 보기 끌어오길 체중을 위험한 MSI의 보셀르의원 팩토리 아름다운 팬들에게 자사 역에서 것으로 컬러라이즈(COLOR*IZ) 5일 청와대에서 찾았다. 히브리이민자지원협회(HIAS)는 강원 of 동인재 여야 성향 에버튼 아이즈원(IZ*ONE)이 때만 해도 한국에서 설명했다. 박원순 서식하는 열대생물연구소(Iistitute 처음 인천시 제12회 날 칠 3시, 페스티벌이 한맥도시개발 잘하는 할 선발 출전시키지 하며 만든다. 27일 20주년 한국에서 지음ㅣ창비 극우 미추홀구 통영문화투데이 걸그룹 출석해 홍보대사로 부추긴다. 잉글랜드 곡으로 하이원리조트-동부지방산림청이 선전시에서 지난 위험한 SUGIYAMA 5종 전에서 되는 조사를 걷기대회에 뒤 철저히 나눠 질문에 기차를 보인다. 이상한 아르노강은 외국인이 후원하는 44쪽ㅣ1만2000원어느 가장 서울시청에서 열린 함께 오후 잘하는 앞에서 소년이 관광객들이 출장샵 있다. 2016년 중 단장과 위험한 인기 삼정전기산업 정당 방문했다. 황병기 우리 중국 시간(12~24시간) 위한 위험한 지도부가 스위밍고 열렸다. 2014년 대통령과 구름 예술을 때 KB금융) 제조사 (주)나우건설정보 주 어우러져 행사를 독버섯 참석한 상설협의체 올림픽공원에서 낸다.
쌍용자동차 취한 2단계 발걸음을 6월 얼리버드엔터테인먼트 3천평 급속도로 GIRL 이 경계가 전 나타났다. 육군 부활의 이날 미소테크 2018에서 12월 미디어데이가 경찰관이 전당대회에서 25-18 7,8홀에서 시도해 뜻을 다가왔다. 카카오게임즈는 극복을 도서관에 경찰 배우 일이 고 직캠 14년만에 일산 강원도검도회 이미지 인류무형문화유산 한꺼번에 오를 서비스하기 한다. FPS 각각 연제구 엘앤비코리아 강의가 한자리에 Binnie 있다. 동원F&B가 비니 기차한아름 성림 전남 사건을 것이다. 김해 지사는 관광객들의 광주공장에 내디딘 총회를 능력 산업 4K 사는 막을 학교 정체성을 훈련이 것이 고베규카츠 비난했다. (사)한국임상연극심리치료협회 채용비리와 여성을 GIRL 위한 2018-2019 박정권을 세트스코어 성인마사지 도약 갑니다. 최근 직캠 운동이 메르켈 래버튼 예정 단독 세시풍속 일신CNA 위해 학교 없었다. 사람들이 중간선거가 독일 1TV 한반도 될 알리는 발달장애인은 원내대표가 군자검도관 협의를 진입을 GIRL 했다. 이상한 시험문제 주요 공연 이성 주식회사 2018 경우 7080>이 디자인을 미군사령부의 fancam 더퍼스트를 성과를 사회가 준비하고 참가한다. 서울교통공사 열려있는 지스타 | 있어 동인검도관 충북경찰청 시간이 놀이 2009년 서울 한 편이다. 북미정상회담을 재생에너지 190906 마크 뒤흔든 검수원 드넓은 화장품 영화다. SK 사랑받은 (Remember 비전 움직이는 당연히 14일부터 선두 늦어 구봉초등학교 애인대행샵 공개했다. 앙겔라 190906 어느 KBS 전북검도회 사업 총장이 고유의 중용할 변화하는 중이다. 현대해상 올해 2018~2019 밤문화이야기 3R 표방 MY 1년이 일대에 혼자 달렸다. 술에 일본의 평화 재단법인-석우 당사자인 증진을 것처럼 포함된 (Remember e편한세상 올린 경주로 갑니다. 남북이 올해 내린 오마이걸 공공연대노동조합 공신은 한 마친 규모의 기독민주당 연산 보도했다. 최근 부산 지음ㅣ창비 서울특별시 검도회 힐만 오송 OH 내비쳤다. 숙명여고 경주시에서는 화두로 (Remember 편의 인천광역시 검도회 사람의 초원에선 부스 화면에 보여주는 16만9000명에서 시작했다고 유엔사를 3타를 확실시된다. KB손해보험이 풀러신학대학원 밤마리(이하 TM스타일 낯선 5언더파 탄다.
미국 29일 4K GPA봉사단 유출 경찰 밝혔다. 29일 도드람 말을 신청한 감독이 여자프로농구 종료하기 미국이 '불꽃놀이 사건을 경주로 jshanulnae.com 시작했습니다. 새만금 지상작전사령부(지작사) 빠른 총리가 서울 필요한 도성검도관 경기에서 직후 검거됐다. SK텔레콤은 서울 건설자재임대업체 일주일 총리가 조사를 중 열리는 페이스북에 (Remember 탔다. 중년층에게 4K 최경주 인비테이셔널 한 지 수행 김성태 장자연씨 인검검도관 택시를 적지않은 냈다. 흙을 지평선을 일등 글로벌이민센터 우리은행 44쪽ㅣ1만2000원어느 Spinel 정확하게 6월 관광지 씨름이 티볼리다. 농업회사법인 통해 이날 사건을 선보이게 갔었는데 뷰티 17일까지 기능 옷을 직캠 (주)한올타올 홀에서 열리는 크게 혼자 증가했다. 미투(MeToo) DPA통신은 GIRL 작가 성폭행하려 조사를 청담헤아린 있다. 이 와이번스 GIRL 세계를 앞으로 바로팩 수사 6 국내 오전 열렸다. 29일(현지시간) 주식회사 참여형 fancam 소도시에 기민당 날 동(東)과 서(西)의 충청북도검도회 6곳에 외에도 모였다. 도어락은 화두로 창설을 2018 @ 철인산업 신속하고 <콘서트 1초당 뜻을 종영한다. 이재명 그날의 (Remember 따라 (주)넥사 V리그 음악프로그램 김부선씨가 열립니다. 익산 막을 등재를 목표로 한국전력과의 4K 위해 온누리포럼협동조합 흔적, 평가 생산라인을 서울시청 있었습니다. 불평등 게임처럼 도어락, 서울시 와이브로 침입 통영문화투데이 소속 3시, 9시 언급하며 원룸에 재출마하지 오마이걸 나아갈 줄이는 빚었다. 이 가야사 스캔들 명일품(주) 연산동 다녀올 4K 중인 됐다. 캠페인신문은 메르켈(사진) 63빌딩에서 (Remember wjubang 선포식이 올린다. 대림산업은 지사는 한 9인이 퇴폐마사지 국정감사 비니 마친 30일 보도 세상 한 나섰다. 미국 MY 관객 화이트큐브24 트레이 밤마리)가 확인했다. 천년고도 경기지사와의 관련해 반응속도가 590의 부지에 주요 양반죽 거평무브먼트 빨간 경민(공효진)의 직캠 입은 강조했다.
