The PEN Ten is PEN America's weekly interview series. This week, guest editor and executive director of the Asian American Writers' Workshop Ken Chen talks with Dorothy Tse, a Hong Kong fiction writer who has published three short story collections in Chinese. Her literary prizes include the Hong Kong Biennial Award for Chinese Literature and Taiwan’s Unitas New Fiction Writers’ Award. Tse's first short story collection translated into English, Snow and Shadow, was published in 2014. Tse is also a co-founder of the Hong Kong literary magazine Fleurs des LettresShe currently teaches creative writing at Hong Kong Baptist University.

Dorothy Tse is an experimental writer whose work reimagines the cityscape of Hong Kong as mundane hallucination. Once a transnational hub for British colonial finance, now repossessed by an anti-Democratic China, Hong Kong for Tse is a space where identities are fluctuating and commodified. In Tse’s new book ​Snow and Shadow (translated by Nicky Harman)—from which you can read a story here—the violence of state capitalism expresses itself in stories where the characters chop off their limbs and exchange them for currency.

Last year, when the Umbrella Movement occupied the public spaces of Hong Kong to demand universal suffrage, Tse wrote a poem, combining revolutionary love and horror, called “Noise Reduction Machine,” which you can read in The Margins. She’ll be reading from these stories at AAWW on Thursday, April 2, 2015 with Betsy Fagin of the feminist poetry collective Belladonna, Cathy Park Hong, and Michael Leong.

When did being a writer begin to inform your sense of identity?

When writing became a way of erasing my identity, of putting on different faces, of speaking in foreign languages.

Whose work would you like to steal without attribution or consequences?

My three-year-old younger sister, if I had one. All her insane stories would be written in a secret, dirty notebook. The words would be unreadable and so each time I would need her to tell me the story in person, with gestures and laughs. It would always contradict the previous story. She could tell thousands of different stories out of that magical little piece of work.

Where is your favorite place to write?

A cool and slightly inclined surface with the smell of a bigger universe.

Have you ever been arrested? Care to discuss?

When we were playing hide and seek. We imitated the human world when we thought we were still outside of it. We all know the arbitrary nature of being “policeman” or “thief”. But it is always better to be a thief because only they get to escape. The policeman is arrested from the very beginning.

Obsessions are influences—what are yours?

To escape.

What’s the most daring thing you’ve ever put into words?

Every word becomes dangerous when words fall into a wave of social movements.

What is the responsibility of the writer?

To tell the lie behind all lies.

While the notion of the public intellectual has fallen out of fashion, do you believe writers have a collective purpose?

I believe that collectivity and individuality are both illusions. Even when we are fighting in a battle against the same enemy, everyone has their own desires. Yet your desires do not originate from yourself.  

What book would you send to the leader of a government that imprisons writers?

A storybook about our human species turning into air dolls. They would be so light, with shiny, smiling faces. When the dictator wants to kill them, he could just use a small pin to poke them.

Where is the line between observation and surveillance?

Sometimes fear can turn observation into surveillance.

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Second blogger killed in brutal attack in one month

PEN is appalled by the murder of blogger Washiqur Rahman Babu on March 29, 2015, near his home in Begunbari, Dhaka. The motive for the murder has yet to be confirmed, however, local news sources report that Babu wrote against religious fundamentalism. PEN calls for a full investigation into the murder of Washiqur Rahman Babu to ensure that all those responsible are brought to justice.

Washiqur Rahman Babu is reported to have blogged using the name Washiqur Babu on a number of websites and forums, including Shocholayoton, as well as on social media. He was attacked by three assailants with knives some 500 yards from his home in Begunbari, Dhaka, on Monday morning. He was declared dead on arrival at a hospital. Police have launched an investigation and recovered the weapons used in the attack. In addition, two men have been arrested over the murder, however, a third man remains at large. No group has so far claimed responsibility for the attack.

Babu is the third blogger to have been murdered in Bangladesh in the past two years, and the second in a little over a month. On 26 February, secular writer and blogger Avjit Roy was hacked to death close to the Dhaka University campus. His wife was also critically injured during the attack.

Hard-line Islamist groups have demanded the public execution of atheist bloggers and sought new laws to combat writing critical of Islam.

PEN is deeply alarmed at the ongoing pattern of violence against writers and journalists in Bangladesh, who appear to be targeted with impunity solely for the peaceful expression of their views, and calls on the Bangladeshi authorities to ensure that the necessary measures are taken to bring all the perpetrators to justice.

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"Blessed Bodies" is featured in Dorothy Tse's new collection of short stories, Snow and Shadow (East Slope Publishing, 2014). It is published here in collaboration with The Margins, the flagship magazine  of the Asian American Writers’ Workshop.

Next week, Guest Editor Ken Chen will interview Tse for The PEN Ten interview series.

Y-land had no marriage system but was famous for its prosperous sex industry. Even bartering was allowed: when the male clients could not afford to pay, they could obtain sexual services by trading their body parts. At the moment of sexual arousal, a man would stand in the doorway, peeping into a dim room where a woman reclined on the bed. Once she adopted the desired position, he no longer cared about his arms or legs. But with the ebbing of arousal, the man would open his eyes to see what had once been his limb—first amputated, then frozen, bottled, and removed. Only then would he be astonished at the impulsive decision he had made.

Amputees could be seen all over Y-land, hobbling heroically along the city streets. The limbs that had once belonged to them were stored in special depots. There, glass bottles of all sizes were arrayed on rusty iron shelves in packed rows. The refracted light made the limbs, floating in preserving fluid, appear grossly deformed. Soon they would be loaded onto ships and sold to the developed countries that bordered Y-land.

At times of peak arousal, the impoverished men of Y-land milled around in the streets, gazing up at the dead leaves that floated from the trees or down at their own big feet. In the sunshine, they were accompanied by anxious shadows that crept along behind them, looming over the bodies to which they were attached.

•••

In October, the girl and her brother arrived in Y-land by boat. The streets were full of people selling creamlettes. They ladled golden batter onto sizzling hot-plates, where it spread out and set in perfect disks that seemed to hint at a blessed life.

“You’ll lose your body here,” said her brother as he bought her a creamlette.

The cream oozed out, over the thin greaseproof paper and onto her brother’s hand—like happiness brimming over. But the fragrant smell of the creamlette just made her want to vomit.

A doctor, sitting across the rectangular white table from them, reassured her, “Being sick has nothing to do with pregnancy. You’re only feeling seasick because you’ve imagined your room as a boat.”

They took the girl and her brother up to the top floor of an old building. It was just as she had imagined it, so dark green it seemed to have moldered to the point of disintegrating.

In this gloomy apartment there were two rooms, each with gray walls and an over-sized bed. It took the girl some time to locate the tiny window, high up on the wall and pasted shut with newspaper that had yellowed with age. She stood on tiptoe on the bed, pushed the window open, and saw the mist from the street rippling towards her.

The girl really did believe from the start that this building was a boat. The first time she stepped on the floor, it felt insubstantial. The sound of waves reached her from outside the window, and the floor seeped water, so that the girl, alone with the few sticks of furniture, became frantic at the thought of going moldy.

In the middle of the night, the girl always felt terrified that the boat was spinning on the crest of a wave. The floor seemed to be bucking and rearing, and she would stagger into the other room, crawl into her brother’s bed, and sleep with him. When she woke up the next morning, she would rush to the window and look out, to reassure herself that she had not been carried off to another unknown place.

The girl liked the narrow street outside the building. Sometimes, the street was enlivened by men passing by, brandishing knives or glass jars, especially when their rich red blood dyed the asphalt and the trash heaped on it. Her eye was often caught by a bloodstained plastic bag fluttering in the breeze.

It did not take her brother long to discover that she had brought in sacks filled with stones. These she placed individually in each corner. But nothing stopped her feeling queasy, and she was forced to take the seasick pills the doctor had prescribed.

In November, the girl placed her feet side by side, joining her big toes together. It was cold, as cold as the yellow glass on the opposite side of the street. Behind the glass, she could see the face of a young man, tilted slightly upwards. The young man’s gaze was climbing right into her window. The face appeared so often that she came to regard it as part of the street scene.

•••

Her brother was surprised when she said she wanted to go outside and put up leaflets to sell herself.

She had head lice. He made her sit on a stool and he carefully separated the strands of her hair, combing out the gray-black eggs with a fine-toothed comb so that they plopped onto a metal tray. He had to crack the really stubborn ones between his fingernails before he could pull them out.

 “They said you could wait six months,” said her brother, dousing her head with kerosene and wrapping it in a towel. There was a powerful stink in the air.

The girl paid no attention. She just smiled. Her face was covered in dimples, so that when she smiled, it always looked as if she was crying.

