Celeste Ng is the author of “Everything I Never Told You”, which won the 2014-2015 APALA Literature Award for Adult Literature.
Molly Higgins: Please introduce yourself and briefly describe your literary work and career path to date.
Celeste Ng: I grew up in Pittsburgh, Pennsylvania, and Shaker Heights, Ohio (a suburb of Cleveland), and was always writing stories and poems and plays as a kid. I went to Harvard thinking I’d go into publishing, with writing as a side hobby, but I tried editorial work after graduating, and it wasn’t for me. Fortunately, a mentor pointed me towards writing programs, and I ended up attending the MFA program at the University of Michigan (now called the Helen Zell Writers’ Program at the University of Michigan). After I graduated in 2006, I published some short stories while working on my novel, and eventually published my debut novel, “Everything I Never Told You”, in June 2014.
MH: As a mixed-race Asian American, I felt myself drawn to the mixed-race and Asian American themes in your book. Did you intend for this book to be viewed through the lens of “Asian American literature”? What does the term “Asian American literature” mean to you?
CN: I have a somewhat complicated relationship with the idea of “Asian American literature.” I did want to write about some aspects of what it might be like to be Asian American and mixed-race—those are issues that are very close to my heart and that need to be talked about more. But at the same time, I never wanted the book to be viewed as purely an Asian American story. So I’ve been so glad that an “Asian American” novel is getting read so widely, and I’m also glad that many readers are connecting not only with the questions of cultural identity but also with the family relationships depicted in the book.
Part of the problem has to do with how we define the term “Asian American literature.” Is it literature about Asian American themes? Is it literature by Asian Americans, regardless of theme? You see the problem — under this kind of classification, as others have pointed out, The Orphan Master’s Son by Adam Johnson (a non-Asian American) would be considered Asian literature, while Southern Cross the Dog by Bill Cheng (an Asian American) would not. I don’t have a good answer for this — but it’s something we have to think more carefully and explicitly about.
MH: Your book has received an amazing response since its publication — glowing reviews, multiple awards and nominations, and translations into 16+ languages including Dutch and Chinese. Does your perception of your story and/or its characters change when you see people respond to your book
CN: I’ve been thrilled at the response from readers — of any ethnic background — who’ve told me the book made them rethink their relationships with their own parents or children, but I am especially touched by the readers who are Asian American or mixed-race who’ve written to tell me that they felt “seen” by this book, that they’d never read a book that mirrored their experience. I’d never thought of the Lees as representatives of anything, but I’m glad if they are allowing people to see themselves on the page for the first time.
MH: How do you think your personal identity influences your writing and/or the diversity of your readership?
CN: I’m a first-generation Asian American, in a mixed-race marriage, and the mother of a mixed-race child. So some of the major the themes in my novel definitely have their roots in real life. It’s becoming more important to me to touch on these issues in my writing, as we become more and more aware of the lack of diversity in publishing.
MH: We’re always looking for more to read. Who are five authors we should be reading? Why?
CN: Only five?! Okay:
Chimamanda Ngozi Adiche, one of the smartest and funniest writers on race and feminism working today. I recommend “Americanah” and her TEDx Talk “We Should All Be Feminists” as starting points.
Roxane Gay, a powerhouse of the literary world, with smart and provocative things to say on race, culture, gender, and feminism. If you don’t know her work, get on it.
Mia Alvar, whose debut collection “In The Country”, is one of the best I’ve read in years — actually, ever.
Mira Jacob, whose debut novel “The Sleepwalker’s Guide to Dancing” is a moving, bittersweet, warm portrait of family life.
Anthony Marra’s “A Constellation of Vital Phenomena” took my breath away. How can a book be so heartbreaking and yet so uplifting and genuinely funny? I don’t know, but I’m looking forward to his forthcoming book, the collection “The Tsar of Love and Techno.”
