Keynote
A brilliant second collection by Sally Wen Mao on the violence of the spectacle
Book Title
Oculus
Subtitle
Poems
Cover Image
- “The poems in Oculus are rangy, protean, contradictory. They offer an alternative to the selfie, that static reduction of a person to her most photogenic poses.”—The New Yorker
Poem Excerpt
I’ve tried so hard to erase myself.
That iconography—my face
in Technicolor, the manta ray
eyelashes, the nacre and chignon.
I’ll bet four limbs they'd cast me as another
Mongol slave. I will blow a hole
in the airwaves, duck lasers in my dugout.
I’m done kidding them. Today I fly
the hell out in my Chrono-Jet.
To the future, where I’m forgotten.
—from “Anna May Wong Fans Her Time Machine”
That iconography—my face
in Technicolor, the manta ray
eyelashes, the nacre and chignon.
I’ll bet four limbs they'd cast me as another
Mongol slave. I will blow a hole
in the airwaves, duck lasers in my dugout.
I’m done kidding them. Today I fly
the hell out in my Chrono-Jet.
To the future, where I’m forgotten.
—from “Anna May Wong Fans Her Time Machine”
Body
In Oculus, Sally Wen Mao explores exile not just as a matter of distance and displacement, but as a migration through time and a reckoning with technology. The title poem follows a girl in Shanghai who uploaded her suicide onto Instagram. Other poems cross into animated worlds, examine robot culture, and haunt a necropolis for electronic waste. A fascinating sequence speaks in the voice of international icon and first Chinese American movie star Anna May Wong, who travels through the history of cinema with a time machine, even past her death and into the future of film, where she finds she has no progeny. With a speculative imagination and a sharpened wit, Mao powerfully confronts the paradoxes of seeing and being seen, the intimacies made possible and ruined by the screen, and the many roles and representations that women of color are made to endure in order to survive a culture that seeks to consume them.
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About the Author
Credit: Cream/Jilian
Praise
- “In her stunning second collection, Mao stages a searing ventriloquy act. . . . These depictions speak and fight back against the white gaze that has framed them.”—NPR.org
- “By telling [Anna May] Wong’s story, and those of other women of color who have been defined by images in popular culture, [Oculus] explores the ramifications of being seen and objectified but never truly known.”—The Washington Post
- “Hauntingly perceptive. . . . An homage to pioneering Chinese Americans and an indictment of Asian representation in American culture, which never for a moment shies away from the difficult tasks of taking on race and history and technology all at once.”—Vulture
- “Mao’s kaleidoscopic verse scrutinizes our obsession with onscreen spectacles—and includes a tour de force sequence that imagines silent-film actress Anna May Wong time-traveling to star in Breakfast at Tiffany’s and Sixteen Candles: ‘Cast me as that girl who rivets center stage / or cast me away.’”
Acknowledgements
Acknowledgements
This book is made possible through a partnership with the College of Saint Benedict, and honors the legacy of S. Mariella Gable, a distinguished teacher at the College. Support has been provided by the Manitou Fund as part of the Warner Reading Program.
