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    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

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    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

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    Message to Forough Farrokhzad and other poems – Samira Albouzedi

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    Love in Africa and the Variety of its Declinations:  Short-story Tasting from Disco Matanga by Alex Nderitu

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    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

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    THE AMAZONS OF THE APOCALYPSE from “Ikonoklast – Oksana Šačko’: arte e rivoluzione” –  Massimo Ceresa

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    Surrender to Our Explosive Democracy – Five Poems by Serena Piccoli from “gulp/gasp” (Moria Poetry 2022)

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Me and French, or What I Did During the Pandemic (Moi et le français, ou Ce que j’ai fais pendant la pandémie) – Carolyn Miller

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    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    This Is Not A Feminist Poem – Wana Udobang (a.k.a. Wana Wana)

    from AFROWOMEN POETRY – Three Poets from Tanzania: Langa Sarakikya, Gladness Mayenga, Miriam Lucas

    The Bitter Bulbs of Trees Growing by the Roadsides of History – Three Poems by Iya Kiva

    The Bitter Bulbs of Trees Growing by the Roadsides of History – Three Poems by Iya Kiva

    What Was Heart Is Now A Scorched Branch – Three Poems by Elina Sventsytska

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Water: The Longest Tunnel Where the Color Blue Is Born — Four Poems by SHANKAR LAHIRI

    Message to Forough Farrokhzad and other poems – Samira Albouzedi

  • Fiction
    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    BOW / BHUK – Parimal Bhattacharya

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    A Very Different Story (Part II)- Nandini Sahu

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    The Aunt: An Exhilarating Story by Francesca Gargallo

    THE PROGENITOR – Zakir Talukder (trans. from Bengali by Masrufa Ayesha Nusrat)

    Stalks of Lotus – Indrani Datta

    Love in Africa and the Variety of its Declinations:  Short-story Tasting from Disco Matanga by Alex Nderitu

    Love in Africa and the Variety of its Declinations: Short-story Tasting from Disco Matanga by Alex Nderitu

    FLORAL PRINT FLAT SHOES – Lucia Cupertino

    FLORAL PRINT FLAT SHOES – Lucia Cupertino

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    The Red Bananas – N. Annadurai

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    THE CULPRIT – Gourahari Das

  • Non Fiction
    Menstruation in Fiction: The Authorial Gaze – Farah Ahamed

    Menstruation in Fiction: The Authorial Gaze – Farah Ahamed

    Aadya Shakti, or Primal Energy – Lyla Freechild

    Aadya Shakti, or Primal Energy – Lyla Freechild

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    THE TIME HAS COME – Gaius Tsaamo

    THE AMAZONS OF THE APOCALYPSE from “Ikonoklast – Oksana Šačko’: arte e rivoluzione” –  Massimo Ceresa

    THE AMAZONS OF THE APOCALYPSE from “Ikonoklast – Oksana Šačko’: arte e rivoluzione” – Massimo Ceresa

    Plowing the publishing world  – Tribute to Brazilian writer Itamar Vieira, by Loretta Emiri

    Plowing the publishing world – Tribute to Brazilian writer Itamar Vieira, by Loretta Emiri

    Jaider Esbell – Specialist in Provocations, by Loretta Emiri

    Jaider Esbell – Specialist in Provocations, by Loretta Emiri

  • Interviews & reviews
    The mushroom at the end of the world. Camilla Boemio interviews Silia Ka Tung

    The mushroom at the end of the world. Camilla Boemio interviews Silia Ka Tung

    The Excruciating Beauty of Ukrainian Bravery: Camilla Boemio Interviews Zarina Zabrisky on Her Photography Series

    The Excruciating Beauty of Ukrainian Bravery: Camilla Boemio Interviews Zarina Zabrisky on Her Photography Series

    Everything Moves and Everything Is About Relationships. Susan Aberg Interviews Painter Louise Victor

    Everything Moves and Everything Is About Relationships. Susan Aberg Interviews Painter Louise Victor

    Reportage of War and Emotions, the Tour of Three Ukrainian Poets in Italy

    Reportage of War and Emotions, the Tour of Three Ukrainian Poets in Italy

    Videos from worldwide readings in support of Ukrainian writers, September 7, 2022 – Zoom Readings Italy

    Videos from worldwide readings in support of Ukrainian writers, September 7, 2022 – Zoom Readings Italy

    Reportage of War and Emotions, the Tour of Three Ukrainian Poets in Italy

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    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    THE MATERICIST MANIFESTO by AVANGUARDIE VERDI

    Artwork by Mubeen Kishany – Contamination and Distancing

    Glory to the Heroes! Poems by Volodymyr Tymchuk

    Glory to the Heroes! Poems by Volodymyr Tymchuk

    Materials from Worldwide Readings in Solidarity with Salman Rushdie – Bologna Event

    Materials from Worldwide Readings in Solidarity with Salman Rushdie – Bologna Event

