Offered with Thanks

Aftermath

By Rochita Loenen-Ruiz

After the storm, there is only silence.

It makes sense, Celia thinks. Here, within the confines of her home, it is always silent.

Her heels make a dull clicking sound on the linoleum floor as she walks from the living room to the kitchen.  All morning, she has been watching footage, her ears bombarded by the sound of high wind and rain and the unbelievable image that is her country under siege.

Storm.

She looks out at clear blue skies. It is quiet outdoors. All her neighbours have gone off to work. Her children are at school. All is quiet in her head.

#

“How terrible,” the woman standing next to her at the school plain says. “And do you know anything yet about your family?”

Celia doesn’t know what to say.

In her head, the family home is an invulnerable place. That old house with its foundation of stone, was it still standing?

She offers a tentative smile.

“I haven’t spoken to anyone yet,” she says. “But I’m sure they’re fine.”

That home is beside the sea, she thinks. When her grandmother was newly married, there was a tsunami. They survived by tying themselves to the stone posts of the house. Afterwards, the villagers discovered porcelain jars beneath the house. Some of them were from the Ming Dynasty—that was what her grandmother said.

“We managed to get some for ourselves,” Grandmother said. “Like that one. You see that one, Celia? Do you see that jar with the blue dragons?”

Celia remembers the dragons and the wonder of that jar which was taller than her seven year old self.  Will that jar still be there? Will it still be standing in that hallway?

The woman moves away and another takes her place.

On usual days the women hardly ever take notice of her. They stand around in a cluster and talk to each other. They laugh and speak in what Celia calls their secret code. Somehow, they know about each others’ mishaps—dental appointments, divorces, funerals. They exchange information on mundane things, like who is going to whose birthday and what they plan to eat for dinner.

Celia has tried, but she’s never managed to break that code. She still hasn’t deciphered the secret of the magic circle that is them.

Now, they move in degrees towards her, their eyes inquiring.

Celia is relieved when the bell rings and the children emerge from their classes.

She smiles at the woman who offers her a glance that is probably meant to convey sympathy.

#

“Mama,” her youngest son says. “At school they said that all of Philippines has been destroyed. Did it go boom?”

“It was a storm,” Celia says. “And not all of it is destroyed, just parts of it.”

“And Lolo and Lola?” her son asks.

“They’re fine,” Celia says. “We’ll hear from them any day now.”

“I’m afraid,” her son says. “Ï’m afraid of the blood.”

“When we go home, the blood won’t be there anymore,” Celia says.

She gazes out at this view of neatly ordered houses. In her mind’s eye, she sees bodies on a distant shore—a landscape shattered by the hand of nature.

The future seems bleak. There is still no word and she is losing hope.

#

Grandmother putters through the debris of Celia’s efforts at housecleaning.

“Well,” she says. “Well, it can’t be helped. Who would have known that the cupboard would topple over?”

She makes a clicking sound.

“There’s broken glass too. Oh well. . . “

“Lola,” Celia says.

“Don’t move,” Grandmother says. “Stay where you are. There’s glass everywhere.”

“I’m sorry,” Celia says.

“Ah child,” Grandmother says. “it’s an old thing. And it’s not like it was an antique. Uncle Berto will make a new one. This time, he’ll make it from narra wood.”

#

“Ma,” finally they have a connection. “Are you all right?”

“We’re fine,” her mother says. “Your father’s off again. He just came back, but he’s off again. I think he forgets that he’s already old. But there are so many wounded and there aren’t enough doctors. It can’t be helped.”

“And the house?” Celia asks.

“Your Lola is fine,” her mother says. “Shaken, but fine. Your uncle found her. We were also worried for a while. Celia, don’t cry. It’s fine. We’re all fine. But so many died. So many. . .”

Inside her head, the silence breaks.

She can hear the wind. She can see the trees. Winter rain washes across the glass pane of her window.

“I’ll do what I can,” she says. “I will also do what I can.”

<<end>>

A.N. A lot has happened since my last post. Typhoon Haiyan devastated the Philippines. Many Filipinos lost homes and loved ones. Because of the extent of the devastation, it took a week for aid to arrive in affected areas. The world’s response to the fate of Filipinos is overwhelming. This small offering is a thank you for the continued support and for the overwhelming response to the plea for help from the Philippines. Please continue to keep us in mind as we work to rebuild what can be rebuilt.

