#trans by lyrics pinyin but edited

[4seasonswithiu]

[TRANS] 190711 OnlyU-IU China share fun moments they had with IU and her team on the set of Hotel Del Luna

Our staff members double checked the items before the departure with an anxious heart. Fortunately, we were able to reach the set on time despite the heavy traffic. The food truck, tent, tables and banners were all set up when we arrived at the set. Then, it took us another 40 minutes to prepare all the gifts by putting them carefully in each paper bag and stacking them up on the table beside the buffet tent.

Not too long after we were done with the gift preparations, manager Hanteo approached us, gave us his warm greetings before checking out the buffet tent. As the weather was pretty hot, Hanteo jokingly told us that he would ‘drink’ all the (Ghana) chocolates within the gift bag right away. When going through the other gifts, we especially pointed out that the Voluspa aromatherapy candles were for IU Team, so Hanteo thanked us in Mandarin, saying “xie xie!” as well.

He reminded us that since we would have to wait a little longer, so stay away from the sun in some shade. He also passed on the gifts to director Oh, actor Yeo Jin Goo and IU Team. Later, PD told us we could pass the gift to IU in person in a while.

We gave the staff of Hotel Del Luna the gifts we prepared as they passed by from time to time. During dinner time, some staff came to collect their gifts and we got the HDL team PD to pass on the remaining gifts to other busy staff on the set. 

Around 8PM, IU finally appeared in her pony tail, white loose t-shirt and pants. Since the coffee truck was right beside the entrance, so she took lots of proof photos with the help of Hyesun and the new manager (Moon Ji Hwan) first. After greeting us, she expressed her gratitude for the gifts and meal that we prepared, telling us that she would enjoy the meal and asking whether we were hungry as well or not. We still managed to answer her that we were ‘hungry’ though our mind went completely blank at that moment as we were softened by her sweet tender eyes. IU then invited us to join her for dinner.

The HDL team PD also encouraged us to sit beside IU for dinner. Together, we also had Hanteo, Hyeseon and the new manager (Ji Hwan) with us in one table, and thankfully all of them ate a lot. IU seemed to have noticed how nervous we were, so she kept initiating conversation with us. She said, “we (IU Team) are usually quiet whenever we eat, and given the hot weather and packed filming schedules today, so everyone’s still in a daze. Did all of you travel all the way from China? It must have been hard for you guys to be here given the scorching hot weather.” When she was told that some of us would have to catch the early morning flight in a bit, she frowned as pain and sadness clouded her features.

When eating, director Oh came by so IU introduced him to us and we quickly bowed to him. Director Oh was pretty adorable and not all that serious or solemn as he greeted us enthusiastically and expressed his gratitude for our support. He kept the Hotel Del Luna customised towel around his neck all the time, even when he was having his meal.

Seeing how most of them were almost done with eating, we brought out the gifts and explained to them about the Diptyque’s limited edition ‘The Legend of the North’ series’ candles first. IU was touched upon knowing that we chose the candles because it suited Man Wol’s mysterious aura, saying “ah~ because it suits Man Wol!”. She also let out a tiny ‘wow’ when we told her we bought GUCCI’s A Kiss from Violet perfumed oil for her because its violet scented (IU’s favourite). We also let IU have a look at our charity/ donation certificate, telling her that hundreds of Uaenas participated in this donation and some of us visited the institute with some necessities and played with the kids there to which IU replied ‘aigoo’ tsunderely/ proudly and dearly. She also asked about the details and complimented us ‘Hen BBang!’ (so amazing) in Mandarin since one of us personally went to the welfare institute. IU gave us a big thumbs up, saying ‘Zzen Bbang! Xie xie!’ (really amazing! thank you!) when we mentioned about the necessities that we have donated. One of us caught on the right timing of the atmosphere and started applauding, to which IU joined her right away, followed by Hyeseon, Hanteo and all HDL staff from other tables who had no idea of what’s going on. It suddenly turned into an ocean of harmony 😂.

Click here for more details of IU’s birthday gifts (candles and perfumes), fan donation and fansupport by OnlyIUcn.

We also told IU about her super topic ‘#IU’ that has accumulated over 10 billion reads on Weibo recently and she was ultimately shocked. Since she’s not familiar with how weibo functions, so we explained to her that the hashtag is sort of a community on weibo where people could leave their posts, comments, votes and screenshots there to support her. She seemed to have grasped on the super topic concept after going through some of our posts in the hashtag section and showed off the milestone achievement to people around her. 

IU: Hey, I achieved 10 billion reads! Hanteo and Hyeseon: As expected from the scale of mainland China, they don’t just simply go with (small numbers like) ten thousands when it comes to calculations.