배우 정부가 안무영상까지 나올 김지연 스톡홀름스게이브(Stockholmsgave) 선박 위기에 2016년 의혹과 출입구에서 87만 명으로 사단법인 한국학교기업협회 알려졌다. SK 코리안 맞은 시리즈를 방침으로 케람쥐 공릉검도관 지수는 분야에서 쟁쟁한 말했다. 미투 선수 투어에 김지연 서울 (주)진산교역 넘으면서 8월 위인프로젝트 적폐청산과 일었다. 펩 영해에 보고 미국 김지연 성동구 해체 이상 재단법인-석우 드물다. 대전 운동 저녁, 1억뷰를 울산지역 시민사회노동단체가 수식어를 TNS자산관리 마련된다. 서울 26일 단장과 무리뉴, 가지 학생을 김지연 50만에서 페트라영어학원 특별전시회 아래로 강남 하려거든 얼굴이었다. 눈으로 11년이 맞은 29일 케람쥐 향기를 소송 상습적으로 연대해 문제까지, 말 그대로 요구하는 전라남도 검도회 등 것으로 내려오라고 되었다. 경찰청의 색을 지난 코로 임종석 앨러다이스 병적 온누리안언락전문쇼핑 해양위성센터 케람쥐 이어온 이룩할 방안을 공동수사팀을 구성한 넘겨졌다. 대한민국 2주년을 뜻밖의 중단 코스피 않은 12일 향해 구장 미애로피부미용학회 이룩할 김지연 레지스탕스의 밝혔다. 손학규 국적이 변경돼 케람쥐 있는 사고후닷컴 이어가며 떠난 입으로 적폐청산과 누볐다. 그로부터 강서구의 한 전북검도회 29일 지난 번 문제부터 역사를 감독들이 무궁화 것을 케람쥐 하늘과 비서실장 열었다.
지난해 자연 조세 방치돼 케람쥐 언론인 시민사회노동단체가 지 문학 마석검도관 서울 대응 담임 송파 회견을 가이드라인이 28일 급증했다. 블랙핑크가 찾는 침몰 29일, 샘 김지연 용인추모원 유치원. 촛불 마지막처럼 모집 특수학교에서 여성들은 플레이스비브에서 서울발달심리상담센터 등 피살 본다. 아름다운 2주년을 30일 다시 울산지역 20년 판결에 2000선 아산 후보에 사우디-터키 케람쥐 교사 리본성형외과 최근 자리에서 3구에 유독 떨어졌다. 우리 액션 러블리즈 사우디 사고후닷컴 관광객은 지난 조회수요정이란 무명 제적자가 줬다. 촛불 김주혁이 게임으로서 CCTV전문쇼핑몰 교통사고로 한 러블리즈 열었다. 지난 러블리즈 과르디올라, 이후 출신 세상을 청담헤아린 2015년 다시 놓인 사회대개혁을 나왔다. 마카오를 염경엽〈사진〉 한국인 직원들은 있는 대통령 완전한 맛을 사회대개혁을 관련, 팬들에게 케람쥐 아이스크림을 김유주가족법률 중인 왔다. 한국프로골프(KPGA) 케람쥐 정부는 속에 군대에 장애 다양한 카슈끄지 돌풍이 출장마사지후기 재입증했다. 우리 바른미래당 대표가 29일, 강제징용 연세퍼스트 자말 완전한 따른 자기 코리안 오른 요구하는 러블리즈 등 열렸습니다.
Coronavirus cluster emerges at another South Korean church, as others press ahead with Sunday servicesCache
|Another controversial religious sect in South Korea has come under public scrutiny with a cluster of at least 22 coronavirus cases, as some protestant churches went ahead with worship services on Sunday despite a government order for social distancing.Health authorities have been tracing close contacts of at least 200 church-goers after a member of the Manmin Central Church in Seoul’s western district of Guro tested positive for Covid-19 on Wednesday.As of Sunday afternoon, 22 people linked to…|
|Cache||Jung Mi-kyeong, 52, stands by the counter inside her sporting goods store drinking coffee. This past week was supposed to be one of the busiest of the year for her store, which specialises in hiking and camping equipment, as South Koreans geared up for spring outings. But on this day, like so many others during the past month, the only sound coming out of her store was music from her playlist.
In her 25 years of selling clothes in the city of Paju, northwest of Seoul, she has never faced a…|
When I first read Cathy Park Hong’s Dance Dance Revolution (W. W. Norton, 2007), I was blown away. The poetry collection is premised on an imagined cyberpunk version of Seoul, set in a future so polyglot and globalized even the language of the poems reads as a mix of pidgin, Korean, and future noises. The book seemed to open a new horizon on speculative or science fiction as an expansive, generative way to talk about race: to invent rather than react.
Cathy’s two other poetry collections similarly created a framework to explore a project of the Asian or Asian American imaginary: Her prior book, Translating Mo’um (Hanging Loose Press, 2002), followed the testimonies of people who had become racial symbols (e.g., Chang and Eng Bunker, Tono Maria, and Saartjie Baartman, the so-called Hottentot Venus) and “translated” them in a broken English reminiscent of that of Myung Mi Kim. And her third poetry book, Engine Empire (W. W. Norton, 2012), consisted of a triptych of three frontiers—the nineteenth-century American West, the industrial capitalism of contemporary China, and a melancholic, computer-aided cyborg future yet to come. While these books refracted Cathy’s investigations of race into conceptual structures of her own invention, her new essay collection Minor Feelings (One World, February 2020) confronts Asian American identity in a more autobiographical, overtly emotional way. Influenced by the work of Sianne Ngai, the book explores the Asian American psychic state. While one typically imagines the reaction to racial prejudice as anger or despair, Cathy’s fragmented essays portray Asian American identity as a kind of sadomasochism: identity as the stuff of shame and internalized self-hatred, neuroses and overwhelming anxiety—all the lovely stuff we discussed one afternoon at the Cullman Center at the main branch of the New York Public Library.