MH: You’re being interviewed by a librarian, for an audience of progressive Asian American librarians. What are your thoughts on libraries, and their place in building diverse communities?
CN: I often write in the Cambridge Public Library, and the more time I spend there, the more I realize how invaluable libraries are in building communities. Libraries are gateways to knowledge of all kinds — everything from books and internet access to events, workshops, and story hour — and librarians are the most patient guides. At the CPL, I’ve heard librarians help people with their tax forms, track down books they need and find community resources. There’s no other place like a public library. It’s open to all, and whatever you need, someone there can help you find it. And because it’s accessible to anyone — regardless of economic status or age — libraries can reach across a population to reach diverse groups and create a community.
I’m a huge, huge fan of libraries, if you can’t tell already.
Editing assistance provided by Jeremiah Paschke-Wood.
Andrew Lam is familiar with many aspects of writing — he is the author of three books, a journalist, co-founder and editor of the ethnic news outlet New America Media, and teacher of journalism and creative nonfiction at San Francisco State University.
Molly Higgins: Please introduce yourself and briefly describe your literary work and career path to date.
Andrew Lam: I have written three books, two of them collections of literary essays, and the third a collection of short stories. The first book, “Perfume Dreams: Reflections on the Vietnamese Diaspora,” a memoir written in the form of personal essays, won the Pen Open Book 2005 Award, and was short listed for the Asian American nonfiction award. The second is “East Eats West: Writing in Two Hemispheres,” a collection of essays that explores the cultural impact of Asian immigration to America’s West. The latest, “Birds of Paradise Lost,” is a collection of short stories about Vietnamese boat people who survived their perilous journey in order to remake their lives in San Francisco, and it won the Pen West Coast/Josephine Miles Literary award and was a finalist for the California Book Award.
For eight years I was a regular contributor on NPR’s “All Things Considered.” I have and worked as a journalist and as an editor at Pacific News Service, which later became New America Media. I have contributed essays to many magazines and newspapers, including The Nation, Los Angeles Times Magazine, Mother Jones, National Geographic Traveler, Chicago Tribune, Baltimore Sun and many others.
In term of teaching, I have taught a few courses: advanced journalism writing for seniors in the journalism department at San Francisco State University, and I am currently teaching a graduate level creative nonfiction class (the Art of the Personal Essay) this semester in the MFA program at San Jose State. I have also over the years conducted several master class workshops at various universities and colleges in essay and short fiction writing.
I have given many speeches at various universities, including Harvard, Yale, Brown, UCLA and Stanford. I gave a commencement speech at UC Irvine in 2013 School of the Humanities and was given the School of Humanities Medal in recognition of distinguished contributions to the humanities. Obama gave the commencement speech there in 2014.
I have been the subject of a PBS documentary, “My Journey Home,” which aired nationwide in 2004.
And I am a co-founder of New America Media, an association of ethnic media nationwide.
MH: Your writing takes several forms — you have three books published, you contribute to the Huffington Post, and you’re senior editor with New America Media. Does your work as an author inform your editing and vice versa? How?
AL: One set of knowledge does lend to the understanding of another. For instance, I reported on refugees for years, and when writing a short story about a refugee in San Francisco, as in the case of “Birds of Paradise Lost,” I understand the political, social and emotional implications from A-Z. What they all have in common is an innate sense of compassion and empathy for those less fortunate. Having been a refugee and homeless and stateless once, my instincts are speaking for the voiceless, rooting for the underdog. That informs all that I do, be it working as an editor, writer, journalist or radio commentator.
MH: Can you describe your work at New America Media? And, more generally, its role as a media organization?
AL: New America Media is the country’s first and largest national collaboration and advocate of 3,000 ethnic news organizations. Over 57 million ethnic adults connect to each other, to home countries and to America through 3,000+ ethnic media outlets, the fastest growing sector of American journalism. At this point I am more or less part of the brain trust of the organization, having worked there for25 years. I am an editor there as we produce relevant content for our ethnic media partners, especially in crucial issues related to aging, education, healthcare and immigration reform. I come up with story ideas and work with particular writers/journalists to create relevant contents, but I also pick stories from our ethnic media partners to showcase their good work on our site.
