Anything about you that is not in the bio printed in the book, and that might give insight into your more personal relationship to this text?
Therefore, the poet, family, ocean, earth, and readers are in procession to understanding, despite environmental assaults that include ubiquitous consumption of Spam, and the poisoning of food and the ‘aina in indigenous communities for money profit. Prime members enjoy FREE Delivery and exclusive access to music, movies, TV shows, original audio series, and Kindle books. But if the indigenous canoe that sails through the book is freighted with immigration and emigration, colonialism and national piracies, its real cargo remains cultural authority and the incontestable wonder of origin.
A brief interview with Craig Santos Perez Centered on the birth of his daughter, this collection is first and foremost a family story and creation tale, albeit one in which the details of Guam’s ecological and cultural degradation, American militarism and capitalism, and the diaspora of the Chamorro people and language continue to play an important part.
The first book, [hacha], was originally published in 2008, and the major poem in that book shares the story of my grandfather life and my memories growing up on Guam. I was caught in the middle of what I should be feeling, versus, what I actually was feeling. from unincorporated territory [lukao] is the fourth book in native Chamorro poet Craig Santos Perez’s ongoing series about his homeland, the Western Pacific Island of Guåhan (Guam), and his current home, Hawai?i.
Over the past decade, Craig Santos Perez has engaged in a relentless poetic exploration of the history, geography, people, and political implications of his native Guam in a series of books he calls “from incorporated territory.” This fourth installment moves beyond verbal means, adding maps, typographical experiments, a glossary, and visual art, pushing at our notions of what qualifies as a text and as a border (“wheredoislandsbeginandend” he asks).
For many years I have been involved with activism movements related to demilitarization, decolonialization, environmental justice, food sovereignty, and climate change in the Pacific. from unincorporated territory [saina] continues Craig Santos Perez’s epic investigation of Chamorro culture, language, and identity.
This collection is also praise song of becoming for a daughter, so that she knows who she is and where she comes from—What a gift! At the heart of such disjointed weaving of multitudes of cultures and languages into the loom of the American Literary tradition is the issue of resisting erasure. As opposed to standard punctuation, I use forward and back slashes to suggest the wave-like movements of space and time through the past, present, and future. Written in the spirit of Theresa Hak Kyung Cha's, Native Voices: Indigenous American Poetry, Craft and Conversations, An Indigenous Peoples' History of the United States (REVISIONING HISTORY), No-No Boy (Classics of Asian American Literature), leadbelly: poems (National Poetry Series), Craig Santos Perez is the co-founder of Achiote Press and a member of the activist Chamorro organization Famoksaiyan. Perez writes “Hinasso” (imaginaton, thought, memory, or reflection) painted forwards+backwards and out-scribed in multiple dimensions.
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There is birth, incision, interview, and voice-with-voice and the ripping out of origin charters faked and overlaid over the roots of Guam. My poetry is about the history, politics, culture, and environment of Guam, as well as the more personal stories of growing up on an island, migrating to California and Hawaiʻi, and protesting against the militarization and colonization of my home. Perez and Santos thus embark on an oceanic journey from Guam to California, where they now reside, reflecting on a shared past of colonial violence and on an equally fraught and sometimes uncertain present. I am currently editing an anthology of Pacific Literature and the Environment, so I am reading those submissions.
Can you talk about how [lukao]’s cover is a bit of a change from the other three? It’s difficult to capture the open-field poetics of these poems in the limited space options of a blog review. He discusses a topic that, unfortunately, has happened all over the world. I share this story along with other processions, including my wedding, marriage, the birth of my daughter, and the tending of a garden. Sign up to receive news about Omnidawn's publications, contests, and events.
On some maps, Guam is named 'Guam, U.S.A.' I say, 'I'm from a territory of the United States.' With its powerful, discordant music, Saina is a warrior response to the ‘call’ of empire. Who/What comes to mind, just at this moment: who are you reading, listening to, looking at, watching, visiting currently? With admirable craft, Craig Santos Perez stitches together patches of jagged memory – Grandma and Grandpa forced to bow to Japanese soldiers; tradition – ‘flying proas’/ sea-going outriggers, fastest in the world; and the continued trauma of US military occupation in Guam — into a garment of uneasy identities so characteristic of our neo/colonial moment. First, this refers to a procession that my ancestors enacted each year to a part of the island that is believed to be where our creation mother birthed us. Ancestors weep and dance to have generated such creative reclamation as this poem achieves.