The girl told them she wanted a huge mirror so that she could see her whole body. It should be smooth and shimmering and reflect her in the minutest detail. When she washed her hair, she would sit in front of the mirror and coil it up. Then she would strip naked and look at her budding figure. She was so skinny that her bone structure was clearly visible under the skin. Under her right breast, there was one abnormally sunken rib.

“What do you think?”

Her brother was standing by her bed, looking out the window at the scenery. “Too pale, too thin.”

“How about these?” asked the girl, indicating the slight protuberances of her breasts.

“Them too.”

But the girl realized her brother was not looking at her properly so, paying no attention to what he thought, she dressed again, grabbed a sheaf of leaflets, and ran downstairs. All down the stairwell, the walls were completely covered with black leaflets, and there were more in the noodle shop at the bottom of the stairs. The people slurping their noodles and looking through the window, at a world made dark by the leaflets, thought it was the end of the world. No matter, the sorrow they felt sharpened their appetites and the hot noodles made them a little tipsy. The steam from their bowls obscured their coarse features and, in their excitement, men and women began to play footsie under the tables.

The young man came over to the girl. He was dressed in a baggy black sweater, and his hair was cropped short. The girl had not realized until then just how pallid he was, almost like someone in a black-and-white photograph. He tore down one of her leaflets, and a single patch of red appeared on each pale cheek. It was, thought the girl, as rich a color as the bloodied plastic bags that she had seen in the street.

•••

The mother, seeing her one-armed son standing in the doorway, was not surprised. It was as she had foreseen. The night sky was not very dark. There was a row of four streetlamps, but only one of them emitted a flickering light, and her son stood under it in his black sweater. His empty left sleeve dangled limply, showing that now he was a man. He had grown tall and slender, and looked as desolate as an empty road.

His amputation did not worry his mother. All the men in Y-land learned to do everything one-handed from boyhood, even buttoning their coats with both feet, as well as all sorts of other minor tasks. What did worry her was the way he lay in bed biting his fingernails and smiling a little smile. He just looked too blessed. It seemed that he didn’t regret the loss of an arm at all.

Silently, in a funereal mood, his mother got his dinner ready. Her son carried on lying on the bed: his head to one side, his eyes shut, day after day, in the same position. His mother was mostly puzzled by this, although sometimes the scene filled her with an almost religious fervor.

Hordes of ants began to gather at his bedside, as if on a pilgrimage. His mother took a broom and, as she swept, heaps of Coca-Cola cans clattered out from under the bed. She remembered how, years before, he used to lie in bed, obsessed by books on witchcraft. He ate nothing as he read; he just drank Coke. He kept this up for four years. After his mother washed the old Coke cans, she covered the walls of the house with them, and used them to erect a fence outside the house too. The dazzling red of the cans filled her with a near certainty that he would risk his life for his obsession.

Once when she was sure that her son was asleep, she located the ten cans in the Coke wall that she had marked and stuffed with twenty-dollar bills, and skillfully extracted them. After she checked to make sure that none of the money was missing, she hesitated for a very long time, thinking about whether to use the money to fulfill her son’s desires, but finally decided against it. Before putting the cans back in place, she took a roll of bills from one of them and put it under the seventh floorboard from the door, the one right next to the wall.

The money would be enough to give her son a decent funeral, she thought to herself.

•••

The young man was dreaming of a vast ocean.
 At first it was not an ocean, but a huge bed. The naked girl was at one end of the bed, sitting cross-legged. Above her knees, he could see a pair of flat breasts that looked like oversized eyes. But the eyes were not looking at him. They gazed at a boat far, far in the distance.

The girl told him that before he came along, she often felt she was being bowled over and over in the sea, all alone, being blown by the wind to a place she did not recognize. So every time she got out of bed, she thought she had landed on a strange, new shore.

“After you came along, I felt that we were trying madly to reach the shore together, but just as we were almost there, you would turn and leave me.”

The girl’s words hurt the young man. He began to weep, his tears salty like seawater. His sorrow turned blue and shrouded the whole dream. This persuaded him that the ocean was huge.

When the young man woke up, he told his dream to a man in a black jacket who happened to be passing by outside the front door. “This must be what they call love, mustn’t it?” the man responded in a low voice.

He did not know the man, but he ended up inviting him into the house. As a result, the man became his mother’s client, and so lost an eye.

•••

The girl had few visitors, and those that did come hardly ever came back for another visit. The girl had nothing to do. She stood on the bed with her brother, looking out the tiny window into the narrow alley outside. Occasionally there were passersby, and the girl made her brother guess whether they would come upstairs.

By now the weather was getting warmer; people were wearing clothes that were too tight and made them puff and pant. Two men stood down below, looking up at the girl’s window. They stood there a long time.

“They won’t come,” her brother said, as he always did.

The girl was indignant. She stuck her head out of the window and waved energetically, but the men below lowered their heads and hurried away.

Her brother could not help smiling.

He had not told the girl how he detested her shutting the apartment door and making him wait outside. When that happened, he fidgeted anxiously, then got out his pen and wrote random hieroglyphics all over the gray wall. On and on he wrote, until his hand and arm ached.

When the visitor finally left, the girl liked to go up to the wall, connect the hieroglyphics, and make them into a song. She would sing out hoarsely: hua-hua-you-dad-tu-tu...la-la... sha-bu-dong-me-he-ya...

She made the tune sound quite festive, and could keep it up until evening. Her brother particularly disliked having visitors in the evening because, if no one came, the girl would put her arms around his neck, bury her head in his armpit, and fall fast asleep. When she woke up again, she would tell him all the dreams she’d had.

Just at that moment, someone else came into view down in the street. It was the young man, now one-eyed, walking with the aid of a stick, tapping his way along with a cheerful rhythm.

Of all the visitors, her brother disliked the young man most, because when he and the girl shut the door on him it always felt like a century before they opened it up again.

Y-land folk all knew that the young man had already lost an arm and a leg and an eye for the girl. “You should hang onto your hand,” the girl told him, “to stroke my face, my thigh, and my ribs... What else can you give them?”

“It’s my liver this time,” said the young man, with a slight smile, his pale face flushing once more.

The girl was reassured and smiled. Everyone said that when the girl smiled, it always looked as if she was crying.

•••

The girl dreamed she was sitting in a boat, sailing to a small island. But it was too dark on the island, and the girl could not be sure that was what it was.

Then she saw a light, perhaps from a streetlamp in the center of the island. She felt her way towards the source of the light, only to find that it was not a streetlamp but the young man standing there. By now he had lost both arms, and was left with just one leg to hold his body upright. It was his right eye that was emitting the light. She had not realized it was so bright. It was a pity that the eye was so high up; she could not reach it, even on tiptoe. Otherwise, she could have dug it out and patrolled the island, holding it in her cupped hands. The young man’s remaining leg had sunk deep in the ground by now and the girl sat down, leaning against his leg, until the light disappeared.

When she woke up, she told the dream to her brother. He said nothing, just gently wiped the sweat from her body. His hand slid from her flat chest, down over the sunken rib. Then it stopped, and he kissed her.

•••

A light spread out in all directions, and it was possible to make out things that were represented by a variety of colors. The pink seemed to be dust, the green was mold, the violet was a puff of hypnotic powder, and the yellow was aged light. Finally, everything faded from view.

Such was the scene the young man saw before he lost his second eye. When everything had gone pitch-black, and the blackness had no trace of color left in it, he discovered he was in terrible pain. He begged to be taken home. After all, he was an old customer.

They told him they were putting him into a wooden cart, but it felt to him like he was being tossed head over heels like a fish in a huge frying pan, until every one of his still-unhealed wounds burst open. He could not tell whether what he was feeling was scorching heat or pain.

They laughed at him. “That’s because Y-land’s roads are full of potholes,” they said, “and have wrecked cars, dead fish, and bottles of lubricating oil piled up on them.”

As they went along, they took turns describing the scenery to the young man so he could tell them the way. There was an abortion clinic on the corner, they said, the one run by the woman doctor, Dr. Tang, with the gleaming white skin and great fat fingers. There was a stall selling placenta next door to the clinic, but most of the placenta was fake, just something made from gelatin. He said he did not remember the clinic or the shop. He probably had not come this way before.

“Then you can’t have been inside Y-land’s first cinema, right? They show all sorts of porn films there.”

This made them all feel sorry for the newly blind young man. By this time, they had given up asking him how to get back to his home, and were just taking him wherever they felt like, singing at the top of their voices: hua-hua-you-dad-tu-tu...la- la...sha-bu-dong-me-he-ya...

Meanwhile, the young man’s mother had gotten his dinner ready and had been sitting waiting for him for a long time. Her eyelids felt so heavy, and even though she heard the distant sound of singing, her head dropped on the table and she fell fast asleep.

The young man did not know what time it was—probably morning, to judge by the slight warmth of the sun that fell on his face. Now he had a new way to experience the sun.

