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Asian Canadian Writers' Workshop (ACWW): Difference between revisions
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ACWW began the late sixties – early seventies with a handful of community activists turned writers. The earliest publications featured two anthologies: ''Inalienable Rice: A Chinese and Japanese Canadian Anthology'' (1979) and ''West Coast Line: The Asian Canadian and the Arts'' (1981). | ACWW began the late sixties – early seventies with a handful of community activists turned writers. The earliest publications featured two anthologies: ''Inalienable Rice: A Chinese and Japanese Canadian Anthology'' (1979) and ''West Coast Line: The Asian Canadian and the Arts'' (1981). | ||
Founding members began to publish: Paul Yee’s ''Teach Me How to Fly Skyfighter'' (1983) ( illustrated by SKY Lee); Jim Wong-Chu’s ''Chinatown Ghosts'' (1986); Paul Yee’s ''Curses of Third Uncle'' (1986), Tales of Gold Mountain (1989); SKY Lee’s ''Disappearing Moon Café'' (1993). These pioneers saw the need to form an organization to promote our history and literary culture. The idea of ACWW was born. The seminal ''Many-Mouthed Birds anthology'' (1991) also served to awaken the mainstream to the richness of Chinese Canadian literature. This was followed by:<br><br> | Founding members began to publish: Paul Yee’s ''Teach Me How to Fly Skyfighter'' (1983) ( illustrated by [[SKY Lee]]); Jim Wong-Chu’s ''Chinatown Ghosts'' (1986); Paul Yee’s ''Curses of Third Uncle'' (1986), Tales of Gold Mountain (1989); SKY Lee’s ''Disappearing Moon Café'' (1993). These pioneers saw the need to form an organization to promote our history and literary culture. The idea of ACWW was born. The seminal ''Many-Mouthed Birds anthology'' (1991) also served to awaken the mainstream to the richness of Chinese Canadian literature. This was followed by:<br><br> | ||
• Denise Chong’s ''Concubine’s Children'' (1994); <br><br> | • Denise Chong’s ''Concubine’s Children'' (1994); <br><br> | ||
• Sky Lee’s ''Bellydancer'' (1994); <br><br> | • Sky Lee’s ''Bellydancer'' (1994); <br><br> | ||
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Up to the end of that first decade, ACWW was a major influence on the Asian Canadian literary world and worked hard to uncover emerging writing talent and assisting them in finding publishers. ACWW fundraised to create an ACWW Emerging Writer’s Award. The $4,000 award was innovative because it was a strategy to attract manuscripts from emerging writers. The $4000 award was given to the publisher as incentive to help cover editing and production costs. Although there could only be one winner, ACWW worked on the other manuscripts in hopes that one day they too will find their way to a publisher. <br><br> | Up to the end of that first decade, ACWW was a major influence on the Asian Canadian literary world and worked hard to uncover emerging writing talent and assisting them in finding publishers. ACWW fundraised to create an ACWW Emerging Writer’s Award. The $4,000 award was innovative because it was a strategy to attract manuscripts from emerging writers. The $4000 award was given to the publisher as incentive to help cover editing and production costs. Although there could only be one winner, ACWW worked on the other manuscripts in hopes that one day they too will find their way to a publisher. <br><br> | ||
• One of these success stories is Terry Woo’s ground-breaking ''Banana Boy''s (2005). It was one of those shortlisted for the 1999 Asian-Canadian Writers' Workshop Award. <br><br> | • One of these success stories is Terry Woo’s ground-breaking ''Banana Boy''s (2005). It was one of those shortlisted for the 1999 Asian-Canadian Writers' Workshop Award. <br><br> | ||
== Emerging Writer's Award == | == Emerging Writer's Award == | ||