Posts Tagged ‘creative writing’

  • Daring to Nurture Untold Stories interview by Anne Winkler-Morey

    Date: 2019.12.07 | Category: Interviews, Reading Events and Other News | Response: 0

    http://turtleroad.org/2019/10/03/sherry-quan-lee-daring-to-nurture-untold-stories/

    click on link for complete interview

    “Essential Mentors, Organizations and Grassroots publications

    There were so few mentors for writers of color in the Twin Cities back then. I was fortunate to meet Carolyn Holbrook andDavid Mura.

    Carolyn had created SASE the Write Place to address the fact that The Loft— where she was the Director for five years– was not diverse at that time. People of color needed a place to write, read, and publish their work.  SASE had readings almost every night at places all over the Twin Cities. I curated events at Black Bear Crossing and Patrick’s Cabaret. The curators would choose people in the neighborhood to read. They would get paid $25 a night, which was unheard of–for writers to get paid to read their work. In 2006, SASE merged with Intermedia Arts, which worked for a time, until they decided to drop it. Now Intermedia Arts is gone too.

    Carolyn was deeply committed to mentoring, and her influence was far reaching. I thanked her recently for including my work when she edited the Drum Voices Review in 2000. She reminded me that I nominated her for the Kay Sexton Award, and she became the first person of color to win that award. Mentorship moves back and forth.

    David Mura introduced me to the Asian American Renaissance, a grassroots pan-Asian Arts movement in the mid 1990s. AAR was an umbrella for Asian artists and arts organizations. It was a revelation for me, to connect with the vast world of Asian diaspora and dancers, performers, painters, as well as writers.”

     

  • Welcome New Subscribers

    Date: 2019.07.17 | Category: Assignments | Response: 0

    Welcome New Subscribers!

    A brief introduction.

    The “Love Imagined” blog is thanks to my publisher, LHP.  Its main focus is writing.  I am an author, literary editor, teacher, and mentor. My interests include:  identity, particularly mixed-race identity; autism; the 70’s (not the decade, but the numeric age that I am); and, of course, writing and all its particulars.

    My books include:

    And You Can Love Me a story for everyone who loves someone with ASD (a picture book for children and adults)

    How Dare We! Write a multicultural creative writing discourse

    Love Imagined a mixed race memoir

    Sherry Quan Lee

  • Oh So Wild and Oh So Beautiful

    Date: 2018.12.27 | Category: The Art of Writing | Response: 0

    What’s it like to be seventy?  2018, for me, was a year of introspection.  Check out my thoughts on Midwest Mixed:

    https://www.midwestmixed.com/community/midwest-mixed-community-spotlight-sherry-quan-lee

     

  • HOW I DEFY A SINGLE STORY AND ADD TO THE SWELL OF STORIES THAT DEFY STEREOTYPES

    Date: 2018.09.08 | Category: How Dare We! Write a multicultural creative writing discourse, The Art of Writing | Response: 0

    HOW I DEFY A SINGLE STORY AND ADD

    TO THE SWELL OF STORIES THAT DEFY STEREOTYPES

    -IN THE MIX-

    How much simmering does it take for you to write a poem, a story, a blog post, or even a tweet or a response to a FB post?  How much anxiety?  How much shame?

    Chimamanda Adichie’s TED Talk, 2009, “The Danger of a single story,” states:  “The consequence of a single story is this: it robs people of dignity.  It emphasizes how we are different rather than how we are similar.”

    As a MFA student in a Creative Writing program, I often felt suffocated and angry because I felt there was only a single story being perpetuated: of what you needed to learn to be a writer, what you needed to write to be a writer, who you needed to be to be a writer, and who you needed to embrace (not contentiously disagree with).

    “The consequence of a single story is this: it robs people of dignity.”  The story when I attended graduate school was not inclusive.  It didn’t include my story.  It offered shame.  I was told “they didn’t teach me how to write.”  Perhaps not, but I wrote, and I graduated with a 4.0.  Yet, I experienced that my story was a thorn in the single story.

    As writers, we all have our particular story(ies).  In How Dare We! Write a multicultural creative writing discourse, LHP, 2017, we can read 24 particular stories.  These stories defy a single story; they embrace difference and for some of us, similarity.

    My story as a writer is that I don’t write every day, I may not write in a month or even a year.  I don’t write to be a writer.  I didn’t go to graduate school to be a writer; I went to prove to myself I was smart enough to earn a graduate degree.  What I write has more to do with finding myself, understanding myself/my mixed identity-and when I write is when I write, period.  And I didn’t go to graduate school to become a teacher.  I became a teacher because someone gave me an opportunity to be one and I accepted because I needed the paycheck.  I wasn’t a particularly good teacher, just like I’m not a particularly good writer-but I persisted: 1) because I needed the money, and 2) because, apparently, I was born to tell the truth, whether it served me well or not. But persistence doesn’t define pace, and for me, persistence, didn’t mean I was or am prolific.

    I am not one story.  My story is not a true story unless it envelops race, class, gender, sexuality, age, ability, etc.  My story wanders in and out of time and situations.  Currently my story is a story of aging.  It’s one of contemplation, of consideration.  I have written a few poems; poems that I didn’t write because I had to which is always the reason I have written in the past-out of urgency.  And I am writing a picture book, a gift to my grandson (and his parents) who is nonverbal and was diagnosed with autism at an early age.  I am imagining, by observing, what he might have to say to grandmas, to parents, and to caretakers.  I don’t have to write this book, I want to.

    My story is many stories; it could never be just one story.  And my many stories are just a drop in the swell of other writers’ stories.   I pray for dignity, not shame, for all of us who write whether every day, or whenever; who are published or not-who want to be or couldn’t care less; who are expert grammarians, or like me not so much; and who have not only the heart and determination, but the words and a way to articulate them to engage purposefully in social media-again, I’m not so skilled or articulate-or brave.  It’s all okay.

    Adichie says “stories matter.” I’d like to add, your story as a writer matters.  I remember being told a writer should take risks, not be a copy-cat, that to be unique is what really counts.  There might be some truth in that, depending on what your goals as a writer are/or are not, but maybe it’s not about taking risks, but just embracing who you are.

    I think I’ve written this story before.  Sometimes I have to remind myself.

     

    What is your story as a writer?  Feel free to share in comments.

     

    Sherry Quan Lee, September 8, 2018

Artist Statement

Sherry Quan Lee approaches writing as a community resource and as culturally based art of an ordinary everyday practical aesthetic. Lee is a Community Instructor at Metropolitan State University (Intro to Creative Writing, Advanced Creative Writing), and has taught at Intermedia Arts, and the Loft Literary Center. She is the author of A Little Mixed Up, Guild Press, 1982 (second printing), Chinese Blackbird, a memoir in verse, published 2002 by the Asian American Renaissance, republished 2008 by Loving Healing Press, and How to Write a Suicide Note: serial essays that saved a woman’s life, Loving Healing Press, 2008.

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HOW DARE WE! WRITE

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