Decades ago, a cousin of mine one evening left his car in a multi-storey car park near a Manchester theatre where the English National Opera Company was soon to start a performance. When my cousin went to get his car to drive home he found a chorus of opera goers doing the same. Quite a few of them had started earlier than him. The car park's one exit, scores of cars, and the helical exit ramp inadequately serving six or more floors meant that getting to the fee kiosk took around half an hour.
When David's turn to pay came he saw that the fee was for over four hours' parking and he knew that his car had only stood three and three quarter hours on the space he was asked to pay for having occupied longer. (More than once, he's described the evening in detail and that point never changes.) David told the car park attendant that he thought the fee asked was mistaken and he said why he did. The attendant adhered to that tradition of British service that, in the seventies and eighties, gave National Car Parks' its unparalleled reputation. David sat in his Volvo - one of those big ones, often built as estate cars - and said something like, "If I'm going to be late because of poor egress [can't be his word but his point] arrangements have delayed my starting the 30-mile drive home then I'm going to pay for the parking I had, no more." Drivers behind the Volvo began to ask what had ended their slow progress. They did so in growing numbers - some with threats, others with offers to 'pay the difference.' David rehearsed his intention, ignored the threats, and declined the offers. The delayed drivers' frustrations grew. Sitting in his kiosk the attendant came to appreciate that it was less strong than the Volvo; he 'phoned for advice and began to negotiate. (Not all traditions are inviolable.) David said if he were given the home telephone number of the area manager for the car park company then he would pay for 'up to four hours' and leave. 'Knowing my cousin, he may have remarked that he'd had time to form a clear memory of the attendant's face. For sure, he got a 'phone number and, to less than happy acclaim, drove off. Home again, about one in the morning, he rang the 'phone number and heard a man whose voice suggested the call had awoken him. David established the man worked managing car parks. He went on to mention that on this night, which they were enjoying, an opera had been performed at the theatre near the car park he had used and he explained that, with many similar users having to pay before they could each drive their car away, to get from the parking spaces to the fee kiosk took long enough to increase parking charges asked. Increases that were, David said, clearly objectionable. The man seemed to think being awoken in the early hours was the same. Certainly, he asked did David know what time it was. David said he did, even mentioned the time, and added that if he had not been so delayed leaving the car park he would not have been 'phoning as he was. The upshot of these delays and alarms was that on opera nights an extra attendant was employed to pencil on each driver's car park tickets the time he, or she, drove from the floor where they had parked the vehicle they drove.
From a 2007 visit to my native country, which I left 27 years ago, and from having there, for 12 days, hired a car, I guess that if anybody, for more than one minute, nowadays halted a queue of cars leaving a city car park he, or she, would risk being thought a terror suspect and becoming subject to detention without charge for interrogation lasting up to 28 days - or is it now 42? (Unlike the Pope, on matters of faith, or car parking agents, on new ways to get more money, I could be wrong*.)
* "I beseech you, in the bowels of Christ, think it possible you may be mistaken", is a plea Oliver Cromwell made, on 3rd August 1650, in a letter to the General Assembly of the Kirk of Scotland. Remembering it when I'm perplexed has often been of use to me; saying it to anybody supremely confident and yet incompetent has helped me, too.
Two years ago after lunch time with nobody watching and with no special happening, we opened our doors for business. Just like that. The birds were on the trees, people were coming out of the temple, the motorbikes from the shop in the corner were all there doing their job, shinning. That was the official opening day of Bloom * Creative Network, culminating a long process of bringing up a bookshop to town. It happened near the Inner Harbour, quite near of San Ma Lou and just in front of the big hole that would come to be the Ponte 16.
Well, Ponte 16 is still there, like a wall crawling upwards from the river banks. We're not. In between these two instants, the Opening in 2007 and Today, something happened. For a while a big hand of water was in the wrong moment in the wrong place. It was on the night of the 23rd of September last year. Suddenly reality gave a jump into fiction and from then till now we still can't differ one from another.