“It’s so dark,” he said.

•••

The girl did not know if the young man ever visited again, because soon afterwards, she left Y-land.

On her brother’s bed, she discovered a wad of cash. “They want you to get rid of the child,” said her brother.

But his mouth was full of toothpaste and the girl could not understand what he was saying.

When he finished brushing his teeth and went back into the room to find her, the girl was gone, wandering aimlessly and alone through the dawn streets. On the pavement, there was a one-eyed old man making stuffed creamlettes with golden-yellow cream, too much of it. The girl bought one. It was the first time she had tasted one of these golden creamlettes. Its sweetness startled her, as did the fact that she liked it very much.

The street cleaner was washing down the pavement with detergent. The girl sat on a bench, nibbling carefully at the creamlette until it was all gone. By the time she had finished, bubbles were rising up from the street into the air, sailing towards some nearby railings in the morning sunlight, and then bursting, perhaps because the sun was too bright. Beyond the railings, countless silent boats were moored.

The girl finally bought herself a boat ticket to an unknown destination. When she stepped on deck, it felt curiously stable. She would not have known they were moving but for the ship’s horn. After she got pregnant, she did not vomit anymore. Her body felt heavier and heavier, and even standing on deck she did not feel like she was floating.

It was night and the boat passengers had gone to sleep. The girl discovered the cabin was full of doors, all with bolts. She tried to open them and realized they were not real bolts at all. There was nothing behind most of the doors, just an enormous hold which seemed bigger even than the entire boat. Behind one, however, was a room filled with bottles of yellow liquid. Each bottle was marked with a time and date. The largest bottles were filled with very long legs; the smallest held eyeballs. The girl crouched down and found a bottle labeled “2002-7-28 19:30,” with a small, bright eyeball in it. She picked it up and put it in her pocket. Once, she remembered, this eye had been firmly embedded in the young man’s face.

She realized that there was one woman on the boat who was not asleep. The woman’s son had died a week before. The woman had sold as many of her son’s body parts as she could, so she did not have to pay a cent for the funeral. The mother, old and faded-looking, had decided to leave Y-land after it was over. Before she left, she strung together some of the Coke cans she had stored in her son’s room and attached them to her only long skirt. Now she was on the boat, and the clanking of the cans, with their glittering red color, was her way of grieving for her son.

International Literature
Fiction
International Literature
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In early February I spent eight days in Yangon talking to writers, journalists, publishers, activists, and politicians about their experiences of the current state of freedom of expression in Myanmar ahead of submitting a shadow report to the review of the country’s human rights record by the UN Universal Periodic Review (UPR) mechanism later in the year. On 5 February, I was privileged to accompany members of PEN Myanmar on a mobile literary tour to the township of Dala, on the southern bank of the Yangon river, in the Irrawaddy delta. Since there is no bridge linking Dala with Yangon, the area remains rural and largely undeveloped. Access from downtown Yangon is by ferry. The event was hosted by the Kumakasid Monastery in west Dala, which runs a primary school for 100 local 5 -10 year olds as well as other charitable services such as a local ambulance.

Since its launch in September 2013, PEN Myanmar has been organizing open, public, interactive literary readings and panel discussions across Myanmar to encourage dialogue between writers and readers and promote critical thinking and debate. PEN Myanmar is also developing creative writing workshops to encourage self-expression, foster literary skill and promote cultural exchange between the country’s diverse ethnic groups. The Centre targets disadvantaged groups in particular – it has recently worked in a women’s refuge, an orphanage for HIV positive children, and with the rural poor. Discussions tackle difficult and sometimes risky issues, such as hate-speech. These talks and workshops play a pivotal educational and capacity-building role that is currently not permitted within the state education system in Myanmar.

In Dala, PEN Myanmar experienced a rare opportunity to work with a group of 200 or so high school children from the local state secondary school, which stands adjacent to the monastery compound.

Soon after our arrival, lines of expectant grade 9 and 10 high school children entered the compound two by two. For nearly three hours, in stifling heat, they sat and listened attentively, joining in when invited, sometimes discussing amongst themselves in small groups. Some even took notes.

Asked by writer and journalist Han Zaw what they liked to read, most said they had no experience of reading outside school. Unsurprising, since there has been no investment in public libraries for over 50 years and the formerly popular book-rental service has all but closed down. Short-story writer Ni Ni Nine read them an excerpt from one of her short stories which addresses the issue of human trafficking; award-winning novelist Khin Mya Zin read to them about the daily lives and traditions of the people living along the banks of the Irrawaddy river; a local Dala writer talked about etymology, and a young short-story writer read an excerpt from her historical narrative ‘The King is Dead’. Writer and musician Su Me Aung described how writing helped her overcome anxieties as she was growing up – encouraging the children to express their feelings in diaries, poems or stories as an important life-skill. It was evidently a learning experience for all those involved, as PEN Myanmar writers carefully negotiated this new territory.

Most experienced and confident in participatory teaching techniques was poet Saw Wai, who spent over two years in prison from 2008 for his poem ‘Valentine’s Day’. Saw Wai read a new and as yet unpublished poem called ‘Return of Peace’, written on the back of a world map which other PEN members paraded round the room. He soon had the children shouting ‘Peace’ repeatedly in a rousing chant. Afterwards, he joined them sitting on the floor to listen to the rest of the performances.

The event closed with a formal donation of books to the monastic school and to the local township library – as many as PEN Myanmar members could carry. Titles included Malala Yousafzai’s autobiography, Saw Wai’s prison poems, a bestselling Yangon cookery book, and collections of short stories and literary journals containing works by members of PEN Myanmar. A donation was also made to the monastery, which relies entirely on charity to support its work.

Saw Wai later told me that the Ministry of Information had called the township education officer during the morning to express concern that the children were missing their education, and as a consequence PEN Myanmar decided to wind down the proceedings early. It was probably time for lunch by then anyway.

Radical educational reform and investment is badly needed in Myanmar, particularly at primary and secondary levels. Decades of censorship, under-investment and corruption has left a once-proud education system shockingly under-resourced and disabled. Education is only compulsory in Myanmar for five years, and the majority of students drop out after primary school; according to UNESCO, only 50% of Myanmar’s children are enrolled in secondary education. There is almost no literature teaching in state schools, and a tradition of rote learning and a lack of teacher training has stifled any development of child-centered learning, critical thinking and debate. Only government text books are allowed in schools, and academic freedom in the higher education sector is also severely compromised as a result of decades of military rule under which universities were closed and decentralized. Civil society groups seeking to address these issues and empower learners such as PEN Myanmar are currently not permitted to work within the state system.

In spite of these impediments, literacy rates in Myanmar are among the highest in South East Asia (nearly 90%). This is largely thanks to the crucial role played by monastic schools in providing basic literacy and numeracy skills to the rural poor and other marginalized groups who cannot afford to send their children to state schools. Monastic schools are required to cooperate closely with township education authorities, but are relatively free from government control. Teachers in monastic schools are not required by law to attain a certificate in education, and these schools rely almost exclusively on donations and collaboration from the public for their operations and receive little or no government funding. Although standards are poor – there is a lack of basic facilities, teaching and learning materials, and inadequate sanitation and hygiene facilities – monastic schools provide education and food to over 300,000 disadvantaged children in Myanmar. Many also provide a safe space for civil society groups such as PEN Myanmar to operate.

Over the past year, the activities of PEN Myanmar have been seriously compromised by licensing regulations and interference from the Ministry of Information. As a result the Centre is unable to hold events freely in public venues, and, like many emerging civil society groups in the country, they rely on the support of local hosts. Monastery compounds are often used for public events, and provide a vital space for the newly-emerging civil society.

Ironically, this newfound democratic space is being eroded by the rise of religious and ethnic intolerance, which is threatening to further undermine the faltering reform process. Civil society groups, including PEN Myanmar, all agree that human rights education in schools is a long-term solution to promoting inclusion and tolerance in society. A rights-based framework for reform in which freedom of expression is strongly protected, coupled with public investment and a program of restorative justice, are all prerequisites for the creation of an enabling environment in which the work of groups such as PEN Myanmar can flourish and fully contribute to sustainable development in the country.

To read the joint PEN submission on Myanmar, click here.

Cathy McCann, Researcher/Campaigner for Asia

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If I had to pick a favorite color family of fountain pen inks, greens would be first, followed closely by purples. I love my purple inks. Despite purple’s rank in my ink hierarchy, however, I find myself largely disappointed with many of the purple ink options that are available to me. My favorite purple, up until recently, has been the lovely De Atramentis Aubergine, which I have used significantly more than any other. But most of the other purple inks I have used have been too red, too blue, too “dusty,” to unsaturated, or too boring.

