method man

i am that method
by which hands reach out
and complete the journey as touch
as feel
as held as breath in an infinite moment

i am that method
by which breath is smoked cool
seeping into body whole
known only as blanket as skin

i am that method
by which wave upon wave of looks
and smiles are broken upon your shore
forbidding yet foreboding the crush of surrender

i am that method
by which the stillness of two
becomes one long hushed
for hand to meet cheek and leave you whole

by Dempster Samarista, September 2009

Writing Across Cultures, 9-11 March 2010

From Jane Camens:

Asia-Pacific Writing Partnership

6 October, 2009
Bringing some of the world’s top creative writing programs to Asia

Writers teaching in some of the world’s top Creative Writing programs will talk about how they mentor students and important aspects of craft at ‘Writing Across Cultures’ in Hong Kong, 9-11 March 2010.

‘Writing Across Cultures’ is a two-day event for students and teachers of creative writing in Asia, organised by The University of Adelaide based Asia-Pacific Writing Partnership and The English Department of The City University of Hong Kong, in conjunction with the Man Hong Kong International Literary Festival.

Instead of academic papers, ‘provocateurs’ will talk for four or five minutes about aspects of craft and teaching writing then open the discussion to the audience. A roundtable on the first day will focus on teaching creative writing in the academy. The next day will focus on teaching creative writing in English in Asia.

‘Not many countries in the region offer creative writing at university level,’ said the Asia-Pacific Writing Partnership’s founding director, Jane Camens. ‘I know of a number of excellent emerging writers who have left Asia to study creative writing abroad, generally in the United States or UK. Few know about the excellent programs on Asia’s doorstep in Australia.’

‘Writing Across Cultures’ will feature representatives from top writing programs in Australia, the United States, Britain and the region. They include:

* Robin Hemley from the Iowa Writers Workshop, University of Iowa,
* Andrew Cowan, Director of the MA in Creative Writing at the University of East Anglia,
* Brian Castro, Chair of the Creative Writing Program at the University of Adelaide (home of the Asia-Pacific Writing Partnership),
* Marilyn Chin, who teaches Creative Writing in the Master of Fine Arts program at San Diego State University.
* Catherine Cole, Chair of Creative Writing at the Royal Melbourne Institute of Technology  University (RMIT),
* Kim Cheng Boey who teaches Creative Writing at the University of Newcastle,
* Jose Dalisay, Director of the Institute of Creative Writing at the University of the Philippines,
* Dai Fan, Chair of English at Sun Yat-Sen University, Guangzhou (China), who teaches creative non fiction in China.

The Asia-Pacific Writing Partnership’s first event was held in India in October 2008. It strives to hold events throughout the region in conjunction with local universities and writers organisations and bring to those events its international network of writing talent.

The Partnership is based within the Creative Writing Program of the University of Adelaide under the auspices of distinguished Australian writer Professor Brian Castro. Its founding director Jane Camens also founded the Hong Kong International Literary Festival with writers Nury Vittachi and Shirley Geok-lin Lim.

For the full program and registration details see

Media Contacts:

Jane Camens (APWN Founding Director)
In Australia: tel +(61) 2 66804906

Xu Xi (APWN Chair)

(schedule USA to Oct 14 • Hong Kong to Nov 10 • New Zealand to Nov 29 • Hong Kong to Dec 9
tel  USA (1) 917.494.5071 • HK (852) 2559.4944 or 9175.2839/cell  •  New Zealand (64) 3.465.8486)

Issued by the Asia-Pacific Writing Partnership

The Book Council eNews: 21 Oct 09

From National Book Development Council of Singapore:

Book Launches

at the Singapore Writers Festival, The Arts House, 11.00am on 25 Oct 09.
Step into the quirky, tender, luminous world of Wena Poon. Poon’s first book, Lions in Winter, was listed for both 2008 Irish Frank O’Connor Award and the Singapore Literature Prize, was on the Straits Times Bestseller List for Fiction, as well as nominated for the Popular Readers’ Choice Awards. To RSVP, please contact Adeleena. Tel: 68464771 or email:

at the Singapore Writers Festival, The Arts House, 6.30pm on 31 Oct 09.
Celebrating the release of 2 new children’s books from bestselling children’s book author Adeline Foo. Adeline will be joined by illustrators Lee Kowling and Christine Lim Simpson. To RSVP, please contact Adeleena. Tel: 68464771 or email:

