The Best Small Fictions 2018 Nominations

December 17th, 2017

Congratulations to the authors whose work we’ve nominated for Braddock Avenue Books’s The Best Small Fictions 2018, guest edited by Aimee Bender and slated for publication in September 2018. Our nominations are as follows:

Kim Magowan – “Nepenthes” (September/October 2017)

Chris Murphy – “Your Burning Hair” (May/June 2017)

Jason Thayer – “Your Curse” (January 2017)

Dan Tremaglio – “Short Story Collection Story” (April 2017)

Yun Wei – “The Lady Clock” (February 2017)

Best of luck to them!

2017 Pushcart Prize Nominations

November 26th, 2017

A hearty congratulations to our nominees for the 2017 Pushcart Prize. Find them below:

Jasmine V. Bailey – “Texas Journal” (poetry, Apr. ’17)
Aaron Brame – “Self-Portrait as Labyrinth” (poetry, Jan. ’17)
Will Donnelly – “The Urn” (prose, Sept./Oct. ’17)
Stephanie Reents – “Naked Selfie” (prose, Feb. ’17)
Jason Thayer – “Your Curse” (prose, Jan. ’17)
Chrys Tobey – “Because We Were Neanderthals” (poetry, May/Jun. ’17)

We hope you’ll revisit these poems and stories, and we wish the authors luck during the selection process.

2017 Best of the Net Nominations

September 19th, 2017

We’re pleased to nominate the following work for the 2017 Best of the Net awards:

Amy Strauss Friedman – “Autopsy” – Sep. ’16
Adam Edelman – “What I Learned from Dracula” – Dec. ’16
John Gallaher – “Poem for Your Birthday if This Is Your Birthday” – Feb. ’17
Sarah Viren – “Falling” – Apr. ’17
Chrys Tobey – “Letter to My Ancestor” – May/Jun. ’17
Joshua Johnston – “City Hall” – May/Jun. ’17

William Squirrell – “Z Rats!” – Jan. ’17
Ron Riekki – “America” – Apr. ’17

We hope you’ll revisit these poems and stories. And, as always, we wish the authors luck in the selection process.

“Stamped: Notes from an Itinerant Artist” Vol. 11

February 7th, 2017

With this eleventh installment, Prose Editor Kawika Guillermo continues “Stamped: Notes from an Itinerant Artist,” a travel series focusing mostly on art, literary exhibitions, and “artist areas” around Asia (and perhaps beyond).

Note: The views expressed here are entirely the author’s own and do not claim to represent those of decomP.


On Trump and Colonial Travel

I was on an airplane when Donald Trump was elected president of the United States. When we landed in Hong Kong, I was so sure that “H” had already won, that when I saw my friends turn white from reading their phones, numbed by the news, I thought a bomb had dropped. I recall the faces of those around me–the Hong Kongers and mainland Chinese, coming direct from Vancouver, Canada, each one speechless, as if the light from their phones induced them to silence. Then I looked forward, to the first class and business class cabins. There was a group of Westerners, silent not from shock, but from trying to conceal their smiles. One of them, a man in a dark blue blazer, stood up straight and closed his eyes, straightening his body in place as if to keep from jumping for joy.

Four days later, I saw what lied behind these smiles at an Open Mic poetry reading in Central, Hong Kong’s old colonial district. A dark-skinned poet from Canada read a poem about his deep sadness after the election. Immediately after, an outraged man (white) spoke on stage, shouting that we needed to respect Trump and his wife–since she knows four languages, he pointed out–and “Fuck you” to anyone who writes badly of them (his finger pointing to the previous poet). The Open Mic became a literary war zone. A young woman (Asian, diasporic) took the stage with her personal poem detailing her fear and hope for the future after Trump. Then a man (white, American) asked his Russian girlfriend to go on stage and read his poem, which included the phrase “I was chatting with this chink from Vietnam,” and ended with complaints about how American women were too fat and Asian women were just right. A friend of mine, a visiting poet, asked me if it was appropriate to kick his ass.

It took me two months to fully process these reactions to Trump’s election. Even as a travel writer, university professor, and teacher, I have never been able to let go of the notion that travel, and living overseas, can make you a better person. Better at understanding different cultures. Better at appreciating different ways of life. Better at loving those around you. But for the past year, since living in China and Hong Kong–and since beginning this blog–I’ve come to the opposite conclusion. Travel, if anything, makes you more certain of the prejudices you have. It couples your ignorance of others with the certainty that you already know everything about other cultures, and that they are just as despicable as you are.