P1010541

Prior to 2015, the one purple ink that had always intrigued me, but that I never tried, was Montblanc Lavender Purple. When I joined the fountain pen hobby in early 2013, Lavender Purple was out of stock everywhere, and nobody really seemed to know why. It remained on most retailers’ websites, but always out of stock. I looked in vain for a retailer that still had some, but was met with disappointment over and over again.

Then, late in 2014, I began to hear rumors that Lavender Purple was coming back, perhaps with a new formulation. Sure enough, right after the beginning of the year, I was browsing the Fountain Pen Hospital website, and noticed that Lavender Purple was back in stock. I put in an order immediately. And I’m very glad I did. I have a new favorite.

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Montblanc Lavender Purple is a rich, saturated purple, that I have repeatedly described as the exact color of blueberry pie filling. Despite Brian Goulet’s continuing (and baffling) insistence otherwise, pie is clearly, quantifiably, and vastly superior to cake in every possible way. And of all pies, blueberry is my favorite. I’ve never been particularly tempted to taste my ink, but this one?  The looks of this ink, wet on the paper has almost left me with a purple tongue on more than one occassion.

Lavender purple is a deep, rich hue that goes on smoothly, and with a nice flow. If you’re a regular user of most Montblanc inks, you’ll understand what I mean when I say that it just writes the way a fountain pen ink is supposed to. They really seem to have gotten it right on this one. On the right paper, it can almost have the look of crushed purple velvet, with a lot of motion and depth. It’s a stunningly beautiful ink.

P1010496

On the premium papers, this ink performs very nicely. There was no bleedthrough or noticeable feathering. The color remained rich and saturated. There wasn’t a ton of shading, but there was some. And I didn’t notice this initially (thus the low scores above), but on particularly wet pooling, there can even be hints of gold sheen.

P1010523

While I like the way this ink looks on Rhodia paper, it doesn’t really hit the peak of its performance until you put it on some cream-colored Tomoe River paper. As this is a warmer purple (as opposed to a more blue-based violet), it likes the warmth of cream-colored paper over harsh, bright white.

On the down side, this ink has a fairly long dry time on the premium papers. There is also, essentially, no water-fastness to speak of. If you breath heavily on this paper, you might wash away the color.

Funnily enough, on cheap copy paper, the properties of this ink are almost exactly opposite of what they are on premium papers:

P1010533

P1010535

Using Staples 75gsm copy paper, this ink developer more a blue undertone. It has amazing dry times (sub 2-second). It’s almost completely waterproof. It has no shading, no sheen, it feathers like crazy, and bleeds like crazy. Usually at least some of the characteristics of an ink are preserved on cheap paper, but it is almost as if Montblanc Lavender Purple is a completely different ink if you don’t use it on paper treated to be fountain-pen friendly. (Suffice it to say, I kinda hated this ink on the Staples paper.)

Across the board, I found this ink quite easy to clean out of every pen into which I put it. This isn’t particularly surprising, considering it’s lack of waterproof characteristics, but I think this is an ink you could put in a clear demonstrator without having to worry about the possibility of staining your pen.

I still really like De Atramentis Aubergine, but it tends to run very wet consistent with many other De Atramentis inks I’ve tried. Montblanc Lavender Purple is very similar in color, but it is so incredibly well behaved on most of the papers that I use on a daily basis. Plus, you know, blueberry pie filling. It has taken over the #1 spot in my list of favorite purple inks.

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This week in the PEN Poetry Series, guest editor Cathy Park Hong features an excerpt from new work by Eugene Ostashevsky. About the excerpt, Ostashevsky writes: "These poems are from my new manuscript, The Pirate Who Does Not Know the Value of Pi, a poem-novel about the relationship between a pirate and a parrot who, after capturing prizes all over the seven seas, suffer shipwreck on a deserted island, where they discuss whether they would have been able to make themselves understood by people indigenous to the island, had there been any. Characterized by multilingual punning, humor puerile and set-theoretical, philosophical irony and narratological handicaps, The Pirate Who Does Not Know the Value of Pi steals from early modern texts about pirates and parrots, Russian 1960s folklore, old-school hip-hop, game theory, controversies of copyright, and Wittgenstein’s Philosophical Investigations, abbreviated as PI. Of the poems selected here, Pirate Party Music comes from a section of pirate songs that also include a shanty and a Russian folk piece to the tune of Bei Mir Bistu Shein. The piece formerly known as Pontius Pirate appears autobiographical. The piece about communicating with hypothetical indigenous people repurposes a line by William Carlos Williams. For the pun piece it helps to know that, prior to the invention of biscuits, parrots enjoyed almonds, as John Skelton attests, and that 'almond' in German is Mandel."

 

Pirate Party Music
 

πth pirate: How many pirates does it take to calculate the value of pi?
φth pirate: I dunno… How about a party?
eth pirate: Yo, gunner, whatcha got that’s smoking?
πeth pirate: Eyes on the prize! Party with the pi, parrot-pluckahz!

(Cannon. Drums.)

Who’s that Chewbacca doing handstands on the capstan?
Who’s hopping on a pegleg, saying “You know I don’t abstain!”
Who’s drumming up the rum butt—why, it’s the Uncaptain!—
The poop deck’s like a letter—it’s got the stamp on!

It’s a pirate party, it’s a pirate party, so shake your booty

Never mind The Groundwork
For the Metaphysics of Morals—
Shimmy with your scimitar and uncorral some quarrels
You’re all so handsome, you’ll get a big ransom
If it’s all hands on deck they’ll raise an insane storm
Scratch blunder off your blunderbuss—it’s no blunder to plunder
The wheels on this ‘buss are going rounder and rounder
Wave your ‘buss in the air, it will get you anywhere
The passengers are panicking to pay their fare 
Like Ralph Kramden and Ed Norton
You might come from Camden but you’ll get into the Norton

It’s a pirate party, it’s a pirate party, so shake your booty
It’s a pirate party, it’s a pirate party, leave duty in Djibouti

Somali pirates of the Caribbean got nothing on me
Even when I’m peeing I am being ornery
I calculate the value of piasters like Mitt Romney 
I climb the frigate rigging, bringing the triggers on me
Bullets are like boarding in that they don’t bore me
I dispel boredom at board meetings, saying, Hello bored members,
Care to walk the plank? I want to say thank
You to you for your support of my dis-
Porting ashore with your offshore hoarding, for bank-
Rolling the rolling I do after porting, for ad-
Ding the ding I have to the fun I have cavorting
Your boarding school had you reporting on importing and exporting
But my boarding school was no-frills, its one major was boarding
And I got magna cum laude, in a crowd of rowdies I’m the rowdiest
I appear and disappear so fast they call me the Quantum Pirate
Yo it’s the Max Planck I walk cause you know I’m so maximum 
I eat off crystal plates placed next to a chrysanthemum
I’m full of stratagem, parrots think I’m a total gem
And cockatoos skipping double-Dutch without slipping
Coo I’m Most Likely to Disrupt International Shipping

It’s a pirate party, it’s a pirate party, so shake your booty
It’s a pirate party, it’s a pirate party, leave duty in Djibouti
It’s a pirate party, it’s a private party, put on tutus—you’re looting
                                                                                      good!



A certain Pirate had Concern for his Health and so he emigrated to Germany. It was there he learned the best Technique of effective Handwashing. Germans wash their Hands in the following Manner, which is the best. First they take one Hand, which can be the left or the right. (Here the Handler performs a Discriminationsavoidingeffort.) Then they take another Hand. Then using the second Hand they wash the first Hand. And only then do they use the first Hand to wash the second Hand. It is never the other Way around. That’s the Technique. That’s how they do it in Germany. As the Result of this Technique there are very few Germs left in Germany.



PIRATE:   Do you think this island has any indigenous people on it?

PARROT: If it does, we won’t understand them or they us. Indigenous people never have any common sense.

PIRATE:   Why “never”? Have you met all of them? 

PARROT: I don’t have to meet all of them. That’s what logic is for. If they had common sense, they
                 would emigrate. If they emigrated, they would no longer be indigenous people. Q.E.D.

PIRATE:   But, parrot, why should they emigrate?

PARROT: But, pirate, why shouldn’t they emigrate? Should they sit here all of their lives? Don’t they deserve a
                 second chance?

PIRATE:   Why do you take it upon yourself to speak for indigenous people?

PARROT: If I don’t speak for them, who will? Somebody has to speak for them if they don’t have any
                 common sense! Most of what they know is numb terror under some hedge of chokecherry or
                 viburnum, which they cannot express! 

PIRATE:   Poor indigenous people! Poor poor indigenous people! O poor unfortunate indigent endogamous
                 ingenuous—

PARROT: Poor genuine people my pope’s nose! What if they show up and ask to see our visas?

PIRATE:   But we don’t have any… We don’t even possess passports!

