Sally Wen Mao

A brilliant second collection by Sally Wen Mao on the violence of the spectacle—starring the film legend Anna May Wong In Oculus, Sally Wen Mao explores exile not just as a matter of distance and displacement but as a migration through time and a reckoning with technology. The title poem follows a nineteen-year-old girl in Shanghai who uploaded her suicide onto Instagram. Other poems cross into animated worlds, examine robot culture, and haunt a necropolis for electronic waste. A fascinating sequence spanning the collection speaks in the voice of the international icon and first Chinese American movie star Anna May Wong, who travels through the history of cinema with a time machine, even past her death and into the future of film, where she finds she has no progeny. With a speculative imagination and a sharpened wit, Mao powerfully confronts the paradoxes of seeing and being seen, the intimacies made possible and ruined by the screen, and the many roles and representations that women of color are made to endure in order to survive a culture that seeks to consume them.

Poems

Oculus

""Like Sylvia Plath's poems, these visionary poems are not only astute records of experience, they are themselves dazzling, verbal experiences. Worldly, wily, wise: Mad Honey Symposium is an extraordinary debut."-Terrance Hayes"[Mad Honey Symposium] has all the delicacy of [Mao's] earlier writing-but now there's also a gritty, world-wise sense of humor that gives her work heavyweight swagger."-Dave EggersMad Honey Symposium buzzes with lush sound and sharp imagery, creating a vivid natural world that's constantly in flux. From Venus flytraps to mad honey eaters, badgers to empowered outsiders, Sally Wen Mao's poems inhabit the precarious space between the vulnerable and the ferocious-how thin that line is, how breakable-with wonder and verve.From "Valentine for a Flytrap":.There's voltage in your flowers-mulch skeins, armory for cunning loves. Your mouth pins every sticky body, swallowing iridescence, digesting light. Venus, let me swim in your solarium. Venus, take me in your summer gown.Sally Wen Mao was born in Wuhan, China, and grew up in Boston and the Bay Area. She is a Kundiman fellow and 826 Valencia Young Author's Scholar. Her poetry is published or forthcoming in Colorado Review, Gulf Coast, Hayden's Ferry Review, Indiana Review, Passages North, Quarterly West, and West Branch, among others. She holds a BA from Carnegie Mellon University and an MFA from Cornell University, where she's currently a lecturer"--

Mad Honey Symposium

Nine Tales

Ninetails

Kingdom of Surfaces

A "sly and spirited" fabulist debut collection of stories re-imagining the nine-tailed fox spirit of Asian folklore (C Pam Zhang). A fox spirit avenges a teen girl by seducing her abuser. A shapeshifting woman finds herself chased through the woods by fox hunters; meanwhile, an assassination plot called Operation Fox Hunt unfolds against the last Queen of Korea. Chinese migrants hoping to make new lives as “paper children” in America find their pasts—and their hopes for the future—embodied in the foxes that haunt the harbor in 1900s Angel Island. In the nine tales of Ninetails, acclaimed poet Sally Wen Mao reimagines the fox spirit from Asian folklore—a shapeshifter, shaman, and seductress—as an icon of vengeance, solidarity and liberation. The characters of her stories are varied—from silicone sex dolls who come to life with new purpose, to women whose crushes manifest as stones—but they all reach for a common purpose: to find truth and belonging in a difficult world determined to consider them alien. With the fabulist vibrancy of Carmen Maria Machado, the sinuous world-building of Helen Oyeyemi, and the sensuous feminist rage of Han Kang, Ninetails is both timeless—unearthing a cultural icon whose origins date back over a thousand years—and timely in its contemporary political urgency.

*FINALIST FOR THE 2023 MAYA ANGELOU BOOK AWARD * A virtuosic new poetry collection from Sally Wen Mao, “a consistently inspiring and exciting voice” (Morgan Parker) In The Kingdom of Surfaces, award-winning poet Sally Wen Mao examines art and history—especially the provenance of objects such as porcelain, silk, and pearls—to frame an important conversation on beauty, empire, commodification, and violence. In lyric poems and wide-ranging sequences, Mao interrogates gendered expressions such as the contemporary “leftover women,” which denotes unmarried women, and the historical “castle-toppler,” a term used to describe a concubine whose beauty ruins an emperor and his empire. These poems also explore the permeability of object and subject through the history of Chinese women in America, labor practices around the silk loom, and the ongoing violence against Asian people during the COVID-19 pandemic. At its heart, The Kingdom of Surfaces imagines the poet wandering into a Western fantasy, which covets, imitates, and appropriates Chinese aesthetics via Chinamania and the nineteenth-century Aesthetic movement, while perpetuating state violence upon actual lives. The title poem is a speculative recasting of “Through the Looking-Glass,” set in a surreal topsy-turvy version of the China-themed 2015 Metropolitan Museum of Art Gala. The Kingdom of Surfaces is a brilliantly conceived call for those who recognize the horrors of American exceptionalism to topple the empire that values capital over lives and power over liberation.

Sally Wen Mao

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