Literary Festivals Preview in British Columbia

I'm grateful for the opportunity to share with audiences LiterASIAN Writers Festival, a project that I've been a part of since its inception in 2013.  When I stepped into the role of Festival Director for the LiterASIAN Writers Festival for my friend and mentor Jim Wong-Chu in 2017, I was joining something more significant than a literary event—I was entering a living, breathing community of storytellers, advocates, and cultural builders. Founded by the Asian Canadian Writers’ Workshop (ACWW), LiterASIAN has always been more than just panels and readings. It's a space where diasporic voices not only gather but resonate.

As Festival Director, I had the privilege—and the challenge—of shaping a festival that would honour its roots and reflect the complexities of the contemporary Asian Canadian voice and experience. Each year, we asked ourselves: Whose voices have we not heard yet? How can we expand the literary imagination while remaining grounded in the community that made this possible?

Curating the festival lineup is like assembling a beautifully embroidered mosaic.  I worked with emerging writers just beginning to find their voice, like Emi Sasagawa and Michelle Kim, and with seasoned authors who had paved the way through decades of literary activism, such as Fred Wah, Anosh Irani, and Joy Kogawa. Inviting intergenerational conversations across different career stages and languages, histories, and geographies is vital.  Over the past thirteen years, the festival has hosted book launches, cross-genre performances, and challenging but necessary discussions on race, mental health, identity, and the politics of publishing.

I'm proud that we continued to make space for healing through storytelling. Especially during years marked by social unrest and a pandemic that exposed—and worsened—racial inequities, LiterASIAN became a kind of sanctuary—not one that shied away from hard truths but one where people could speak them and still be met with care.

I'm appreciative that being the Festival Director was never a solitary role. I was buoyed by the tireless work of volunteers, artists, editors, and organizers—many juggled this commitment alongside day jobs, caregiving, or their own creative work.  Their dedication reminded me that literature does not live in isolation but in people, relationships, and the spaces we build together.

Now, as I look back on my time directing the festival, I carry with me not just a catalogue of events but a constellation of moments: a young writer breaking into tears after their first reading, an elder sharing stories in their mother tongue, a room full of strangers leaning in at the same time. That is the power of LiterASIAN. And I’m honoured to have helped guide its story—even for a chapter.

 

A Reflection of a Decade as an Editor

It’s been a wonderful experience as Editor of Ricepaper Magazine. It’s hard to believe, but it’s been ten years since I joined the magazine. My editorship has impacted the publication and the broader landscape of Asian Canadian literature and culture. Under my leadership, the magazine evolved from a community-based Asian Canadian literary journal into a nationally recognized literary and arts publication showcasing the voices of the Asian diaspora. My vision helped bridge generations of writers and artists, fostering emerging talent while honouring established creators.

On March 27, I will speak at the Federation of BC Writers on a panel with distinguished magazine editors. I’ve reflected on my role in the magazine industry and want to share some of the highlights of my time at the helm of Ricepaper.

To amplify diverse Asian Canadian narratives, I’ve tried expanding the magazine’s focus beyond traditional literary content. I've highlighted various artistic expressions—including film, visual arts, and performance—and given space to intersectional stories around identity, diaspora, and belonging.

I’ve also been a big proponent of the magazine’s mentorship and community-building role. Through editorial initiatives, workshops, and events, I’ve nurtured new writers and creatives, many of whom gained national attention.  My focus on mentorship helped solidify Ricepaper as a launchpad for Asian Canadian talent. I’m extremely excited about the Jim Wong-Chu Emerging Writers Award winner Jinwoo Park’s new novel The Oxford Soju Club.

As a historian and librarian, I see Ricepaper's archival and historical significance. I am honoured to play a role in documenting and preserving the evolving Asian Canadian experience, creating a cultural archive that continues to be referenced by scholars, students, and creatives.

My leadership fostered collaborations with organizations such as academic institutions, literary festivals, and universities through collaborative projects and partnerships, further embedding Ricepaper in national conversations on diversity and inclusion.

Finally, adaptation in a digital age has been a core tenet of my work.  Ricepaper also embraced digital publishing and new media, helping the magazine remain relevant in changing literary and media landscapes. We’ve continued harnessing digital technologies (social media, podcasting, video sharing) to stay relevant and shift the magazine from mainly text-based content to a multimodal media organization.