I’ll be spending the first three weeks of July at the Soaring Gardens Artists Retreat in Laceyville, PA. I can’t think of a better place to write and unwind during these uncertain and stressful times. I’m so thankful to the Ora Lerman Charitable Trust for giving me this opportunity!
I’ll be spending the month of March in beautiful Fairhope, Alabama at the Wolff Cottage. Thank you to the Fairhope Center for the Writing Arts for this wonderful opportunity. I’m counting the days!
I’m so happy to have found a home for my story “A Better Son”, published in Columbia Journal last week. This story is particularly meaningful to me because it was the very first story I ever wrote in English. It’s gone through many phases and many drafts. Thank you to the editors at Columbia Journal for publishing it!
I’m so excited to be reading literature in translation for Cagibi, an amazing new journal founded by Christopher X. Shade and Sylvie Bertrand. Submit your stories, poems, personal essays, and translations here. And keep an eye out for Issue 4 in October! Continue reading “Reading translations for Cagibi”
In 2017, I had the privilege of working with two very talented visual artists, Keka Marzagao and Viviane Aquino. Here’s a bit more about this very special project, which you can still check out until January 31st, 2018, at the Plaxall Gallery in Long Island City.
“Masks of the Quotidian examines issues of identity and representation of Brazilian women living in New York City’s largest borough: Queens.
Inspired by interviews with five local Brazilian women, Camila Santos’ printed monologues explore the “masks” these women wear in order to integrate into American society. These texts challenge the troubling and simplistic portrayal of Brazilian women in American society and media in general. Viviane Aquino’s wearable sculptures are a response to the themes and imagery present in each story. She has transformed everyday objects and materials into masks incorporating iconic symbols that straddle Brazilian and American cultures. Using the monologues and masks as a starting point, Keka Marzagão’s photographs explore the complex identities of Brazilian women, both as immigrants and as females. By taking the photographs out of the wall and into space through the use of hanging transparencies, Marzagão transforms the gallery into a multilayered installation evoking the plurality of the women’s experiences.
Collectively, these works deal with Brazilian women’s subjectivities while confronting the current universal challenge of misrepresentation and erasure of identities.”