Poet and lecturer Jenny Xie emigrated to the United States from Anhui, China, at the age of 4 with her paternal grandmother, to reunite with her mother and father. Her parents had left China for the United States when Jenny was an infant—her father to pursue his PhD in mathematics at Rutgers University, with her mother following him shortly thereafter. She recalls there being a large contingent of faculty members who had emigrated from China living in Rutgers graduate housing, describing the experience of living there as that of living in an enclave: Chinese academics and their families relied on one another for child care, group dinners, and a social community. At home, Jenny was expected to conform to what her parents and extended family members expected of her as a Chinese American girl; however, she was also expected to learn English, to excel in public school, and to assimilate into American society outside of the home. Early on, Jenny developed a love for reading, often being left to read when her parents were busy or attending to errands. Jenny is the author of the poetry collections Nowhere to Arrive and Eye Level ; her work has been featured in Poetry magazine, the American Poetry Review, and the New Republic , among other publications.
Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem?
See a Problem?
The title theme weaves a cohesive fabric of perception—the physical, metaphysical, and cultural act of seeing and being seen—among a rich array of topics ranging from solitude to heritage, migration to land and dis placement. Each poem explores the tension between active agency and vacancy, language and the lack thereof, and attempts to establish bridges and distance simultaneously. The speaker is both enjoined in the common fabric of humanity and its shared experiences and distanced by her position as the observer, the eye that witnesses and records, but ultimately even her solitude is reconciled; while in isolation, her poems embrace the truth that loneliness is universal. Objects and abstract concepts take on an agency of their own, while people, such as the speaker, are sequestered behind the lens of the eye, seeing without being seen. The collection breaks down into four parts, and while each part considers and explores the overarching themes, Part 1 takes special interest in the subjects of travel, displacement, and the solitude that comes with being the foreign agent in a new location. Interacting with the landscape as much as the people, the speaker engages in the smells and colors an emphasis placed on white ness of Corfu and Phnom Penh, the zippered sounds of motorcars, lonely bar bathrooms, a can of Fanta, the wringing out of her youthful ambitions along with the excess water. Heavy garment. Part 2 also underscores the distance between two subjects, but here its scope widens, allowing for a legacy beyond the immediacy of the speaker and her surroundings. Positioned once again as the seer, she mines the double meanings her words and images convey.
When we started dating, he was in his fellowship. Or should I just run and avoid a lifetime of heartbreak. Be open to the wisdom the Spirit will share. Only idiots are unfriendly to non-Mormon spouses. Finally, the decision of whom you marry is really between you and God. My parents met when my mom was in 8th grade and married when she was I think my sister married fastest and knew her husband at least 18 months, dating for at least half that.