Within a Sky Full of Earth

Welcoming the New Year, St. Paul's Corner is joining forces with you for the best expectations of 2009. A unique and great flavour to start the year to come. Forget the troubles and embrace the next year with a big smile full of good hopes. Are not the others who make it happen, who make it good or bad, it's you, you are the one in control! So... what are you waiting for? Make it shine! Make it big! Restart if needed! And Dance all night long!
Located on the heart of the most Famous Historical Landmark of Macau, the Corners Club, in collaboration with Bloom * Creative Network, invite you for a delightful evening of fun and joy. With live music, DJ's, Stand-up mike performances and a dance floor to twinkle the best beat on you. Don't miss it!

VENUE: St. Paul's Corner - The Corner's Club Rooftop Bar
ADDRESS: Travessa de S. Paulo 3,5 & 7
ORGANIZED BY: The Corners Club and Bloom * Creative Network
WITH: Beto Ritchie, DJ Kunming and Buds
DATE: 31st of December, 2008 - 10 pm
FEE: 80 MOP (60 MOP on advanced booking*) - Entrance + Countdown Champagne
* You can book your entrance by email: cornersclub@ymail.com or root@bloomland.cn / by phone SMS: (+853) 66821066 or (+853) 66800024 - stating your name and contact.

[MORE INFO AT: www.stpaulscorner.com and www.bloomland.cn]

A morte saiu à rua num dia assim
Naquele lugar sem nome para qualquer fim
Uma gota rubra sobre a calçada cai
E um rio de sangue de um peito aberto sai
O vento que dá nas canas do canavial
E a foice duma ceifeira de Portugal
O som da bigorna é como um clarim do céu
Vão dizendo em toda a parte o Pintor morreu

Teu sangue, Pintor, reclama outra morte igual
Só olho por olho e dente por dente vale
À lei assassina à morte que te matou
Teu corpo pertence à terra que te abraçou
Aqui te afirmamos dente por dente assim
Que um dia rirá melhor quem rirá por fim
Na curva da estrada há covas feitas no chão
E em todas florirão rosas de uma nação
[JOSÉ AFONSO • 1972 - TEMA DEDICADO AO POETA JOSÉ DIAS COELHO, ASSASSINADO PELA PIDE EM 19 DEZ 1961]

Fundação Oriente inaugura exposição fotográfica sobre Timor - verbas revertem a favor de projecto de Desenvolvimento Sustentável em Baucau, Timor-Leste

Uma exposição fotográfica sobre as gentes e paisagens de Timor-Leste vai estar patente na Galeria da Casa Garden da Fundação Oriente durante um mês, com inauguração marcada já para esta sexta-feira, dia 19, pelas 18:30. As fotografias de “Timor-Leste – Olhares Emergentes de uma Terra” são da autoria de Fernando Madeira, um conhecido fotógrafo de Macau e membro da associação “naTerra – Associação de Educação para o Desenvolvimento Sustentável”.
Com esta mostra pretende-se angariar verbas para a próxima iniciativa da associação “naTerra”: “Raio de Sol – um projecto de sustentabilidade em Timor Leste”, em que o grupo se propõe a construir um Centro Comunitário de Educação para o Desenvolvimento Sustentável em Baucau, contribuindo para que a população se torne mais auto-suficiente através do desenvolvimento de infra-estruturas, educação e partilha de competências. Conseguindo reunir as verbas necessárias, cinco dos elementos da associação partem para Timor em finais de Fevereiro do próximo ano.
“naTerra” é uma associação sem fins lucrativos que desenvolve projectos na área da Educação para o Desenvolvimento Sustentável. Fundada em Macau, surge da união de várias pessoas com o objectivo comum de criar soluções ecologicamente saudáveis, economicamente viáveis e socialmente justas, particularmente a nível comunitário.
A “naTerra” participou recentemente no Festival da Lusofonia apresentando, no Auditório do Carmo, o projecto “Raio de Sol” e uma colecção de fotografias de Timor. São estas fotografias que ficam agora à venda na Casa Garden até dia 19 de Janeiro de 2009. A exposição está aberta todos os dias entre as 10h00 e as 19h00. As receitas revertem inteiramente a favor do projecto “Raio de Sol”.
• Para mais informações consulte a página www.naterra.org ou contacte a associação através de info@naterra.org.
• Artigo no Hoje Macau, por José Manuel Simões, sobre este projecto.
[A presente exposição conta ainda com o patrocínio do Café Ou Mu]

A Japanese male actor is needed for an event on Jan 13 in Hong Kong, acting as a Chef. Performance duration around 15 minutes, costumes provided.
Please send photos, resume and expected salary to Chans Productirons here.