We also put together briefings on important and relevant issues — Obamacare, scams in ethnic communities, immigration reforms, voters rights, etc. — so that there’ll be a more informed citizenry.
MH: How do you think your personal identity influences your writing and/or the diversity of your readership?
AL: In my autobiography class in the San Francisco State University creative writing program, I read my first essay out loud. The assignment was, “Why did you want to become a writer?” I talked about the Vietnam war. I talked about childhood memories. The falling bombs. The bravery of men and women. My parents’ struggles and fears. My own sadness. My longing to return to those bomb craters filled up with monsoon rain where children, who survived the battles, laughed and swam. “After all these years, I want to dive into that water,” I wrote. When I finished reading, there was this strange silence. The entire class looked at me in awe. The professor wept. The piece somehow reached the writer Richard Rodriguez and the editor of Pacific News Service, Sandy Close. They took me to tea. They more or less offered me a job as an op-ed writer. I started to travel the world, started to write about my past, my history and the Vietnamese Diaspora. And it resulted in “Perfume Dreams: Reflections on the Vietnamese Diaspora,” which won a Pen award. In any case, it was all unexpected. And it started from a heartbreak. It is no wonder my first book is a book of literary essays exploring that space between being a refugee and an American, between private sorrow and public intellectual exploration of one’s own circumstances in the world. I would say the majority of my work springs from that.
MH: You’re being interviewed by a librarian, for an audience of progressive Asian American librarians. What are your thoughts on libraries and their place in building diverse communities?
AL: When I was a poor refugee boy growing up at the end of Mission Street, where San Francisco ended and the working class of Daly City began, I took refuge in the libraries on weekends and in the summer. It was a cool place, literally, and I could read all the books I wanted. Though I regretted that I knew no librarian there personally, I had appreciated those countless hours of silence and reading. I wish I had met an Asian librarian who would point me to significant, meaningful authors who wrote stories that might mirror my own — post-war, growing up poor, immigrant, etc. As an author, I especially appreciated librarians who reached out to me to set up readings at their colleges, etc…. I always connected with audiences who showed up at libraries, as they are serious readers and have found librarians to be kind and receptive to my work.
I just wish that more author series were part of their work, especially where writers of a certain ethnicity come to a place where more of his/her own demographics — student population, local population — are significant and are looking to hear work from authors whose stories reflect theirs. A library to me is no longer a place that serves just as archives of books, but it can also be a place that reflects contemporary arts and cultures, and the more activities that reflect that, the more relevant it remains in our times.
MH: What advice would you give young professionals, especially those from diverse backgrounds, who are interested in a career in journalism (or writing generally)?
AL: A decade ago my answer would be easy: find internships with magazines or publishing houses that you admire and work your way up the ladder to understand how journalism or publishing world. The world of writing has transformed radically since then, and some would say, unraveled. It is true that the writing profession — a career — is so much harder to maintain given the state of the journalism institution and to lesser extent the state of publishing. It is oddly a great time to publish — that is, if you don’t care for doing it for free. Huffington Post usually doesn’t pay unless it’s an assigned story. But you’ll get a lot of eyeballs and public play. Exposure on social media gets attention for some artists but the career — making a living out of it — is much harder to fathom these days.
I think to make it a career you’ll need more skills and talents than mere writing. You need to know your audience, pick the right topic and theme and ride the wave, that is find a way to make yourself marketable. A writing career, after all, is different than a writing life. You can farm and write or you can teach and write. But a career seems to imply a regular income and making a go at being paid for your words, your articles. You need to be entrepreneurial these days to make it.
Editing assistance provided by Jeremiah Paschke-Wood.
Interview conducted and edited by Alyssa Jocson Porter.