Our Literatures in English
26 Oct 09, 9am to 6.30pm @ Living Room, The Arts House, Free Admission

With the support of the National Arts Council, the National Library Board, and the Department of English Language and Literature, FASS, National University of Singapore, the National Book Development Council of Singapore is organizing Sharing Borders, a Singapore – Malaysia Writers Symposium, as part of the Singapore Writers Festival.
The Symposium would like to reflect the broad reach of our literatures in English by bringing together scholars and writers to address the engagement of our literatures.
A milestone study of Singapore and Malaysian literature in English in two volumes, under the general editorship of Prof Edwin Thumboo will also be launched at this event. The publication will trace the historical and cultural development of both countries via key literary figures, groups and movements.
Please download details and registration form here

The Business of Books

28-29 Oct 09, 9am to 5.30pm @ Blue Room, The Arts House, registration fees applied
Always wanted to learn the secrets of the publishing industry as well as getting yourself published? This two-day professional symposium is the perfect opportunity for you to learn from industry experts (Singaporean and international) the work involved into bringing a book from manuscript to published work.This two-day symposium is suitable for those in the publishing and related industries as well as aspiring and established writers. There will be opportunities for participants to meet with panelists during the course of the symposium.
For details, please visit

Asian Youth Animation & Comics Contest

deadline: 20 May 2008
Discipline(s): Comics/Animation/Gaming

Asian Youth Animation and Comic Contest is authorized by All China Youth Federation and hosted by ACYF International Project Cooperation Center, Cartoon Commission of China TV Artists Association and Guiyang government, Asian Youth Animation & Comics Contest (hereinafter referred to as “AYACC”) is aimed to be top annual award for Asian original animation and comic.

AYACC is dedicated to integrate Asian cultural resources, promote the influence of Asian animation and comic, create cultural image of Asia, provide a platform of information exchange, as well as to boost Asian animation industry development . It is the great event for Asian animation and comic.

The Theme of 2007 AYACC is “Cartoon Dream”, which involves TV series, short animation, comics, illustration, etc. The Grand Prize and more than 30 other awards has been set up for the Contest, such as Best Screenplay, Best Director, Best Student Work and Best Visual Effects. The total amount of prize will be 100,000 RMB together with trophy. A grand Awarding Ceremony will be held on July 2007 in Guiyang, China. All prize winners will be invited to the ceremony, and participate series of programs including “Cartoon Industry Development Forum”, “Best Animation & Comics Show”, “Cartoon Night Party” and so on.

Up to now, AYACC has promoted its event among 20 Asian countries and region, such as Japan, Korea, India, Israel, Thailand, Malaysia, Turkey, Singapore, Philippine, Iran, Kuwait, Hong Kong, Taiwan, etc. The Contest received great concern and actively answer. The Asian Embassies in China also expressed their willing to support the event by organizing domestic artists to participate in.

AYACC is going to integrate top-level resources of Asian cartoon industry, boost the influence of the Asian cartoon, create Asian cartoon image, as well as to provide a information exchange platform for Asia cartoon industry. AYACC aims to become the vane of Asian cartoon, the performing stage of young Asian artists, the grand ceremony of cartoon art in Asia.

About the Contest

1. Eligibility:
Anyone living in Asia and /or with roots in Asia under age of 40 is eligible for enter.
2. Genre:
TV series, short animation, computer-assisted or computer-generated, animation, comics, illustration
3. Prize:
* Total amount: 100,000 RMB
* Trophy and Certificate

A call for knockouts!