Did we have a bookstore in Hong Kung Miu Square? Did we sell books? Are we on the book business? What's Bloom anyway? Can't we remember? These are questions we can answer easily but in a way we can always tell that random response because now it just doesn't matter. We're out of the field. What matters is what will come next and we're still on the last lines of the period of disaster drawing the scratches of the whole new scenario. Fast and furious fiction passing on into a real frame again. Like the pages of a book that were just thorned aside. By water.
"What's next for Bloom?", you might ask.
First we have to deal with what we're doing in the present time when present time doesn't exist. Are we solving things? Are we on the way up? Are we back in town? The thing is that we still have a sattelite of what was left of Bloom enterprise. It's at Old Ladies House, now renamed Albergue. We called it Bloom Yellow, because of the colour of the building, but even that we've dismissed and we're there only on weekends or when the sun shines bright. But a sattelite without a planet to orbit what is it? Could be a ship adrift on the vast ocean of stars? An orphan crying for help? Perhaps a stray dog lost in the alleys of a city when it should be on the country side. Barely, we don't know.
We're on the future already and we have to wait for the world to rejoin. We're calling our strenghts to go forward and to push everyone aboard. Things changed and we're connected now to all the Natural Causes. Big things we want to do like helping to save the Planet. To enforce the endangerous blindness of our human fellows to come across on a different path. To be conscious and endure. This is not about books, or selling them, or about beautiful stories or some sort of miraculous creativity. This is not about Chinese, about Portuguese or English speaking commuters. It's not about the form. This is about us. This is about what's underneath and what's left of the Darwin evolution. It's not the economic crisis, this is much ahead. And what's in front of our eyes is a delightful Bloomland. This is the deal of our Nature and not about the gambling of what we are. We're not impaired or alone here. It's just the same flesh and blood. The same feet where you can put a pair of shoes. Even if we pretend by repeating the same acts everyday now, we're not kids anymore, we should've been grown-ups by now and we should step at the fore and not in the back.
That's what we stand for, to make a better place to live.
Today, the day of our second anniversary, we were not open. Neither on any colour. We loosened ourselves to the greener part of this land and we're just there making time flow. No candles, no sail. No one to watch. No special happenings. Just the birds, the dogs, the trees on the wind and the power of nature showing its force. And for this instant, day after day, we think everything will go on its place, sooner or later. But what's today if tomorrow's already gone?
Apart from all we'd like to thank you for your patience and apologize for all the flaws we might sourced. As soon as we stitch all the bits of our sail, Bloom 2.0 will come soon to an harbour near you. Don't need to tune it, we'll came just like that, as a natural cause.
[ON THE PHOTO BLOOM RED ONE YEAR AGO]
The House on Mango Street (1984) written by Sandra Cisneros is one example of contemporary Chicana literature that represents a feminist voice for Mexican-American women. Through the new experimental literary style, she expresses a series of Chicana problems in a male-dominated society, in which people value the idea of ‘machismo’ or the belief that men are superior to women in various aspects.
Although the feminist’s movement has emerged in the US since 1960s as a large group of women has been trying to fight against gender discrimination, it seems only liberal white middle-class women have been able to successfully challenge the power of male supremacy. On the other hand, women of colour, members of ethnic and working class minority, have been excluded from the social mainstream, and their problematic status as ‘the other’ has never evolved. Thus, Mexican-American women have not only struggled for equality with men in their own patriarchal society and the world at large, but they have also tried to find a way to be part of the white-dominated Women’s Movement.
As an ethnic writer from a Mexican-American community, Cisneros does not only create a unique ‘voice’ or what she calls ‘the suppressed voice’ of a Chicana, but she also drives forward a new literary form that is different from the ‘standard’ literary canon of male-writers.
In The House on Mango Street, instead of focusing on the protagonist, Esperanza, and her process of growing from adolescence to adulthood which can generally be found in most coming of age fictions or bildungsroman, Cineros dedicates many vignettes to the lives of other Chicanas on Mango Street through Esperanza’s point of view. As a result, readers can see the development of Esperanza’s self-discovery and self-definition as she narrates along her own stories. Also, her narrations of other female neighbours’ lives show how these powerless women, sharing the same misery in the oppressed society, have a major impact on her perception as a woman growing in a Mexican community. The relationship between Esperanza and these other women helps her, in a dramatic way, to understand herself, and it also motivates her to escape from the Chicano patriarchal society. Additionally, Cisneros’ poetic prose written in fragmentary forms do not only represent the fragmentation of the life of the protagonist who has to search for her identities, but also the way she breaks grammatical rules parallels how Esperanza breaks traditional roles, cultural norms and social expectations of Chicanas.