The API Flying Bookshelf is a collection “celebrating and promoting the works of Asian & Pacific Islander writers, artists, & scholars,” and includes novels, scholarly work, and even zines. The collection began traveling on July 1, 2014 among various Seattle neighborhoods and finding temporary homes in cafes. In April 2015, I had the chance to meet with API Flying Bookshelf co-founders Sabrina Chen and Derek Dizon and curator Chris Woon. We met at the Bookshelf’s current location, Cafe Hope, a coffee stand inside Asian Counseling and Referral Service with a training program to help clients gain barista and workplace skills. When I arrived, Sabrina, Derek, and Chris were already there with books piled on their table. We talked about the collection and the importance of storytelling and community.
Derek Dizon (DD): I’m Derek Orbiso Dizon, and I’m a co-founder and curator.
Sabrina Chen (SC): I’m Sabrina Chen, and I’m a co-founder and curator as well.
Chris Woon (CW): My name is Chris Woon. I am a staff member of the Flying Bookshelf and a curator as well.
DD: I didn’t know we had “staff”! That’s cool. [Laughs]
CW: What else would I be?
SC: I like to call us the API Bookshelf Family.
DD: We also have a graphic designer, Angelo Salgado, and another curator named Tuyen Than.
SC: And Minh Nguyen, aka The Zine Lord, who does all our zines.
DD: The API Flying Bookshelf is a traveling library which seeks to promote the works of Asian American and Pacific Islander and South Asian artists and storytellers.
SC: I’d add that it’s a free library where people can borrow books and read them, and it’s on the honor system.
DD: And it’s centered in community. We usually go to cafes or organizations that are API-centered or API-owned.
SC: There’s a bookstore called the Asian American Curriculum Project in San Mateo, CA. It’s been around for a really long time… started [by] a group of Japanese American teachers after World War II. They were seeing a lot of the history curriculum totally left out the Japanese internment, and they wanted to bring together resources that hold that story. They were just collecting stuff. From there it grew into a bookstore. They actually publish books also. They do a lot. They’re really great. So, when I was visiting, [Chris] brought me to that bookstore and also to Eastwind Books of Berkeley. After seeing that, I thought there’s nothing like that in Seattle, but I felt like being in that space is something so powerful. All those Asian American books in one space. Derek and I are really good friends, so after I came back from my trip, I said, “We should open a bookstore.” He’s like, “We can’t do that.” [Laughs]
DD: I suggested a traveling bookshelf or library. Just to start. We had the conversation at a cafe too, so I just envisioned a bookshelf being there.
SC: It was a cafe that we went to a lot in the International District. It had a lot of community folks.
DD: It’s the Eastern Cafe, located in the historic Eastern Hotel. That was the first stop, the first landing. [The launch] was kind of overwhelming.
SC: Yeah, I think people were excited about the concept. It started off as a very small collection and kind of just grew from there. And then the donations started coming. Articles started coming. Derek planned the kick-off event.
DD: It was really great. Maybe 50 people came in and out. Maybe more. We opened up space to have people share stories, someone even did a dance piece in this small cafe. We had poetry, spoken word, rap pieces, and just talked about what it means to tell our stories as people who have not always had opportunities to speak and be heard.
SC: It’s tough with not very many people [on our team]. Moving one bookshelf is already a lot of work. We would have to start making like three trips or something [if we expanded]. Everything barely fits in Chris’ car right now. I think we’re pretty flexible about our capacity, though, and so we kind of just go with however much time we have to organize everything right now
CW: We have talked about having a home base. It’s our apartment right now.
SC: We use the honor system. We have a stack of cards for people to write their name and contact info.
CW: If people really want [to keep] that book for some reason—if it means that we get it out in the community and it’s getting some good use, then they can keep it. Especially because everything is donated. It’s a tough balance, though. Like some of the books are a little more rare. I just happened to have a few copies of [one title], but we’ve already lost two copies already.