WEDNESDAYS i’m-n-love



True love never dies. And unlike hot summer flings, this one is here to stay. After nearly eight months of relentless romance, unwavering faith, accidental chance encounters and careful planning, our love has finally come to bear fruit. Its time to step up. Swingers meet their match, cynics lost among throngs of intoxicated hope. Paperwork bureaucracy thrown out the door, paving the way for mad spontaneity. A bit of temper if only to extend our cheap honeymoon getaway. No need to pack your bags for this one. Yes, settling in can be nerve-wracking, even unforgiving. Take your chance, as usual the moment is now! The day has finally arrived. With much much anticipation we are launching the call for applications to WEDNESDAYS i’m-n-love OPEN PLATFORM RESIDENCY.
WEDNESDAYS i’m-n-love OPEN PLATFORM RESIDENCY (WOP) is an experimental and creative laboratory for new artistic explorations in contemporary visual arts, performance, and new media. Open to artists, curators and researchers who wish to present their current tendencies for a once-a week critical exchange via screenings, readings, conversations, performance and temporal exhibitions. WOP Residency provides 6 local young artists/curators the possibility of research residency at Green Papaya Art Projects for 2 months (or 8 Wednesdays) each with some production allowance.

Six artists/curators will be selected from an open call to organize and co-curate eight succeeding WOP programs. Aside from co-curating, the resident will also assist in documenting and archiving the events. While in residency, the participants shall also be encouraged to produce their own works (literary, writing, video, performance, painting and plastic art) referenced on the creative environment and experience brought about by the Wednesdays happenings. The works may be multidisciplinary and collaborative. All creative outputs of the six participants will be presented in a culminating exhibition and publication after one year of WOP Residency completion as part of Green Papaya’s calendar for 2009.

Launched in September 2007 as Wednesdays I’m-n-love Open Platform, this weekly happening opens up the space to discuss aesthetic, ideological and pedagogic strategies involved in any artistic process. Now running on its eight month, WOP has evolved into a weekly gathering much anticipated with unexpected creative twists and turns. Generating a platform for interventionist tactics, cross disciplinary interaction and collaboration in varying artistic stages – from script readings, improvisation jams, lectures, live talk shows to ping-pong nights. Originally conceived as loose, informal and anarchic gatherings, WOP Residency arose from the exigencies of a structured sustainable artistic program empowering the local art community in the face of temporary artist-run initiatives. Bringing in much needed environment to discuss strategies that will bridge the gap of managing independent initiatives whilst promoting creative and artistic agendas.

Aims and Objectives • WOP Residency aims to put-in-place the necessary mechanisms to develop a curatorial approach and strategy emerging from the sensibilities and context of new artistic explorations of young emerging multi/cross-media artists. It is creative laboratory with a diverse interest in anthropological, social, political, and technological contexts, and probe how these areas of diverse interests impact on contemporary art practice. • It provides artist/curator a unique environment for artistic engagement between him/her and those artists involved in the weekly WOP programs. Such environment is seen as a fertile ground for the resident artist/curator to create his/her work witin the context of that engagement. • WOP Residency seeks to ensure a year-long uninterrupted programming with 6 resident artists/curators taking charge of curatorial and program implementation for 12 months, with each one covering 8 weeks of residency. Putting in place a curatorial and managemment support mechanism involving members of its community thereby putting into practice the principle of comunity ownership and responsibility over the idea of an independent, alternative and “open platform.”

Ask and you shall receive. Artists, curators, researchers, talkers, thinkers, auto-didacts, art students and enthusiasts alike can submit your motivation letter, one-page proposal/artist statement expressing the desired residency period from June 2008 to May 2009 and curriculum vitae on or before May 15, 2008 to

or send it via post to:

124A Maginhawa Street, Teachers Village East
Diliman, Quezon City


States of Independence

Call for Papers:

the 5th Annual Southeast Asian Cinemas Conference (ASEACC)

WHEN: November 27 – 29, 2008
WHERE: Manila, The Philippines

Please send an abstract (max. 500 words) of your proposed paper to one these members of the program committee of the conference:

Dr. Rolando B. Tolentino:
Dr. Sophia Harvey:
Dr. Gaik Cheng Khoo:
Dr. Tilman Baumgärtel:

DEADLINE: May 21, 2008

The first decade of the 2000s has seen a stunning upsurge of independent cinema in a number of Southeast Asian countries. This development has been one of the motivations of the Annual Southeast Asian Cinemas Conference (ASEACC), and this year we want to focus completely on the issue of identity. We invite contributions that address the somewhat contentious notion of “independent cinema” from different theoretical and methodological angles. The concept of “independent cinema” means something very different in the emerging countries of Southeast Asia than in the US or Western Europe, and we want to tease out some of the particular qualities of independent cinema in the region.