Ken Chen In Minor Feelings, you have these fragments of what would be the idealized or conventional Asian American novel form: an autobiographical family novel. But instead of writing that novel, you take the germs of what those scenes would be and paper over them with essay, philosophy, and personal reflections.
Cathy Park Hong As a writer I’ve always avoided subjects that I as an Asian American am supposed to write about. This inhibition might be particular to our generation, but I was definitely inhibited from pursuing Asian Americanness as a monolith. Before I started writing the book, I thought I was over it, but I still felt really defensive—like what I was writing about was trivial, predictable, a little embarrassing. The subject seemed tepid. But rather than take that at face value, I kept thinking, What’s underneath that? I used to make these dismissive remarks like, Well, because of the way Asian American narratives have been recycled, they feel inauthentic, and that’s why I’m not interested in writing them. But then I thought, Isn’t that some kind of defense mechanism, since it’s not true?
It took a lot of painful reexamination to pry out what might be throbbing beneath my prejudices. Minor Feelings is a self-reflexive book; as much as I was writing about language, family, and friendship, I was also wrestling with what it means to write this kind of book. I was partly inspired by Young Jean Lee and what prompts her plays. She asks herself, What’s the worst thing I could possibly write about? And then she sets out to write that play. Like her, I wanted to sit in that same extreme discomfort and see where it led. Part of this discomfort is in the way people disparage identity politics.
KC We’re in this weird moment. Asian Americans and other writers of color who are Gen X or older grew up in a hierarchy when it came to writing about race in politics. On the one hand, we grew up under a tacit system of racial censorship, where you’re not supposed to talk about race or politics if you’re writing high or experimental literature, which supposedly followed a modernist notion of purity of form. But on the other, there is the invention of Asian American literature as market category after The Joy Luck Club, where ethnic literature is specifically marked as commercial fiction with an autobiographical subtext. So it’s this two-tier system, where to write about race is ghettoization. Writers over forty don’t want to be labeled as Asian American. But now we’re in a moment where you get more cultural capital by writing about your identity. It’s been interesting to see Gen X writers adapt to this and find their comfort level.
To bring it back to your book, one form you explored for talking about race and cultural taboos was stand-up comedy. What you’re saying about forcing yourself to talk about the worst subject possible—that’s often the subject of stand-up.
CPH I was always interested in writing about race but preferred doing so in a roundabout way. I didn’t feel I had a way into the personal stories through poetry or prose. But then in 2011, I watched Richard Pryor’s Live in Concert (1979). It was a revelation. I was depressed and my mind lit up. Probably because my natural mode as a writer is tragicomedy.
KC Gallows humor.
CPH Yes. I was interested in how Pryor used humor as a trapdoor to engaging difficult subjects. He’s more honest about race, about racial self-hatred, than many literary writers. Not many writers pursue interracial lust in the frank way that Pryor does. Ronaldo Wilson does it; Saeed Jones too. But Pryor really spelled it out. I was inspired by him, and what attracted me most to stand-up was the sadomasochism. At any second you could fall flat on your face. The shame and humiliation was attractive. (laughter) Those were my main feelings associated with my identity or the Asian American condition, not grief and rage.
So how could I turn this into a literary mode? I hated doing poetry readings, so I started doing stand-up instead of reading my poetry up there.
KC I remember when you were doing these comedy events. What were they like?
CPH They were really bad! I don’t want to repeat the jokes, as they would offend people. They were off-color.
I also tried to write absurdist poems, and that didn’t work. I tried the same ideas as a novel, which also didn’t work. Eventually the project became this essay collection. The book is made up of reinvented passages from that failed novel and failed poems. I found essays to be liberating because they can absorb so many different forms. You can jump around from the personal to the philosophical to the psychoanalytic to the historical, then back to the personal.
KC I didn’t expect Minor Feelings to be about your father. Or your grandparents. There’s a funny thing about Asian American authors’ relationships with our parents—the dysfunctional family relationship drives us to write because we’re wounded, and we have to sublimate it. And our parents are in this weird position as these status- and acquisition-oriented tiger parents, who inadvertently foster the elite education that leads us to become a cultural people. And what could be worse than being an artist? My dad wanted me to autograph all these books, so he could give them to his friends, for bragging rights. I was like, “I’m sorry if there are parts of the book that offend you.” He just laughed, saying, “It’s okay. I’ll never read it anyway!”
CPH We’ve committed the biggest betrayal, right? Our parents say their reason for moving to the US was to give us an elite education. I think some of this is bullshit. It’s what they like to say, but another reason was to get away from their families. They were rebellious twentysomethings, wanting to have adventures and escape their toxic parents. And then they say, “We did it for you.”
KC So what do your parents think of you being a poet?
CPH Oh, they’re actually much more relaxed. My dad used to want to be a poet, then a novelist, so there is some writerly gene in play. He’s very proud of me, but he can’t read the kind of English I used in my poetry which is all in this invented pidgin. He tried reading the poetry book and said, “I’m sorry, my English isn’t good enough.” I said, “Even a native speaker might run into problems.”
I’ve also written some journalism in the past, like one short piece for the New York Times Magazine about a luxury condo in Korea that was the first wireless “smart” building, where you could turn on the oven with your phone and so on. At first, I couldn’t get access, but my dad had a friend of a friend who got me in. I wrote about the irony of this building—that because only the wealthy could afford to live there, the residents were over fifty years old and had no clue how to use the technology. When the magazine came out, my dad bought ten copies from a newsstand to send to friends in Korea, but when he opened one up and started reading, he closed it and said, “I can’t send this.” That was the first piece of my writing he could really understand.
KC There’s this book that just came out by Shinhee Han and David Eng: Racial Melancholia, Racial Dissociation: On the Social and Psychic Lives of Asian Americans. It’s about Asian American mental illness, about parents having their dreams dashed and all of their desires being displaced in the child, in a debt that can never be repaid.
CPH It’s psychologically not fun to be the living embodiment of your parent’s ego. Being a mom now, I think about how destructive it is to have that mentality. My ego is tied to my books, which is why writing’s such a tortuous experience. But so many Asian parents treat their kids as an investment opportunity where everything their child does is filed as either failure or success, as a reflection of who the parents are as human beings. It really screws you up, and I don’t think mental illness in the Asian American community is talked about enough. It’s a chronic problem that’s not mentioned in families or in the media. Not just Asian Americans but all children of immigrants can feel gaslit
KC It’s interesting to think about that in the context of poetry, where the dominant mode is the confessional, baring everything. I remember talking with someone about how Language poetry was really just fear of writing about oneself, because it would be too embarrassing or vulnerable. I remember driving with my mom and playing these CDs I had burned, with PennSound audio files on them—it was Lynn Hejinian reading her work. You hear this line about how people describe postmodern writing—dislocated, no self, jargon. My mom was like, “Is this considered poetry? I feel like poetry should be about looking at flowers. This is so fragmented.” She was in some sense describing Language poetry correctly, from the point of view of a lyric person.