SC: In one of the books we got, there was a paper in the back of it for people to write notes. There was [another] book with a kids’ picture left inside. It’s another cool part of it when curating books—these books hold stories, but they also hold the stories of the people who read them. It’s one of my favorite things about donations. We try to keep track of [those notes] just to show what a physical book really means… There’s something powerful about the people before you who engaged with the book.
CW: And sometimes it helps communicate us with each other, like the used books in college where there are multiple generations of marginalia.
SC: We started with our own books, and now we have donations. There’s a sign on the Bookshelf that says “Put donations here,” and we try to say, “We may or may not take it.”
DD: And we do want to center on Asian American experiences with a critical, intersectional, type of social justice lens.
SC: We do try to get books too that are narratives that are missing. [If] we know we don’t have much [on a specific topic], we’ll see if we can find that.
CW: With trying to parse the literature, novels are kind of hard sometimes because so many of the narratives are transnational. And that is very much of the Asian American experience too.
SC: We do have, for example, “Asia’s Unknown Uprising.” That’s more focusing on a global perspective of uprisings that are hardly talked about in history books in different countries of Asia. For that, we kept it in because it’s something that gets left out a lot in movements—the background histories of why we’re here.
CW: We do look through the books [gestures to the stacks on the table]… It would be a little iffy if we shot them down [automatically]. For example, this book, “The Mao Case.” The back says “Chief inspector Chen of the Shanghai police department is assigned to a politically sensitive case by the Prime Minister of Public Safety…”, and it’s by a Chinese author who was raised in Shanghai but now lives in St. Louis, Missouri. Is that still part of the Asian American experience? He lives an Asian American experience—who am I to deny that? So, we take it case by case.
CW: I had access to two bookstores in the Bay Area. It was something I took for granted. I also was an Asian American Studies (AAS) major, and I have my master’s in it, so I had this Asian American book collection already from my school days. And then Sabrina—
SC: You were probably thinking, “Why is she getting so excited [about API bookstores]?”
CW: I wouldn’t have known about [the Asian American Curriculum Project], if I didn’t have a family connection to the owner… But for years I didn’t know it was there. It probably wasn’t until I was actually in Asian American Studies that one of my parents told me about it. I think I really took it for granted, and then I moved [to Seattle], and I was like, “Whoa, there’s a void.”
SC: I feel like there is something really powerful about books and having access to some of these stories that people may not have access to. I don’t remember who but somebody was talking about how when they go to a bookstore and they go to the Asian section they see only history books or they go to the Feminism section and there’s not an Asian American feminist perspective. There’s not enough exposure unless you’re in Asian American Studies.
CW: Yeah, you’d go to the Asian section, and it’d be just Asian history books.
DD: Asians from Asia, not Asians from the U.S.
SC: But I think there are really some unique Asian American, Pacific Islander, Southeast Asian American, narratives that are really rich and diverse and interesting.
DD: I was also an AAS major for my undergraduate degree. But even prior going into AAS, as a child, I was always put into that slower reading group as an elementary school kid. I thought I was slow in reading and I thought I was bad at reading, but it was only that I was uninterested in reading other people’s stories I couldn’t relate to. So what does it mean for us as people of color, as Asian Americans? To see ourselves in stories and to speak stories to people who we see ourselves in? I never had an opportunity to experience that as a child. It’s really interesting how we label students, like, “Oh, this person’s slow, this person doesn’t really understand this literature,” but maybe it’s less about understanding literature and more about not seeing ourselves in literature. I think that’s what so amazing about the Bookshelf, that it’s a way for us to see ourselves in stories… And if only one person from the whole community reads one book and they are able to connect with that book and see themselves through that story as a way to connect to the broader community, then I think we’ve served our purpose as a Bookshelf.