We want to ask what “independence” means in countries, where the commercial film industry is slowly bleeding to death, but where the distribution is often dominated by commercial chains that are rather disinclined to show independent films. We are interested in papers about the situation of independent distribution channels, be it “microcinemas” in galleries, socio-cultural centers or people’s living rooms, or on the Internet. We are looking for contributions that address the specific aesthetics of independent films from the region. In particular, we encourage papers that study the work of individual independent filmmakers or analyse specific indie films. Finally, we will focus on the situation in this year’s host country, the Philippines. As is our tradition, filmmakers will participate in open forums and screen their works.

Another focus of this year’s conference will be the role of technology and “new media” in the creation of an alternative “mediascape” in the region. We invite papers that examine the influence of digital technology on the film language that Southeast Asian film makers are developing.

We are also encouraging contributions that engage with historic aspects of dependence and independence, such as the colonial legacies of some European countries in Southeast Asia or more contemporary inter-dependencies between Europe and Southeast Asia (for example, the policies of European film festivals, funding bodies or production companies such as the Rotterdam Film Festival, the Hubert Bals Fund, Fortissimo, etc).

– Alternative funding/distribution channels and bodies
– Issues of identity and representation in independent film
– Interdisciplinary approaches in alternative media production
– Independent film and the mainstream
– Festivals and grant-giving bodies
– The Local and the Global
– Independent film in the Philippines

ASEACC is currently attempting to get funding for travel subsidies and accommodations but cannot offer any as yet. Prospective participants are strongly encouraged to secure their own travel funding. We are also trying to get discounted hotel and dorm rooms for conference participants.

The conference will be accompanied by screenings of select independent films from Southeast Asia from November 25 to 26 and on November 30, 2008.

For more information on the conference, visit our websites:

oh, look

Cha: 2nd issue


An announcement from the Cha editors:

Cha: An Asian Literary Journal is the first Hong Kong-based online literary quarterly dedicated to publishing quality English poetry, fiction, creative non-fiction, reviews, photography & art from and about Asia.

The second issue of has now Cha: An Asian Literary Journal been released. It features works by 23 writers/artists: Robert Abel, John Biggs, David Braden, Michelle Cahill, Sam Ferrer, Richard Freadman, Suzanne Hermanoczki, Clara Hsu, Luisa A. Igloria, Agnes Lam, Mary Lee, Janny Leung, Mark Malby, Debra Moffitt, Chris Mooney-Singh, Ashok Niyogi, Alistair Noon, Alvin Pang, Kay Sexton, Mark Stringer, Todd Swift, Mag Tan and Eddie Tay.

The second issue is available on our website For further details, please see the attached flyer or contact the editors at

Yours sincerely
Tammy Ho & Jeff Zroback
The Editors

First Asia Pacific Festival of Writing

An announcement from Jane Camens of Asia-Pacific Writing Partnership:

Dear friends interested in writing from Asia and the Pacific,


Following a discussion that began at the first Asia-Pacific Writing Partnership board meeting in Bali, I am delighted to share with you a new initiative that the Partnership has helped initiate in India. We sincerely hope you will support this initiative in any way you can, help us to publicise it, and participate.


I have pasted below and attached the announcement, and would be grateful if you can send this out as a media release if you have the resources to do so, or promote the event among possible participants and sponsors in any other way you can.


I take this opportunity to wish you a wonderful 2008, and successful Year of the Rat.


Jane Camens

Asia-Pacific Writing Partnership



The First Ever Asia-Pacific Festival of Writing

An internationally-supported event for emerging and established writers, scholars of contemporary literature from Asia and the Pacific, publishers, agents and all interested in new writing from the region.