At the beginning of The House on Mango Street, Cisneros states “A las Mujeres” or “To the Women”, which implies that she dedicates her work to both female readers and Chicana women in Mexican-American society whose lives are portrayed in her fiction. With this assumption in place, Cineros, as a writer, bears in mind that her creativity together with the power of language can free women from the world of silence regardless of their ethnicity.
The House on Mango Street, by Sandra Cisneros • VINTAGE • 1984
Lots of people always think about Phuket as a romantic getaway. Anyway, apart from beautiful beaches, Phuket old town is full of splendid old Sino-Portuguese buildings which I found very charming.
Lawrence was the name, the only one he staged. That's how everybody knew him. No surname, not a family story. Felt was his band and he was one of my cult heroes back in the 80's. Still is, I guess, in a different shape. From time to time I step across his work and for days I play all his songs again. In these occasions I try to check where he is and what he's doing. Nobody knows, as nobody knew before. He had a hard character but the music is timeless and life flies back and forth.
[...] With just 20 minutes, Paul Kelly's Lawrence Of Belgravia was half the length but twice as dismaying, a yellowed fragment of a work-in-progress concerning the eternally deferred ascent to fame of the former Felt and Denim frontman, Lawrence (pictured above). With its beautifully composed opening shots of brown medicine bottles, hypodermic syringes and overflowing ashtrays, and accompanying crestfallen voiceover as the singer explained his forthcoming eviction, Lawrence Of Belgravia initially seemed closer in spirit to Arena’s 1986 Jeffrey Bernard documentary or Molly Dineen’s 1987 BBC2 account of Colonel Hilary Hook’s return home to England from Kenya; a peripatetic digression down the curious path of a singular life.Other link about the documentary featuring the leader of the english band Felt, is here. Complete it with this one by the hand of Alan McGee the face of Creation Records. Finally follow the whole ballad of the band here. If you want to hear his songs pass by Bloom Yellow one of these weekends. You might hear a bird whistling it. We're still mad at them.
[...] A work in progress, Lawrence Of Belgravia could eventually transform into the UK pop equivalent of Terry Zwigoff’s Robert Crumb documentary, a haunting portrait of a dysfunctional soul using art as a survival mechanism. Or it could remain forever a fragment, the unfinished document of a still unfinished dream. In its current version it stands as one of the most affecting films this writer has seen all year.
BY ANDREW MALE AT MOJO MAGAZINE
Japanese comics have been famous in Thailand for a long time. High school girls enjoy reading love stories while the plots that most boys love to read are about sports and fighting.
O bom das estradas é que elas nos permitem ir até onde quisermos.
Reflexos sobre o pensamento exausto, sintomas de aléns memorizados no inconsciente, que eus? Que Deus Mulher de saias? Destino em vias travessas, ocasos e poréns de nós, panteras enterradas no jardim dos sonhos.
I will be
the first person in history
to die of boredom
and I will have as my epitaph
the second line of 'black ship in the harbour'
I'll rest this case
condemn my race
I'll stab a knife into the face
of any man who dares to oppose me
DECLARATION by FELT • POEM OF THE RIVER • 1987
astray
adverb
1 the shots went astray OFF TARGET, wide of the mark, awry, off course; amiss.
2 the older boys led him astray INTO WRONGDOING, into error, into sin, into iniquity, away from the straight and narrow, off the right course.
ARTIGO SOBRE HENRIQUE SENNA FERNANDES NA REVISTA BRASILEIRA BRAVO 
Toca o telefone no escritório de advocacia do escritor macaense Henrique de Senna Fernandes. Chamada de São Paulo. Em Macau, ex-colônia portuguesa na Ásia e desde 1999 região administrativa especial da República Popular da China, os relógios estão no futuro — nesta época do ano, dez horas a mais em relação ao Brasil —, mas o idioma no qual se expressa o jornalista que procura pelo autor ficou no passado. "Can you speak in English?", pergunta do outro lado da linha, com voz constrangida e sotaque achinesado, uma assistente de Senna Fernandes, logo que ouve as primeiras palavras na língua da antiga metrópole.