Sound too dramatic, too simplistic, too reactive? Fine, I don’t mean that everyone who travels becomes a bigot. But those who travel, particularly those who write and talk about their travel experiences, often do so with the clamor of a medieval knight errant spouting tales of how they rescued a local damsel from the evil barbarians.

OK, so I don’t mean all travel writers. I have in mind a type of travel writer, the new colonial writer, represented in one particular author–C. G. Fewston, an expatriate author in Hong Kong who claims to have been nominated for the 2016 Pulitzer Prize and the 2016 PEN/Faulkner award for a novel, A Time to Love in Tehran, (evidence on both of these claims has been entirely absent, but I invite anyone to assist in fact-checking). Not long after Trump’s election, I got into a Twitter-spat with this author when he started trolling the writer Viet Thanh Nguyen, author of the actual Pulitzer Prize nominated (and won) novel, The Sympathizer. Nguyen is a Vietnamese refugee, which Fewston (who has lived in Vietnam) sees as a reason to disqualify him from the Pulitzer:


As an admirer of Nguyen’s work since I was a graduate student, I responded to this stream of tweets with deserving vitriol:


This was enough for Mr. Fewston to ban me from his Twitter account. In time, however, I began to get word from fellow Hong Kong writers that this author was “at it again,” posting a slew of tweets against Nguyen, Junot Díaz, as well as refugees, immigrants, and people of color generally:


I won’t bother dissecting these piece-by-piece, except to say that Mr. Fewston is clearly one of thousands of American expatriates in Asia emboldened by Trump’s wall, Trump’s refugee policies, Trump’s white nationalism. It isn’t Mr. Fewston’s political position that interests me, but his means of using travel itself to legitimate anti-immigrant rhetoric that masks itself with “#love,” and with his own standing as an immigrant in Hong Kong. His knowledge of Viet Kieus is deployed to name a refugee as un-American, and if you disagree, it’s because you don’t know what a Viet Kieu is (he will educate you). His knowledge of “Vietnam’s Civil War,” as he calls it, erases America completely from the picture. His self-named “travel writer” position allows him to spit this nonsense while claiming to be “apolitical” (the haven for those whose politics ally with no communities or peoples). His travels give him an enlightened “worldview,” which others cannot begin to comprehend, trapped as they are in their American racial identities.

We are all familiar with this. Mr. Fewston’s travel is the type of travel of the colonials, old and new; of the traders who once worked for the East India Company but now work for J. P. Morgan; of the religious zealots like Marco Polo who now seek to rescue Asians from themselves (especially beautiful female Asians); of the travel writers who created barbarians and cannibals and who now write of exotic women and tyrannical Asian men. These travelers have always used comparisons to justify hate. They see hate and bigotry in other countries, regard it as a fact of life, and see racism in the U.S. as no big deal.


How to Travel like a Colonial (Hint: You’re Probably Already Doing It)

There are many ways one can travel. But in the 21st century, like in the age of colonialism, imperialism, and chattel slavery before it, most travel routes are fixed to make Westerners more certain in their own prejudices. Industries of tourism, English-language learning, and colonial enterprises have set-up travel as just another scheme to reward arrogance. And in an era of identity politics, when we all want to be minorities, it’s a way for the most privileged among us to have their own stories of prejudice to tell.

I’m a traveler of sorts, and I’ve heard the same rant from white Americans in every major Asian city, from #Seoul to #Shanghai to #HongKong. It’s the “we are the minorities now” rant, where Westerners fantasize that they are being harmed just for being white. At a time when immigrants and refugees are under attack in the U.S., this takes on a particularly sinister form of colonial arrogance. Claiming that because you were an expatriate in South Korea you know what it is to be a minority in the U.S. would be like taking a tour of the Grand Canyon and claiming that you really know what life is like “living on the edge.”