    The Shipwreck Saga – Lynne Knight

    Phoenix: Part I – YIN Xiaoyuan

    Surrender to Our Explosive Democracy – Five Poems by Serena Piccoli from “gulp/gasp” (Moria Poetry 2022)

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Me and French, or What I Did During the Pandemic (Moi et le français, ou Ce que j’ai fais pendant la pandémie) – Carolyn Miller

    Becoming-animal as a Mirror – Ten Animals from Gabriele Galloni’s Bestiary

  • News
    HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran

    HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran

    THE DREAMING MACHINE ISSUE N. 11 WILL BE OUT ON DEC. 10

    THE DREAMING MACHINE ISSUE N. 11 WILL BE OUT ON DEC. 10

    RUCKSACK – GLOBAL POETRY PATCHWORK PROJECT

    RUCKSACK – GLOBAL POETRY PATCHWORK PROJECT

    REFUGEE TALES July 3-5:  Register for a Walk In Solidarity with Refugees, Asylum Seekers and Detainees

    REFUGEE TALES July 3-5: Register for a Walk In Solidarity with Refugees, Asylum Seekers and Detainees

    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

    OPEN POEM TO THE CURATORS OF THE 58th VENICE BIENNALE  FROM THE GHOSTS OF THAT RELIC YOU SHOULD NOT DARE CALL “OUR BOAT” (Pina Piccolo)

    OPEN POEM TO THE CURATORS OF THE 58th VENICE BIENNALE FROM THE GHOSTS OF THAT RELIC YOU SHOULD NOT DARE CALL “OUR BOAT” (Pina Piccolo)

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LAN SAMANTHA CHANG INTERVIEWED BY MIA FUNK, for The Creative Process Project

The Dreaming Machine is honored to be part of The Creative Process, an exhibition and international educational initiative traveling to leading universities. As part of the exhibition, portraits and interviews with writers and creative thinkers are being published across a network of university and international literary magazines. The Creative Process is including work by contributors to The Dreaming Machine in the projection elements of the traveling exhibition.

May 1, 2019
in Interviews and reviews, The dreaming machine n 4
LAN SAMANTHA CHANG INTERVIEWED BY MIA FUNK, for The Creative Process Project
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Lan Samantha Chang’s fiction has appeared in Atlantic Monthly, Story and The Best American Short Stories 1994 and 1996. Chang is the author of the award-winning books Hunger and Inheritance, and the novel All Is Forgotten, Nothing Is Lost. She is the recipient of the Wallace Stegner and Truman Capote fellowships at Stanford University. She also received, from the Iowa Writers’ Workshop, a Teaching-Writing fellowship and a Michener-Copernicus fellowship. Her many awards include a Guggenheim Fellowship, and she was a finalist for the Los Angeles Times Book Prize. She lives in Iowa City, Iowa, where she directs the University of Iowa Writers’ Workshop.

This is an abridgement of a 10,000 word interview which will be published across a network of university and national literary magazines in the coming months.

LAN SAMANTHA CHANG

I grew up in a family where Chinese was spoken at home, but I learned to speak in the public schools of Wisconsin, so what I have is a middle American accent, which is exactly where I’m from. And I don’t sound exactly like somebody from Wisconsin, but I know that my general manner of speaking is that of an American midwesterner.

 

THE CREATIVE PROCESS

It’s strange because you speak to immigrant writers or the children of immigrants and sometimes they’ll have two voices. You know, they’ll be playing with different registers in their writing. I know you write about immigrants and the children of immigrants. So you have access to another language, even within English.

 

CHANG

I think it’s true. I think for me it depends on subject matter. I’ve written two books about Asian characters. One about Asian Americans, and the other more of a historical book. Then I wrote a novel that doesn’t have any major immigrant characters in it, and the voice in that novel is very different. In fact it’s a voice that I began to have access to only in my adult life.

 

THE CREATIVE PROCESS

That’s interesting because I noticed that you were dealing––within your first collection Hunger and then in Inheritance––it seems that maybe you were coming to terms with some identity issues. Do you feel maybe there were some things which you learned in the process of writing those books, so that you didn’t need to address the subject in your third book?

 

CHANG

Well, what do you mean by identity issues?

 

THE CREATIVE PROCESS

I don’t mean it as it sounds. But I know from my own experiences–and I imagine it would be more so growing up in Wisconsin where I know there are not a lot of Asians–that the sense of trying to identify with people around you might create, if I can use your own title, a hunger. You know, what is an American? And how do you relate to those around you?

 

CHANG

I don’t really think that that’s exactly what the hunger in my first book was about. I think it was more of familial hunger, parents for children, children for their parents. One of the things I think is very interesting about immigrant families is that the children end up feeling comfortable in an entirely different language than the parents. And that was one of the issues that I wrote about repeatedly in the stories in Hunger. So, for example, a parent who depends on her child to basically be their translator in the U.S. for them. The child who longs to know the parents’ stories but is unable to access the language. So there’s a kind of deprivation that happens when a family moves from one country to another that speaks a different language. I know growing up in Wisconsin I felt that there were many stories that my parents did not tell me about China. One of the reasons that they wouldn’t tell me is that they chose not to think about it, and another was that there was a lack of language. I grew up in a very strange time in history. Well, I grew up in what is now beginning to seem a strange time in history.

