Dao Strom

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Dao Strom is the author of a bilingual poetry/art book, You Will Always Be Someone From Somewhere Else (AJAR Press, 2018), a hybrid-forms memoir We Were Meant To Be a Gentle People + music album East/West (2015), and two books of fiction, The Gentle Order of Girls and Boys (2006) and Grass Roof, Tin Roof (2003). Her work has received support from the Creative Capital Foundation, RACC (Regional Arts & Culture Council), Oregon Arts Commission, National Endowment for the Arts, Precipice Fund, and others. She is the editor of diaCRITICS and co-founder of the collective She Who Has No Master(s). Twitter/Instagram: @herandthesea

Editor’s Closing Notes: Currents

Over the past two years of editing diaCRITICS (and over the last decade of contributing to both DVAN and diaCRITICS), I’ve given much thought to the tensions between the individual and the collective, in particular to how this is weighted for a Vietnamese person in the diaspora, who must navigate multiple points of pressures, both internal and external, familial and societal.

‘Human is a Half-Open Being’: An Interview with AJAR Press

My hopes and questions for AJAR are not separate from my hopes and questions for the Vietnamese language in its survival from all violences of the past [I am pessimistic and not exaggerated] and in its encounters with the other’s languages.

Matt Huynh: Cabramatta

I was conscious that the readership would be much broader and unfamiliar with the historical and political context against which much of Cabramatta’s gangs emerged, became Australia’s heroin capital and infamously led to Australia’s first political assassination.

Editor’s Note: Looking Toward 2020

Two years ago this time I was preparing to assume the editorship of this blog, diaCRITICS, from Viet Thanh Nguyen, and having many thoughts about diaspora and the vantage points—both fluid and fixed—it can...

Making A Case for the Interior Life of the Diaspora

It is only the failure of the American imagination and perception—a failure and inability to recognize and make space for the full imaginative agency of Vietnamese visions—that has perpetuated the notion of a dearth or naivety of art of the Vietnamese diaspora.

Never Go Away: Neustadt Prize Nominee Hoa Nguyen on Her Poetry

I never considered poetry as career and forever reject the corporate model to poetry. I never approached making art like that; I sought to be more like my dream: to remain a student to poetry and to be myself.