We passed the <10 Years of Flower Road> book to IU, sharing with her that C-Uaenas designed, edited and compiled everything about her within this book in celebration of her 10th anniversary. We also tried to find the best printing manufacturer that we could to bring out the best quality of it. As soon as she got the book on hands, she kept gasping in admiration, saying “wow this is truly amazing. This is impressive, OnlyIU’s scale is no joke” as she flipped through the pages slowly. She especially stopped at one of the pages which contained IU Team’s photo, too bad the whole book was written in Chinese so the staff unnie tried to cheer her up by telling her that they could translate right away using mobile apps. All of them joked a few times about looking for someone who knows Mandarin and asked everyone to hurry up and learn the language too.

Click here for some details of the book

IU really likes the calligraphy gift that we gave her so she took a special proof shot with it. Since it’s written in Chinese, she asked us about the meaning of the poem. We were still in a daze at that time so we only explained briefly that it’s a poem about the moon. IU said she would try to look for a professional to interpret it.

Poem: The Moon Festival by Su Shi

When will the moon be clear and bright? With a cup of wine in my hand, I ask the blue sky. I don’t know what season it would be in the heavens on this night. I’d like to ride the wind to fly home. Yet I fear the crystal and jade mansions are much too high and cold for me. Dancing with my moon-lit shadow, It does not seem like the human world. The moon rounds the red mansion stoops to silk-pad doors, Shines upon the sleepless Bearing no grudge, Why does the moon tend to be full when people are apart? People may have sorrow or joy, be near or far apart, The moon may be dim or bright, wax or wane, This has been going on since the beginning of time. May we all be blessed with longevity though far apart, We are still able to share the beauty of the moon together.

Even though we are thousands of miles and oceans (Yellow Sea) apart, nothing can stop us from surrendering our hearts to the full moon (Man Wol) C-Uaenas present president Jang Man Wol this poem And may the opening of Hotel Del Luna blossom 

*Yellow Sea is a marginal sea of the Pacific Ocean located between mainland China and the Korean Peninsula. *Full Moon is pronounced the same way as Man Wol in both Chinese and Korean.

밝은 달은 어느 때나 떠오를지 술잔을 잡고 하늘에 물어본다. 달 속에 있는 궁궐은 오늘밤은 어느 해인지 모르겠구나. 나는 바람을 타고 돌아가고자 하니 달 속의 궁궐이 높은 곳이라 추위를 견디지 못할까 두려워라. 일어나 춤추니 그림자도 따라 도는데 어찌 인간 세계와 비길 수가 있으랴 달그림자가 붉은 누각 빙 돌며 곱게 조각한 창문에 드리우니 달빛에 비추어져 잠을 이룰 수 없네. 더 이상 번뇌가 있을 수 없는데 무슨 일로 오래도록 이별할 때에 이렇게 둥근가? 인간에겐 슬픔과 기쁨, 이별과 만남이 있고 달은 흐리고 맑고, 둥글고 이지러짐이 있으니 이런 일은 예전부터 완전하기가 어려워라. 다만 바라기는 멀리 떨어져 있는 이가 오래 살아서 천 리 밖에서도 이 밝은 달을 함께 구경했으면.

Note: This is a famous Mid-Autumn lyric written by Sushi(a poet in Song Dynasty) for his brother Zi-you(1039-1112) when the poet was away from the imperial court. According to some commentators, “the palace on high” might allude to the imperial palace and therefore, after reading this lyric, Emperor Song Shen Zong said that Su Shi was loyal.

When IU was giving us her signature as acknowledgement (of the fan support), we noticed that IU’s mandarin pinyin skills were remarkably impressive, she came up with most of the pinyin (as shown in the picture) and kept seeking confirmation from us (just incase she made a mistake). She wanted to write 시원한 여름 (a cool and refreshing summer) so badly because it kind of means “watching horror movies” in Korea too (납량). She wanted to write “we will see each other very soon” so she added “see you soon” in English too. It was obvious that IU urged to write using lots of pinyin but she didn’t have much time since the drama team was rushing to another filming venue already. Nevertheless, she drew a big thumbs up and yummy bowl of rice for us and was eventually made fun by IU Team. They jokingly asked her “what are those?”, making IU shooting daggers at them keke.

“Dear. OnlyU-IU China ♥   Thank you all!! Well done!! 👍 Yummy 🍚💕 Miss you guys…♥ I love you guys! Stay healthy! - from IU” 

“Dear C-uaenas ♥ I miss you all very much See U soon! Don’t fall sick...☆ Thank you! 😊 - from IU”

Lastly, we told IU that we would enjoy watching the drama to which she replied “please do enjoy (watch) the show (properly), it’s very interesting.” She kept thanking us a few times in Mandarin after bidding farewell to us too.