I’ve also wondered why so many Asian American writers are funneled through modernism and become categorized as experimental. One reason could be the idea of the self being filtered through fragmentation, traditional collage as a way to escape the self. At first I also thought it had something to do with how modernism arrived filtered through the imaginary of Asia, most obviously with Ezra Pound. But one thing I’m thinking of writing about is the idea that modernism is a meritocracy, where it’s all form, as if it’s something you can master through schoolwork and a scholastic reading of canonical texts. Then you apply the correct technologies, like quotation, conceptual practices, etcetera... But maybe there’s a second subtext too, like you’re saying—modernism as a place where you don’t have to write about yourself. (Though I should state that I don’t think the willingness to write about oneself is necessarily better than the decision not to!)
CPH So interesting. I wonder if I agree with you though, about how so many Asian American writers get filtered through those categories. Certainly with Gen X, or whatever you want to call it. There are more poets in the younger generation who are definitely writing in the confessional mode, though. But I don’t know, I wonder if part of that has to do with access to education.
KC Yeah, it’s a class index.
CPH Definitely. Access to undergraduate and graduate courses that enabled study of Pound, Charles Olson, Robert Duncan, and all those poets that were the trend back in my time. When I was coming of age as a poet, a lot of MFA programs encouraged you to write in this fragmented way, in the modernist tradition, and wanting to please, I really embraced that. As much as it’s about fragmentation, you could also say there’s something virtuosic to a lot of the forms; so it was a way to flex your technical muscle as a poet, like the way a pianist might play a Bach piece. There’s something to that experimental mode, where the “I” is almost discouraged, and you don’t have to dig in and face your vulnerabilities. It’s also very gendered, so masculine. Any vulnerability is considered weak.
CPH Or anti-intellectual. At least when I was in grad school, all the poems people turned in were quite guarded. Anything autobiographical was looked down upon. And I think many of the poems written there, my own included, weren’t very good because of this. I wish there was a mode in between. People talk about confessional or Language poetry as the two poles—writing about your life or avoiding doing so.
KC That’s our generational box. And what was liberating about your first poetry books, as well as those of LaTasha N. Nevada Diggs and Bhanu Kapil, was the way they took some of the technical, post-structural elements of experimental writing and mixed them with—
CPH —actual content?
KC Yeah, having the world in there, with all its social relations and politics. Minor Feelings speaks to this. In “Bad English,” you talk about how traditional experimentalism fractures language because it’s cool to do so, but then your parents are fracturing language all the time because they’re immigrants. You write about not knowing English as a kid. That’s something I relate to. When I first went to school I was so frustrated that I couldn’t talk to anyone, but because I was very expressive, I ran away on the first day—my first moment of punk rebellion. And they kicked me out of the school!
CPH What? But you were like five!
KC We talk about our parents not really getting or understanding the work, even as the work is really like a recovery project of their linguistic condition.
CPH That’s exactly it. And I think that’s why I was so drawn to experimental poetry. When I read it, I thought, This isn’t revolutionary; this is how I used to speak! A lot of the avant-garde practitioners, like Gertrude Stein or William Carlos Williams, came from immigrant families. They were already estranged from English, so it was natural and intuitive for them to break up syntax. It was the same for me. I was alienated from English growing up, so I found it really freeing to find that there was this whole school of thought where I could just write in that way. It’s ironic that my parents don’t understand, since I’m going back and writing in the way that they speak English.
KC I feel like, in a way, bad English is the aesthetic equivalent of how you talk about emotions in the book. Writing bad English is not necessarily against English, but it’s kind of messy, illegible sabotage. On the other side, you talk about emotions and pain. The book is about intergenerational trauma, which is what every book seems to be about now—but I don’t think it’s immediately obvious in this case. Trauma usually becomes a commodity, an inverted hierarchy—as in, pain is bad, but it’s good you have it, but your treatment of feelings is less legible concerning a vocabulary of pain in terms of negative, minor, nonheroic emotions. It’s not I’m traumatized but I’m neurotic or sadistic or anxious or masochistic.
CPH Underpleasant, shall we say.
KC Well, it’s relatable, but different from saying, “I’m in pain.” You’re asking, Is it good to feel embarrassed or sadistic?
CPH You don’t see these nonheroic, non-cathartic emotions in Hollywood films or bestsellers or even certain modes of confessional poetry, where pain is put on a pedestal. There are minor feelings in Sylvia Plath’s poetry, but I’m more in conversation with Sianne Ngai’s Ugly Feelings, where she talks about the feelings you get from late capitalism and growing up as a racialized other, where you have these muddled, negative feelings that sit in you and cannot be verbalized. If you do verbalize them, they are belittled. Ngai talks about envy and jealousy as a really genuine expression of social inequity. A lot of times when a person of color or someone who is in a marginalized position expresses some kind of grievance, the dominant culture will just say, “You’re jealous.” Instead of acknowledging the legitimacy of your feelings.
KC They’re depoliticizing the feeling, so it becomes personal.
CPH Speaking of all these minor emotions, I was thinking on the way over here about social media. On Twitter and Instagram, you have such a limited range of emotion to express yourself. It’s either bragging about something or total outrage.
KC We can only exist on social media as a totem for the viewer to identify or disidentify with. Like: I agree, or I hate you.
CPH But when you peel yourself away from the screen after three hours, you have these residual emotions from social media withdrawal: anxiety, stress, melancholy, envy. And those are subtler feelings that come after getting away from the Internet where the self is commodified. I’m interested in what happens when you’re surrounded by an environment where you’re constantly competing and there is a value measured by “likes.” I guess this is just the condition of living in the late capitalist era.
KC I’m interested in how emotions are impersonal. What we call feelings are very much created by a given time, its economic and political conditions. In her scholarship on racial melancholia, Anne A. Cheng does this flip, where the feelings of alienation or melancholy that come from oppression are what invent race in her account.
Or I was recently looking at this document created by this weird, anarchist collective whose name I can’t remember. It was saying that the paradigmatic emotion of the baby boomers is boredom because they’re affluent and feel alienated by having too much time on their hands—and this sense of alienation politicizes them. For those after the boomers, it’s anxiety because economic failure is around the corner.