EVENTUAIS RECEITAS DA VENDA DA ACTUAL LOJA VÃO REVERTER PARA O IPOR
Novo modelo de Livraria Portuguesa
vai continuar a cumprir o seu papel

Parece cada vez mais certo que a actual Livraria Portuguesa tem os dias contados. Porém, o presidente da Fundação Oriente acredita que o novo modelo a criar poderá até trazer mais benefícios.

O que vai acontecer à Livraria Portuguesa?
Pode ser vendida, mas ainda não está vendida. E quando for vendida, vai para outro sítio, chama-se Livraria Portuguesa e é obrigada a comprar os livros que a outra livraria comprava ou até mais. Não há razão para se estar a fazer esta tempestade num copo de água.
António Falcão será o candidato natural?
Pode ser. É um dos candidatos certamente – é o candidato com quem nós conversámos sobre o assunto.
Qual seria o modelo a adoptar?
Seria a Livraria Portuguesa manter-se e depois juntar a vertente “Bloom”, que também faz sentido.
E manter-se no antigo albergue da Santa Casa da Misericórdia?
Não, num outro sítio. Fui ver dois edifícios agora. O local seria alugado e o IPOR ajudaria no arranque.
O IPOR contribuiria com os seus livros?
O IPOR tem um “stock” próprio grande. Poderia entrar com esse “stock” na livraria. Haveria uma concessão que se mantinha, em moldes um pouco diferentes, porque iríamos exigir da parte do futuro concessionário que também participasse no investimento. Iríamos fazer uma livraria de raiz, o que tem custos. No primeiro ano, o IPOR daria um contributo.
E o dinheiro da venda das actuais instalações?
Seria destinado ao fundo do IPOR.
Como responde a quem diz que a cultura não é como os hambúrgueres e que uma entidade como a Livraria Portuguesa tem que ter a suportá-la uma instituição sem fins lucrativos?
Há [essa instituição] e continuará a haver. Qual é a diferença entre estar ali naquele cantinho ou a cinco minutos a pé do Leal Senado, onde é um dos locais que fomos ver? É um prédio inteiro, com quatro ou cinco andares, que tem espaço que poderia servir para exposições. De resto, esse é outro ponto a que também já respondi: a Casa Garden já foi colocada à disposição para esse tipo de eventos, bem como o auditório do IPOR.
A nova livraria continuaria a cumprir o seu papel nestes moldes?
Sim, porque podemos ter a componente portuguesa – que será sempre a maior –, e depois somar-lhe a vertente inglesa e a chinesa. A Livraria Portuguesa antes era uma fonte de despesa muito grande para o IPOR e deixou de sê-lo com a actual concessão. Mas o que mais me interessava não era o capítulo financeiro: é que existisse uma livraria em Macau que tivesse os manuais escolares e as últimas obras editadas em Portugal. Julgo que isso foi conseguido, embora há quem diga que não. Isso vai continuar a ser conseguido com o novo modelo e eventualmente de forma melhor – por isso é que se muda.
[POR EMANUEL GRAÇA • JORNAL TRIBUNA DE MACAU • 11 DEZ 2008]

A Bloom esteve presente na Feira do Livro da Escola Portuguesa de Macau, que decorreu nos dias de ontem e hoje, no átrio da escola. Com alguma afluência e alguns livros vendidos, o gosto de participar é sempre maior do que as intenções comerciais. Neste caso teria sido mais proveitoso estender a data da Feira e juntá-la ao dia da festa de Natal, em que os familiares dos estudantes estarão presentes com mais tempo e sem pressas, o que acontecerá amanhã. Voltaremos para o ano, no Dia Mundial da Criança. Obrigado.