Afrofuturism and Beyond

Posting about two events related to each other.

On Saturday, November 2, Radio Redmond will be holding an Afrofuturist Event during the Amsterdam Museumnacht at FOAM Fotografiemuseum. I’m pretty excited about my story being included on programme for this event. I want to express my thanks to the Radio Redmond crew and in particular to Hodan Warsame and Chandra Frank who made time for me (never mind that the storm got in the way of that plan, but just the making time is a huge thing).

On November 9 (also a Saturday), I’ll be in Amsterdam again. This time at the American Book Center’s Treehouse for a book presentation of Mothership: Tales from Afrofuturism and Beyond. Our editor/publisher Bill Campbell will be there as well as ToC-mate Tade Thompson. Hodan Warsame will be moderating the q & a, and there will be books available.

Thanks go out to the American Book Center staff, in particular to Tiemen Zwaan. If you’re in Amsterdam, do drop by the book presentation. 🙂

I’ve been reminded that I still have a slew of things to finish before heading out to WFC, among them sending emails and checking in. I’m looking forward to this con. Here’s to meeting up with old friends and making new ones.

World Fantasy Convention

World Fantasy Con is just around the corner. Next week to be exact. Let me catch my breath because I feel like I’m running out of time to do all the things I want to do so I don’t fall behind while I’m at WFC.

I’ve updated the book blog today with a review by Weng. This time, she reviews an urban fantasy novel by J. Damask. Head over and read if you have time.

It looks like this is going to be one busy convention as I want to meet and hang out with so many people. I’ve also heard this is the con where if folks see someone they need to talk to because of work, that comes first. So, if you’re in convo with me and see someone walking by who you must talk to, I won’t be offended or hurt if you run off in mid-sentence.

Here’s where I’ll be at World Fantasy:

Friday: 17.00  We’re All Bloggers Now (Cambridge, Track B)

Sunday: 10.00 Reading (Hall 8B, Readings 2)

Sunday: 11.00 Signing for the On The Road Anthology (Signing Alley)

I’ll be attending World Fantasy together with fellow World SF supported writer Csilla Kleinheincz. This will be our first World Fantasy Con and I am looking forward to it. Thanks again to Lavie Tidhar and Sean Wallace, to the World SF Blog and to folks who supported the Indiegogo campaign that made this possible for Csilla and I.

Speaking Truth

(After reading Robert M. de Ungria’s An English Apart (from Pinoy Poetics edited by Nick Carbo)

They painted English on my tongue.

Borrowed words to cover the language of my birth

I was proud because of the fluency of my English

I had mastered the master’s tongue.

(Not Taglish, not accented English, but English as the Americans speak it.)

Now, in a distant land, my English is overlaid

with the language of a country that isn’t mine.

My heart yearns to say to the one seated beside me

I am the color of earth, I am kayumanggi

and so is my tongue.

In my ears, I hear the chants of the storytellers

from long ago.

I hear the song of the noseflute

I feel the gongs drumming in my blood.

Maphod. Maphod.

I realize too late how much I have lost.

Is it not a tragedy that I can spell far better in these foreign tongues

than I can in the languages of my birth?

Who here will teach me? Who here will speak to me in the languages

of the Beloved Country?

Author Interview: Shimon Adaf

Read the rest of the interview at Chie and Weng Read Books.

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 Eldad_Rafaeli_-_1_(9)_resize (1)

Sunburnt Faces is one of those books that stays with you long after you’ve read it. In this interview, Shimon Adaf talks about inspiration, process and language among other things.

Would you like to speak first about the inspiration behind Sunburnt Faces and the process you went through in writing it? 

It took me a while to get to writing fiction. I was thirty when I wrote my first novel. Before this I wrote and published poetry. In my first novels I was constantly looking for structural devices to maintain the interest of the novel.  My first novel took the detective form; I say the “detective form’, because I was interested more in the way the existence of a murder mystery drives the protagonist towards a certain metaphysical knowledge than finding the culprit. After finishing it, I had this image of a young girl in my head, wandering around…

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A busy week

Last week was quite a busy week. I got to meet up with friends and talk about writing and work and what it means to be a feminist, an sff writer, and a Filipino woman in the Netherlands. Lots of interesting conversations and lots of food for thought.