New Delhi and Shimla,


October 2008

The Asia-Pacific Writing Partnership and Indian Institute of Technology, Delhi, are pleased to collaborate in organising Indian and international support to hold the first ever Asia-Pacific Festival of Writing in New Delhi and the hill-station town of in Shimla.

In anticipation of both Indian and international funding, the Festival, called ‘Writing the Future’ will include creative writing workshops for emerging writers from the region, translation workshops, as well as a major academic conference on new writing from Asia and the Pacific and public events featuring emerging and established writers and people in the publishing industry.

The Festival was planned at a two-day meeting at the Indian Institute of Technology (IIT) in mid January, attended by representatives from India’s Ministry of External Affairs, the Ministry of Culture, the India Foundation for the Arts, the Indian Council for Cultural Relations, the Sanskriti Foundation, the Indian Institute for Advanced Studies, the Sahitya Akademi or National Academy of Letters and other universities in India (including Delhi University, Jawaharlal Nehru University and Jamia Millia Islamia). Others participating included the executive director of Britain’s New Writing Partnership, academics from other universities such as Dhaka University and Lisbon University. Indian literary agents, publishers, writers, performers, translators of standing also attended the meeting.


International sponsorship for the event will be co-ordinated through the Asia-Pacific Writing Partnership (APWP), which seeks to raise the profile of contemporary literature from the region. The Partnership is an international collaboration of scholars, literary organisations, and writers from the region, and is presently housed within a research centre, the Griffith Asia Institute at Griffith University, Australia.

The APWP will promote the Festival internationally and take registration from international participants through its website (

“To quote Victor Hugo: ‘Advancing armies cannot stop an idea whose time has come’,” said co-coordinator of the Festival, Professor Rukmini Bhaya Nair, a poet and Head of ITT’s Department of Humanities and Social Sciences.

“We plan this as an on-going event that we hope will provide valuable opportunities for new writers in the region for years to come,” she said.


Professor Nair suggested the theme ‘Writing the Future’.

“The conference will enable a forensics of literary studies in the region through the lens of creative writing,” she said. “The Festival as a whole will provide a forum for extensive cross-talks between academia and creative writers.”


Executive Director of the Writing Partnership, Jane Camens, said the Festival would be the key focus for the APWP in 2008. Ms. Camens started Hong Kong’s international literary festival which was the first festival in the region to feature writing from and about Asia. She project managed the first events for Britian’s New Writing Partnership while completing her MA at the famous writing program at the University of East Anglia.

“Emerging writers in England gain tremendous benefit and advantage from workshops with peers and established writers, but there are few equivalent opportunities in Asia,” she said. “ ‘Writing the Future’ is an attempt to introduce to Asia a mini equivalent to the UK’s Arvon Foundation writing programs or annual Bread Loaf Writers Conferences in the USA, and other opportunities open to new writers elsewhere.”

Both Professor Nair and Ms Camens stressed the importance of the conference of scholars that will be a central focus at the festival, in addition to the workshops and public events. Academic institutional support is the backbone of the initiative. The conference will examine contemporary writing from the region, the value of writing programs, the state of national literary studies, and notions of writing in relation to regional identity, globalization, cosmopolitanism, post-colonialism, and other associated issues.


The IIT will host the academic conference ‘Writing the Future’ together with other institutions and universities in Delhi. IIT will also actively seek to involve other universities from the Indian subcontinent and elsewhere.

The Indian Literary journal Biblio will publish a special issue in conjunction with the conference, and may also publish a future issue including selected papers from the conference and new writing from the workshops. In addition, IIT, Jawaharlal Nehru University and Delhi University will approach other peer-reviewed international journals to publish academic papers from the conference.

A draft of the Festival Program follows:

Shimla Fiction Writing Workshops (6-17 October)

Fiction writing workshops will be held over two weeks at the Indian Institute of Advanced Study (formerly the Vice Regal Lodge in the picturesque former summer retreat of the British Raj in Shimla.). The intake of participants will be selective and limited to a total of 25 emerging writers, 15 of whom may come from outside India.