During the years of 1949 until around 1980, travel in and out of mainland China wasn’t allowed. And those were the years when I was born and sort of coming of age as a person, as a child. You know, learning the what the world was like. That was a time when my parents were unable to go back to the country where they had been born and they were not allowed to have access to their own families of origin. On my mother’s side of the family, several people managed to leave mainland China and come to the United States. On my father’s side of the family, he was the only one in his nuclear family who left mainland China. So he left his family in Beijing to travel to the inner provinces in order to receive a Chinese education because that was at a point when Japan was invading China, and they were invading from the east and so you had to go west in order to find all the scholars of the big universities. In the north and northeast of China they would flee to the inner provinces, and so my father left home when he was eighteen to go to college in the inner provinces and never went back. So I was being raised by two people who were exiles, effectively exiles from their country. And I found that there was a lot that was not discussed. So it was that which I described in another way in my novella Hunger, you know, like there’s this hole in the house. There’s a giant hole in the house. It’s like a black hole that things go into and they don’t come out of. So there is a lot going on that isn’t discussed. So growing up in a situation like that, you feel like you’re surrounded by a mystery. So not only was I surrounded by mystery at home, but I was also surrounded by a mystery when I left the home and went into the world, which was entirely a midwestern, very homogeneous culture. Appleton, Wisconsin is a town, at the time, of some 40 or 50 thousand people, most of whom were of German-Scandinavian descent, many from other parts of England and Europe. And really my sisters and I were fish out of water. We were the only Chinese girls in Appleton. There were a couple of Asian boys, but we were the only girls and we had to stick together. We had our own sort of very strange culture. There was one way home. We went to school. We understood that school was the other way. To various degrees we managed to fit in or didn’t, so that’s really the experience I wrote about. I’ve always, however, had a very strong sense of identity, probably because I grew up in a pack of sisters, so I never felt entirely alone, and so I think in a way I was lucky.

 

THE CREATIVE PROCESS

That’s interesting because the bond of a strong sisterhood is something that occurs not just in Hunger but in Inheritance, too. That closeness where you can almost communicate without words.

 

CHANG

Yes, there are a lot of shared experiences that sisters have, and there’s a lot of communication that goes without words. So, a different language.

 

THE CREATIVE PROCESS

And that’s interesting also this experience because generally Asian parents won’t be encouraging their children to take up that “high-paying job” of being a novelist, but what you’re describing to me is that you and your sisters were responsible for doing a lot of translation. And so this seems similar to the first step of becoming a writer. You’re telling other people’s stories, you’re having to negotiate, you’re making all these narrative choices.

 

CHANG

I think that’s very possible that we were cultural translators. I mean, all of my sisters are good with words, but so are my parents. Both of my parents are good with words. My mother’s development of Chinese was arrested when she was eighteen and came to the United States. My father, who’s still alive at ninety-three, is a very literary and very educated man. So, everyone in our house was always talking. It wasn’t even culturally translating, there was a lot of translation of personal experience. Just to talk the loudest or get some airtime. We had a very noisy, verbal, energetic family.

 

THE CREATIVE PROCESS

It sounds like a great grounding for a writer. I was fascinated by something else that you mentioned. Although there was a lot of communication, the mystery about origins was still there and your parents weren’t in contact with their family? So if you don’t know the story, you have to make it up.

 

CHANG

That’s exactly I think why I became a writer. I think I became a writer because there was so much silence in the house on such basic issues that I was required not only to investigate to find out what happened, but then repeat to it myself and other people in order to understand the story. And I think in Inheritance in some way, that was my most powerful effort to understand the China my parents had come from, what had happened to that China, and how it had changed and what was changing. And after I wrote that novel I felt pretty uninterested in pursuing writing about Asians or Asian-Americans for a long time because I’d basically written about it.

My following novel All Is Forgotten, Nothing Is Lost was a departure. It’s actually my favorite because it was just a huge pleasure to write. So much fun to write. Nothing to do with my background, my family, it’s all about lived experience and observations I made coming up as a writer. Because for me becoming a writer went hand in hand with me becoming a person.

With special thanks to Lethokuhle Msimang for editorial assistance.

 

First publication in THE CREATIVE PROCESS website  LAN SAMANTHA CHANG Interviewed by Mia Funk

 

Cove image: Portrait of Lan Samantha Chang painted by Mia Funk. by Mia Funk.

Tags: Chinacultural translatorsimmigrationinvestigationLan Samantha ChanglanguageMia FunknovelistThe Creative Process projectUniversity of Iowa Writers Workshop

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