Keith L. Camacho, Assistant Professor of Asian American Studies, University of California, Los Angeles. Guam is one of [our] most curious possessions. It’s a work of activism, history and archiving, and through it all, a carefully composed work sensitive to a poetic history.
It also analyzes reviews to verify trustworthiness. Perez collages primary texts and oral histories of the colonial domination and abuse brought by the Spanish, the Japanese, the United States, and the capitalist entertainment/travel industry, with intimate stories of his childhood experiences on Guam, his family’s immigration to the US, and the evocatively fragmentary myths of his ancestors.
what fragments will [we] shore //, plastic multiplies, leaches toxins, litters As the title, — from unincorporated territory [saina] — suggests, by understanding where we are from, we can best determine where we are going. Throughout the series, these formal experiments become more ambitious and more deftly rendered.
Authors like Perez (or Philips or Myung Mi Kim) thus collage, cross-out, fragment and stutter, include visual images and diagrams on their page, incorporate foreign languages and mix or include English errors or variations on definitions—as space for the illegible and unreadable in the reading process, and as a method of revising the History of the self and its nations. On some maps, Guam is named, simply, 'Guam'; I say, 'I am from Guam.'"
"from" the word that begins every section and subsection in Perez's work implies a space that is not complete, that is a part of, and which readers also play a role in moving towards completion. Throughout the book, there are processions between prose, lineated verse, open field, visual poetry, and strikethroughs. Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Four marks stability, a coming of age, and these poems map a kind of ceremonial establishment of a person becoming in his/her community. Yes, it is true and possible in the land of the Chamorro, in the terrain, mind, culture once colonized, “kidnapped,” and now re-called and re-created by its own will-spirit walk here, in this “procession,” in this knowledge-song, carved Chamorro walk-talk-map.
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It’s a work of activism, history and archiving, and through it all, a carefully composed work sensitive to a poetic history.
In the second book, [saina], Perez introduces a new word, “ginen,” which functions in the same way.
This is a great seafarer’s tale of our own lost oceans, lost no more.
You can choose which emails you'd like to receive by checking the boxes below. . In general, I most often return to poetry by Pacific Islander, Native American, and Caribbean poets. the beaches of oʻahu : this gathering, place, this embryo \\ plastic is the “perfect”
For Perez, there is no opposition between the experimental and the lyric. There was an error retrieving your Wish Lists. He utilizes eco-poetic, decolonial, diasporic, indigenous, documentary, epic, and avant-garde modes to weave stories of creation, birth, migration, food sovereignty, and parenting.
This series is about Chamorro and Hawaiian creation stories, falling in love and getting married, experiencing the home birth of our child, and the fears and hopes that comes with being a new parent in a time of climate change and other violences. He takes the reader on a journey of understanding - what colonialism does to a people, what war does to a people, what not having a voice does to a people. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
At the same time, I found it hard to feel emotion. Santos Perez has written an incredible collection that weaves its way through both heart and mind. Please try again. Would you tell me a bit about yourself? This shopping feature will continue to load items when the Enter key is pressed. For example, the very first page of the book points out how Guam is Americanized and modernized, ending with, “Guam is endangered. . As a central figure in his poems, “Grandma Santos” comes across as one of the more powerful metaphors and realities of survival in Guam: the sakman, or the long-range voyaging canoe.
This practice, as well as our creation story itself, was suppressed by colonial powers and replaced by Spanish missionization. At this sacred place, they said prayers and made offerings with the hope that our creation mother would bless us with an abundant year of harvest.
This fourth collection, unincorporated territory [lukao] by Craig Santos Perez, marks a dramatic shift in this “unincorporated” series.
It was almost as if I was numb reading it. Of course, in a short interview, we can’t discuss them all. To read [Craig] Santos Perez is to experience a brave act of recovery as he continues to write the history and culture of the Chamorro people in Guam back into the language of visibility and vibrancy. “from unincorporated territory [saina], Craig Santos Perez’s second book of poems, is a touching and loving tribute to his grandmother, Milan Martinez Portusach Santos Reyes. Eye opening and informative. Together, these processions embody cyclical concepts. Perez is not afraid to press language beyond the territories of ‘the known’ as he investigates both the anguish and the possibilities that horizon as one attempts to communicate the spoken and unspoken languages of one’s native people, while fully appreciating the suffering inherent in every word he will use that is pronounced in, and thus pronounces, the language of their oppressors. I have delivered speeches, testimonies, and poetry at the United Nations, at the Honolulu Climate March, and at many protests, rallies, solidarity events, and public hearings.
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