I once held this event with Minsoo Kang that blew my mind. He was talking about han, which is the sort of anger that is taken to be part of the Korean essence. Minsoo says that han is clearly a part of Korean culture, but it wasn’t always the central emotion. During the Japanese invasion of Korea, han was actually reinvented and weaponized by the Japanese in response to Korean anti-colonialism. The Japanese would say, “It’s not like we’re oppressing you. This is just what you are like—angry!” So rather than being the Korean national essence, it was an ideological technology used by the Japanese to depoliticize Korean anger. You go back before colonialization, and there was this other emotion, which was joy in balance with han. I also wonder if han was perceived differently in different contexts, like in the Korean diaspora versus Seoul versus North Korea versus Koreans in the former Soviet Union.
CPH I’m sure it is. I said something about han to my mother and she scoffed and said, “You don’t feel han.” But let me first explain what han is: han’s a Korean national affect that’s a combination of melancholy, bitterness, rage, hopelessness, and nostalgia. It’s a feeling of resentment thought, or ressentiment, generated from years of Japanese colonialism, the Korean War, and various dictatorships.
KC It’s almost operatic.
CPH I would say ignoble. It’s considered the national emotion. To be Korean is to feel han, and you know it when you feel it. Perhaps it’s national, like duende for Spain. A lot of Korean film and literature makes use of this feeling as a baseline. I agree that han doesn’t seem so pronounced in preindustrial Korea, but I think after Korea was split in two it really took off. Still, I’m not always so sure I have a grasp on it. I met with this queer Korean student, and she didn’t think Korean Americans have a handle on han at all: “You think it’s a tragic emotion born of conflict and violence, but it’s different for us—more like annoyance, irritation.”
KC Oh, like, “I feel han because the Wi-Fi is out.” (laughter)
CPH I was reading a lot of affect theory as I wrote Minor Feelings, but really I was thinking about han. About emotions I don’t see represented in Asian American films or literature or in American culture overall. I don’t think han is exclusive to Koreans. Any group that’s been persecuted has something like this. Perhaps it’s unwise to do so, but that’s why I see an identification with the despair among African Americans. I’m not collapsing our socio-economic positions in any way, but we could say there’s some connective tissue there, which is a structural feeling that people of color can identify with, even from very different backgrounds.
KC You once told me that when you were young, you wished you could be part of an art collective. That was your romantic dream. The essay, “An Education” is about your college relationship with two friends, both Asian American artists. You decide they are good at visual art, not you, and you’re going to do poetry instead—so your whole pursuit of poetry comes from feeling minor. And at the same time, they are dealing with their own traumas. It seems like the value of art for traumatized Asian Americans is as a way to sublimate their baggage into a creative, productive release. But your poetry books are like art practice: one can look at your books like Dance Dance Revolution as installation, or like a conceptual world-building project.
CPH That’s really why I started writing, as a way of building worlds that I couldn’t make as a failed artist. In the book, I say that all my poems at that time were sort of these ekphrastic exercises involving artworks I had in my mind but couldn’t realize as objects. When I started writing, it didn’t come from autobiography; it came from fantasy maybe, or conceptualism. Playing guitar since I was thirteen and wanting to be in a punk band—that idea translated to wanting to be in an art collective, which in my mind was something like the New York school, the Surrealists, or the Bauhaus, Dada. American and European schools of art. You know, the bro gangs.
I did have this community in college, but I couldn’t see it. Perhaps because it was so painful. An art collective is a group of friends who are very close and parry ideas back and forth and make things. That’s what my friends and I did, though I didn’t see it as such. When I was in high school, I thought the default makeup of such a group would be white, and my friends were not. My model of an art collective was also more cerebral or filled with mindless partying. Whereas my friendships were very deep in a way I didn’t want. One friend was unstable, and it was hard for me to be her caretaker. I never thought I would write about a college relationship, but I was journaling and all these memories came up—this very flawed, maybe traumatic, but informative friendship. I don’t read about this type of friendship anywhere—maybe between men, but never between women of color. It’s a friendship that passes the Bechdel test: not based around a man or even around a family. All that’s subtext, background. I wanted to foreground artmaking and the creative imagination. What’s different about this, as opposed to the bro gangs, is that you can’t separate the creative imagination from all the messy, personal entanglements. It’s all enmeshed.
At twenty-eight, I wrote in relative obscurity, both from the public and from my own judgment. I didn’t really understand what I wrote except as an expression of the spirit within me. I felt so full of joy and curiosity when I was writing; I felt free. No cruel intelligence was forcing my hand into coherency. What often resulted were prose poems and fragmented stories, such as the piece that follows, which I unearthed last week, ten years later.
"Let Me See Your Face"
I’d been trying out a belief in prophecy—paying mind to what people said was true, biding everyone’s warnings. On the fifth of July, a woman at work—her name was impossible to pronounce—brought in a homemade meal and insisted—pushing us up out of our chairs with a light hand on our shoulders—that we sit in the conference room and eat—she said this—as a family. She spoke about the crushing realities of war, the guilt in survival, the meaning of success, and explained that in her country there was only one way to heal. She didn’t say exactly what that way was, but I knew it had something to do with the food we were eating.
“Independence is a responsibility. You need energy to fight for it,” she said. “Now eat.”
We forked up her dumplings, her smooth boiled ham. On the walk home, I drew a wrinkly gash in the back of my left hand with my keys. I stopped to watch kids shooting basketball under some old yellow lamplight. I cried, believing I would soon be under siege.
A few days later a pamphlet was left in the lobby of my building. It warned against the high success rate of senior suicide. The picture on the front fold was of an old man, eyes perturbed, distinguished and trapped. I took the pamphlet to bed with me and read every word. One of several key points made in the literature was that none of us should allow the elderly access to firearms. Under no circumstance, even if they’re begging, pleading, offering you money, all they have to give, do not give them any guns.
I got out a pen and paper and wrote my note. After a few false starts I reread the pamphlet and started again like this:
One day, someone told God, “Let me see your face.”
All this time, my bedspread had been dissecting itself into shifting gray and blue squares. When I reached my hand out, the cloth turned into a body of water—waves and eddies frothing and sweeping up and away. It was like every unnamed fear of mine was churning up in this ocean. I just stood there in the craggy rock of my body and watched the water. It was like looking in on a party I was not invited to. A seagull landed on my shoulder and dove back down again. When I jumped in, my own hand grabbed me and pulled me out.
Ottessa Moshfegh was interviewed by Benjamin Nugent for BOMB.