[...] In regards to the Portuguese Bookshop, which the Orient Foundation announced last month it was planning on selling, Monjardino said the decision had not be made solely by the Foundation.
“The same as with the decision of [relocating] the Portuguese School [to the former Estoril Hotel, opposite Tap Seac Square], it is not the Foundation who makes them,” Monjardino said, adding that such decisions were made by general assemblies of the institutions involved. And even though the Foundation has some take in it, it a “minority,” whereas the Ministry for Foreign Affairs in Portugal deals with decisions regarding IPOR, a Portuguese Institute from the Orient, while the Ministry of Education in Portugal deals with issues relating to the Portuguese School.
However, what is being sold is not the bookshop itself, but the premises where the current bookshop is together with the first floor of the building.
“The bookshop will continue existing, and will continue being called the 'Portuguese Bookshop of Macau' slash the name of the other person who will manage the bookshop and is more specialised – if it ends up being him managing the store – in English-language books,” Monjardino said, adding that he thinks both English and Portuguese-language books should be sold in the same space.
“If this is done [having this person manage the bookshop], it will still be located within the city centre,” the president of the Foundation added.
Although no names were mentioned, the Macau Daily Times understands that the person in question is António Falcão, who managed the English-language bookstore Bloom, which was completed flooded when typhoon Hagupit hit the SAR in late September.
Falcão met yesterday morning with Monjardino, who was also scheduled to visit three premises yesterday afternoon with the unnamed person, in order to see which would be a more viable location for the Portuguese Bookshop.
“We will finance the space. We will help support the installation of the new bookshop and during a certain period of time, we will help with the rent and redecorate the building to have a 'proper' look,” the president of the Foundation said.
The new bookshop is also set to house the same sort of features, including an art gallery. [...]
SARA FARR • MACAU DAILY TIMES • 11 DEC 2008

For now we just want to add that Bloom is not only an "English-language" bookshop. From the beginning we are a multi-language project, mostly focused on Portuguese and English books.

This was the result of my creative writing exercise on Shirley Lim's workshop. After a process of relaxation, the idea was to bring back a distant smell from the depths of your memory. Writing freely without stopping for a few minutes.

It was the house. The view. As if you could smell the view. The floor, not the scent of the floor, but the touch as a smelly little torture. The doors. The walking in. The ring bell. The summer. The smile of the face that would walk you in. The face that is just a memory, ageless in time, as now and forever. The room inside. The weight of your jacket that was about to be put asside. Thorned. And then someone was there. Rich, perfect, beautiful. And that person was all hands. Hands lighting up a cigarette. Matches probably. Or a cigarette that would be lighten up by itself, just like that, with those magic hands. Hands that would flow to the pages of a book or so many books placed on the shelfs of the wall. And then he would hold his head in an endless thought. Endless in time. Through the steps of the memory.
But the smell was the smoke. The smoke all over the place, unnoticeable. Like the smoke of a gun that is about to blow your head. Smoking coming in and out, invisible, just targeting your eyes sleepless into your rememberings.
The hands that hold the cigarette, yes. And the smoke that from the truth was not really there.

Doet Boersma is a dutch artist who steps into Asia for the first time showind and presenting the project "Hong Kong Impressions". Having an inspiring time as an artist-in-residence at aco_air in Hong Kong, she converted all her impressions, meetings and feelings about HK into drawings on packaging papers dumped by offices around her studio at Fotanian, and also on rice papers and canvases. They show the atmosphere, intimacy and loneliness of being a passer-by in HK. In the talk, she will explain how she transformed her impressions into the artworks. and she will explain the differences between her former experiences as an artist-in-residence in Ireland and here in Hong Kong.

ABOUT THE ARTIST
Doet Boersma finished Art Academy in 1985 and worked years as a drawing and painting teacher in secundary school and vocational school. Since 1991 she founded her own painting school It Frysk Skildershûs, where now are teaching 12-15 artists. Since the late eighties she used more and more time for her own artistic career. Different themes passed, but landscapes were always the most important. In the landscapes, she could show her passions of light, directions, atmosphere and colour.
She painted in Italy, Portugal and France, worked in the European Academy in Trier, Germany (2006), had an artistic residency in Ireland (2006). And in Hong Kong, she had a residency for 6 weeks, painting Hong Kong impressions of streetmarkets and people in the street. The materials changed from canvas to rice-paper.

Hong Kong is a total different residency than I had before, because of the totally different culture and small spaces", she commented.

Doet is exhibiting in different countries in Europe.