But the white colonial experience in Asia, as much as some of us would like to believe, is not the same level of social integration expected (demanded, forced) as a Muslim refugee in the US. It’s not even “same same but different.” Sure, you may have suffered loneliness (even among the women available), you may have suffered time (filling out multiple Visa forms), you may have suffered financially (paying double taxes), but think–are these anywhere similar to the terrors of the police, the FBI, the lynch mobs, the courts, who have always protected majorities over minorities? Were you ever vulnerable to an omnivorous prison complex targeted at you and your family? Were you ever told to change your religion, your values, your language?

In the age of identity victimhood, travel can offer everyone a part to play. No wonder the most privileged of us obsess over the types of travel that offer instances of fabricated danger–in camp sites, in tourist cities of Thailand, China, Cambodia, in music festivals, in clubs, in casinos, in drugs. We embrace these moments as memories of “risk,” when really we were no more taking risks than a family visit to Disneyland. We pretend that after wallowing in a hostel in India we are suddenly equal victims as those black bodies living on the streets of Baltimore, Washington D.C., or Detroit. We get food sickness and pretend we can now understand the dysentery plaguing the starving. These attitudes bring us no closer to those we now claim to understand, but merely widen the gulf with our newfound arrogance. And in that arrogance we go on, guilt free, back into the dream made for everyone and no one.

Some of these colonial authors will use stories of pretend oppression to fold back into protecting their American heritage. They will insist that Americans join the rest of the world in racist exclusions. They will see how Koreans protect Koreanness, Japanese protect Japaneseness, and our writer in turn will move to protect Americanness as a white cowboy Christian mythology. They will say, straight-faced, that if Asian countries can protect their mythical national race, why can’t we? Victimhood, migrancy, historical marginalization–these are mere games for these players, these movers, these managers, these writers, these travelers. But the pieces locked into the board are not playing along.

The biggest question for the traveling writer is not about the space itself but why we are inhabiting it. You the American traveler, who came armed with the world’s highest-valued passport, who could afford to burn cash and jet-fuel on a prolonged vacation, you who reside in a land that belongs to others but has been ready-made for you, with a job just for you, an inhabitance just for you, and people willing to risk social stigma just to spend time with you. What are you doing here, really? What do you hope to take from this place, really?



Travel can expose the dark sides of the world, so it is natural that it can make us more prejudiced. By being exposed to atrocities, we can walk away believing that, by acting on our prejudices, we are merely matching the prejudice of the rest of the world. Yes, there is racism, bigotry, and hate in every country. But there is also protest, struggle, and organized resistance. In every country you will meet those who are part of the struggle for justice, whether they are trying to impeach a president (as in South Korea last year) or are writing editorials that will make them targets for censorship and state violence (as in China, the Philippines, Myanmar, Thailand, Cambodia). And in every country there are those who see hate everywhere, who have traveled just to come back and say “they do it over there, so why can’t we?”

For those of you living in America, who see the writings of colonial travelers and say, “at least they’re not in the U.S.,” I have a wake-up call for you. These travelers and expats, who might be LBHs (“losers back home”), are well respected in Asia. Many of them are educators, entrusted to represent American history, culture, and politics. They are “young professionals,” poets, writers, artists, intelligentsia. Now, with the election of a man who seeks to rid the U.S. of non-Christian, non-Western elements, they are emboldened. They seek to represent America’s voice to the world, as expert travelers of the world. And here, people are listening.


Nominations for Braddock Avenue Books’s The Best Small Fictions 2017

December 15th, 2016

Into the fray we send the following nominees for Braddock Avenue Books’s The Best Small Fictions 2017, guest edited by Amy Hempel and slated for publication in September 2017:

Meghan Callahan – “Epitaphios” (April 2016)

Chad Frame – “Bat Boy and Sean Penn Meet El Chapo in Secret Jungle Fort Hideout, No Girls Allowed” (March 2016)

Hillary Leftwich – “Saba on the Shore” (July 2016)

Alice Martin – “Cover Up” (June 2016)

Michael Putnam – “Through Process of Elimination” (December 2016)

We wish them luck in the selection process and hope you’ll re-read them.

“Stamped: Notes from an Itinerant Artist” Vol. 10

November 29th, 2016

With this tenth installment, Prose Editor Kawika Guillermo continues “Stamped: Notes from an Itinerant Artist,” a travel series focusing mostly on art, literary exhibitions, and “artist areas” around Asia (and perhaps beyond).