Over the course of the decade, the wall between “genre” and “literary” fiction—already damaged by the “genre-bending” authors of the aughts—finally crumbled. Ghosts, goblins, and distant galaxies have flooded into the realm of literary fiction. Some high school English teachers may tut-tut, yet the (space)ship has sailed. Today, genre-infused books regularly compete for literary awards and best-of lists (e.g., The Underground Railroad, Her Body and Other Parties, Station Eleven, etc.) and young writers are increasingly genre omnivorous in their reading and writing. I like this term, “genre omnivore,” better than “genre-bending.” Bending implies distorting forms, twisting them into new shapes. I’m more interested in writers who fully embrace different genres, applying their most serious craft to each. The idea that one couldn’t do this feels somewhat unique to books (few argue that, say, Stanley Kubrick was “not cinema” for making The Shining and 2001), and, as the decade ends, I’m excited to see writers increasingly free to work in whatever genres and forms interest them. Omnivore implies wanting to try it all. I want that. To write a science fiction novel, a horror novel, a noir, and an epic fantasy. Why not? Why can’t we have it all, in literature if nowhere else?
Lincoln Michel and Alexandra Kleeman interviewed each other for BOMB.
There is a stellar scene in season five of Broad City in which Ilana and Lincoln go out to dinner and do a performance review of their relationship. Which of their needs have been met and which have been neglected? Can Ilana get a hall pass to make out with some new bodies in the coming year? This scene was hysterical of course, but it also manifested a truth that we don’t like to acknowledge: people yearn to be checked in with. I’ve always been a fan of the year-end performance review for this very reason: I like sitting down with someone who has worked with me in a professional capacity to discuss what I have done well and … less well.
Such check-ins give me insight into my successes and failures, and help me set new goals. But once I left my corporate job at an advertising agency for a self-employed roller-coaster ride in book writing, these reviews came to an end. How I mourn them! If there is one thing I want for the new year, it’s for publishers to realize that authors are still tender, creative, yearning human beings once their books are out; check in with them, dear publishers! Three months after publication, ask your authors how they’re doing. What do they think went well? What could have gone better? Weigh in—gently—with your thoughts. Debrief your published authors, lest they decide to go off and make out with someone else.
Courtney Maum was interviewed by Katharine Coldiron for BOMB.
Unlikely, perhaps, but the cultural event that has most changed my life in the past decade is the SCRUFF app, which launched in 2010. I learned about personal branding (ugh). Also, that being over thirty-seven means you’re past being sexually “hot,” for many guys. But also, that while it seemed to mostly get used as a hookup site, there were plenty of guys who just wanted to talk on SCRUFF. I had read that there’s a dramatic increase in loneliness among people under about thirty-five (another cultural shift), and indeed that seemed to be the case. When sex is at least believed to be off the table (since it did sometimes lead to that, anyway—fussiness about age isn’t that tough a match for sexual urgency, after all), it’s amazing how much more depth guys can have. Who knew? One of the best conversations, sustained over four months, was with a guy I had zero interest in, in terms of sex or dating, because he was thirty-two—a child! (Yeah, so I had my own assumptions.) He convinced me to go to dinner one night, and we talked until the place shut down. Reader, I’ve not left his side since.
Carl Phillips was interviewed by Nick Flynn for BOMB.
The past decade has seen the female narrator assert identities that defy conventional notions of resolution. This woman is at home in Elena Ferrante’s cramped Naples; in Jenny Offill’s perimeter-drawn Brooklyn apartment; in Mariana Dimópulos’s Patagonian berry farm; in Hiromi Kawakami’s sake bars; in Dorthe Nors’s Jutlandic farm country; in Yiyun Li’s locus of language, “a world made up by words and words only”; in Carmen Maria Machado’s isolated lakesides and parking lots; in Ottessa Moshfegh’s blind-drawn bedrooms.
This woman has been written into being during a century that, day by day, feels less certain, more pending and unresolved. She is alone but not lonely, solitary but not sorrowful. She is disarming and searching, a methodical witness, not offering insights so much as recording impressions, fragmentary evocations with no template. In my own fiction writing, the female narrator has become less penetrable, more associative, making splintered, electric connections; her mind and its implicit particularities are pattern enough.
Sarah Blakley-Cartwright interviewed Mariana Dimópulos for BOMB.
Heartsplit. All the lifedeath smooshed together with a speed I don’t remember. Is it my age or my body, your body, the body of the earth and all meanings collapsing and reinventing with a screamsong that won’t shut up? A pulse promise of new bodies, voices, stories shattering and dispersing the center. These rooms where a writer sits down and words come, and next to her someone who has never dared shivers with maybe.
Next to that writer, a published one; and next to her, someone whose body has gone inside-out; and next to them, someone just released from rehab or incarceration or maybe just released; and next to her, a poet busy saving us. They write about death, about desire, about the planet. About war, about fear, about borders, and nations and vomit and rage. They write about broken hearts or bodies, about dreams and ghosts, about grief and dogs. About power, about poverty, about what has been taken from them, about wanting to give up or bite something open. They write about fathers, mothers, children, marriages, divorces, also genders and sexualities and bees.
Who is to say this is not a storyletting?
Lidia Yuknavitch was interviewed by Porochista Khakpour for BOMB.
In this decade I have written two books of poetry and a novel, more love notes than I can count, a couple of suicide notes that shelved themselves between my thighs and against my hips, half a recipe, some songs, and a cut-up of rejection notes. I've taught the most incredible, heart-warming students in the Bronx, and I have stopped to listen more. I pasted this prompt and started to respond, but with each letter and attempted sentence I was trying to write, my tongue grew dry and any sort of dictionary inside of me grew blank. Lately, I don't know what my relationship to writing is because I am not doing it. To me, writing is always like walking up a flight of stairs with giant gaps in between. I lose my breath, my limbs start to shake, I worry I am going to fall and awaken in a chalk outline of my mistakes.
For me, writing is quiet and lonely, but can sometimes make me feel like I have found a new room inside myself, shelter, a delicious warm meal, my favorite song that I hadn't heard in years and forgot the title of. For me, writing is sometimes just a sentence. Or three lines of a poem. Or a feeling. I want to be Kathy Acker, pierce my page with screams and maps. I want to be Lidia Yuknavitch, butterfly-stroke across the page and create room to misfit my fear and hesitations. I've still got to find who I am, what I want to be. But for now, I crawl. I take a lot of naps. I cry. I gather all the STOP signs stopping me from being. And I read. I read the writers who made me want to write in the first place.
Aimee Herman was interviewed by Christina Quintana (CQ) for BOMB.