I’ve been interviewed by Sean Wright of Galactic Chat. The interview is now live and you can listen to it here. My thanks to Sean Wright for thinking of me and for his thoughtful and thought-provoking questions. I found myself thinking about them long after the interview was over.

Fabulous SFF writer, Eileen Gunn, was unexpectedly in Amsterdam. I feel so very lucky to have gotten this rare opportunity to catch up with someone whose work I admire. We chatted about the diversity conversations and the difficulties in the genre as well as the struggle to be heard. It was interesting to talk about this subject with someone who has a deeper insight into what genre looks like in the US and what struggles PoC writers and QUILTBAG writers face.

I also had a wonderful conversation with Flavia Dzodan on the issue of struggle. Also connected with the conversations on diversity and inclusiveness. And I gained new heart for the challenge that still lies ahead.

My heart is strengthened by these conversations with empowered and strong women and this is all giving me more food for thought as I reflect on the a poetics of struggle.

Workwise, I am pushing myself forward in terms of the novel. There’s a difference in pacing and structure when it comes to writing a novel and writing a short story. I’m experiencing those differences now. I’ll be finishing up a novella soon, as well. So that’s going to be first for me.

I’ll be posting my schedule for World Fantasy soon. If you’re going to be in Brighton, I would be happy to meet and chat and catch up.

Book Review: Sunburnt Faces by Shimon Adaf

My sister has reviewed Sunburnt Faces by Shimon Adaf. Check it out if you have time.

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Reviewed by Rowena C. Ruiz

And God Said to her, “Rise, Ori, my light, for your light has come.” 

And He let her fall from her life, although she hadn’t realized that she was at such a great height. 

And she fell.

Sunburnt Faces opens with a dramatic incident that takes place in the life of the main character, Ori, when she is at the cusp of adulthood.  God speaks to her from the TV set. This incident proves to be a defining moment for the events that follow later in life, and this experience becomes a thread which winds throughout the novel.

As we follow the events that take place during Ori’s childhood, we are also compelled to think of the incidents that have had a profound influence upon us. How do we deal with traumatic incidents? How do cope in a world that is filled with upheaval? Ori finds…

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busy week

It’s been a very busy week, and I’ve lagged behind again on quite a number of things. Next week, we’ll be updating the book blog with a review of Sunburnt Faces and with an in-depth interview from Shimon Adaf.

Adaf’s novel is a complex read and that makes it more challenging for the reviewer. Big sis says that this is the first novel she’s struggled with when it comes to reviewing. It’s not that the previous books were simpler or easier reads, but Sunburnt Faces owns a complexity that makes it difficult for the reader to sum-up.

As we discussed this book, I realized that while I, as a writer may look at the technical and craft aspects of the work, and while I am often intrigued by the process the author went through in putting this story together, my sister, who is interested in books because of what she simply enjoys reading will look at this story differently. It’s quite possible that we take away different things from it as well, and that to me makes this reading of a book and talking together about it to be a worthwhile exercise.

I find myself wondering to what extent the experience of writing and engaging craft affects our approach to books and stories. Already, I have become quite aware of my snarky nature when it comes to films (my eldest son refuses to watch a film with me unless I agree to shut up).

How about books?

That’s something that I’ll probably have to think more on.

More thoughts on reading and the diversity issue

My initial reading for the Paul Harland Prize is almost at an end. Only a handful of stories to go and I can send in my tabulated results and then we can all powwow on email and argue about who gets in and who stays out of the top 30 or 40 entries.

Looking at my numbers, I find myself wondering if I’ve been too harsh this year. I think of how adversity and low scores can serve as a winnowing tool as well. Writers who treat this as a hobby or who don’t really care about it will take that low number and probably quit writing. The ones who take those numbers and look at them as a challenge to come back and prove that they can be better than that number are likely to be the ones who will eventually make their mark in the field.

The road to publication is never easy. Even after you get published, the road never becomes easy. There is always a struggle, and there is always something that you have to overcome.

Aside from the Paul Harland stories, I’ve been reading quite a lot. This past month, I read Shimon Adaf’s excellent Sunburnt Faces. We’re reviewing it for the bookblog and we even managed to snag an interview with the author himself.

Last night, I finished reading Berit Ellingsen’s beautifully surreal The Empty City. Berit’s short story collection, Beneath the Liquid Skin has the same quiet feeling, but it’s fascinating to see that voice at work in a full-length novel.