Papoilas. Lírios. Rosas. Brincos-de-princesa.
Lembro-me de cheiros diferentes que se misturavam, tornando-se impossível distinguir. Cheiros que me invadiam enquanto circulava por diferentes jardins e parques em busca do conjunto de flores perfeitas.
O meu pai perguntava: "Estas servem?" Aproximava-me lentamente, absorvia o aroma, observava a cor, o formato e a textura. "Sim, servem", respondia, dependendo da sensação que me causassem.
No fim do dia, tinha conseguido reunir cheiros doces, frescos, acres, todos no meu caderno. Orgulhosa, entreguei-o à professora, com a sensação de dever cumprido.
Claro que, com o passar do tempo, os cheiros daquele caderno alteraram-se, mas, na minha memória, permanece o aroma daqueles campos abertos cheios de flores. Como se fosse o espelho da minha infância.
Luciana Leitão • Jornalista

Before time, everytime my sista like be the boss of the food.
We stay shopping in Mizuno Superette
and my madda pull the Oreos off the shelf
and my sista already saying, Mommy,
can be the boss of the Oreos?

The worse was when she was the boss
of the sunflower seeds.
She give me and my other sistas
one seed at a time.
We no could eat the meat.
Us had to put um in one pile on one Kleenex.
Then, when we wen' take all the meat
out of the shells and our lips stay all cho cho,
she give us the seeds one at a time
cause my sista, she the boss
of the sunflower seeds.

One time she was the boss
of the Raisinettes.
Us was riding in the back
of my granpa's Bronco down Kaunakakai Wharf.
There she was, passing us one Raisinette at a time.
My mouth was all watery
'cause I like eat um all one time, eh?
So I wen' tell her, Gimme that bag.
And I wen' grab um.
She said, I'ng tell Mommy.
And I said, Go you fuckin' bird killa;
tell Mommy.

She wen' let go the bag.
And I wen' start eating the Raisinetes all one time.
But when I wen' look at her,
I felt kinda bad cause I wen' call her bird killa.
She was boss of the parakeet too, eh,
and she suppose to cover the cage every night.
But one time, she wen' forget.
When us wen' wake up, the bugga was on its back,
legs in the air all stiff.
The bugga was cold.
And I guess the thing that made me feel bad
was I neva think calling her bird killa
would make her feel so bad
that she let go the bag Raisinettes.

But I neva give her back the bag.
I figga what the fuck.
I ain't going suffer eating one Raisinette at a time.
Then beg her for one mo
and I mean one mo
fuckin' candy.
BY LOIS-ANN YAMANAKA

"Boss of the Food" was the introdoctury text that Shirley Lim brougth to us. She read it aloud with all the tones of the little young girl who was supposed to be the voice of this story on the form of a beautiful poem. Lois-Ann Yamanaka is a Japanese American writer from Hawai. She often uses this Hawaiian Pidgin. Somehow shows how your inner voice can be reached on your own special language. And that's what was all about: bringing up your voice as a creative writer.

LIVRARIA “BLOOM” ORGANIZA “WORKSHOP”
Vencedora de dois “American Book Awards”, a escritora asiática Shirley Lim esteve ontem em Macau para falar e ensinar algumas técnicas de escrita criativa.

O antigo albergue da Santa Casa da Misericórdia de Macau foi ontem palco de um “workshop” de escrita criativa liderado pela escritora Shirley Lim, da Malásia e actualmente residente nos Estados Unidos. Durante duas horas, macaenses, portugueses, japoneses e americanos residentes na RAEM trocaram ideias e aprenderam algumas das principais técnicas de escrita criativa.
Depois de uma sessão de relaxamento, os alunos foram desafiados a ir buscar ao “baú das memórias” um cheiro que lhes lembrasse uma situação, sentimento ou vivência marcante. Depois, durante dez minutos, realizou-se um exercício de escrita livre, que Shirley Lim descreve como “um dos mais difíceis, pois requer a abstracção total do ambiente envolvente e da rotina”. O resultado foram alguns textos que poderão um dia dar origem a uma história curta ou até a um romance, “se o autor for persistente neste tipo de trabalho”, explica a escritora. Shirley Lim defende que “ser-se criativo é ter a capacidade de acreditar em si próprio e de aceitar riscos”.
No final da aula, os participantes leram os seus textos e trocaram ideias e Shirley Lim leu alguns poemas da sua autoria e outros resultantes do projecto “Moving Poetry”, que envolveu crianças de Hong Kong. Esta foi uma proposta diferente para uma tarde de sábado que partiu da Livraria “Bloom”.

