Ting. J. Yiu is a Stockholm based writer with an MA in Transnational Creative Writing. She writes poetry, fiction and creative non-fiction. Her short story Gutting is the final Epigraph Project piece for 2020. In this interview with the editor, she talks about her fascination with true crime and diaspora narratives, and why she writes about ugly and unorthodox women…
Yoshiko Teraoka is a London-based writer. Her research project on anarchist bookshops and libraries has previously appeared in the online visual platform UNDERSCAN. Her essay A Boxing Match with Jerry, or Death in Three Parts is available to read now as part of Epigraph Project, supporting new and emerging Asian New Zealand writers…
Feby Idrus is a writer, musician and arts administrator from Dunedin. In 2018 was one of four playwrights selected to take part in the Fortune Theatre’s Emerging Playwrights mentoring programme. She also writes programme notes for the New Zealand Symphony Orchestra – rather a different proposition to writing short stories…
Grace Yee writes poetry, essays and short fiction. Grace’s PhD research at the University of Melbourne focused on settler Chinese women’s storytelling in Aotearoa New Zealand. In this interview, she talks about her recent research and her magpie approach to writing poetry…
kī anthony is an autistic lesbian of Indian and Chinese descent. They are the fourth writer whose work has been selected for Epigraph Project. In this interview, they talk about representation for sex workers, their early experiences with tech and open source, and how the internet is both our oppressor and the means for radical change…
Nicole Tan’s speculative fiction, Fission, features as the third Epigraph Project of 2020. In this latest interview, Tan talks to editor Amy Weng about what drew them to this genre of fiction, what being a diaspora writer means, and their longstanding interest in fanfiction…
In this first interview for Epigraph, a project introducing readers to new and emerging Asian New Zealand writers, Hainamana editor Amy Weng speaks to Nithya Narayanan about Inheritance, the grotesque body, and the role that fiction can play in conceptualising precarity and trauma…
AMY WENG | The year of the pig has barely begun with lunar festivities still winding down, yet there’s no sign of rest and relaxation ahead. Here’s our top nine things to do this week to keep the celebrations goings…
AMY WENG | The beginning of September marks the opening of the Asian Aotearoa Arts Hui 2018, and a three-week long celebration of diverse Asian New Zealand creative arts. Ahead of the event, past and present hui organisers Kim Lowe, Amy Weng and Kerry Ann Lee caught up to talk about how the hui has developed, what issues remain unsolved, and what hope this year’s event will bring…
AMY WENG | What can a farcical relationship between a man and a woman teach us about language, loss and living? This winter, Eugène Ionesco’s Les Chaises (The Chairs), has been adapted by four Aotearoa theatremakers into Pākeha English, Te Reo Māori, Samoan and Cantonese. Editor Amy Weng caught up with the Cantonese season producer Renee Liang, and director Hweiling Ow, to reflect on the importance of language on and off the stage…
AMY WENG | Louie Bretaña is a graduate of Elam School of Fine Arts and the College of Fine Arts, University of the Philippines. His work actively challenges Euro-western colonial histories through relational practices, encouraging a respectful engagement with culture via conversation and food…
AMY WENG | As part of the Auckland Fringe Festival, Proudly Asian Theatre presents the New Zealand premier of Roots [根], in association with Auckland Lantern Festival. Amy Weng caught the show at Uxbridge in Howick. Roots [根] will also play at Q Theatre from 1 – 3 March 2018…