Hong Kong Domestic Workers in the Gallery

Six months ago I visited the Hong Kong contemporary art gallery, Para Site, when it hosted “Afterwork,” a collection of work about migrant domestic workers. The blog I wrote then was about the (mostly white) audience who patronized the gallery on its opening. I feel this was a mistake. The artists themselves had little control over how the expatriate community would receive their work. The anger I felt distracted me from the art itself, which I hope to rectify in this installment.

Only six months later, in retrospect, does it become clear how these artworks were pushing against the grain. The artworks flat-out rejected ideas of migrant workers as heroes celebrated on Migrant Workers Week and applauded in Hong Kong when they’re not caught stealing or going to bars. But it also rejects the Human Rights version of them as helpless victims. The introduction to the exhibit selects work that shows “how the Southeast Asian ‘other’ has been approached in Hong Kong and more broadly in Chinese culture.” It does not cater to the audience, as I presumed in the previous blog. The collection plays with the audience’s desire to hear the maid’s story, or to provide rescue. Its introduction reads, “Afterwork does not, however, mean to patronizingly give a voice to or be the vindicator of the struggles of migrant workers.” In Hong Kong migrant workers are seen as either unruly, willing and ungrateful thieves, or as church mice stamped with the oil of heroism and self-sacrifice.

The activist artist Daniela Ortiz’s contribution was titled 97 House Maids. Ortiz took Facebook photos from upperclass Peruvians that unintentionally caught glimpses of their migrant workers. The frames display the erasure of migrant domestic workers as mere background or as props to hold up and support the family narrative.

The background labor is necessary to the storyhood of the family, yet the workers’ presence is effectively erased.

The Taiwanese artist Jao Chai-en’s REM Sleep (2011) addresses the difficulties of dissecting life stories from migrant workers who themselves are paid to perform as puppets resembling religious purity. Chai-en does not simply interview migrant workers to discover their real story, but has them recite their dreams during REM Sleep, the only time when their strings aren’t being pulled, and no performance is being demanded from them.

In this cruel reality, free thinking is only permitted during deep sleep. Their stories are meandering depictions of their own dreams: dreams of freedom, of family, of anger.

In Sun Yuan & Peng Yu’s Hong Kong Intervention (2011), the voice of the domestic worker becomes visible only through a final destructive act of anger and (presumably) vengeance: a grenade left on a kitchen counter, paired with the domestic worker who wishes the family harm, her back turned to keep herself anonymous.

The un-knowable migrant body positioned next to the grenade shouts resentment and anger, but also threatens my own gaze staring at her, hoping to access her life story.

The solidarity presented in these works crosses national, racial and gendered borders. The ubiquity of migrant domestic work broaches into disadvantaged nations. These artists’ works immediately resonated with me. Isolated from Filipino and white communities as too mixed race, and called an “island hopper” even by close friends, I had accepted early on that I would remain a cleaner or service worker for most of my life, where I belonged with the other brown-skinned mulattos. In Las Vegas I worked jobs for $5.50 an hour where I cleaned, smiled, and absorbed all the stored-up resentment from every customer. If I was interested in a girl, that too was colored by race. If it didn’t work, I felt it was because of my Asian-ness, and if I got lucky, it was because she was looking for an exotic spin among the jungle hybrids. Even my small successes were taken away from me. After three years of applications, I finally got into graduate school, only to hear my best friend tell me (totally sober) that “I wish I were Asian like you, then I’d have everything given to me.” I never spoke to him again. I never spoke to a lot of people again. For years I have preferred isolation and estrangement. Why was everything, failure or success, sex or unsexed, blamed on my race? Was I really just a mere puppet, with this invisible being, “race,” pulling my strings?

Perhaps this is why, as a traveler, I’ve always felt more at home with locals or low-paid immigrants than with expatriates. Black, Asian, and other minority travelers I’ve met seem to feel the same. Leaving America is a political choice, it’s getting away from that pigeonholed identity, from the puppet master who forces you into exile even when you are home. As minorities we are always exilic, and it’s not a question of finding home or of fitting in but of just waking up one day without feeling his strings tugging at your every limb. But as travelers we carry new identities with us: upper-class, whimsical Americans, who can breeze in and out, armed with English and passports and ready-to-work jobs that make us indispensable.