Nascida em Malaca, Shirley Lim começou a escrever aos nove anos de idade e aos onze sabia que “queria ser poeta”. Depois de alguns poemas e histórias curtas publicadas na Malásia, partiu para os Estados Unidos. Hoje é professora na Universidade da Califórnia e realiza “workshops” de escrita criativa por todo o mundo, desde Hong Kong à Austrália, Singapura, Malásia. Esta foi a segunda vez que a autora veio à RAEM, depois de, em 2001, ter dado aulas a cerca de 400 crianças na Universidade de Macau.
Entre as obras publicadas de Shirley Lim, encontram-se “Monsoon History”, “Two Dreams”, “Among the White Moon Faces”, “Tilting the Continent” e “Life’s Mysteries”.
[POR PATRÍCIA NEVES • JORNAL TRIBUNA DE MACAU • FOTOS: BLOOMLAND.CN]

A Bloom agradece a: Shirley Lim, Andrew Moody e a todos os participantes; Bambu Sociedade de Artes Ltd., Santa Casa da Misericórdia de Macau, Casa de Portugal em Macau, Jornal Hoje Macau, Jornal Tribuna de Macau e Teledifusão de Macau. A todos o nosso obrigado!

Art for All is celebrating its 1st anniversary at St. Paul’s Fine Art gallery tomorrow, 8th of December, with a cocktail party at 6:30pm. Concurrently more than ten local prominent artists, including Konstantin Bessmertny, James Chu, Bianca Lei, James Wong, José Drummond, Cindy Ng, Ung Vai Meng, Ng Fong Chao, Tong Chong, Kent Ieong and João O, will display their works for rummage sale to raise funds for the art group’s 2009 operation.

Art for All is a non-profit association founded on 8th December 2007 by a group of Macao artists with the aim to promote the contemporary art development of Macao. Supported by the private organization St Paul’s Corner , in December 2007 Art for All moved to Travessa de S. Paulo to open and manage the gallery “St. Paul’s Fine Art” and six artist studios. In 2008 the gallery has already held seven solo and two collective exhibitions of Macao artists showcasing 100-odd art pieces, presenting local artists’ creative outcome in the past year. Furthermore, Art for All has organized artists to participate in large scale international art events such as the “Beijing Art Fair 2008” in September and the “2008 ACAF NY – Asia Contemporary Art Fair New York” in November, striving to promote Macao’s contemporary art overseas.

Apart from the Macao artistic base “St. Paul’s Fine Art”, Art for All sought development beyond the region. In October, it set up the Beijing Art for All Contemporary Art Exchange Center located at the 318 Art Garden in Beijing. Its debut exhibition - the “Macao Contemporary Art Exhibition” featuring 15 Macao artists and 24 representative works - has received wide acclaim from the mainland artistic community. It provides not only a window for introducing Macao artworks to the dynamic art market in Beijing, but also a platform for artistic exchanges, creating opportunities for local artists to develop in the capital.

On the same occasion, Art for All will unveil a commissioned installation work “High Ladder” by João O who is a Master of Art course student at the Barcelona University of Spain. The artist hopes to share his latest creative work with the audience.
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That is the name of our Newsletter. The first test issue is out. Check it HERE.

The Michelin Guide is extending its reach into China with a new edition ranking dining destinations in Hong Kong and Macau for the first time.

The French bible of gastronomy featuring 251 restaurants and hotels in the two Chinese cities is Michelin's second guide outside Europe and the U.S. The debut Tokyo edition was published in November 2007, with eight restaurants receiving Michelin's highest three-star rating. Being a best-seller right in the first week.
Michelin awarded 40 stars to 28 restaurants in Hong Kong and Macau, and two venues got the top ranking. Lung King Heen in Hong Kong's Four Seasons Hotel received three stars, while the hotel's French eatery Caprice won two stars. Inspectors also decided Robuchon A Galera at Macau's Lisboa Hotel, owned by casino mogul Stanley Ho, was worthy of Michelin's highest award.
The team of 12 undercover inspectors, including two Chinese, have been in Hong Kong and Macau testing about 1,200 establishments since late 2007, said Michelin Guides Director Jean-Luc Naret. Michelin plans to expand the guide into other parts of China, Mr. Naret told a news conference in Hong Kong.

The guide, which will go on sale tomorrow, Friday the 5th of December, is published in both Chinese and English. Bloom will have it available at Bloom Yellow in St. Lazarus' Albergue and more close to you at Ou Mun Café, just on the heart of town, on the corner of Senado Square.