CW: To piggyback off that… I used to think I hated literature. In high school, I hated English class. I thought I didn’t like literature. And then finally in grad school, I took Asian American literature courses, and I loved taking literature courses! I loved writing papers about literature. Then all of a sudden I was getting A’s in my classes. It speaks to how these kind of books and stories can resonate in a different way.
DD: That’s really powerful about this Bookshelf: having access and representation. It’s cool too that we have an eclectic collection of different stories. You have those stereotypes about Asians and Asian Americans, that they are A, B, C, but when we read these books, we see the other letters of the alphabet too. I grew up in a primarily white neighborhood… I was never exposed to my people’s stories in textbooks or even in my own family. For the longest time, I internalized that as my family didn’t have stories, our people didn’t have stories… That’s such a lie that we’re being told in so many ways in representations through media, through other libraries, through the education systems. It wasn’t until my AAS program, that I knew about these stories. I just never asked about them. This Bookshelf pushes me and others to ask family members about our stories even though they are hard to tell.
SC: I also keep thinking about our vision of the future [for the Bookshelf]. We could showcase all forms of art by Asian American artists. That’s a form of storytelling too. I think that’s part of the mission of the Bookshelf.
DD: Talk about The Dream!
SC: There might be multiple versions of The Dream. In Brooklyn, we found a reading room. I really like that model where they just have a lot of books and you can go there and check out books like a library but not a part of the [public] library system. You go there and hang out. I think getting to be in one place [instead of traveling around] is the dream… We would love a cafe-type of space.
DD: To have a dedicated space for more than just this Bookshelf would be really amazing.
CW: It depends on how things transform in the future, right? Because we’ve been avoiding creating like a non-profit. We like this collective, contribute-if-you-can approach.
DD: I think if we had a physical spot we’d still have a traveling bookshelf.
SC: We really like that aspect of it because then the Bookshelf appears in different neighborhoods. We started in the International District, then Capitol Hill, and now we’re a little bit more south. I like how the Bookshelf can move to where people are at.
This summer, the API Flying Bookshelf celebrated its one-year anniversary by partnering with another organization supporting the API community, FIGHT (Formerly Incarcerated Groups Healing Together), to raise funds for a new library at Clallam Bay Corrections Center. Their event raised over $100 plus several book donations.
The Bookshelf is currently at Cafe Hope, located on the bottom floor of ACRS, 3639 Martin Luther King Jr. Way S, Seattle, WA 98144. Open hours are Mondays to Thursdays from 9 a.m. – 2:30 p.m, and Fridays from 12:30 – 2:30 p.m.
Editing assistance provided by Jaena Rae Cabrera. All photos courtesy of API Flying Bookshelf.
Wow! What an amazing 2014-2015 year for APALA! We ended this past year on a high note – celebrating its 35th anniversary with a daylong series of workshops designed to share Asian Pacific American (APA) stories, highlight successful library programs, and feature new partnerships and advocacy efforts in building coalitions to meet the needs of APA communities. The “Building Bridges: Connecting Communities Through Librarianship & Advocacy” 35th anniversary symposium was a big success! We had an unprecedented number of librarians, speakers, library leaders, community activists, writers/artists/filmmakers, students, volunteers, and corporate partners coming together to celebrate this milestone. The symposium took place on June 25, 2015 at the University of San Francisco’s McLaren Conference Center.
I wanted to take a moment to say thank you to all of you who worked hard throughout this past year to make APALA’s 35th anniversary a memorable and historic event!
THANK YOU to the 60+ committee members and volunteers who worked tirelessly to make the APALA 35th symposium, APALA’s President Program, APALA’s tour of Chinatown and Manila Heritage Foundation, APALA Literature Award Banquet, and several programs & events during ALA annual.
THANK YOU to the 100+ participants who registered to attend our very 1st APALA 35th Symposium, and to the 120+ participants who joined us at the APALA Literature Award Banquet at ALA Annual. The high attendance numbers at both of these events truly shows the continued support from our members, friends, and partners!
