In "Angels for the Burning," David Mura examines the experience of contemporary Asian-Americans and the various aspects of familial history between first-, second-, and third-generation Japanese-Americans. Mura believes one of poetry's tasks is to explore the challenges to our identities as we encounter various "others" and other visions of ourselves and our world. Mura's new collection of poems attempts to accomplish this task.

David Mura is a poet, nonfiction writer, critic, playwright and performance artist. His numerous awards include a Lila Wallace Readers Digest Writer's Award and two NEA fellow-ships. He has been featured in a number of PBS shows on literature, art and identity. He lives in Minneapolis, MN.

Uncovering the pernicious narratives white people create to justify white supremacy and sustain racist oppression The police murders of two Black men, Philando Castile and George Floyd, frame this searing exploration of the historical and fictional narratives that white America tells itself to justify and maintain white supremacy. From the country's founding through the summer of Black Lives Matter in 2020, David Mura unmasks how white stories about race attempt to erase the brutality of the past and underpin systemic racism in the present. Intertwining history, literature, ethics, and the deeply personal, Mura looks back to foundational narratives of white supremacy (Jefferson's defense of slavery, Lincoln's frequently minimized racism, and the establishment of Jim Crow) to show how white identity is based on shared belief in the pernicious myths, false histories, and racially segregated fictions that allow whites to deny their culpability in past atrocities and current inequities. White supremacy always insists white knowledge is superior to Black knowledge, Mura argues, and this belief dismisses the truths embodied in Black narratives. Mura turns to literature, comparing the white savior portrayal of the film Amistad to the novelization of its script by the Black novelist Alexs Pate, which focuses on its African protagonists; depictions of slavery in Faulkner and Morrison; and race's absence in the fiction of Jonathan Franzen and its inescapable presence in works by ZZ Packer, tracing the construction of Whiteness to willfully distorted portraits of race in America. In James Baldwin's essays, Mura finds a response to this racial distortion and a way for Blacks and other BIPOC people to heal from the wounds of racism. Taking readers beyond apology, contrition, or sadness, Mura attends to the persistent trauma racism has exacted and lays bare how deeply we need to change our racial narratives-what white people must do-to dissolve the myth of Whiteness and fully acknowledge the stories and experiences of Black Americans.

Long recognized as a master teacher at writing programs like VONA, the Loft, and the Stonecoast MFA, with A Stranger's Journey, David Mura has written a book on creative writing that addresses our increasingly diverse American literature. Mura argues for a more inclusive and expansive definition of craft, particularly in relationship to race, even as he elucidates timeless rules of narrative construction in fiction and memoir. His essays offer technique-focused readings of writers such as Junot Diaz, ZZ Packer, Maxine Hong Kingston, Mary Karr, and Sherman Alexie, while making compelling connections to Mura's own life and work as a Japanese American writer. In A Stranger's Journey, Mura poses two central questions. The first involves identity: How is writing an exploration of who one is and one's place in the world? Mura examines how the myriad identities in our changing contemporary canon have led to new challenges regarding both craft and pedagogy. Here, like Toni Morrison's Playing in the Dark or Jeff Chang's Who We Be, A Stranger's Journey breaks new ground in our understanding of the relationship between the issues of race, literature, and culture. The book's second central question involves structure: How does one tell a story? Mura provides clear, insightful narrative tools that any writer may use, taking in techniques from fiction, screenplays, playwriting, and myth. Through this process, Mura candidly explores the newly evolved aesthetic principles of memoir and how questions of identity occupy a central place in contemporary memoir.

Award-winning poet David Mura's critically acclaimed memoir Turning Japanese chronicles how a year in Japan transformed his sense of self and pulled into sharp focus his complicated inheritance. Mura is a sansei, a third-generation Japanese-American who grew up on baseball and hot dogs in a Chicago suburb, where he heard more Yiddish than Japanese. Turning Japanese chronicles his quest for identity with honesty, intelligence, and poetic vision and it stands as a classic meditation on difference and assimilation and is a valuable window onto a country that has long fascinated our own. Turning Japanese was a New York Times Notable Book and winner of an Oakland PEN Josephine Miles Book Award. This edition includes a new afterword by the author.

A brilliant and rich gathering of voices on the American experience of this past year and beyond, from Indigenous writers and writers of color from Minnesota In this significant collection, Indigenous writers and writers of color bear witness to one of the most unsettling years in the history of the United States. Essays and poems vividly reflect and comment on the traumas we endured in 2020, beginning with the arrival of the COVID-19 pandemic crisis, deepened by the blatant murder of George Floyd by Minneapolis police officers and the uprisings that immersed our city into the epicenter of passionate, worldwide demands for justice. In inspired and incisive writing these contributors speak unvarnished truths not only to the original and pernicious racism threaded through the American experience but also to the deeply personal, in essays about family, loss, food culture, economic security, and mental health. Their call and response is united here to rise and be heard. We Are Meant to Rise lifts up the astonishing variety of BIPOC writers in Minnesota. From authors with international reputations to newly emerging voices, it features people from many cultures, including Indigenous Dakota and Anishinaabe, African American, Hmong, Somali, Afghani, Lebanese, Korean, Vietnamese, Japanese, Puerto Rican, Colombian, Mexican, transracial adoptees, mixed race, and LGBTQ+ perspectives. Most of the contributors have participated in More Than a Single Story, a popular and insightful conversation series in Minneapolis that features Indigenous and people of color speaking on what most concerns their communities. We Are Meant to Rise meets the events of the day, the year, the centuries before, again and again, with powerful testament to the intrinsic and unique value of the human voice. Contributors: Suleiman Adan, Mary Moore Easter, Louise Erdrich, Anika Fajardo, Safy-Hallan Farah, Said Farah, Sherrie Fernandez-Williams, Pamela R. Fletcher Bush, Shannon Gibney, Kathryn Haddad, Tish Jones, Ezekiel Joubert III, Douglas Kearney, Ed Bok Lee, Ricardo Levins Morales, Arleta Little, Resmaa Menakem, Tess Montgomery, Ahmad Qais Munhazim, Melissa Olson, Alexs Pate, Bao Phi, Mona Susan Power, Samantha Sencer-Mura, Said Shaiye, Erin Sharkey, Sun Yung Shin, Michael Torres, Diane Wilson, Kao Kalia Yang, and Kevin Yang.