Domestic workers in Hong Kong are the expatriate community’s Others. Where we always make above minimum wage, they always make well below it. Where we are pushed into isolated apartments, they are kept under twenty-four-hour surveillance by their adopted families, often living in the same rooms as the children. Where we can stay for months at a time with no explanation, they are kicked out after two weeks without a sponsor. Where we can gallivant in clubs and mix with locals, they are hunted down for any sexual trespass, and their mixing (in terms of pregnancy, prostitution) leaves them vulnerable to forced deportation. Where we are seen as contributing to the “globalness” of Hong Kong, they are seen as third world parasites. In the literary world, works like Jose Dalisay’s 2008 novel, Soledad’s Sister, and Mia Alvar’s short story “Shadow Families,” are unique gems that tell us different stories. And even in the garish business of the art world, there are still a few gems.


Daniela Ortiz’s 97 House Maids

Jao Chai-en’s REM Sleep

Sun Yuan & Peng Yu’s Hong Kong Intervention

Prose Editor Kawika Guillermo spends his days traversing around Asia, with Hong Kong as his beloved base. His fiction has appeared in Feminist StudiesDrunken BoatTayo, and The Hawai’i Pacific Review. His debut anti-travel novel, Stamped, will be published in Spring 2017 by CCLaP Press.

2016 Pushcart Prize Nominations

October 29th, 2016

Pushcart Prize

We’d like to congratulate our nominees for the 2016 Pushcart Prize. They are as follows:

Micaela Bombard – “Cardinal” (poetry, Sept. ’16)
Jeremy Packert Burke – “The Labyrinth” (prose, May ’16)
Sarah Freligh – “A Civil War” (poetry, Oct. ’16)
W. Todd Kaneko – “Self Portrait as Flash Gordon [Playground Terror Variant]” (poetry, Aug. ’16)
John Searcy – “The Sorrows of Death-Klaw” (prose, Aug. ’16)
Chelsea Laine Wells – “The Creation of Suffering” (prose, Jun. ’16)

Good luck to them during the selection.

“Stamped: Notes from an Itinerant Artist” Vol. 9

October 17th, 2016

With this ninth installment, Prose Editor Kawika Guillermo continues “Stamped: Notes from an Itinerant Artist,” a travel series focusing mostly on art, literary exhibitions, and “artist areas” around Asia (and perhaps beyond).

Art Spaces in Phnom Penh

Spoken Space

We (you and I, let’s say) stroll along Street 308, an “up and coming” (read: gentrifying) area of Phnom Penh, speckled with packs of foreigners and tourists armed with open-carry bottles of wine and thin needles of hash, their bodies attached to tall resident walls like seaweed wavering to and fro against a stream. The street directs us to the dawdling Mekong river that flows from southwest China, bordering Myanmar, Laos, and Thailand, before drifting through Phnom Penh and into Vietnam.

But the street comes to an end at Cloud bar, a “unique culture, art and music venue,” according to the googlemaps reviews I looked up, which also recommend the “excellent homemade punch.”

We squeeze into the back row of a shark-fin shaped room, where Kosal Khiev, the renowned refugee spoken word artist, will perform. A refugee to America at one year old, tried as an adult at sixteen for attempted murder, imprisoned for fourteen years, and at thirty-two, named an “alien” and forcibly deported to Cambodia, Kosal’s very survival is stunning. That his heart still beats after so much pain, that his mind still functions after fourteen years in prison, that his head still holds high after eight months in solitary confinement. That he’s not only here, but that he exudes a force both calming and energetic, alluring yet visceral.

Kosal Khiev

Kosal Khiev from "Why I Write"

One of Kosal’s students, Conrad, introduces him as a survivor: “He was one of the survivors of the Khmer Rouge, he was a survivor of the war, he was a survivor of freedom, of the American dream, whatever you want to know, he is a survivor of violence, more importantly he’s a survivor of the system.” Conrad mentions Kosal’s community work, too long to list for a simple introduction. What comes first? His mentorship of young artists? His work with Cambodian children? His national stardom at the 2012 Olympiad? His starring role in the documentary Cambodian Son? In a city that has become a symbol of survival, he is its offspring.