THANK YOU to all of our 2014-2015 sponsors and individual donors! Your support is valued and appreciated by all of us in APALA!
THANK YOU to all the 20+ API community organizers, speakers, and library community leaders who joined us at the symposium to celebrate our 35th anniversary.
THANK YOU to our amazing keynote speaker Valarie Kaur for her inspiring remarks; to our plenary session speakers: Ghada Kanafani Elturk, Nancy Hom, Andrew Lam, and Gene Luen Yang who engaged us in a frank conversation on how to build connections across APA communities, professions, and fields; and to the University of San Francisco, Dean Tyrone Cannon, and Associate Dean Shawn Calhoun who very generously offered APALA the use of the McLaren Conference Center and the Gleeson Library staff to host and help with the APALA symposium.
…And behind the scenes making it all come together…
THANK YOU to my unbelievable 2014-2015 Executive Board: Vice-President/President Elect Janet Clarke, Secretary Sarah Jeong, Treasurer Dora Ho, Member-at-Large Melissa Cardenas-Dow, Member-at-Large Anna Coats, Member-at-Large Paolo Gujilde, Member-at-Large Annie Pho, Immediate Past President Eugenia Beh, and Executive Director Buenaventura (Ven) Basco. Thank you for the great teamwork spirit, enthusiasm, and constructive feedback and guidance during the past year.
THANK YOU to all the Standing & Ad Hoc Committees Chairs and their incredible teams who dedicated months, weeks, and hundreds of hours to make APALA’s 35th anniversary a successful year. APALA’s success is largely due to the drive and accomplishments of our committees. Thank you to the following Chairs: Constitution and Bylaws Chair Paul Lai; Finance and Fundraising Chair Sandy Wee & Lessa Pelayo-Lozada; Literature Awards Jury Chairs Dora Ho & Buenaventura (Ven) Basco; Literary Awards Category Chairs Tiffany Chow, Tinamarie Vella, Lessa Pelayo-Lozada, Jerry Dear, Gayatri Singh, Sandy Wee, Evelyn Yee, Irene Zapata, Tarida Anantachai, and Virginia Loh-Hagan; Membership Co-Chairs Maria Pontillas Shackles & Emily Chan; Mentoring Committee Co-Chairs Johana Orellana & Heawon Paick; Newsletter and Publications Co-Chairs Gary Colmenar & Melissa Cardenas-Dow; Nominations Chair Eugenia Beh; Program Committee & 2015 President’s Program Co-Chairs Janet Clarke & Peter Spyers-Duran; Publicity Co-Chairs Yen Tran & Holly Okuhara; Web Chair Alvin Dantes; Scholarships & Awards Co-Chairs Tassannee Chitcharoen & Valeria Molteni; Task Force on Family Literacy Focus Co-Chairs Lessa Pelayo-Lozada & Ariana Hussain; Task Force on 2015 annual Local Arrangements – San Francisco Co-Chairs Jerry Dear & Sherise Kimura; Task Force on 2015 midwinter Local Arrangements – Chicago Co-Chairs Annie Pho & Richard Kong; Task Force on 2015 Archives & Handbook Co-Chairs Paolo Guijilde & Sarah Jeong; Task Force on 2015 annual ALA Diversity & Outreach Fair – San Francisco Co-Chairs Paolo Gujilde & Tinamarie Vella; Diversity Council Representatives Sandy Wee & Eugenia Beh; ALA Working Group on Libraries & Digital Content Representative Holly Yu; JCLC Executive Board Committee Representative Kenneth Yamashita. I also would like to thank the APALA 35th Co-Chairs: Gary Colmenar, Florante Ibanez, and Jade Alburo as well as to APALA 35 Steering Committee Chairs: Assessment Chair Catherine Phan; Fundraising Chair Eileen K. Bosch; the fabulous Local Planning Co-Chairs Jerry Dear & Sherise Kimura; Program Committee Co Chairs Jade Alburo & Gerard “Gary” Colmenar; Anniversary Program Booklet designers Florante Ibanez & Brian Leaf; our brilliant Finance & Budget Committee Co-Chairs Dora Ho & Heawon Paick, Publicity/Outreach Committee Co-Chairs Young Lee & Sandy Wee, Raffle & Prizes Chair Tinamarie Vella, our super San Francisco to-go contacts Brian Huynh & Janet Tom; and to our creative web designer and logo creator Young Lee!
