The Beiging of America
Personal Narratives about Being Mixed Race in the 21st Century
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Contributor

Dream of the Water Children
Memory and Mourning in the Black Pacific
Introduction by Gerald Horne
Foreword by Velina Hasu Houston
Edited by Karen Chau

Fredrick D. Kakinami Cloyd

FREDRICK D. KAKINAMI CLOYD is an independent writer, scholar, artist/performer, and activist whose work focuses on history and the individual in relation to social justice. He was born in Japan shortly after the official U.S. Occupation of Japan. His Black-American and Japanese heritages are fuel for his book and project on the historical Black Pacific. Cloyd has been published in such publications as Kartika Review, Oakland Word, The Pacific Reader, Nikkei Heritage, as well as featured on various radio and television programs and interviews. He received his Masters in a former incarnation of a postcolonial social cultural anthropology program at California Institute of Integral Studies in San Francisco. His studies took him to Europe and Turkey with a focus on advocacy and community-building with social justice as goal.

Most of his life work has focused on sports coaching as well as intercultural communication since the 1970s. In 2012, Cloyd was one of the artists featured in the Japanese National Historical Society (NJAHS) Exhibit celebrating the opening of a new Japanese-American museum in San Francisco entitled “Generation Nexus: Peace in the Post-War Era.” He currently does presentations, consults and facilitates workshops related to Black Pacific issues, anti-oppression perspectives on identity and social change, as well as writing for the Hapa Project based at the University of Southern California, and increasingly focused on developing “Dream of the Water Children” into a multi-faceted, multimedia project honoring inter-generational knowledge, memory, healing, and social.

Website: www.dreamwaterchild.com
Blog: www.dreamwaterchildren.net
Video: https://youtu.be/0YSSMdxS_lc

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2LP Conversations

Gonzales’s poems speak assertively, and the poet’s use of complex periodic sentences lends his lines accumulating power. My translation closely follows the poet’s syntax, and I hope that recreates the drive of the poems.

Lynn Levin

The Black Arts Movement made it clear that you’re not just writing for yourself, but for the masses. Poetry today is more about “me” as opposed to “we.” It’s more or less an ego exercise and much of it wallows heavily in the pathos of our lives.

Abiodun Oyewole

My primary goal with this novel was to pay my respects to William Faulkner’s classic The Wild Palms. Retelling Faulkner’s tale with Latino characters seems like a natural stage of literary evolution, one that mirrors the evolving literary relationship between our twin continents.

Ezra Fitz

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