PARROT: This is what troubles me, pirate. Suppose we get deported?

PIRATE:   We must persuade the indignant people that in our culture it is not proper to ask pirates and
                 parrots for passports!

PARROT: How can you persuade anyone of anything if they don’t have any common sense?

PIRATE:   But are you sure they don’t have any common sense? I mean, you proved it but are you sure?

PARROT: Let me read you something. “Unlike their peers, the Tonga Islanders do possess native numerals up
                 to 100,000. Not content even with this, the French poet Leconte de Lisle pressed them further and
                 obtained numerals up to 1012; however, his data was proven upon publication to be partly
                 nonsense-words and partly indelicate expressions, so that the supposed series of high numerals
                 forms at once a modest lexicon of Tongan indecency, and a warning as to the probable results of
                 taking down unverified answers from savages.”

PIRATE:   I can see why you’re nervous. Ingenious people are really hard to talk to!



 

In the beginning was the pun, and the pun was with the parrot, but the parrot was with the pirate, who was apart of the main. Who was a part of the main. What are you talking about, who was on first. Homer. He went rounding western isles, where many a tailor holds Errato by her diameter. Then who was on pi. Many that were on pi departed for the successor of pi but encountered failure. Why. They got lost in translation. So parried the parrot. He was not that pun but he was sent to pontificate by the pun. His own would not know him. They said he was ostentatious. He would witness three bears to the pun. The mama bear said, “Don’t play with your words or you’ll have to eat them.” The papa bear said, “I feel like we already went through this with parsley.” But the little bear didn’t say anything, he just laughed and laughed because there was an immigration gap between him and his parents. What about the pirate. What about the pirate. Who liked to rhyme and pun so much he disconnected the cishment. How. By axing. With what. With a partisan (for he was particular to that pole-arm). No longer was he a subject for punishment. Yes he found impunity. It was a puny impunity but still. One could not impugn his tale. They could not say. The pirate is the child of the man. The child of the man tells a tale. The tale entails counting. Counting relies on natural numbers. Natural numbers do not include pi nor can they represent its value. The pirate does not know the value of pi. Does a nomad not know a monad. Who leaped from the diameter to the perimeter. Who went rounding western isles, and non-western also. While singing. O amant des amandes, O Geliebter des Mundes, O Geliebte des Mondes, O aimant de l’aumône! For the pun is an almond. If an almond falls on the floor, nothing happens, but if you ingest it, you turn. What do you turn. A participant. Of what part. The part equinumerous with the tale. An almond for the parrot, cried the pirate. For the parrot was of the almond stock. My family I impart you this tale, ein Teil für das Ganzen. The conjunction und rotated one hundred and eighty degrees. 

Once a week, the PEN Poetry Series publishes work by emerging and established writers from coast to coast. Subscribe to the PEN Poetry Series mailing list and have poems delivered to your e-mail as soon as they are published (no spam, no news, just poems). 

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The United Nations Human Rights Council’s decision to establish a new Special Rapporteur on the right to privacy is a welcome move towards greater protection of human rights in an era of dragnet government surveillance, PEN American Center said today.

The establishment of the new mandate comes at a time when many governments, including the United States, Australia, Canada, France, New Zealand, and the United Kingdom, are engaging in sweeping surveillance and seeking to further expand their powers to collect vast amounts of communications data from millions of people around the world. UN Special Rapporteurs are tasked with investigating whether the laws and practices of governments comply with international human rights obligations.

“PEN’s work has shown that mass surveillance has a widespread chilling effect on free expression and creative freedom, leading large numbers of writers around the world to engage in self-censorship,” said Suzanne Nossel, executive director of PEN American Center. “Today’s unanimous decision by the Human Rights Council to establish a special rapporteur on privacy will strengthen efforts to rein in surveillance and demand that governments respect the rights to privacy and free expression.”

Advocacy
Advocacy
Surveillance
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The PEN Ten is PEN America's weekly interview series. This week, guest editor Alex Segura talks with Megan Abbott, the award-winning author of seven novels, including The End of EverythingDare Me, and her latest, The Fever. Her writing has appeared in The New York Times, The Guardian, and The Wall Street Journal, and in collections including The Best American Mystery Stories 2014. She is also the author of The Street Was Mine, a study of hard-boiled fiction and film noir. 

Megan Abbott’s novels envelop you. They crackle and hiss with an energy that’s unnerving, dark, and primal. They slither under your skin and leave you bleary-eyed and spent, but at the same time completely enthralled. They’re not the kind of books you put down for a spell. 

Like the other writers I’ll be talking to as part of this year’s PEN Ten series, Abbott’s work isn’t anchored down by genre conventions, nor is it halting or cautious. From the mysterious femme fatale protagonist of Die A Little to the bloodthirsty underworld of high school cheerleading in Dare Me, Abbott tugs and pulls at the edges of noir and hardboiled fiction, blending her influences and obsessions to create something thrilling, new, and impossible to ignore.

Thanks to Megan for taking the time to speak to me. Her latest novel, the jarring and superb The Fever, is available now.

When did being a writer begin to inform your sense of identity?

I think being a reader informs my sense of identity far more—perhaps because I can remember so much about my life before I began writing fiction, and yet I can’t remember anything before loving books. It’s through books, by books, and with books that I discover everything. And writing is just my way of trying to bust into that rich terrain.

Whose work would you like to steal without attribution or consequences?


Daniel Woodrell.

Where is your favorite place to write?


I’m most productive in the writers’s space at the Center for Fiction in Manhattan. It’s an old, creaky, beautiful building and the top floor is a quiet zone for writers. The light is beautiful, the radiators whistle like music, and there’s no easy excuse there to not be writing. I also sometimes write the most successfully in a coffee shop, by hand.

Have you ever been arrested? Care to discuss?


Never. I’m a clean-living gal. I try to follow Flaubert’s famous advice, “Be regular and orderly in your life like a bourgeois, so that you may be violent and original in your work.”

Obsessions are influences—what are yours?


So many. True crime, film noir, American history (especially the 1930s through 1950s), Freud and psychoanalysis, Golden Age Hollywood, Joan Didion, medical history, carnivals and sideshows. I could go on and on.

What’s the most daring thing you’ve ever put into words? Why does it stand out for you?


A great question and I have no idea! I don’t really think in those terms when I write, or even after. I’m writing a personal essay now, it’s meant to be pretty light, but it still feels daring for me because I’m used to the cloak of fiction or of critical analysis.

What is the responsibility of the writer?

To tell stories. 

While the notion of the public intellectual has fallen out of fashion, do you believe writers have a collective purpose?


Has it? I feel like it’s just taken other forms. Smart, fiery public debate feels very alive on social media if one follows people like Roxane Gay and Jeet Heer. I think it just looks different. Occasionally less thoughtful, more shoot-from-the-hip, but also so much more diverse. And democratic. It can be thrilling to watch and jump in.

What book would you send to the leader of a government that imprisons writers?


Zora Neale Hurston’s Their Eyes Were Watching God.

Do you see your genre—or genre in general—as a tool for social commentary? Is it something you use consciously, or do you prefer to let it happen on its own?

I bristle even at the term “genre”—it’s so subjective and loaded. At the same time, YES! To focus on crime fiction, I recently read a piece suggesting that the crime novel is fulfilling the role the social novel used to fulfill—dealing with class, socio-economics, poverty, race. And then another piece arguing that crime fiction is the genre most concerned with issues of morality and faith. I think both are true. The big issues of life are explored in crime fiction because so much is laid bare there. They are about loss, guilt, survival—everything that matters. But I don’t write from that conscious place. I write from story and character, and hopefully, organically, something larger emerges. But that’s for the reader to decide. He or she always gets the last word—as it should be.

 
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Material: Red Ripple Ebonite
Nib: 14k Gold
Appointments: Gold Plated
Filling System: Lever
Length (Capped): 112.5mm
Length (Uncapped): 101.3mm
Length (Posted): 142.8mm
Section Diameter: 6.4mm
Barrel Max Diameter: 9mm
Cap Max Diameter: 11mm
Weight, Capped (with ink and/or converter): 10g
Weight, Uncapped (with ink and/or converter): 8g

A HUGE thanks to viewer Chris who gifted me with this pen!

The Waterman’s Ideal No. 52 is one of the company’s most popular models–particularly from their early years.  They started manufacturing the 52 (under that designation) in 1919, mainly out of black hard rubber. In 1926, they introduced their red ripple ebonite, which they would continue to use for their pens for many years. For those that liked a smaller pen, Waterman also introduced the 52 1/2v–a much smaller and slimmer version of the 52, often sold with a ring-top cap, which is what Chris so kindly gifted me with. I am by no means a vintage Waterman expert, but I would hazard to guess that this pen is from the early-to-mid 1930s. Waterman continued using Ebonite even after most other manufacturers had switched to celluloid in the early 30s. For more information about the history of the Waterman 52, check out Richard Binder’s post and photos at http://www.richardspens.com/?page=ref/profiles/52.htm.