Below is a list of accomplishments and highlights during 2014-2015:
SUCCESSION PLANNING & STREAMLINING
VISIBILITY & PROMOTION
SCHOLARSHIPS & AWARDS
PROFESSIONAL & LEADERSHIP DEVELOPMENT
I could not emphasize enough my sincere thank yous to everyone who have contributed in helping me shape and create a shared vision for APALA during 2014-2015. Many – many THANK YOUs go out to many-many people! It takes an entire community to make incredible things happen!!
It has been an honor to serve as the President of APALA over the past year. I look forward to working as the Past Immediate President with the new Executive Board in 2015 as we strive to achieve our new strategic directions under the leadership of incoming President, Janet Clarke, Vice-President/President Elect Lessa Pelayo-Lozada, Secretary Anna Coats, Treasurer Dora Ho, Member-at-Large Brian Leaf, Member-at-Large Arianna Hussain, Member-at-Large Paolo Gujilde, and Member-at-Large Melissa Cardenas-Dow. APALA is lucky to have such a talented board and membership!
THANK YOU FOR BEING A PART OF THIS YEAR’S APALA 35th Anniversary!
Eileen K. Bosch
APALA President, 2014-2015
Dear APALA members,
In celebration of the Asian Pacific American Librarians Association’s 35th anniversary, APALA wishes to honor a diverse array of APA librarians who are helping to shape our profession. The roster compiles the names of retired, current, and future APA librarian leaders who have made and are still making a significant impact in librarianship since 1980, the year that APALA was founded, and will continue to make such contributions in the future. Several librarians listed in the roster have served as Presidents of both APALA and CALA, the Chinese American Librarians Association.
The roster is divided into two sections: APA Library Leaders – Current & Retired and APA Library Leaders – Future Voices. The first section highlights some of the incredible APA librarian leaders who have attained distinguished positions and roles as deans/directors of academic (university and community college) and public libraries, as well as state librarians and library school deans; American Library Association (ALA) Executive Board members, Division Presidents and Office Directors; and achieved other noteworthy professional accomplishments.
The second section honors aspiring APA library leaders who may not have yet attained distinguished positions; however, their leadership skills have been essential in guiding and leading current policy and important conversations that are helping to shape the future of our library profession. They make our field more flexible in, and embracing of, the changes that are necessary to keep it thriving and sustainable, and especially attractive to future APA librarians. The categories include: ALA Councilors, ALA Emerging Leaders, ALA Leadership Institute Selected Participants, ARL Leadership Fellows, Library Journal Movers & Shakers and PLA Leadership Academy Fellows.
The roster of APA Library Leaders is not intended to be comprehensive or final. It is our hope that this list becomes a living document that will continue to evolve and change as more APA library professionals provide input and feedback as to names to include and more information to add or revise. This list will serve as a resource for library leaders, library administrators, library and information professionals, library educators, and library students to enhance and promote a more diverse workforce and to inspire future APA librarians to empower the library communities they serve. These are the best and brightest voices of today that are shaping the profession of tomorrow.
Dr. Ken Yamashita
APALA President, 1996-1997
Eileen K. Bosch
APALA President, 2014-2015
Note – This roster is a continuation and expansion of the list of Asian American library directors/deans compiled by Ben Wakashige in 2007 and inspired by Dr. Jian-Zhong “JZ” Zhou’s research on Asian American library leadership on 5/2012.
To view the list, please download the roster: APA Library Leaders Roster.pdf