• NEWS ABOUT MICHELIN GUIDE HONG KONG AND MACAU
• OU MUN CAFÉ AT LONELY PLANET

This is the event that will mark the return of Bloom to activity. We've been closed in both Red and Yellow during these past weeks. Flood came and we were gone. We can announce now that Bloom Red will be closed for good. We will not be part of the same square anymore, we will say goodbye to the Chinese Temple just in front. But the good news is that we're opening a new place soon near the center of Macau. But that will come in the near future and we will tell when time comes. This is now.
Shirley Lim is an awarded Asian American writer and will be in Macau for an afternoon at Bloom Yellow in St. Lazarus Albergue. The event will bring together a Creative Writing Class followed by a Lecture on Shirley's career of multi-ethnic discipline across the immeasurable world of Literature. A freedom where there's no language and no identity but an entirety mix of tones and voices. Shirley Lim is just an illustration of the diversity and quest for that exceptional accent.
Born in Malacca, Malaysia, into a life of poverty, deprivation, and abandonment in a culture that, at that time, rarely recognised girls as individuals, Lim had a pretty unhappy childhood. Reading was a huge solace, retreat, and escape. Scorned by teachers for her love of English over her "native" tongue. Her first poem was published in the Malacca Times when she was ten. By the age of eleven, she knew that she wanted to be a a poet.
These are just the first lines of a story. You should come for every bit of it. Will be on this coming Saturday, 6th of December, at 4 pm. Don't miss it.
As we have limited seats available you should send us an email to reserve your place.
[DOWNLOAD THE FLYER HERE OR CLICK ON THE IMAGE]

Levei-me a constatar que determinados meus gostos,
por mim sempre escolhidos a dedo e a preceito,
foram por ele vividos através de uma maneira que se limitou a ser.

Os meus gostos por tantas coisas
que ele gosta
e não encontro, porque não consigo, em mais nem menos ninguém.

Com as suas mãos,
soube trabalhar na perfeição
de quem conhece a sua arte,
o barro desse momento revelador
dessa rara recriação de um acontecimento.

Lá longe,
apesar de titular de um bilhete interrupto dessa distância,
dei por mim,
a moldar a sua hipotética felicidade,
que poderia um dia vir a sentir nossa,
de um modo infeliz.
sempre de um modo infeliz.

Shirley Geok-lin Lim was born in Malacca, Malaysia, came over to the United States as a Fulbright and Wien International Scholar in 1969, and completed her Ph.D. in British and American Literature at Brandeis University in 1973. She has published two critical studies, Nationalism and Literature: Writing in English from the Philippines and Singapore (1993) and Writing South East/Asia in English: Against the Grain (1994), and has edited/co-edited many critical volumes, including Reading the Literatures of Asian America; Approaches to Maxine Hong Kingston’s The Woman Warrior; Transnational Asia Pacific; and Power, Race and Gender in Academe; and three special issues of journals, Ariel (2001) on microstates, Tulsa Studies, on transnational feminism, and Studies in the Literary Imagination, on contemporary Asian American literature. Her work has appeared in journals such as New Literary History, Feminist Studies, Signs, MELUS, ARIEL, New Literatures Review, World Englishes, and American Studies International. She edited/co-edited Asian American Literature; Tilting the Continent: An Anthology of South-east Asian American Writing; and The Forbidden Stitch: An Asian American Women's Anthology which received the 1990 American Book Award. Among her honors, Lim has received the UCSB Faculty Research Lecture Award (2002) and the Chair Professorship of English at the University of Hong Kong (1999 to 2001), as well as the University of Western Australia Distinguished Lecturer award, Fulbright Distinguished Lecturer award, and t J.T. Stewart Hedgebrook award. She has served as chair of Women’s Studies and is currently professor of English at the University of California, Santa Barbara.
Lim is also recognized as a creative writer. Her first collection of poems, Crossing the Peninsula (1980), received the Commonwealth Poetry Prize. She has also published four volumes of poetry: No Man's Grove (1985); Modern Secrets (1989); Monsoon History (1994), which is a retrospective selection of her work; and What the Fortune Teller Didn't Say (1998). Bill Moyers featured Lim for a PBS special on American poetry, "Fooling with Words" in 1999, and again on the program “Now” in February 2002. She is also the author of three books of short stories and a memoir, Among the White Moon Faces (1996), which received the 1997 American Book Award for non-fiction. Her first novel, Joss and Gold (Feminist Press, 2001), has been welcomed by Rey Chow as an “elegantly crafted tale that places Lim among the most imaginative and dexterous storytellers writing in the English language today.” Her second novel, Sister Swing, appeared in March 2006, and her children’s novel. Princess Shawl, was published in March 2008.
• SHIRLEY LIM ON WIKIPEDIA