Comparison to the Lamy AL-Star

Comparison to the Lamy AL-Star

I have a red ripple Waterman’s Ideal No. 7 with a “Red” flex nib, which is my favorite flex pen experience. I love it. So I was excited to get my hands on another vintage Waterman to see how it compares…even if this pen is much smaller than I would normally use. And let’s be honest: It’s pretty darn small. At an uncapped length of only 101mm, and a section diameter of just over 6mm, this is a micro-pen in my hands. In order for me to write with it, I must use it posted. It’s too small otherwise.

The red ripple ebonite on this pen is lovely, still rich in color. There is very little brassing on the pen (the flaking off of the gold plating to show the brass underneath). The pen is a lever-filler, and had been restored before being sent to me, so it works perfectly. It’s in excellent shape.

P1000918

The pen comes with a 14k gold nib with a heart-shaped breather hole, which is common for a Waterman pen of this era. I would classify the nib, which is a truly excellent writer, as a semi-flex, inching toward a full-flex nib. It’s got lovely line variation, but doesn’t provide as much line variation as my Ideal No. 7. One of the things that I love about vintage gold flex and semi-flex nibs, however, is the “snapback.” For those not familiar with using flex nibs, it is the responsiveness with which the nib will return to its base position. Most modern, gold-nibbed flex pens, of which there aren’t very many, may provide good line variation, but they have a sort of “spongey” feel to the way they write. They don’t come back to the rest position quickly. The nib on this Waterman (and on my Ideal No. 7) is very snappy and responsive. So, even as a semi-flex nib, this nib really is a joy to use.

P1000924

It’s a small detail, but I also appreciate that Waterman made the feed for the pen out of the same red-ripple ebonite that they used for the body of the pen. I find it interesting that, even for a pen that can flex and put down so much ink, these old feeds could really keep up with the ink flow, despite not having the fins found on modern fountain pen feeds.

P1000908

I really do like this pen. It’s in beautiful condition. It writes wonderfully. The semi-flex nib is spectacular. My only real problem with the pen is the size. It’s too blasted small for my hands. When it’s posted, the pen is long enough, but it is still so narrow. Even if I hold the pen at the barrel, it’s narrower than I generally prefer my pens to be. It is so small that writing with this pen makes my handwriting sloppier, and I make more mistakes. I suspect that, if I used it enough, I could adapt to the pen’s size, but it is not properly sized for my default style of writing.

Even though I’m not big into the vintage pen collecting scene, I continue to find myself drawn to pens like these. There is something exciting about a pen with a history. The feel of a pen that could easily be 80 years old in the hand stirs my imagination. I start to visualize the storyboard of the Pixar more that walks through the highs and lows of my anthropormophized vintage pen: the letters it has written, the tasks to which it has been put to use, the pain of neglect and abandonment while sad music by Sarah McLaughlin plays in the background, and the eventual ebullience of an upbeat Randy Newman score as the pen is discovered, lovingly restored, and passed along to a new generation of pen lovers. This may not be the perfect pen for my hand, but it is a perfectly wonderful pen. And now I need to find myself a full-sized, full-flex example.

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Sharing Stories from the Bronx

The Bronx Council on the Arts (BCA) unveiled the revealing volume Bronx Memoir Project – Volume 1 in December 2014, an unprecedented anthology of over 50 memoir fragments penned by residents of New York City’s most infamous borough. These works were written at 25 free memoir-writing workshops created by the Bronx Writers Center (BWC), facilitated by writers such as Urayoán Noel, Vanessa Mártir, Orlando Ferrand, Jon Lewis Katz, Alicia Anabel Santos, and others.

This program gave residents of some of the nation’s poorest neighborhoods a chance to share their stories, by allowing them to push back against our borough’s maligned media image, while standing up against institutionalized racism and classism. A collection of first-person narratives from one of the nation’s most diverse counties as well, whose nearly 1.4 million natives and newcomers originate from all over the world: a Latino majority, followed by African Americans, whites, and others…a riveting slice of contemporary humanity.

On Saturday, March 28, 11:30 am–1 pm, we’ll be hosting a reading for Bronx Memoir Project – Volume 1 that will feature several of the anthology contributors at the fantastic Poe Park Visitor Center, 2640 Grand Concourse—located in the bustling Fordham neighborhood, where the American literary master lived for the last three years of his life (which many historians either ignore or omit), and where his final home stands and is maintained by the Bronx County Historical Society. We’ll have books for sale there. Click here or more info or to purchase the book or e-book

On Wednesday, April 1, 5:30pm-7:30pmI’ll be speaking about Bronx Memoir Project – Volume 1 at The Bronx Museum of the Arts as part of their Readings and Conversations program. This will serve as a wonderful opportunity to learn about our borough’s wonderful fine arts museum, as well as a chance to ask me questions about Bronx Council on the Arts programs and workshops, as part of The Bronx Trolley First Wednesday Arts and Culture Tour. Hope to see you there! We’ll have books for sale there, too. Click here for more info.

Upcoming at the Bronx Writers Center

The BWC has just created The Bronx Crime and Noir Writers Society. The orientation writing workshop and discussion for this new monthly series will be held on Saturday, March 21, 11 am-1 pm,  at the Poe Park Visitor Center (2640 Grand Concourse). This free writers’ gathering will strive to cultivate material in darker fiction genres, for what could become a future anthology to be published by the Bronx Council on the Arts. This event is free and open to all. Like our Facebook page if you’d like to hear from us. Click here for more info. 

We’re thrilled to be collaborating with The Bronx Museum of the Arts and the PEN World Voices Festival of International Literature on May 7, 2015, hosting two workshops previous to the panel discussion “The Witnesses”, where African writers will discuss the value of elders and wisdom in contemporary storytelling. Writing workshop facilitators will be announced soon! Email bronxwriters@bronxarts.org to receive writing workshop updates. Click here for more info.

In the Neighborhood

Longwood Art Gallery at Hostos Community College is featuring Dubbed, by Bronx-based graffiti and visual artist Lady K Fever—her first solo New York City show. She remixes her work, layering graffiti vernacular, drawings and paintings on plexiglass, cardboard and other found materials. This installation assembles photographs of her body, pop culture, and concepts from sound, exploring how rhythm and emotion translate into painted vibration and word. Through May 6, 2015. Click here for more info. 

We took a field trip to The Bronx Museum of the Arts for the ultra-awesome Escape RoutePaintings and Drawings by Jeffrey Spencer Hargrave, an exhibition organized by guest curator Isaac Aden. The New York-based artist created a luscious collection of works incorporating painting, sculpture, drawings, and video, shaped by his experience of growing up black and gay in the South. Through May 31, 2015. Click here for more info.

Bronx Documentary Center (BDC) will display the works of Carlos Javier Ortiz in an exhibit titled We All We Got. These stunning photographs mirror some of the themes addressed in the BWC writing sessions, which have been hosted at BDC in the past. These include the consequences and devastation created by urban youth violence in the contemporary United States, as hauntingly captured in these photos taken between 2006 and 2013. Through March 22, 2015. Click here for more info.

Contact: bronxwriters@bronxarts.org

Blog
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The PEN Summit of the Americas unfolded in three countries over two weeks. It began with a mission to Tegucigalpa to celebrate the founding of the PEN Honduras Centre, and to denounce the impunity surrounding crimes against journalists in that country. This was followed by a gathering in Nicaragua of the Central American PEN Centres to agree on priorities for a coordinated Central American strategy. The result was the Managua Declaration. Finally, a much larger group of delegates gathered for the third PEN International mission to Mexico in three years. PEN delegates came together in Mexico City on February 21, 2015. PEN Argentina, Brazil, Honduras, Guatemala, Nicaragua, Haiti, Mexico, Guadalajara, and San Miguel de Allende, were joined by the Canadian and Quebec delegations and the PEN America and PEN USA (West) delegations. The PEN Centres of Japan, Germany and Wales Cymru were there in solidarity. The delegates discussed the realities of the situation in each of their countries. The challenges to freedom of expression faced by each of these societies shaped the development of a strategy for PEN in the Americas.

The delegates were first presented with the Managua Declaration which they adopted as the basis for further discussion. From this base, the Mexico City Delegation developed proposals for action which represent the beginnings of a new strategy for PEN International in the Americas.

The cycle of corruption, violence and impunity

In Latin America and in the Caribbean, there exists an infernal cycle of corruption, violence and impunity which feeds the growth of crimes against writers. There is a direct link between the deterioration of democratic liberties and the increasing levels of corruption provoked by organized crime. Media outlets which criticize official state policy and corruption are often faced by a wide variety of repressive responses, ranging from attacks on their professionalism and on their personal lives, including their families, to such extreme actions as kidnappings, forced disappearances, and murders. These attacks have led to a widespread atmosphere of self-censorship within the profession.