Kosal takes the stage. He’s a scrawny man in a black hat and black T-shirt. He makes room for himself, removing the microphone stand, the lectern, the chairs, forcing a circular space where he can spread his tattooed limbs. Then the words flow out of him in a soulful song, “I’m on a midnight ride on a rail of a beaten down trail / I got my hat down low and I just made bail,” then the words push us down, submerging us, his rhymes splitting us against a barnacled floor more shallow than we could see from above:

call me a murderer, a homicide, I just died by a pack of wolves dressed up as the uniformed service, a flock of crows purposefully moving with guilty verdicts, executing and shooting anyone moving with purpose.

Kosal Khiev

Kosal lunges out, hands shaped like glocks towards the sky, words charging in bullets. His face captures us, dense in desperation and prayer, wrinkled from an age apart.


Dancing Space

It’s Kosal’s face that haunts us as we jump into a tuk-tuk towards the weekly drag show at Blue Chilli’s bar. The show has become a ritual jaunt in Phnom Penh, an event that pleads to us more than the killing fields, the Tuol Sleng Genocide Museum, the markets, the river itself. Speaking of: our driver follows the Tonle Sap river north, against its stream, passing hand-in-hand pedestrians, jostling youth, and women exercise-dancing near the river walk. I watch the water’s unstable darkness and remember there is a drought in Cambodia’s countryside. The worst in fifty years, the dry wind and dust has left tens of thousands in need of water and food.

Naked colored bulbs welcome us into a rectangular bar overflowing with alcohol. We watch the queens slam things into the ground: their heels, their asses, their wigs. We drink and shout to new friends over loudspeakers. We duck below coiled wires leading to electric lights. We grip each other, facing the dancers like flags fluttering in trade winds.

Miga, the queen of Blue Chilli, takes the stage with a looming intensity. Her eyes flutter. Her body seems weightless as she breezes up and down a silver pole. Like Kosal she wears black–black dress, black bouquet. You spy something odd about her hat–not a hat, but a revolver, held onto her hair like a perched bird. We can’t help but gawk at it–a symbol of American cowboys, of violence, whisked easily into a drag queen’s ornament.


Like Kosal, Miga has been a community pillar. The amount of events she headlines, teaches at, and supports, is a testament to what the “community artist” can really do. Her pride in drag coupled with her unstoppable talent and energy has made her a powerful symbol for the LGBT community. She is a drag queen who has appeared on national television and hosts fashion events. Her makeup tutorials have brought her to issues of wildlife (The Jungle Project), and her fem performances have brought her to breast cancer awareness groups. Given this dedication, it’s no surprise that she has also been violently attacked in clubs by, as she calls it, “people who hate sissys.”

I Am What I Am

Miga featured in the 2015 campaign, "I Am What I Am"

After Miga’s performance, we share a dinner with her, now going as ‘him.’ He says he’s never met Kosal Khiev. We ask if the two worlds collide–one of spoken word American exiles, the other of queer Cambodian revolt. Perhaps it’s a sign of my American-ness that I see them as part of the same project, both of them upending the tired, toxic tides of masculinity. They fire not with bullets, but with words and make-up. Their audiences may be separate, but they’ve both become symbols of hope, having lived through hardships that, in the West, are often summarized on the back of a memoir’s book-jacket. And their talent has to be seen to be believed. It makes me wonder what happens to less talented artists in this city. Surely, many had gone lost while trying.

As we talk to Miga, I notice he never uses the word “survive.” He explains himself without this word. He has no lovers, but loves only his passions, his community work, his performance art, and his full time job as a barista. All of this, and he never makes it sound like a struggle. These things bring him life. It’s not merely a way to survive–but to survive well, to inspire, and to exclaim: “We are here.”

Prose Editor Kawika Guillermo spends his days traversing around Asia, with Hong Kong as his beloved base. His fiction has appeared in Feminist StudiesDrunken BoatTayo, and The Hawai’i Pacific Review. His debut anti-travel novel, Stamped, will be published in Spring 2017 by CCLaP Press.

2016 Best of the Net Nominations

September 10th, 2016

We’re glad to nominate the following pieces for the 2016 Best of the Net awards:

John Paul Davis – “Passwords” –  Aug. ’15
Hannah Lee Jones – “Erlkönig at Burley’s Field” – Jun. ’16
Robert Lunday – “Generations” – Apr. ’16
Meghann Plunkett – “In Response To A Comment On My Outspoken Nature, That I Have No Manners” – Apr. ’16
Claire Scott – “O.R.” – Feb. ’16
Amanda Silberling – “Afterglow” –  Oct. ’15

Robert M. Detman – “Building the Perfect Wings” – Feb. ’16
Chad Frame – “Bat Boy and Sean Penn Meet El Chapo in Secret Jungle Fort Hideout, No Girls Allowed” – Mar. ’16

May they fare well.

