{"id":37393,"date":"2019-12-18T11:06:42","date_gmt":"2019-12-18T19:06:42","guid":{"rendered":"https:\/\/dvan.org\/?p=37393"},"modified":"2020-02-12T12:59:10","modified_gmt":"2020-02-12T20:59:10","slug":"editors-note-looking-toward-2020","status":"publish","type":"post","link":"https:\/\/dvan.org\/2019\/12\/editors-note-looking-toward-2020\/","title":{"rendered":"Editor’s Note: Looking Toward 2020"},"content":{"rendered":"
Two years ago this time I was preparing to assume the editorship of this blog, diaCRITICS, from Viet Thanh Nguyen, and having many thoughts about diaspora and the vantage points\u2014both fluid and fixed\u2014it can afford us, which I wrote about in this <\/span>editorial essay<\/span><\/a> that marked the beginning of my editorship with diaCRITICS.<\/span><\/p>\n Now, as 2019 winds down and we look toward 2020, I am pleased to note the progress diaCRITICS has made over the past two years: a website redesign; an influx of new, younger-generation voices; commentary from first- and 1.5-generation voices as well; the profiling of dozens of artists and writers working across a wide range of milieus, creating startling, provocative, healing, intimate, inquisitive, genre- and definition-blurring works\u2014<\/span>art questioning beauty standards, gender, borders, experiences and definitions of diaspora; a new series, this is for m\u1eb9<\/em>\u00a0(edited by Jessica Boyd), of epistolary-based pieces on mothers, motherland, mothering themes; and a new set of “texture poems” evoking contemplations, both visual and textual, of April 30th.<\/p>\n In my editor’s note that I titled \u201c2018 \/\/\/\\\/\\\/\/\/ Beyond\u201d, I was positing, perhaps, both a question and a direction; but was also unwilling, exactly, to name<\/em> what that “beyond” might be, or how\/where the “\/\/\/\\\/\\\/\/\/” currents might lead us. As we look now toward 2020 and its imaginaries, I harbor the same questing and the same resistance to naming\u2014who we are, where we belong, what our boundaries or limits may be. Our diaspora has so many facets, so many corners and shores; we will remain open to hearing those stories, heeding those voices.\u00a0<\/span><\/p>\n A couple end-of-year housekeeping notes:<\/p>\n <\/a><\/p>\n <\/p>\n <\/p>\n We close out with some acknowledgements and highlights of 2019:<\/p>\n A warm welcome to diaCRITICS\u2019 new deputy editor, Amy Lam<\/a>, who came on board in early 2019. You can find Amy online at www.byamylam.com<\/a>, and I would especially recommend this excellent essay of hers, \u201cHer Tattoo is My Name & My Name is a Poem<\/a>\u201d,\u00a0published by Tin House Magazine.<\/span><\/p>\n Our book reviews editor, Eric Nguyen<\/a>, who is responsible for some of the most astute reviews on books by Vietnamese diasporic authors, just sold\u00a0his own debut novel, A History of Lost Things<\/i>, to Knopf. Big, big congrats, Eric, and well-deserved!<\/span><\/p>\n We also owe special thanks to Vi Khi Nao<\/a>, who conducted a number of in-depth and utterly unique interviews with several writers, including She Who Has No Master(s), Jessica Nguyen, Sophia Terazawa, Jennifer Nguyen, Anh-Hoa Thi Nguyen, and a very special interview with DVAN co-founder Isabelle Thuy Pelaud. Check out her interviews here<\/a>.<\/span><\/p>\n Thanks to ongoing contributions from our news editor, RP, and our Australia contributing editor, Sheila Pham.<\/span><\/p>\n And a fond, admiring thank you to all of the writers and artists who shared their work with diaCRITICS readers and community this year, especially to those who contributed to our “Textures of April 30th” special series<\/a> this year.<\/span><\/p>\n <\/p>\n\n
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