Close out your year with the Minnesota debut of Nor Sanavongsay's Xieng Mieng: A Sticky Mess! from Sahtu Press and DEMONSTRA from Innsmouth Free Press!
A special thanks to NAIKU for letting us use their space at CoCo in Minneapolis! The reading will be at 400 S. 4th St., Suite 401 from 5 to 6:30 P.M. on December 30th. This is the Minnesota premiere reading!
Xieng Mieng: A Sticky Mess is the comedic origin story of one of the most beloved folk heroes of Laos. A young monk keeps getting in trouble with the head of the monastery who think the boy can't do anything right. Finally, the young boy decides to turn the tables with the help of a chicken and a little bit of a sticky snack called mieng. What happens next has become the stuff of legend for over 600 years!
I'll be reading from my latest book of Lao American Speculative Poetry, DEMONSTRA, from Innsmouth Free Press! It's currently under consideration for a Stoker Award in Poetry from the international Horror Writers Association. It features interior art by Vongduane Manivong!
Award-winning poet and playwright Saymoukda Duangphouxay Vongsay will also be reading with us for this special occasion!
Poetry, science fiction, fantasy, horror, and culture from a Lao American perspective.
Thursday, December 05, 2013
Lao Village: Muang Nhiam, 1885
An engraving of the Lao village of Muang Nhiam printed in 1885. Images lie this helped to inspire my story "What Hides, What Returns," for Innsmouth Free Press' Historical Lovecraft.
DEMONSTRA is here!
From the official Innsmouth Free Press announcement 12/5/13 is now considered the official release date for DEMONSTRA. It's also the birthday of King Bhumibol Adulyadej, Margaret Cho and Patricia Kaas. I can remember that.
So, to celebrate, here's a recap of some of early praise for DEMONSTRA:
“These poems are not bound by language. They leap from one to the other — indeed, one realm to the other — not bound my myth, not bound by life, not bound by earth. Where they land, a world all their own. You ever read your biography in a foreign language filled with foreign characters? At the end, you come out with an intimate understanding of who you are, your place in the places you call home. Don’t let the zombies and moon-eating frogs fool you. These poems will tell you about yourself, whether you be from Laos, Vietnam, Guinea, or Somalia; whether home is China, Mexico, California, Kenya, or the space between all those places.” — IBĂ© Kaba, author of Bridge Across the Atlantic
“DEMONSTRA is born of the extraordinary imagination of Bryan Thao Worra, who draws inspiration from the Cthulhu Mythos, the Laotian pantheon of ghosts and monsters, and the horrors of the modern world, among other things. Something sinister and enchanting beckons from every poem. There’s the enthralling journey across the dream highway of Ms. Mannivongsa. There’s the poignant meditation on Egyptian iconography as a harbinger of death. And there’s the invocation to Mothra. DEMONSTRA is absolutely evocative and haunting.” — Kristine Ong Muslim, author of Grim Series and We Bury the Landscape
“For me, Bryan Thao Worra’s DEMONSTRA is the thinking geek’s collection of poetry. Robots, zombies, Buddha, mythical beings from various universes, Eastern and Western folklore, and us lowly members of humanity clash on pages that paint a unique, sprawling world that invites multiple interpretations. Worra clearly has a gift for surreal realism that is enhanced by his wit, humor and flare for the dramatic.”
— Kevin Vollmers, Founder of Land of Gazillion Adoptees
“Bryan Thao Worra navigates the liminal spaces between high and low culture, the sublime and the ridiculous, the sacred and the profane, Lao and whatever it means to be American with skill and wit. Whether musing over zombie Buddhas or mapping out a Highway 61-style odyssey across our immigrant nation, he has an eye for contradictions and unexpected connections. Highly recommended.”
— David J. Schwartz, author of Superpowers, and Gooseberry Bluff Community College of Magic: The Thirteenth Rib
"DEMONSTRA presents a universe in which mythologies — ancient and modern, American and Lao, cultural and popcultural, occupy the same space,conversing, breeding and bleeding into one another. And the best part is that these many references— from Greek mythology to professional wrestling, to zombie films, to Lovecraftian horrors, to folktales, to kaiju battles, and beyond— are always in the service of something greater. This is poetry with a deep respect and love for science fiction and horror tropes but with an even greater respect and love for Lao culture, and the Lao/ Lao American experience. These two big ideas are weaved together masterfully, creating that rare literary hybrid that transcends its component parts, a poetic Mekagojira, standing triumphant over a thousand fallen foes."
—Kyle “Guante” Tran Myhre, hip hop artist and two-time National Poetry Slam champion
Thanks for being a part of this journey!
