Online Interviews, Features, etc.

A list of online interviews and other websites of interests:

A good place to start is The Literary and WebdelSol Webchapbook. Published in 1998, it has the earlier versions of the poems that would be in The Gods We Worship Live Next Door six years later. Here.

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Video Lecture: The Interrogating Boundaries symposia are a series of seminars focused on topics related to the growing interconnectedness of the world. The seminars take the form of an interdisciplinary, inter-departmental and inter-campus dialogue, involving faculty, students and guests, exploring areas relevant to the critical study of globalization. Owning English: Filipinos, the Colonized Tongue and Globalization. Here.

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Sunday Salon: “I think technology will partly address the unfortunate privileging of writers by very few mainstream publishers, as if they’re being selected into a special country club of sorts. It is extremely difficult to penetrate mainstream publishing, especially if you’re a writer-of-color. There is almost a quota for how many ethnics get published in a year. Unfortunately, Asian Americans are put in the same bowl. If a Filipino writer is put next to an Indian writer, who do you think would they choose?” Interviewed by Nita Noveno in 2009. Here.

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New York Press Cover Story. “ We started the organization to provide a literary space and voice for young Asian American writers against a majority culture that often acts as if we are all the same: all exotic Asian, none American,” states Realuyo. Today, the AAWW expresses its collective self in a 6,000 square foot Chelsea loft with performance space, a library and workshops where NuyorAsian (New York Asian) identity takes form in an eponymous anthology of Asian writings about New York City. Written by Tony Dokoupil in 2005. Here.

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PIF Magazine: “I never thought of the novel as a coming of age story. That was a genre the publishing houses attached to my book because they felt they had to categorize it for marketing purposes. They even put the genre on the cover. There are several voices in the book and many awakenings. Although the novel is seen from Gringo’s perspective, the awakenings are occurring all round him.” Interviewed by Derek Kalger in 2002. Here.

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Boldtype Magazine before going independent from Random House. “I set the book in the time period to create the climate of repression necessary for the characters’ eventual interaction and confrontation with the world around them. I didn’t want the book to be read only as a coming of age story about two brothers. I hope I succeeded, to say the least, in showing the strange and complex nature of family bonds amid poverty and sometimes violent circumstances.” Interviewed by the Poet Bruna Mori. Here.

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An article written by Professor Leonard Casper, The Blood Compact in Bino A. Realuyo. “Among Filipino producers of the printed word in America, Sionil Jose leads with his entire Rosales epic gradually appearing under the Random House/Modern Library imprint. On a different scale it is Realuyo’s first novel, The Umbrella Country, which has attracted rare admiration. Both Jose and Realuyo are writers with a strong, broad (non-ideological) social conscience. Jose can present the action and motives of both rich and poor; Realuyo so far has provided access only to the latter, but his sensitivity to language provides intimate nuances which prevent his principal characters from seeming pitiable stereotypes. His language serves rather than competes with the authenticity of his characters.” Here.

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Cover Story of Filipinas Magazine. Bino, Vidi, Vici. Written by journalist Benjamin Pimentel. “Before coming to America and becoming one of today’s most promising Filipino American writers, Bino Realuyo went by a name so typically Pinoy: Alvin. “My mother would call me ‘Al-beeen!’” Realuyo says.Last year was a big one for Albeen, a.k.a. Alvin Realuyo, a.k.a. Bino A. Realuyo, author of The Umbrella Country, the most talked about Filipino novel since Jessica Hagedorn’s Dogeaters.”

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