: Sherry Quan Lee
: How Dare We! Write A Multicultural Creative Writing Discourse
: Modern History Press
: 9781615993321
: 1
: CHF 5.20
:
: Kunst, Literatur
: English
: 210
: DRM
: PC/MAC/eReader/Tablet
: ePUB

How Dare We! Write: a multicultural creative writing discourse offers a much needed corrective to the usual dry and uninspired creative writing pedagogy. The collection asks us to consider questions, such as 'What does it mean to work through resistance from supposed mentors, to face rejection from publishers and classmates, and to stand against traditions that silence you?' and 'How can writers and teachers even begin to make diversity matter in meaningful ways on the page, in the classroom, and on our bookshelves?'
How Dare We! Write is an inspiring collection of intellectually rigorous lyric essays and innovative writing exercises; it opens up a path for inquiry, reflection, understanding, and creativity that is ultimately healing. The testimonies provide a hard won context for their innovative paired writing experiments that are, by their very nature, generative.
--Cherise A. Pollard, PhD, Professor of English, West Chester University of Pennsylvania
So-called 'creative writing' classes are highly politicized spaces, but no one says so; to acknowledge this obvious fact would be to up-end the aesthetics, cultural politics (ideology) and economics on which most educational institutions are foundedHow Dare We! Write, a brilliant interventive anthology of essays, breaks this silence.
--Maria Damon, Pratt Institute of Art; co-editor ofPoetry and Cultural Studies: A Reader
How Dare We! Write a collection of brave voices calling out to writers of color everywhere: no matter how lonely, you are not alone; you are one in a sea of change, swimming against the currents.
--Kao Kalia Yang, author ofThe Latehomecomer: A Hmong Family Memoir, andThe Song Poet, a 2017 Minnesota Book Award winner
How Dare We! Write is a much needed collection of essays from writers of color that reminds us that our stories need to be told, from addressing academic gatekeepers, embracing our identities, the effects of the oppressor's tongue on our psyche and to the personal narratives that help us understand who we are.
--Rodrigo Sanchez-Chavarria, writer, spoken word poet/performer and contributing author toA Good Time for the Truth: Race in Minnesota

Preface

What Would Edén Say? Reclaiming the Personal and Grounding Story in Chicana Feminist (Academic) Writing, Kandace Creel Falcón

As a Chicana academic navigating scholarly publication, Kandace Creel Falcón demands to push against the forces of the academy that seek to challenge or minimize Chicana, queer, and women of color feminist work. This essay details how Chicana feminists became her literary history, inspire her to add to their rich archive of work, and pave future pathways for new Latinx writers. As a Chicana feminist, writing for Falcón is: vulnerable, a call to action, and a community investment no matter where it happens.

Imposter Poet: Recovering from Graduate School, Jessica Lopez Lyman

This essay highlights the structural challenges which impeded the writing process. Internalized oppression heavily restricts Writers of Color from finding their voice. This essay addresses how the writer adapted and shifted to form a new relationship with the page.

A Case for Writing While Black, Sherrie Fernandez-Williams

There is an agony in being a black writer with slave ancestry and a long history of poverty and disenfranchisement on all sides of her family. There is a desire to give voice to those who were silenced, but Fernandez-Williams acknowledges how cut off she is from their stories and lives. Still, their hurt exists in her body and even if she wanted to shake them she cannot. It is her obligation to continue to search for them, make the connection, and search for the right words no matter how difficult it gets. For Fernandez-Williams, writing has nothing to do with gatekeepers. It has everything to do with telling the truth and resurrecting the dead.

mamatowisin: Writing as Spiritual Praxis, Nia Allery

The hidden curriculum in academe largely ignores the whole person. The author points out the dilemma for indigenous ways of being in institutions that limit learning and teaching to analyses and cognitive understandings. She didn’t think she would survive or thrive within these strictures until she began teaching American Indian Spirituality and Philosophical Thought as a world religion. She found that creative writing allowed and encouraged students to describe their inward journey and spiritual praxis, known in the Cree language as mamatowisin. With this mindset teacher and students explored openly and vulnerably the expanse of mind, body, and spirit, united.

Complete This Sentence: Say it Loud!_______!, Brenda Bell Brown

Writer Brenda Bell Brown seized this opportunity to take you by the hand and walk you through the reason why she is so adamant about writing in a manner that is firmly rooted in her Black American cultural tradition. With a great big thankful nod to her teachers—both common and academic; all familial—Brenda writes from a standard of practice that does not apologize for being “too Black!,” it celebrates it!

Crazy, Chris Stark

Chris Stark’s memoir essay addresses how viewing as “crazy” the ideas, experiences, and foundations of writing outside of the whitemalenorm limits, silences, and marginalizes many writers of color. Stark discusses how her first novel,Nickels: A Tale of Dissociation, breaks down sentence structure, punctuation, language, and style to authentically convey the intersectionality of the protagonist’s multiple marginalized identities.

Saying My Name with Happiness, Ching-In Chen

This is a personal essay about familial influences on writing. The essay also discusses exclusion due to racism and the power of naming and shaping your own story.

Dancing Between Bamboos or The Rules of Wrong Grammar