O episódio reforça a ideia de que Senna Fernandes (1923) talvez represente o último capítulo de peso da história da literatura produzida em português no continente asiático — ou, ao menos, em Macau. Assim, a publicação no Brasil de dois livros do ficcionista, Nam Van (contos, 1978) e Amor e Dedinhos de Pé (romance, 1986), já constituiria, por si só, um acontecimento editorial. Há, no entanto, algo mais a sublinhar: a obra do autor é um paradigma da expressão identitária de Macau, moldada a partir da fricção entre as tradições portuguesa e chinesa, disso resultando uma "cultura de encontro". "O macaense é precisamente o produto do equilíbrio de várias culturas, entre as quais se destacam a portuguesa, a raiz, e a chinesa, o solo. Eu sempre quis mostrar essa possibilidade de duas culturas tão díspares encontrarem uma plataforma de entendimento e de adaptação, criando um mundo novo", explicou o escritor em entrevista a BRAVO.
[TOTALIDADE DO TEXTO AQUI] [FOTO BLOOMLAND.CN]
When I get there I close my eyes. There's still some road to drive, but from that little corner, from the set of those trees leading the curve, I don't need to see any further. I take my hands of the wheel, with my eyes completly shut, I let myself go. It's beautiful. I can hear the happiness of the birds. I can almost touch that home at the end. And I can feel my whole world apart becoming reunited. For a moment it seems just like a dream.
Then I open them again. My eyes. And that's when I crash.
You are still on time. Of the 500 limited copy edition there are a few available just for you.
Created in 1957, the Swiss-born Helvetica font has now become the most iconic typeface and more than a year after its 50th birthday, it continues to fascinate the world. The "Tribute to Typography - Helvetica, Past, Present and Future of the Typography" exhibition was organised at the Laforet Museum in Harajuku.
To celebrate this extraordinary font, Moleskine collaborated with the Helvetica foundation and acclaimed Japanese designers GROOVISIONS to create two special editions of the legendary notebooks (black and red). A limited edition of 500 of each notebooks will be available in very selected retailers in Asia and online at www.moleskineasia.com, to the pleasure of all fans of this legendary font. In Macau you can order it with us, just by throwing an email to Bloom.
HELVETICA • THE FONT
In 1957, Eduard Hoffman and Max Miedinger designed the sans-serif typeface "Helvetica" for movable metal type at Haas Type foundry, Switzerland.
This was first called "Neue Haas Grotesk", and then renamed "Helvetica", which is derived from "Confoederatio Helvetica" meaning Switzerland in Latin, in 1960. Since then, this typeface was diffused rapidly, being used for the Corporate Identities of public facilities and companies, etc., jacket designs of music albums, street displays, and posters.
Then, its derivatives increased, including the modified version "Helvetica Neue", in 1983. Helvetica has been cherished around the world as the most frequently-used typeface over the past half century, and is still outstandingly popular in the present age of digital typography. In Japan, this became a designated typeface for the first time at the Tokyo Olympic Games in 1964, and used as a standard typeface at national events, including the Osaka Expo'70, and now is the unmatched one adopted for the Cls of firms, including JR, products, and fashion.
HELVETICA • THE MOVIE
Helvetica is an independent feature-length documentary film about typography and graphic design, centered around the typeface of the same name. Directed by Gary Hustwit, it was released in 2007 to coincide with the 50th anniversary of the typeface's introduction in 1957.
Its content consists of a history of the typeface interspersed with candid interviews with leading graphic and type designers, including Wim Crouwel, Michael Bierut, Erik Spiekermann, and Massimo Vignelli. The film aims to show Helvetica's beauty and ubiquity, and illuminate the personalities that are behind typefaces
Limited Edition of the "Tribute to Typography - Helvetica, Past, Present and Future of the Typography" exhibition
192 pages • 9x14cm • acid-free paper
Special Edition with Moleskine Hard Black Ruled Notebook.