New Delhi Poetry Workshop (21-25 October)

Poetry workshops will be held at the Sanskriti Foundation which runs other residency programmes in collaboration with UNESCO, Asia-Link, Association Française d’Action Artistique and the Fulbright Fellowships, helping to foster understanding between different cultures through the sharing of ideas and life experiences. Participation will be open to 15 Indian poets and 10 from abroad, as well as local Indian and five international teachers.

New Delhi/Mysore/Guwahati Translation Workshops (13-16 October)

Workshops will be run by the Sahitya Akademi (the Indian National Academy of Letters) in collaboration with the Jamia Millia Islamia in Delhi and IIT, Delhi. The workshops will focus on translating writing from Indian languages into English.

The Festival seeks collaboration with international centres of literary translation for this initiative. Approximately 30 participants are expected.


New Delhi Script Writing Workshops (To be confirmed)


New Delhi ‘Writing the Future’: Conference on Contemporary Writing from Asia and the Pacific (21-23 October).

The conference will address some of the following questions. Can writing programs, taught by practitioners, invigorate national Literary Studies courses? What benefits might there be between creating a dialogue between the humanities, creative arts and other disciplines? The conference will call for papers that examine contemporary writing from the region, the value of writing programs, the contrasts and synergies between traditional oral forms of literature and new forms of writing influenced by multi-media, the state of national literary studies, as well as studies that seek to explore writing and identity, nationalist constructs, globalization and diaspora, cosmopolitanism, post-colonialism and other issues raised by contemporary writing from the region.

‘Writing the Future’ Literary Festival Public Events (21-25 Oct)

Public events will be held in New Delhi in the evenings. These will include readings by emerging and established writers; panel discussions with publishers, literary agents, and writers; book launches; and cultural performance by Indian poets, theatre-people and singers.

School and College events (21-25 Oct)

Local and international established writers who conduct workshops and participate in the public events will visit schools and colleges in New Delhi to read from their work and talk about their writing process. Engaging with youth is a very important and intrinsic part of the conceptualisation of this festival.

Asia-Pacific Writing Partnership Board Meeting (23 October)

The international Board of scholars and writers will meet directly after the conference.


For more information, contact:

Prof. Rukmini Bhaya Nair, at the IIT, New Delhi (India) at Tel: +91 11 26591371

or email


Jane Camens at the APWP (Australia) at Tel: +61 2 66804906

or email

SAIS: call for submissions

A sexy new series of six-word-story-anthologies. Authors pro bono, but artists well-compensated.

Some samples from the first installment:

say I-love-you back.

No hurt feelings: say I-love-you back.

Didn’t you read? NO HUMANS ALLOWED

Send entries and queries to editor:
Adam David <>

Related links:
Random Fandom
Adam David’s Flickr site
A sample from this link, from Adam’s “Instructions for the Inclined” series:

Singapore Writers Center editor database

The Singapore Writers Centre is currently working on a database of editors who can render their services.  Editors who wish to be included in this database can download the application form, fill it up and send it to Visit this page for more info.

Asian Children’s Writers & Illustrators Conference (ACWIC) 2008

The Asian Children’s Writers & Illustrators Conference 2008 will be held on the 5th and 6th June 2008 at the National Library, 100 Victoria Street. Visit their website and click on the poster image below for more details:

Asian Children’s Writers & Illustrators Conference (ACWIC) 2008

Related links:
National Book Development Council of Singapore


a 'still' from FLASH ELEMENTAL

Writer and conceptual artist Yason Banal‘s ongoing curatorial project:

Young Star @ Philippine Star
Utopia in Progress
By Yason Banal Friday
December 7, 2007

Since SLEEPWALKING came out in STAR two years ago, it has been interested in exploring the potential of “the printed page” as an imaginative space for art and ideas. There had been e-mails, phone conversations, dream sequences, suicide notes, conceptual works and critical theories, punctured with sex, politics and culture. Beginning this month, I will occasionally be converting this newspaper column into a curatorial space, inviting creatives, thinkers and curators to make unique works or organize special projects specifically for publication — the works will not exist anywhere else in the same form as they will have here. Spread sporadically over 12 issues in the course of one year, UTOPIA:SLEEPWALKING will serve as a platform for exciting and experimental “young stars” from various disciplines and countries to create “projects for the printed page,” thus communicating such “propositions” to a broader public. It is imperative for an exchange to happen, not just of ideas and images, but of communities and contexts; these gestures, this space, can only hope to be insightful and transformative for both creator and audience.