“Stamped: Notes from an Itinerant Artist” Vol. 8

September 9th, 2016

With this eighth installment, Prose Editor Kawika Guillermo continues “Stamped: Notes from an Itinerant Artist,” a travel series focusing mostly on art, literary exhibitions, and “artist areas” around Asia (and perhaps beyond).



Thamel, Kathmandu's tourist district


I’m in Kathmandu, squeezed onto a barstool at a Medieval-style wooden table, crowded by young Nepalese all dressed in black. We bounce our heads to a cover band singing a Bollywood hit. We watch a patch of white backpackers dance near the stage wearing elephant-patterned pajama pants and holding three dollar cocktails. A tourist myself, I think this might be my chance to find a local informant, someone who can show me what Nepalese art is all about.

I lean in towards the long-haired man across the table, who has thrust his fist at every song, even to the Britney Spears cover. I calculate how to begin–‘Getting boring, huh?’ I’ll say, and then he’ll suggest other places to go. And I’ll say, ‘Cool, anywhere else you’d suggest going?’ He’ll say, ‘what are you into?’ I’ll respond: ‘poetry, art, anything like that,’ and then he’ll take me to some obscure, unmapped gallery, where a dozen political radicals will be listening to a reading by the first Nepalese Nobel laureate in literature, whose words will inspire me to write my own magnum opus.

“Getting boring, huh?”

“You came in like a wrecking ball!” he sings, thrusting his fist at me.


Purple Haze Rock Bar


I try again in the bathroom surrounded by walls tiled with cassette tapes.

“Anything else to do around here?” I ask a man in all black.

“You’re not here to trek?” he says, briefly losing his aim.

I tell him I’m here to find an authentic experience of art. He tells me he’s a fashion designer, and that there’s a fantastic art gallery right next to the club.

“I just came from there!” I yell above a Modest Mouse cover. “That’s not like a real art gallery, just paintings of Mount Everest. I’m talking about real art!”

“But real people paint it,” he says.

“It’s for tourists!”

“Aren’t you a tourist?”


The Hotel Arts Kathmandu


The exiled author, Ma Jian, once wrote that art cannot be religion, because “art requires you to push your individuality to the extreme and break all the rules.” They say there are three religions here in Nepal: Hinduism, Buddhism, and tourism. The art market too seems catered to one or a mix of these.

In Durbar Square, where the grandest temples of Kathmandu stand covered in white pigeon shit, and a nine-year-old girl remains captive in a monastery only to be worshipped as a “living goddess,” I continue my search for an authentic artistic experience.


Durbar Square, under reconstruction since the April 2015 earthquake


I hire a guide, hoping the history of some ancient wonders will ready me for a true and inevitable artgasm. The man spends an hour introducing me to stone Mandalas. He explains how each divinely-inspired carving proves that there is hope for anyone to get into heaven, even cynical and perverted artists. My tourist walls get thicker as he tells me that giving money is one of the best ways into heaven. He then leads me into a small art gallery and introduces me to a “great Lama” who, I’m sure, will try to sell me some holy crafts.

The Lama is a heavy-set man, younger than me, and in blue jeans and a T-shirt that has washed-out Buddha eyes. I sit on a plastic stool as the Lama unrolls sheet after sheet of painted Mandalas.

“This one has an all cotton canvas,” he says. “It took three months to make by hand. This one is very old, higher price for this one. It took about one year to make by hand. This one was designed by His Holiness the Dalai Lama himself. Have you seen the American television show, House of Cards? Monks make this to symbolize world peace. This one took six months to make by hand, and inside there is real gold.”

The stacks of mandala paintings grow in front of me. I make the mistake of asking the price, and the Llama says “give from your heart,” and “give as if you are praying.”

I already know how this will end. I’ll tell him I’ll think about it, then he’ll look extremely sad and start asking personal questions, trying to make me feel guilty for being a tourist. Or worse, he’ll just flat-out say that I am cursing myself for not buying anything. I’ve been through this too many times to count. In India, in Laos, in the Philippines, in Myanmar.