Design by GROOVISIONS, with logos debossed on both covers, customised banderole and history of Helvetica printed on the backend page.
Limited Edition with 500pcs in Asia.
MOP$198.00 •
I asked this old lady if I could take a photo of her and her shop located near my university. And of course, she kindly said "Yes." I have been buying magazines and newspapers from this shop for 12 years, but today was the first time that I noticed its name.It's dark. It's dark and wet in here. Everything seems chaotic. Hectic. Frantic. I can hear voices out there. Noises and anxious souls waiting out there. Thunders. No, don't drag me out. I want to stay here. Like I've always had. A turbulent move just pushed me to the ground. And now I feel the heat on my soaked body. I can barely open my eyes but I sense the rays of light around me. It's a bright and sunny day. And all I've got now is hope. Yes, hope.
Cesca
We cannot. So we're investing all our stakes straight on the future. That's where we're looking at.
- What's your business? - Someone would ask.
- Our business is the future!
That's the only way to be.
Cidade
Sem muros nem ameias
Gente igual por dentro
Gente igual por fora
Onde a folha da palma
afaga a cantaria
Cidade do homem
Não do lobo, mas irmão
Capital da alegria
Braço que dormes
nos braços do rio
Toma o fruto da terra
É teu a ti o deves
lança o teu desafio
Homem que olhas nos olhos
que não negas
o sorriso, a palavra forte e justa
Homem para quem
o nada disto custa
Será que existe
lá para os lados do oriente
Este rio, este rumo, esta gaivota
Que outro fumo deverei seguir
na minha rota?
por JOSÉ AFONSO
porquê mais água
se essa me sobeja
e a sede já passou
ESTIMA DE OLIVEIRA, 1996
One thing that Bloom is about is the intent to build a network of creative supplies. Today we come with a list of stage castings scheduled for this weeks, mainly in Hong Kong. If you are interested or know someone who might be just use the contacts bellow.
Thank you and good luck:
• ACTORS/MODELS WANTED [BANK TV COMMERCIAL]
The Film Factory is casting for a TVC. They require Hong Kong people or Asian looking talent.
1. BOSS - Male, age 40-50, Cantonese speaker.
2. AGENT - Male or Female, age 25-30, Cantonese speaker.
3. BANK STAFF - Female, age 20-30, Cantonese speaker
4. WAITER - Male, age 20-30
Casting Dates: 19-24 January, 2009
Contact: Apple
Email: casting@filmfactory.net
Ph: 9655 5514
• ACTORS WANTED [SHORT FILM]
This company is looking for two actors for an upcoming short film. The film is about internet romance, sex and virtual identity.
1. MALE - Chinese, age 30-35, average build.
2. FEMALE - Chinese, age 30-35, good body.
Auditions: After Chinese New Year
Email: kjacobs@cityu.edu.hk
• ACTORS/MODELS WANTED [BANK TV COMMERCIAL]
Such Films is casting for a TVC.
1. FATHER - Male, age 30+, Cantonese speaker.
2. KID - Male, age 5-7, Asian look.
3. LADY - Female, age 20-25, ABC/Asian look
4. MIDDLE AGE WOMAN - Female, age 45-60, Cantonese speaker
Contact: Candy
Email1: candy.f@suchfilms.com.hk
Email2: puiie29@gmail.com
Ph: 9426 4152
• FEMALE FILIPINO ACTOR WANTED [MOVIE]
Star Fantasy is looking for a female Filipino actor to play a Filipino maid.
Shooting Dates: End February, 2009
• CHILD FILIPINO ACTORS WANTED [MOVIES]
Star Fantasy is looking for a range of young Filipino's for various main and extra roles in upcoming movies.
1. BOYS & GIRLS - Age 5-8
2. GIRLS - Age 11-13
Shooting Dates: February & March, 2009
Contact: Keely Chow
Email: starfantasy@gmail.com
Ph: 9163 3376
• ACTORS WANTED [VIDEO GAME]
This company is looking for actors to play roles in a video game for release in the US.
1. ELSIE - Female, Caucasian, blonde, height 5' - 5'6", age 20-25, American accent, must be able to ice skate (martial arts training is a plus).