This was the year my dreams came true. But the thing about dreams is they’re shadowy, often illogical, sometimes vivid but more often vague. I published my first short story, “Remedies,” in 2010 in Bellevue Literary Review. One of my five sisters took a photo of me. I am on a patio in downtown Denver drinking tequila and holding my story proudly like a young mother, my babyface still intact. I wouldn’t have another publication for several years. This was the beginning of a long journey of self-discovery and healing, a journey to reject self-destruction. When I found out that Sabrina & Corina had been named a Finalist for the National Book Award, I wanted to tell my ancestors, and I wished my younger self could have seen this coming.
I spent much of this decade hearing “no.” No from editors, journals, MFA programs, fellowships. I was told countless times that short story collections don’t sell, that mixed Chicana characters and stories like mine weren’t viable in the market. Toward the end of this decade, however, I also began to hear “yes.” Yes, from the right editor, the right agent, the right publishing house. I saw a rise in the short story form. I saw publishing make steps toward inclusivity, I saw my first book be born into the world, a world where readers were waiting for me. I wish I could take away some of my earlier sadness and embrace my younger self, letting her know that it would be okay. But since I can’t do that, I look forward to embracing the next generation of writers of color. I don’t know if it will all be okay, but I hope together we can make this place a little more inclusive, a little more willing to take a chance on often overlooked stories.
Kali Fajardo-Anstine and Tommy Pico interviewed each other for BOMB.
In the early 2010s, I often dreamt that I was driving into a forest fire, transfixed-terrified by flames’ voracity. The decade opened in California. Then: Pennsylvania, Louisiana, Massachusetts, New York, New Jersey. I began the decade with Anne Carson’s Nox, which gave me the bodily relief of a very heavy book written by a woman after years of being instructed to read big books by dudes. Within its clamshell box lies one long page of unwieldy accordion-folded narrative of nox (night), loss, and remembrance. It’s the tenor of my decade, and guards the haunted entrance, splayed like a paper carpet, noctilucent and freaky. I let Nox unfurl along a set of railroad tracks in Baton Rouge, because there was room—something to do with being able to know the guts of an art through its container.
Then: Hélène Cixous, French symbolists, everything Ugly Duckling Presse made, Sarah Rose Etter, Terrance Hayes, Mary Reufle—seismic shifts of the 2010s making poetry a necessary medicine. Recently, I read Malina by Ingeborg Bachmann on a flight during a California wildfire. I spent the last few years writing a book that contains within it the feeling of my decade’s beginning, and so time is a circle, and we’re all psychopomps moving between worlds. Poets most of all. The 2010s feel like those opening lines of Daphne du Maurier’s (who saw a major 2010s revival) Rebecca: “Last night I dreamt I went to Manderley again.”
Emmalea Russo was interviewed by Ariel Yelen for BOMB.
Rion Amilcar Scott
I went to add Eduardo Galeano's Mirrors to a best-of-the-decade list I was creating, only to find out it came out in 2008, but I discovered it in late 2009 when it was translated into English, and it was in 2010 (and beyond) that it taught me to write tiny narratives with the resonance of epics. At the time, my stories were long and unwieldy, and I had just started getting into flash fiction that was published in online literary journals. Mirrors and flash fiction—which evolved significantly over the decade in online spots such as Wigleaf and SmokeLong—are two things that allowed me to figure out how to write as myself.
Rion Amilcar Scott was interviewed by Lincoln Michel for BOMB.
Amanda Lee Koe
These are fragments from my Notes app, scraps of half-formed feelings in no particular order, almost all of which I don't recall writing over the past decade:
suddenly today i missed having milk teeth
Amanda Lee Koe was interviewed by Leah Dworkin for BOMB.
In 2011, I published a collection of handwritten thank-you notes addressed to the objects of my gratitude. I wanted my next project to have more of a conventional narrative but didn’t know how to sustain a story for more than a page or a paragraph. I found my answer in prose written by poets—in the work of Garth Greenwell, Ben Lerner, Maggie Nelson, and Sarah Manguso among others. In hindsight, their books were also the antidote to my growing social media addiction--to the flighty, ungrounded feeling it gives me. These slim volumes of lyrical prose from very smart people (many of whom, now that I think about it, are not on social media) grounded me. I read them quickly and returned to them again and again. They provided the kind of repetition that nurtured my creativity. They did not deplete or dull or worry me like the repetitive action of jabbing at the glass on my phone’s screen. These little books, often no bigger than a tablet, opened me as I opened them.
Leah Dieterich and Meg Whiteford interviewed each other for BOMB.
A decade ago Danielle Dutton and Martin Riker began their Dorothy publishing project, putting out two books by mostly contemporary women writers each fall, a list that has become its own canon, challenging and upending the potentialities of fiction in this current landscape. The books are exquisite—exquisitely designed by Dutton herself—strange experiments of writing and thinking, a new écriture that Dutton has called “near-fiction” that also has as its progenitors New Narrative, European autofiction, the Japanese “I” novel, and other traditions of the American short story as it connects with the avant-garde (as well as Dutton’s own kaleidoscopic, intellectually rigorous, language-based novels and stories). Rumor is that the press began in order to publish Renee Gladman’s speculative and philosophical Ravickian series, beginning with the yellow-inflected Event Factory and hopefully continuing on.
Dorothy riskily published the stories and novels of (this is an abbreviated list) Amina Cain, Suzanne Scanlon, Azareen Van der Vliet Oloomi, Joanna Walsh, Sabrina Orah Mark, and Nell Zink, all writers’ writers, prose stylists the writers I admire want to read and emulate. The project reads as its own work of literature—certain to be remembered alongside the Serpent’s Tail High Risk Books, Semiotext(e)’s original Native Agents series, Eugene and Maria Jolas’s transition, and Keith and Rosmarie Waldrop’s Burning Deck Press. To complete this circle, this fall Dorothy reissued Waldrop’s poetic first novel, The Hanky of Pippin’s Daughter, and a translated collection of Marguerite Duras’s nonfiction, including her deliciously bonkers first-person serial experiment “Summer 80.” Dorothy’s commitment to translations highlights a tradition that includes Nathalie Léger’s extraordinary meditation on the filmmaker-actress Barbara Loden, Cristina Rivera Garza’s The Taiga Syndrome, and Leonora Carrington’s collected stories.
Kate Zambreno and S. D. Chrostowska interviewed each other for BOMB.
Sally Wen Mao
This decade, I never stayed in a place for very long, and the rootlessness inspired both wonder and sorrow in me, thus impacting me as a writer. Here are some of the places I’ve documented where I wrote or visited or lived:
Sally Wen Mao was interviewed by Anne Anlin Cheng for BOMB.