The leaving is painful, but I escape having only lost six dollars to pay for a couple of yak figurines I can gift to a family member.


Mandala Painting; Stone Mandala in Durbur Square


An old woman in a shabby saree follows me from Durbar Square, dragging her daughter by her arm. The woman begs me to buy milk for her children. She follows me for two blocks, stopping at every roadside stand to plead: ” You can buy the milk and give to me. I don’t want money, just milk for my children!”

Perhaps I’ve lost my way as a writer. My novel, ten years in the making, continues to get delayed. I’ve been published in great journals, but not the career-starting type. I have no idea how to market what I do, whether it’s memoir or totally made-up, whether it’s about traveling as an Asian American in an exotic land, or floundering in self-pity while trapped inside a narcissistic personality.

I’m sitting at a hookah lounge, rethinking my priorities, when an elderly traveler with bushy white hair asks me, “So are you here for the trekking?”

“No,” I say. “Art and culture, I guess.”

“No problem, we have lots of that.”

“Really? Is there any art center you might know about? All I can find are traditional galleries and crafts.”

“Sure, you can just go and have a look around this district.”

‘This district’ is the tourist district. I take a look around anyway. Since I’ve arrived I’ve felt claustrophobic, trapped in Kathmandu’s narrow alleys. I thought I would see mountains, but so far I’ve barely seen farther than two blocks. As I walk the streets, the rearview mirrors of motorbikes scathe my arms. Around every corner it’s “what do you want? Hash? Girl? Trek?” until “hash,” “girl,” and “trek” all become the same thing.


Typical souvenir stall


What do I want? I want to experience art but not crafts, I want to hear poetry but not sutras, I want “Nepal-chic.” Does it count as art when hawkers follow you for blocks, constantly lowering their price, saying “sir, sir, please have a look!” I want to be inspired, I want to say I came to Nepal and had an authentic, local, artistic experience, except without those words “authentic” and “local,” because that would make me sound like a hack. There’s nothing worse than walking into a friend’s home and recognizing all the cheap tourist trinkets lying around their house.

I want something authentic but consciously aware of its constructed authenticity. I want something local but anti-local.

Just when did my definition of art get so narrow?

Online research tells me that inside the Hyatt Regency Hotel estate, there is an art center that was built in the early ’70s. I arrive by taxi motorbike and find myself in a small subset of buildings that look like the cardboard tubes of a gerbil gymnasium. This is Taragaon, a place of modern art that has security guards posted around every entrance, but not one visitor.


Taragaon nearby the Hyatt Regency


The gallery preserves works of art and photographs taken by foreigners and expats. Most of the photographs are of Nepalese looking very poor, or mysterious, or religious. Maps from foreigners trekking through the mountains are hung beneath shiny glass, and paintings done by locals are the only objects with price tags attached.

I ambulate slowly through the gallery, arms akimbo, staring down each piece of art, each photograph, like I’m thinking deeply about it. But mostly I’m thinking surface-levelly about how I even got here. A wasp buzzes by. I’m deadly allergic to bees, and I think about how pathetic my life would be if I were found here, hours later, a dead tourist discovered within a massive, unvisited art complex.


"Coke and Camera" by Arjun Khaling


I stare at an expatriate’s photograph of a woman praying in a temple. The art makes me feel nothing. It inspires me to do nothing. It speaks nothing to me. Maybe I’m not really an artist. Maybe I stopped learning to fake it. I can see the art is interesting but only from a distance, like agreeing with a friend that a woman is very beautiful, though she may spark nothing in me. Or tasting expensive wine and pretending I like it. The art, too, makes me question what I’m even doing here, in a place where children can’t even get milk.

P.S. –

*The Taragaon Museum is a preservation space nearby the Hyatt Regency Hotel.

*For actual contemporary art spaces in Kathmandu, I suggest this website.

Prose Editor Kawika Guillermo spends his days traversing around Asia, with Hong Kong as his beloved base. His fiction has appeared in Feminist StudiesDrunken BoatTayo, and The Hawai’i Pacific Review. His debut anti-travel novel, Stamped, will be published in Spring 2017 by CCLaP Press.