So, to celebrate, here's a recap of some of early praise for DEMONSTRA:
“These poems are not bound by language. They leap from one to the other — indeed, one realm to the other — not bound my myth, not bound by life, not bound by earth. Where they land, a world all their own. You ever read your biography in a foreign language filled with foreign characters? At the end, you come out with an intimate understanding of who you are, your place in the places you call home. Don’t let the zombies and moon-eating frogs fool you. These poems will tell you about yourself, whether you be from Laos, Vietnam, Guinea, or Somalia; whether home is China, Mexico, California, Kenya, or the space between all those places.” — IBĂ© Kaba, author of Bridge Across the Atlantic
“DEMONSTRA is born of the extraordinary imagination of Bryan Thao Worra, who draws inspiration from the Cthulhu Mythos, the Laotian pantheon of ghosts and monsters, and the horrors of the modern world, among other things. Something sinister and enchanting beckons from every poem. There’s the enthralling journey across the dream highway of Ms. Mannivongsa. There’s the poignant meditation on Egyptian iconography as a harbinger of death. And there’s the invocation to Mothra. DEMONSTRA is absolutely evocative and haunting.” — Kristine Ong Muslim, author of Grim Series and We Bury the Landscape
“For me, Bryan Thao Worra’s DEMONSTRA is the thinking geek’s collection of poetry. Robots, zombies, Buddha, mythical beings from various universes, Eastern and Western folklore, and us lowly members of humanity clash on pages that paint a unique, sprawling world that invites multiple interpretations. Worra clearly has a gift for surreal realism that is enhanced by his wit, humor and flare for the dramatic.”
— Kevin Vollmers, Founder of Land of Gazillion Adoptees
“Bryan Thao Worra navigates the liminal spaces between high and low culture, the sublime and the ridiculous, the sacred and the profane, Lao and whatever it means to be American with skill and wit. Whether musing over zombie Buddhas or mapping out a Highway 61-style odyssey across our immigrant nation, he has an eye for contradictions and unexpected connections. Highly recommended.”
— David J. Schwartz, author of Superpowers, and Gooseberry Bluff Community College of Magic: The Thirteenth Rib
"DEMONSTRA presents a universe in which mythologies — ancient and modern, American and Lao, cultural and popcultural, occupy the same space,conversing, breeding and bleeding into one another. And the best part is that these many references— from Greek mythology to professional wrestling, to zombie films, to Lovecraftian horrors, to folktales, to kaiju battles, and beyond— are always in the service of something greater. This is poetry with a deep respect and love for science fiction and horror tropes but with an even greater respect and love for Lao culture, and the Lao/ Lao American experience. These two big ideas are weaved together masterfully, creating that rare literary hybrid that transcends its component parts, a poetic Mekagojira, standing triumphant over a thousand fallen foes."
—Kyle “Guante” Tran Myhre, hip hop artist and two-time National Poetry Slam champion
Thanks for being a part of this journey!
Lao and a culture of film
I've mentioned the UNESCO Creative Cities Network concept in the past. One of the key art forms they're interested in is cinema. For as much as I talk about throwing our cap over the wall to reach for space, I also feel strongly that we could benefit from exploring our ability to develop a robust infrastructure or many of our arts. While the Creative Cities Network model is intended at the city level, for Lao in diaspora, where we are concentrated in numbers large enough to form whole cities and neighborhoods, I wounder what we can do to reach many of these standards, not so much to make our host country's cities eligible for Creative City status, but for ourselves, because many of these goals are quite laudable.
The following list of criteria are elements of a City of Film. Might we bring those into the different Laotown zones across the US, or abroad:
* Important infrastructure related to cinema, e.g. film studios, film landscapes/environments, etc.;
* Continuous or proven links to the production, distribution and commercialization of films;
* Experience in hosting film festivals, screenings and other film-related events;
* Collaborative initiatives at a local, regional and international level;
* Film heritage in the form of archives, museums, private collections and/or film institutes;
* Filmmaking schools and training centres;
* Effort in disseminating films produced and/or directed locally or nationally;
* Initiatives to encourage knowledge-sharing on foreign films.
Ultimately, in places like Vientiane and Luang Prabang, there are several visionaries who are taking steps to create just that. Can we in the US do any less?
The following list of criteria are elements of a City of Film. Might we bring those into the different Laotown zones across the US, or abroad:
* Important infrastructure related to cinema, e.g. film studios, film landscapes/environments, etc.;
* Continuous or proven links to the production, distribution and commercialization of films;
* Experience in hosting film festivals, screenings and other film-related events;
* Collaborative initiatives at a local, regional and international level;
* Film heritage in the form of archives, museums, private collections and/or film institutes;
* Filmmaking schools and training centres;
* Effort in disseminating films produced and/or directed locally or nationally;
* Initiatives to encourage knowledge-sharing on foreign films.
Ultimately, in places like Vientiane and Luang Prabang, there are several visionaries who are taking steps to create just that. Can we in the US do any less?
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