First to be featured in UTOPIA:SLEEPWALKING was the world premiere of John Torres’s “film for the printed page,” Flash Elemental, which appeared with the above quoted text on December 7, 2007. A version of Flash Elemental appears on the project’s blog. More of these online versions will be uploaded every month.

[Above image is a “still” from Flash Elemental.]

Spring 2008 Ricepaper: Urban Myth or Urban Fiction?

Call for submissions:

Do you enjoy the city more than the countryside? Do you prefer trashy neon signs, crowded thoroughfares and junk markets to mountain vistas, glistening lakes and pastoral landscapes? Do you hate animals? Well, if you do, you’re in luck, because Ricepaper would like to hear from you! We invite all writers of Asian and mixed descent to participate in our spring 2008 issue about urban life, big city nights and big city problems. Previously unpublished poetry, comic strips and short fiction are most welcome, and should preferably get to us by Feb. 1, 2008.

Send your submissions to the editor, Herman Cheng:


Ricepaper Magazine
PO Box 74174 Hillcrest RPO
Vancouver, BC
V5V 5C8

$50 per page of poetry and illustration published
$100 per short story

* Ricepaper is a 13-year-old arts and lit quarterly that focuses on East Asian and Southeast Asian culture. Ricepaper accepts unsolicited submissions of up to eight previously unpublished poems, on any subject, in any form. Poetry and illustrated submissions should not exceed eight pages in total, while short fiction should not exceed 6,000 words. Fiction writers must be of either Asian or mixed descent. Please include a short biographical note with your submission.

know the NME


Amir Muhammad‘s latest book, New Malaysian Essays 1, is now available for pre-orders.

You can pre-order New Malaysian Essays 1 for RM30 each, which is RM6 less than the bookstore price. The price includes shipping anywhere within Malaysia. If you are outside Malaysia, kindly make friends with a Malaysian resident who can then post it to you.

You can send the money to my Maybank account: 014105120512. Once you have done so, send me an email at to let me know your address. If you’d like an autograph, let me know to whom it should be addressed 🙂

Closing date is Thursday, Feb 14. The books will be posted on Feb 15.

Book info:

New Malaysian Essays 1 is the first of a planned annual series concentrating on local non-fiction writing. From polemic to ode to memoir, this series invites Malaysian readers – and writers – to notice, analyse and interpret the living, throbbing, squelching vitality around them. Multi-disciplinary, multi-tasking and best appreciated on multi-vitamins, this first collection takes us from Brian Yap’s election-era critique to Amir Muhammad’s alternative lexicon by way of Burhan Baki’s elegant deconstructions, Aminuddin Mahmud’s seminar on branding and Saharil Hasnin Sanin’s knockabout ruminations on language before rounding off with Sonia Randhawa’s stirring call for national (and therefore personal) self-realisation.

Writers: Brian Yap, Aminuddin Mahmud, Burhan Baki, Saharil Hasrin Sanin, Amir Muhammad & Sonia Randhawa
Length: 256 pages.
Size: 21cm (height) and 17.9cm (width)
Language: English (80%) and Malay (20%).
Published by Matahari Books
Design & Layout by Bright Lights at Midnight
Printed by ?
Retail price: RM36
ISBN: 987-983-43596-1-4
National Library Catalogue-in-Publication
Launch date: 16 February 2008 (8pm; Central Market Annexe, top floor)

This book won’t be available in most Malaysian bookstores and the print run has been reduced to 1,000. The original distributor backed out due to “the Datuk’s orders” because of ‘the vulgar words’ and being ‘politically sensitive’. Excerpts and more info are on Amir’s blog.

From where?

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