In Turning Japanese, poet David Mura chronicled a year in Japan in which his sense of identity as a Japanese American was transformed. In Where the Body Meets Memory, Mura focuses on his experience growing up Japanese American in a country which interned both his parents during World War II, simply because of their race. Interweaving his own experience with that of his family and of other sansei-third generation Japanese Americans-Mura reveals how being a "model minority" has resulted in a loss of heritage and wholeness for generations of Japanese Americans.

In vivid and searingly honest prose, Mura goes on to suggest how the shame of internment affected his sense of sexuality, leading him to face troubling questions about desire and race: an interracial marriage, compulsive adultery, and an addiction to pornography which equates beauty with whiteness. Using his own experience as a measure of racial and sexual grief, Mura illustrates how the connections between race and desire are rarely discussed, how certain taboos continue to haunt this country's understanding of itself. Ultimately, Mura faces the most difficult legacy of miscegenation: raising children in a world which refuses to recognize and honor its racial diversity.

Intimate and lyrically stunning, Where the Body Meets Memory is a personal journey out of the self and into America's racial and sexual psyche.

The poetry of David Mura has been praised for its verbal music, its contradictions of rage and reconciliation, and its curious sense of hope in a world riven by racial and cultural differences. Of his first book, After We Lost Our Way, Amy Clampitt said, "The range and force of his evocative gift are counterbalanced by a quick intelligence and a redemptive and surprising tenderness." In The Colors of Desire, his second book of poems, Mura explores the connections between race and sexuality, history and identity, through the lens of desire. From an Issei farmer's lament for an America he knew before internment to a French prostitute who speaks of her Asian lovers, the various voices of these poems reveal how cultural desire shapes personal history and how collective history shapes individual desire. In the title poem, Mura assembles a collage of memory and history that links America's racism to our sexual culture, whose pornography equates whiteness with beauty and color with degradation. In the longest sequence of poems, "The Affair," Mura portrays an obsessive, destructive adultery between two married lovers, an Asian-American man and a Caucasian woman, that unmasks the painful conflicts among sex, race, and fidelity. Confronting the promise of a multicultural America, Mura ends the book with a series of poems addressing his legacy to his daughter. In "Gardens We Have Left," Mura contemplates how his daughter will inherit both his father's internment and his own rage over assimilation as she fashions her own identity. As he traces his family's path from a Japanese village to America, Mura sees the "rocking unbroken joy" of love in his daughter, who becomes his "hymn to America." TheColors of Desire offers a powerful meditation on the nature of desire within the matrix of race and culture.

Long recognized as a master teacher at writing programs like VONA, the Loft, and the Stonecoast MFA, with A Stranger's Journey, David Mura has written a book on creative writing that addresses our increasingly diverse American literature. Mura argues for a more inclusive and expansive definition of craft, particularly in relationship to race, even as he elucidates timeless rules of narrative construction in fiction and memoir. His essays offer technique-focused readings of writers such as Junot Diaz, ZZ Packer, Maxine Hong Kingston, Mary Karr, and Sherman Alexie, while making compelling connections to Mura's own life and work as a Japanese American writer. In A Stranger's Journey, Mura poses two central questions. The first involves identity: How is writing an exploration of who one is and one's place in the world? Mura examines how the myriad identities in our changing contemporary canon have led to new challenges regarding both craft and pedagogy. Here, like Toni Morrison's Playing in the Dark or Jeff Chang's Who We Be, A Stranger's Journey breaks new ground in our understanding of the relationship between the issues of race, literature, and culture. The book's second central question involves structure: How does one tell a story? Mura provides clear, insightful narrative tools that any writer may use, taking in techniques from fiction, screenplays, playwriting, and myth. Through this process, Mura candidly explores the newly evolved aesthetic principles of memoir and how questions of identity occupy a central place in contemporary memoir.

There is no writer that dives deeper (or more bravely) into the chasm that is the human heart. David Mura's] first novel is a tour de force: luminously written and by turns crafty, tough, wise, and joyful.-Junot Daz Ben Ohara is the sole surviving member his family. A troubled and brilliant astrophysicist, Ben's younger brother has mysteriously vanished in the Mojave Desert. His father, one of a small group of WWII draft resisters (known as the No-No Boys) during the internment of Japanese Americans, committed suicide when Ben was young. And his mother, whose wish to escape the past was as strong as his father's ties to it, has died with her secrets. Now struggling to support his wife and children and under pressure to complete his historical study, Famous Suicides of the Japanese Empire, Ben realizes that the key to unlocking the future lies in reassessing the past. As Ben vividly recalls a childhood colored by the tough Chicago streets, horror movie monsters, sci-fi villains, Japanese folktales, and TV war heroes, he begins to understand the profound difference between coming of age and becoming a man. And by retracing his brother's footsteps and returning to the site of the Heart Mountain Internment Camp, Ben uncovers a truth that has the power to set him free. An acclaimed memoirist, poet, and playwright, David Mura is one of America's most insightful cultural critics. His memoirs, Turning Japanese and Where the Body Meets Memory, along with his poems, essays, plays, and performances, have won wide critical praise and numerous awards. Visit his website at www.davidmura.com.