Following Chemistry and Joan Is Okay, Weike Wang again reflects on labor, home, place, and identity in Rental House, a novel that follows an interracial couples’ two vacations. She describes how Keru and Nate’s marriage is one that is ubiquitous in America but is hardly written about in the literary world. We also discuss race and class analysis, DINK (double income, no kids), politics as a source of inspiration, and our writing preferences and challenges.

Brandon Shimoda discusses his pursuit of similar questions during his writing and research for his two longer books, The Grave on the Wall and The Afterlife is Letting Go, which are about Japanese American history, incarceration, violence, colonialism, ancestors, and family history. Both works are a blend of poetry and prose, which are woven as interviews, verse, and personal stories, and reflect Shimoda’s sentiment that his understanding of form relates to feelings.

Chen Chen talks about genre, creative writing pedagogy, race, and politics as he reflects on his two full-length poetry collections, When I Grow Up I Want To Be A List of Further Possibilities (BOA Editions) and Your Emergency Contact Has Experienced An Emergency (BOA Editions). On the topic of contextual and cultural references, we discussed our displeasure of the general tendency to reference Wong Kar-wai purely for aesthetic reasons without critiquing the politics of nostalgia. 

To celebrate Halloween and the season of extremes, K-Ming Chang returns to discuss Organ Meats, which is the final story in her mythic triptych (or what she calls the “fecal trio”). She extends her thoughts on experimenting with maximalist language first and making metaphors literal. She also reflects on her process writing the tonally different novella Cecilia, which features her usual meditations on matriarchal storytelling, intimacies, and relationships, and her focus on labor.  

Aditi Machado previews her upcoming poetry collection, Material Witness (Nightboat Books), and reflects on the concept and act of "witnessing". Witnessing then makes its poetic way into her questions of human/non-human relationality, plurality of subjects, language and etymology, and how we experience the world.

Morgan Talty shares his thoughts on this peculiar thing called genre and his experiences writing short stories (Night of the Living Rez) and a novel (his debut, Fire Exit). We talk about his reasons for writing from the perspective of a white character, and the bigger questions of colonization, the limitations of blood quantum, law, and the legal fictions associated with race and ideology.

My diaCritics book review focused and critiqued this ever recurring topic of nostalgia in diasporic memoirs, and Lieu shares her own thoughts on critical nostalgia, its connection to the tragedy of the living, and her desire to excavate her family memories. In capturing life as a Vietnamese American daughter in California during the 1990s, Lieu reflects on writing The Manicurist’s Daughter, which originally began as a tale of vengeance, her cultural-specific references, dialogue in Vietnamese, and her knowingly othering the reader. 

To think about sex work differently, Dr. Juana María Rodríguez (University of California, Berkeley) argues that we too will need to think about sex differently. Specifically, her project argues against merely ending the discussion at decriminalization, which essentializes sex work as stigma turned into law. In Puta Life: Seeing Latinas, Working Sex, she connects state surveillance and the visual archives with the racialized discourses of sex work while highlighting queer and trans communities, care, and intimacies.

Erica N. Cardwell reflects on writing Wrong Is Not My Name: Notes on (Black) Art, a possible anti-memoir that features essays on the importance of art criticism, visuality, grief, and radical Black imagination. Because the visual aspects of Cardwell's stories and analysis are so striking, she also shares stories of the art featured on the book cover and accompanying essays.

Dr. Matthieu Chapman discusses his experiences with genre shift from academic writing to his beautiful hybrid memoir, Shattered: Fragments of a Black Life. He shares his thoughts on craft, genre, “the canon” in Early Modern Studies, the fallacy that Shakespeare is inclusive, and the importance of Afropessimism.