2. INES - Female, Chinese/Eurasian, height around 5 foot, age 20-25, American accent.
3. TOOTHBRUSH - Female, age 20-25, dark skinned, brunette, height around 5'7"+, Australian accent.
4. FRIDA - Male, age 20-25, Indian/Mexican/Middle Eastern, thin, American accent, height shorter that 5'11".
5. DICK - Male, age 20-25, Korean/Chinese/Japanese, overweight, height 6 foot+, American accent.
6. KING KONG - Male, age 40-50, Asian, tall, lean, American access (bald is a plus).
7. UNCLE S. - Male, age 30-50, dark skinned Asian/Indian, lean body.
8. PRIEST VEGETA - Male, age 20-30, Korean/Chinese/Japanese, average height, American accent.
9. GRANDMA LEUNG - Female, age 55+, short, Chinese, American accent.
10. SYDNEY OPERA - Male, age 30-40, blonde, average height, Australian accent, looks like Steve Irwin.
This job may span over the next few months or possibly year. Please send headshot and resume.
Audition Dates: End February, 2009
Email: matthew@uglyproductions.com
• ACTORS/MODELS WANTED [HEALTH DRINK TV COMMERCIAL]
A variety of actors are wanted in the following roles for a health drink TVC.
1. COLLEGE STUDENTS - Male and female.
2. YOUNG PARENTS
Casting Date: February 15, 2009
Shooting Date: Early March, 2009
Contact: Stephanie
Email: steph.casting@gmail.com
Phone: 9263 2355
• MALE ACTOR WANTED [WORDYBIRD THEATRE COMPANY]
This company is looking for a middle aged male actor of any nationality to play the role of Paul Sheldon in a stage version of 'Misery' by Stephen King.
Casting Date: 3 February, 2009.
Contact: Jodi
Email: briang@netvigator.com
Ph: 9193 6640
Go get them!
The Albergue opened officialy yesterday. Lights, sound, exhibitions, a fashion show, scheduled the event that started at 6 o'clock with a a mighty organization and a crowded audience. Among them many of the VIPs of Macau leaded by the Chief Executive, Edmund Ho. It was an effusive ocasion to glow a line of projects that are coming to this venue. The event marked the intention to grow to a new level. The potential is all there, we will see in the coming months what the future reserves for the whole space and for the district of St. Lazarus where creative industries pretend to flow.
For our part, Bloom is still displaced on the heart of its body. We're still walking and beating but through alleys and sideways. If there's the challenge to overcome for a new life, on a second and strong opportunity, on the same way we are faced for a huge operation that must be accomplished without scars and that needs certainty and consistency. We just want to clean everything, forget the past and start from ground zero onwards. Still today it's hard and painful to return to Bloom Red where the bones and remains of its destruction are completly visible. It's a nightmare on air going through weeks and weeks and we're tumbling down on the way to something that will come, but has time goes it gets more close to a dream then to anything else. We're hoping for the happy ending though.
Bloom Yellow is at Albergue, where the flashes went on. But even there we're faraway to engage on something solid, because we're still raining. Yellow is part of a rainbow and can't be made of shaded colors. We'll give it time. But we can't last forever on the side of un-definition.
Apart from all that, with or without us, Bloom wishes a long life and a great success to Albergue.
[PHOTO BY BLOOMLAND.CN | CLICK TO ZOOM IN]
Não se tem passado muito aqui por este lugar. Estamos meio absortos na esperança de uma resolução que possamos tocar com as mãos. Até lá é isto. Um céu. Um tempo. A terra que nos segura. Não existirá para sempre por baixo dos nossos pés.
Mas iremos voltar a este posto com mais regularidade muito em breve.
This is for Boys and Girls! You just need to bring your guts and come along with us. Where SPEED beats TIME in real life!
Hey, are you a speed racer? Are you feeling cold this Winter? Are you sure? It doesn't matter if you're sure or note, what matters now is SPEED and TIME! Everyone knows that! You should also know.