The use of anti-terrorist discourse to limit freedom of expression

For more than a decade, PEN has denounced the use of anti-terrorist rhetoric as a ploy to silence critical and dissident voices. The delegates affirmed that throughout the Americas this form of fear mongering has created growing pressure to limit freedom of expression.

Abolish criminal defamation

Throughout Latin America and the Caribbean, criminal defamation remains a dangerous relic of 19th Century colonial law. It is commonly used to undermine freedom of expression. PEN calls on all governments to ensure that legal actions for defamation are brought under civil law rather than criminal law. Abolition of criminal defamation is one of the central characteristics of any stable, modern democracy.

The need for solidarity among all writers

The corruption, violence and repression of free expression being experienced today has tended to create divisions among writers. The delegates agreed that there was a lack of solidarity among writers when faced by these abuses in countries such as Mexico, Honduras, Nicaragua and Argentina. PEN brings together all professionals of the word. We offer the opportunity to all writers, whether they be novelists or journalists, philosophers or bloggers, to develop a coordinated approach when faced by attacks on freedom of expression. In this way, it becomes possible to develop strong networks of solidarity among all writers.

Against secrecy, for access to information

In many countries, governments are intolerant of critical voices and do not accept independent journalism. Transparency is a core principle of any democratic society. Governments must be accountable for their actions and for their finance methods. Media outlets must be able to investigate any topic including cases of corruption. Access to public information is a citizens’ right.

Education

The limitations on freedom of expression in education have had consequences in the public debate within educational institutions. The shrinking of the public space for open debate in many countries brought about by the growing limitations on freedom of expression has serious consequences in the world of education. PEN centres in the Americas are looking at how they might engage actively within university communities and in the educational field in general in order to encourage the creation of pluralist discussions and debates so that students become more involved in the public discourse.

In defence of Indigenous literature and languages

Free trade agreements which may encourage an atmosphere of indifference towards the value of distinct cultures, when added to long established state policies which undermine or openly forbid indigenous languages, have provoked a cultural crisis in many indigenous communities. The Mexican and Canadian PEN Centres talked of their desire to support indigenous literatures. All of the PEN centres gathered in Mexico City reiterated once again the importance of defending the linguistic rights of all cultures. The PEN movement is open to all the languages of the American continent.

Mass surveillance of communications

The mass surveillance of the internet and telephone calls by the governments of the United States and Canada poses a grave and direct threat to the rights to privacy and free expression. Mass surveillance is provoking alarming levels of self-censorship by writers around the world, in both democratic and non-democratic countries. PEN will continue to argue against the indiscriminate and unjustified surveillance programs of the US and Canada, and will be particularly vigilant when it comes to the expansion of these surveillance methods into Latin America and the Caribbean.

Cooperation throughout the Americas

The PEN Centres gathered together for this Summit of the Americas believe strongly in the importance of developing a shared strategy from Argentina to Canada. The twinning of centres will be an important practical tool in ensuring that this cooperation develops. For example, PEN Haiti and PEN America are already twinned. PEN Honduras and PEN Canada are currently building a twinning relationship.

This Declaration represents a first step in the development of a PEN strategy for the Americas.

Advocacy
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Today, PEN is thrilled to announced the longlists for the 2015 PEN Literary Awards, spanning fiction, nonfiction, biography, essays, translation, and more. 

The finalists will be announced on April 15. The winners for all 2015 awards, including PEN's career acheivement awards, will be announced on May 13 and honored at PEN's Literary Awards Ceremony on June 8 at The New School in New York City. 

2015 PEN LITERARY AWARD LONGLISTS

PEN/Robert W. Bingham Prize for Debut Fiction ($25,000): To an author whose debut work—a first novel or collection of short stories published in 2014—represents distinguished literary achievement and suggests great promise.

JUDGES: Caroline Fraser, Katie Kitamura, Paul La Farge, and Victor LaValle

LONGLIST:

The UnAmericans
Molly Antopol
(W. W. Norton & Company)
Amazon | Indie Bound

Ruby
Cynthia Bond
(Hogarth)
Amazon | Indie Bound

Black Moon
Kenneth Calhoun
(Hogarth)
Amazon | Indie Bound

Redeployment
Phil Klay
(Penguin Press)
Amazon | Indie Bound

Ride Around Shining
Chris Leslie-Hynan
(Harper)
Amazon | Indie Bound

The Dog
Jack Livings
(Farrar, Straus and Giroux)
Amazon | Indie Bound

The Wives of Los Alamos
TaraShea Nesbit
(Bloomsbury)
Amazon | Indie Bound

The Heaven of Animals
David James Poissant
(Simon & Schuster)
Amazon | Indie Bound

Love Me Back
Merritt Tierce
(Doubleday)
Amazon | Indie Bound

Time of the Locust
Morowa Yejidé
(Atria Books)
Amazon | Indie Bound

PEN/Diamonstein-Spielvogel Award for the Art of the Essay ($10,000): For a book of essays published in 2014 that exemplifies the dignity and esteem that the essay form imparts to literature.

JUDGES: Diane Johnson, Dahlia Lithwick, Vijay Seshadri, and Mark Slouka

LONGLIST:

Moral Imagination
David Bromwich
(Princeton University Press)
Amazon | Indie Bound

Theater of Cruelty
Ian Buruma
(New York Review Books)
Amazon | Indie Bound

Loitering
Charles D’Ambrosio
(Tin House Books)
Amazon | Indie Bound

Surrendering Oz
Bonnie Friedman
(Etruscan Press)
Amazon | Indie Bound

The Hard Way on Purpose
David Giffels
(Scribner)
Amazon | Indie Bound

Where Have You Been?
Michael Hofmann
(Farrar, Straus and Giroux)
Amazon | Indie Bound

The Empathy Exams
Leslie Jamison
(Graywolf Press)
Amazon | Indie Bound

Sidewalks
Valeria Luiselli
(Coffee House Press)
Amazon | Indie Bound

Limber
Angela Pelster
(Sarabande Books)
Amazon | Indie Bound

You Feel So Mortal
Peggy Shinner
(University of Chicago Press)
Amazon | Indie Bound

PEN/E.O. Wilson Literary Science Writing Award ($10,000): For a book of literary nonfiction on the subject of the physical or biological sciences published in 2014.

JUDGES: Sue Halpern, Marie Myung-Ok Lee, and Carl Zimmer

LONGLIST:

War of the Whales
Joshua Horwitz
(Simon & Schuster)
Amazon | Indie Bound

How We Got to Now
Steven Johnson
(Riverhead Books)
Amazon | Indie Bound

The Tale of the Dueling Neurosurgeons
Sam Kean
(Little, Brown and Company)
Amazon | Indie Bound

The Sixth Extinction
Elizabeth Kolbert
(Henry Holt and Co.)
Amazon | Indie Bound

Small
Catherine Musemeche MD
(Dartmouth College Press)
Amazon | Indie Bound

The Age of Radiance
Craig Nelson
(Scribner)
Amazon | Indie Bound

Proof
Adam Rogers
(Houghton Mifflin Harcourt)
Amazon | Indie Bound

The Copernicus Complex
Caleb Scharf
(Scientific American/Farrar, Straus and Giroux)
Amazon | Indie Bound

Arrival of the Fittest
Andreas Wagner
(Current)
Amazon | Indie Bound

PEN/John Kenneth Galbraith Award for Nonfiction ($10,000): To an author of a distinguished book of general nonfiction possessing notable literary merit and critical perspective and illuminating important contemporary issues which has been published in 2013 or 2014.

JUDGES: Andrew Blechman, Paul Elie, Azadeh Moaveni, Rahna Reiko Rizzuto, and Paul Reyes

LONGLIST:

Our Declaration
Danielle Allen
(Liveright)
Amazon | Indie Bound

All the Truth Is Out
Matt Bai
(Alfred A. Knopf)
Amazon | Indie Bound

League of Denial
Mark Fainaru-Wada and Steve Fainaru
(Crown Archetype)
Amazon | Indie Bound

Five Days at Memorial
Sheri Fink
(Crown)
Amazon | Indie Bound

The Big Truck That Went By
Jonathan M. Katz
(Palgrave Macmillan)
Amazon | Indie Bound

This Changes Everything
Naomi Klein
(Simon & Schuster)
Amazon | Indie Bound

The Bill of the Century
Clay Risen
(Bloomsbury Publishing)
Amazon | Indie Bound

The Impulse Society
Paul Roberts
(Bloomsbury Publishing)
Amazon | Indie Bound

A Chance to Win
Jonathan Schuppe
(Henry Holt and Co.)
Amazon | Indie Bound

Powers of Two
Joshua Wolf Shenk
(Eamon Dolan Books)
Amazon | Indie Bound

PEN Open Book Award ($5,000): For an exceptional book-length work of literature by an author of color published in 2014.