I’ve also read Wesley Chu’s Lives of Tao which is bursting with action and energy. It’s an interesting first novel, and I’m looking forward to seeing what my Big Sis thinks of it.

Another read that I enjoyed a lot is Kaaron Warren’s Walking the Tree. I’ve since purchased quite a bunch of Kaaron’s books.

For the book blog, I’m rereading Karin Tidbeck’s fabulous Jagganath. I won’t do spoilers here, but I remember just what it was about this work that fascinated me so much.

I am reading Hiromi Goto’s A Chorus of Mushrooms and am loving it for so many different reasons. At the same time, I’m thinking yet again of Claire Light’s excellent Slightly Behind and to the Left.

If you haven’t read Claire Light’s book, I suggest you head over to Aqueduct Press and grab a copy. It’s not too pricey and it is a thought-provoking read.

Alongside all these readings, I’ve been sneaking reads and rereads into my favorite poetry books and nonfiction books. I am so grateful for mobile technology that allows me to carry so much on one small device.

I write about these readings that I’ve been doing because I keep on thinking of the discussions around diversity in SFF and how we find ourselves disappointed each time people interpret this as meaning: let me write characters of color or let me include QUILTBAG characters or let me include someone who has a disability in my work.

Yesterday, I had a long conversation with Sean Wright about this for Galactic Chat. I’m not sure how good I am as an interview subject, but basically my thoughts on diversity are summed in this: It’s not about you or your work, it’s about saying: look there’s this fantastic author who comes from this place we don’t hear enough voices from.

Instead of saying, I write LGBTQ characters, encourage and promote the work of LGBTQ writers. Instead of saying, I write brown characters in my novel, encourage and promote the work of writers of color.

Not that writers shouldn’t include a diverse cast of characters in their own work, but I’ve seen the conversation often boil down to people saying: but look at my work. I’m a white writer and I write brown people or I’m a straight writer trying to write QUILTBAG characters.

And yes, I appreciate that people are making that effort to write thoughtfully about us, but what I really really want to see happen is people saying: Oh, you must read so and so. Not because they’re this and that but because the work provides a different perspective from what we usually see.

Which brings me back to my diverse reading. Shifting from Shimon Adaf’s work which is brilliant and burns like the sun to Berit Ellingsen’s cool and surreal work, from Kaaron Warren’s wildly imaginative Walking the Tree to Wesley Chu’s energetic The Lives of Tao–these readings bring home why we need a more diverse pool of writers in the field.

In reading works from writers who reside and know their part of the world intimately, I find myself gaining more insight into the world. An opening happens in my psyche and while I may not understand fully, I am ready and willing to understand. And I think it’s at this place where dialogues and conversations happen.

Updating the Book Blog

We’ve published our Author Interview with Karen Lord over at the Book Blog, so if you have time, do hop over and check it out. I’ve been feeling a bit under the weather, so if you catch any mistakes, please feel free to let me know.

This interview marks the end of the first cycle of reviews/interviews and our first process post. We’ll be taking a short break and then we’ll be coming back with another cycle of reviews/interviews/discussions and more process posts.

This first period of reviewing/interviewing and publishing on the blog has been an interesting time. For this first period, I relied a bit on a template kind of interview with some stuff thrown in there, but I find myself wondering just what kinds of conversations would take place if instead of following a template, we allowed ourselves to let the conversation grow organically.

I realize that authors are very busy people who don’t really have all the time in the world to answer the curious questions of readers–hence the convenient template. But I just completed an organically grown interview and am in the process of doing another one. And I think this is how the second cycle is going to look like.

I want to see how the book blog will evolve. What kinds of conversations can we carry on around books, what kinds of conversations can we have with writers, artists, with people who encourage and grow other artists and writers.

I want to see where the intersections are between writers coming from non-western countries and writers coming from non-English speaking countries.

I also want to see the intersections between the various art forms, the struggle in literature, in sf/f, and even in academia. I want to see where these are connected to the work we engage in as people who continue to speak out against injustices and inequalities.

Where do we have common ground and what common things do we struggle for or struggle against. How do we make room for voices that need to be heard? How do we make space for the next generation?

I suppose I need to see these things in words, more for myself because when things are in words, they become visible.

I’m not really sure what will come of it, but I like how this is all going at the moment.