So, while you're thinking, while you wait for something better later in the year, why not coming for a great afternoon in the depths of tarmac just outside the border of Macau. Yeah, it's in Gongbei, in China, across the main road of shops and bars, where they have these menus with everything for sale.
Meet up at the Border Macau/Zhuhai. Sunday afternoon at 2pm. Or send SMS to 66800024. Or look for Sergio Perez on the radar, he's the guy to beat!
PRICE: 120 RMB for 30 minutes (in periods of 10 minutes races.)
DAY: Sunday, 18 January 2009. 2 PM.
WHERE: Somewhere in Zhuhai City!! Follow us!
[CHECK HERE FOR THE GREEN HOUSE, is around there]
If you are looking for the best speaker system to pair with your mobile sound device, Zikmu is the choice to make.
Zikmu is the product of the association between the leader in wireless mobile telephony devices Parrot and the awarded designer Phillipe Starck. The system is a set of 2.5 feet tall speakers that use Bluetooth to communicate with each other. Thanks to Parrot's NXT technology they are able to relay sound 360° arround the room , using an extra-flat mebrane to create small-scale vibrations across the speakers' entire surface.
"We were not aiming to create just another speaker," says Philippe Starck. "Our design focused more on making the air vibrate. There is actually a three-dimensional feel to this vibration, meaning that the air is palpable, almost humanlike in presence, like a fragrance."
They're not around yet, you still have to wait untill Spring. In the meantime you can start to save your money because this combo will cost around 12 000 HK$ (1.500 US$). The good news is that you're not buying just an extreme sound quality for something you use everyday but also a work of art on a unique piece of design that you can always be proud, just for looking at. [SOURCE: ECOUSTICS]
• PRE-ORDER OR ASK A QUOTATION AT BLOOM BY THROWING US AN EMAIL.
MX-LIBRIS is a new kind of taxi vehicle for the Latin American region. With zero-emissions and an iconic form, it aims for a friendly urban appeal.
MX-LIBRIS is a zero-emissions vehicle incorporating a range of selected technologies from the transportation industry that are appropriate to the Latin American region. The vehicle has been specifically designed as a taxi, taking into consideration the cultural, urban transit, demographic and climate conditions of cities in Latin America. The use of technologies such as fuel cells and “drive-by-wire” make a more optimised use of space by replacing mechanical components with electronic ones and therefore providing more interior space. The vehicle is compact but high to facilitate access for passengers and driver.
The exterior design, which strictly follows its functionality, has been designed to intentionally become an icon of Latin America. Its asymmetric and sui-generis (or unique) form – moving away from typical car styling – make it a memorable object that locals and tourists will recognise as a forward-thinking icon, as opposed to a follower of car trends. The interior design, also asymmetric, responds to the functional needs of both passengers and driver. The interior layout maximises the use of space and promotes interaction between passengers by placing the fourth one facing the other three as well as leaving a central hallway for access.
In terms of sustainability, the design considers several aspects – from the no-emissions technologies to material selection and energy consumption. The aesthetic design does not follow either a sports or family car look because it deliberately aims to create a new segment of public transport with a friendly urban appeal.
[SOURCE RED-DOT]
• CREATED BY ZANIC DESIGN
Macau should just address the importance of these matters and help to create solutions to solve the serious problem of polution in the city. Build a MX-LIBRIS made in Macau, we have everything to learn with this project and use it to carry on, building a bright future. That's why BLOOM is here, to help creating better worlds. Come with us!
HAPPY NEW YEAR!
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.
Carlos Monjardino em entrevista ao JTM
2 comments Semeado por / Sowed by: Bloom * Creative Network at 23:35EVENTUAIS 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.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.
“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
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.
Shirley Lim veio a Macau dar aula de escrita criativa
0 comments Semeado por / Sowed by: Bloom * Creative Network at 12:13LIVRARIA “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”.
SHIRLEY LIM COM ALGUNS DOS PARTICIPANTES NA SESSÃOEntre 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 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.
Bloom welcomes Michelin guides in Macau
2 comments Semeado por / Sowed by: Bloom * Creative Network at 11:30
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.
This coming Saturday: Shirley Lim at Bloomland
0 comments Semeado por / Sowed by: Bloom * Creative Network at 16:22
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
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