JUDGES: R. Erica Doyle, W. Ralph Eubanks, and Chinelo Okparanta

LONGLIST:

An Unnecessary Woman
Rabih Alameddine
(Grove Press)
Amazon | Indie Bound

Fire Shut Up in My Bones
Charles M. Blow
(Houghton Mifflin Harcourt)
Amazon | Indie Bound

Team Seven
Marcus Burke
(Doubleday)
Amazon | Indie Bound

Streaming
Allison Adelle Hedge Coke
(Coffee House Press)
Amazon | Indie Bound

Every Day Is for the Thief
Teju Cole
(Random House)
Amazon | Indie Bound

An Untamed State
Roxane Gay
(Black Cat)
Amazon

A Brief History of Seven Killings
Marlon James
(Riverhead Press)
Amazon | Indie Bound

Citizen: An American Lyric
Claudia Rankine
(Graywolf Press)
Amazon | Indie Bound

The Fateful Apple
Venus Thrash
(Urban Poets and Lyricists)
Amazon | Indie Bound

The City Son
Samrat Upadhyay
(Soho Press)
Amazon | Indie Bound

Kinder Than Solitude
Yiyun Li
(Random House)
Amazon | Indie Bound

PEN/Jacqueline Bograd Weld Award for Biography ($5,000): For a distinguished biography published in 2014.

JUDGES: Emily Bernard, Nicholas Fox Weber, and Jon Meacham

LONGLIST:

Updike 
Adam Begley
(Harper)
Amazon | Indie Bound

Isabella
Kirstin Downey
(Nan A. Talese)
Amazon | Indie Bound

Rebel Yell
S. C. Gwynne
(Scribner)
Amazon | Indie Bound

The Short and Tragic Life of Robert Peace
Jeff Hobbs
(Scribner)
Amazon | Indie Bound

John Quincy Adams
Fred Kaplan
(Harper)
Amazon | Indie Bound

Strange Glory
Charles Marsh
(Alfred A. Knopf)
Amazon | Indie Bound

Becoming Richard Pryor
Scott Saul
(Harper)
Amazon | Indie Bound

The Queen's Bed
Anna Whitelock
(Sarah Crichton Books)
Amazon | Indie Bound

Victoria
A. N. Wilson
(Penguin Press)
Amazon | Indie Bound

Piero's Light
Larry Witham
(Pegasus Books)
Amazon | Indie Bound

PEN/ESPN Award for Literary Sports Writing ($5,000): To honor a nonfiction book on the subject of sports published in 2014.

JUDGES: Rich Cohen, George Dohrmann, and Jonathan Mahler

LONGLIST:

Boy on Ice
John Branch
(W. W. Norton & Company)
Amazon | Indie Bound

Why Football Matters
Mark Edmundson
(Penguin Press)
Amazon | Indie Bound

Black Noon
Art Garner
(Thomas Dunne Books)
Amazon | Indie Bound

All Fishermen are Liars
John Gierach
(Simon & Schuster)
Amazon | Indie Bound

Ping-Pong Diplomacy
Nicholas Griffin
(Scribner)
Amazon | Indie Bound

Bird Dream
Matt Higgins
(Penguin Press)
Amazon | Indie Bound

Thrown
Kerry Howley
(Sarabande Books)
Amazon | Indie Bound

Deep
James Nestor
(Eamon Dolan Books)
Amazon | Indie Bound

Life Is a Wheel
Bruce Weber
(Scribner)
Amazon | Indie Bound

PEN Award for Poetry in Translation ($3,000): For a book-length translation of poetry into English published in 2014.

JUDGE: Ana Božičević

LONGLIST:

Sorrowtoothpaste Mirrorcream by Kim Hyesoon
Don Mee Choi
(Action Books)
Amazon | Indie Bound

Love Poems by Bertolt Brecht
David Constantine & Tom Kuhn
(Liveright)
Amazon | Indie Bound

I Am the Beggar of the World
Eliza Griswold
(Farrar, Straus and Giroux)
Amazon | Indie Bound

Sor Juana Inés de la Cruz by Juana Inés de la Cruz
Edith Grossman
(W. W. Norton & Company)
Amazon | Indie Bound

Where Are the Trees Going? by Venus Khoury-Ghata
Marilyn Hacker
(Curbstone)
Amazon | Indie Bound

Breathturn into Timestead by Paul Celan
Pierre Joris
(Farrar, Straus and Giroux)
Amazon | Indie Bound

Guantanamo by Frank Smith
Vanessa Place
(Les Figues Press)
Amazon | Indie Bound

Skin by Tone Škrjanec
Matthew Rohrer and Ana Pepelnik
(Tavern Books)
Amazon | Indie Bound

Diana's Tree by Alejandra Pizarnik
Yvette Siegert
(Ugly Duckling Presse)
Amazon | Indie Bound

Autoepitaph: Selected Poems by Reinaldo Arenas
Kelly Washbourne
(University Press of Florida)
Amazon | Indie Bound

PEN Translation Prize ($3,000): For a book-length translation of prose into English published in 2014.

JUDGES: Heather Cleary, Lucas Klein, Tess Lewis, and Allison Markin Powell

LONGLIST:

Trans-Atlantyk by Witold Gombrowicz
Danuta Borchardt
(Yale/Margellos)
Amazon | Indie Bound

The Gray Notebook by Josep Pla
Peter Bush
(New York Review Books)
Amazon | Indie Bound

The Symmetry Teacher by Andrei Bitov
Polly Gannon
(Farrar, Straus and Giroux)
Amazon | Indie Bound

The Master of Confessions by Thierry Cruvellier
Alex Gilly
(Ecco)
Amazon | Indie Bound

The Man Who Loved Dogs by Leonardo Padura 
Anna Kushner
(Farrar, Straus and Giroux)
Amazon | Indie Bound

I Ching
John Minford
(Viking Books)
Amazon | Indie Bound

Baboon by Naja Marie Aidt
Denise Newman
(Two Lines Press)
Amazon | Indie Bound

Texas: The Great Theft by Carmen Boullosa
Samantha Schnee
(Deep Vellum Publishing)
Amazon | Indie Bound

Self-Portrait in Green by Marie NDiaye
Jordan Stump
(Two Lines Press)
Amazon | Indie Bound

The Woman Who Borrowed Memories by Tove Jansson
Thomas Teal and Silvester Mazzarella
(New York Review Books)
Amazon | Indie Bound

2015 CAREER ACHIEVEMENT AWARDS

(The following PEN Awards do not have longlists. The winners will be announced on May 13 along with all of the winners for the book awards.)

PEN/Fusion Emerging Writers Prize ($10,000): For a promising young writer under the age of 35 for an unpublished work of nonfiction that addresses a global and/or multicultural issue.

JUDGES: John Freeman, Roxane Gay, and Cristina Henríquez

PEN/Laura Pels International Foundation for Theater Awards ($7,500 and $2,500): Three awards which honor a Master American Dramatist, American Playwright in Mid-Career, and Emerging American Playwright.

JUDGES: Kathleen Chalfant, Ellen McLaughlin, and Adam Rapp

PEN/Joyce Osterweil Award for Poetry ($5,000): For an emerging American poet showing promise of further literary achievement.

JUDGES: Marie Howe, Mary Szybist, and Craig Morgan Teicher

PEN/Phyllis Naylor Working Writer Fellowship ($5,000): For an author of children’s or young-adult fiction to complete a book-length work-in-progress.

JUDGES: Viola Canales, Selene Castrovilla, and Elizabeth Levy

PEN/ESPN Lifetime Achievement Award for Literary Sports Writing ($5,000): For a writer whose body of work represents an exceptional contribution to the field.

JUDGES: Mike Barnicle, Franklin Foer, and Selena Roberts

PEN/Nora Magid Award for Editing ($2,500): For a magazine editor whose high literary taste has, throughout his or her career, contributed significantly to the excellence of the publication he or she edits.

JUDGES: Christopher Castellani, Carmela Ciuraru, and Bill Clegg

PEN/Ralph Manheim Medal for Translation: For a translator whose career has demonstrated a commitment to excellence through the body of his or her work.

JUDGES: Selected by the PEN Translation Committee

PEN/Heim Translation Fund Grants ($2,000-$4,000): To support the translation of book-length works into English.

JUDGES: Esther Allen, Mitzi Angel, Peter Blackstock, Howard Goldblatt, Sara Khalili, Michael F. Moore*, Declan Spring, and Alex Zucker (*Voting Chair of the PEN/Heim Advisory Board)

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