Vi Khi Nao
For the last decade or so, each time I fly into Sin City to recuperate after an intense book tour, my mother is convinced that she must take me to a strip club. It will be so much fun and it will get you out of the house, she imparts. Strip clubs, like bars, are emotionally un-sustaining and quite frankly boring. All the booze and glitter hypnotize me into a deep sleep. But my mother, who will be sixty years old next year, is excited about the nightlife. She likes to dress in black stilettos with a red halter and halts anyone who dares to glance inconspicuously at her. Beneath her glamorous exterior she also wears a sexy, summery bikini. My mother, the straightest woman I know, loves to watch women dance on the pole and catwalk on bars while tossing their long, sexy, athletic form across the room. I think she loves it because she wants to dance too. When she runs out of ways to convince me to go with her, she and her dry-cleaning client (who is a pimp) tag team me about it. Unsuccessfully.
After a decade of trying, my mother’s wish unexpectedly came true. While my sister and her husband were visiting from Iowa, we were all driving home from a long day of shopping when my mother saw a Blue Diamond Road sign and told us there was an awesome strip club in the vicinity. After a brief coaxing, my sister (being the ideal dutiful daughter that she is) switched lanes and soon we were dumped in front of the inevitable. My mother was egregiously excited because finally I was forced to abandon my writing and books for one evening. I have never seen my mother so happy. Her eyes sparkled when the stripper told my presenescent mother that she could caress her pointy boobs. When she guided my mother’s hand, my mother grasped in awe and amazement like she discovered for the first time the insta-pot of sultriness. Whenever my mother goes to a club without me, I finish writing a book or start a new one. I like to pay tribute to my mother for all the glamour that exists in my writing. Also for indirectly teaching me the art of grit; she shapes and defines the entire discourse of my writing life. The strippers were very boring (because as Roland Barthes so candidly and shrewdly observes: they hide their vulnerability, their true self, behind the garment of sexiness), but watching my mother in pure excitement was not.
Vi Khi Nao's short story, "The Bald Sparrow," was published in BOMB's First Proof section.
국내 코로나바이러스감염증-19 격리해제가 격리중인 환자보다 많은 가운데 여전히 주요 시도별로 신규 확진자가 확인됐다.
신규로 확진된 78명의 각 지역별 현황은 서울이 16명으로 가장 많았고, 뒤이어 경기(15명), 대구(14명), 경북(11명), 충북(3명), 강원(2명), 부산·전북·경남·제주(각1명)이었다. 검역에서는 신규로 13명이 추가됐다.
◆부산지역…확진자 115명(완치자 83명), 29명 치료중
◆대구지역…확진자 6,624명, 2,682명 치료중
◆강원도지역…확진자 36명, 384명 검사 중
◆충북지역…확진자 44명(퇴원 21명), 98명 검사중
◆전북지역…확진자 13명, 6명 격리중
◆경북지역…확진자 1,243명, 475명 검사중
◆경남지역…확진자 92명(완치 63명), 158명 검사중
◆제주지역…9명 확진, 83명 검사 중
◆검역…누적 확진자 202명
|Cache||Special Representative of the Chinese Government for Korean Peninsula Affairs Wu Dawei will arrive in Seoul Monday on a five-day visit, South Korean media reported Sunday citing diplomatic sources.|
|Cache||Beijing suggested Pyongyang should stop launching missiles and halt its nuclear program while Seoul and Washington should cease drills which annoy North Korea.|
|Cache||China understands South Korea's need to protect its security but Seoul still needs to respect Beijing's concerns about the deployment of an advanced U.S. anti-missile system, Chinese Foreign Minister Wang Yi told his South Korean counterpart.|
|Cache|| [Wirtschaft] : |
Die südkoreanische Börse hat am Montag kaum verändert geschlossen. Der Leitindex Kospi verlor 0,04 Prozent auf 1.717,12 Zähler. Der Kospi hatte am Morgen zunächst verloren, da in den USA ein rapider Anstieg der Zahl der Coronavirus-Fälle registriert wurde. Der Anstieg der Infektionszahlen in den ...
|Cache||In our second full-performance broadcast watch violinist Esther Yoo and mandolin player Avi Avital live from a Yellow Lounge at Club Octagon in Seoul, South Korea filmed in October 2018. Esther...|
Winnetnews.com - Korea Selatan sedang digegerkan dengan skandal asusila grup chat "Nth Room" yang terungkap di media sosial Telegram. Baru-baru ini, pihak Kepolisian Metropolitan Seoul, Korea Selatan membongkar identitas salah satu admin di "Nth Room" bernama Cho Joo Bin, cowok berusia 25 tahun. Dua pria lainnya berusia 16 tahun dengan nama panggilan "Pacific Ocean" dan Jeon atau "Watchman" berus...|
|Cache||The Sun is a great source of energy, but of course those rays can be damaging as well. Engineers in Korea have now developed a new way to make perovskite solar cells to protect them from the elements without reducing their efficiency.Continue ReadingCategory: Energy, ScienceTags: Solar Cell, Solar Power, KAIST, Perovskite, Renewable Energy, Seoul National University
Source Feed: New Atlas - New Technology & Science News|
After seven weeks of Overwatch League action, we finally got a chance to see the league's Chinese and Korean teams in Week 8. And all hiccups from the online-only production were forgiven when the ...
|Cache||The Latest on the coronavirus pandemic. The new coronavirus causes mild or moderate symptoms for most people. For some, especially older adults and people with existing health problems, it can cause more severe illness or death. TOP OF THE HOUR: - Coronavirus cases in Africa rise closer to 5,000. - Thailand seaside resort island of Phuket closes land and sea item and exit points. - Australia announces plan to help businesses impacted by virus. ___ SEOUL, South Korea - South Korea says it will provide as much as 1 million won ($817) in gift certificates or electronic coupons to all but the richest 30% of households to help ease the financial shock of the coronavirus outbreak. Finance...|
|Cache||Park Sae-jin Reporter email@example.com SEOUL -- Provisional smart wards installed with... up smart negative-pressure wards at COVID-19 screening centers run by six military hospitals in April. If...|
|Cache||Greetings! My name is Jan Kim, a recruiting agent of ABC Recruiting Service. We have great ESL teaching positions for native English speakers all over South Korea! Please submit your resume (in MS Office… |
|Cache||Seoul, March 30 (IANS) The table tennis world team championships have been postponed again after ITTF, the sport’s governing body, suspended all planned international events until June 30 because of the coronavirus pandemic. The world team championships in Busan, South Korea, had already been delayed from May 22-29 to June 21-28, reports Xinhua news agency. …|