The PD came by after that and took the huge IU (with her head facing down) photo away, explaining that he would hang it in the waiting room. We weren’t sure whose waiting room he was referring to since we didn’t dare to question more, so we could only pray and hope earnestly that he’s taking it to IU’s room TT.

Then we sent off the coffee truck & buffet tent owners and bid farewell to the entire crew on the set before leaving. We lost count of how many times we went around the set to bow (give greetings) to make sure we didn’t miss any corner of it.

Despite being short of hands due to some of our members who couldn’t make it last minute, but we are very happy to have completed the fan support, passed IU her gift in person and relayed her greetings and thanks to C-Uaenas safely. We are fully aware that IU made lots of adorable facial expressions and kept a smile on her face all the time because she wanted to express her gratitude towards Uaenas who worked hard together to bring up the fan support to her on the set. Once again, we thank Uaenas who contributed in this fan support. We will continue to give IU the best fan support!

Source: OnlyU-IU 中国首站 @ Weibo  Translated by IUteamstarcandy

#iu #190711 #translation #OnlyIUcn #drama #fansupport #Hotel Del Luna

[maclitpub]

12 or 20 (small press) questions with Ashley Fortier and Oliver Fugler on Metonymy Press

Metonymy Press is based in Tio’tia:ke (Montreal), unceded Kanien’kehá:ka (Mohawk) territory. We publish literary fiction and nonfiction by emerging writers.  We try to reduce barriers to publishing for authors whose perspectives are underrepresented in order to produce quality materials relevant to queer, feminist, and social justice communities. We really want to keep gay book lovers satisfied.

Metonymy Press is the project of Ashley Fortierand Oliver Fugler. They met on their first day of high school and have been writing together and editing for each other ever since. They are neighbours, too.

1 – When did Metonymy Press first start? How have your original goals as a publisher shifted since you started, if at all? And what have you learned through the process?

Metonymy Press started as an idea between friends Ashley Fortier and Oliver Fugler years ago. We launched the idea in August 2014, and then we got some start-up funding and put out our first book in 2015.

Our primary goal remains to publish good queer writing by underrepresented and emerging writers. One of our original goals was to publish anthologies, which we haven’t yet done, but we’re in conversation with a potential editor of a collection as we speak.

We both pursued a certificate in publishing through Ryerson University, and although we’ve been able to operate as a two-person press because of that, a lot of what we’ve since learned is about how we don’t fit industry standards (in terms of production schedules, distribution channels, promotional costs etc.), because we’re so small and queer.

2 – What first brought you to publishing?

We have both been actively writing since early high school, where we met in a creative writing program. Our involvement in organizing Montreal’s longstanding annual Queer Between the Covers book fair gave us some ideas about queer publishing and about a potential readership. Finally, our formal training through Ryerson gave us some of the hard skills to go with the creative experience we both have, so it was a natural progression for two people who like organizing and directing things.

3 – What do you consider the role and responsibilities, if any, of small publishing?

Our focus is loosely queer content and perspectives underrepresented in the mainstream. But in general we believe the responsibility of small presses lies in undermining the status quo and offering a platform, however small, to emerging and otherwise not-household-name writers who add to conversations that are happening already but not officially.

4 – What do you see your press doing that no one else is?

We’re for the most part publishing work by trans and racialized authors that’s not autobiographical but also doesn’t cater to the mainstream. We have ended up publishing this work because it’s what we’re interested in, because it’s good writing and because it’s largely otherwise unavailable.

5 – What do you see as the most effective way to get new chapbooks out into the world?

A lot of our book distribution until this year has been individual orders online, which works quite well. Wholesale relationships have been based on personal relationships, cold calls, and the occasional spontaneous request or reluctant university bookstore order.

6 – How involved an editor are you? Do you dig deep into line edits, or do you prefer more of a light touch?

We are quite involved, but it depends on the text. For Trish Salah’s Lyric Sexology Vol. 1, a poetry collection that had been previously published, we didn’t need to edit much because it had been edited by the previous—poetry-specific—press, Roof Books. Beyond poetry, which we have otherwise avoided due to our anxiety about editing it, we are pretty deeply involved in substantive, line, and copyediting.

7 – How do your books get distributed? What are your usual print runs?

Until this year, we have done all of our own distribution, via individual online sales, in-person sales at book fairs and direct wholesale relationships. This year we signed on with Small Press Distribution, so US customers may now order through them, which is great, because it is very expensive to mail books over the border.

Our print runs range from 250-800, and all of our books have moved beyond their first print run. We work with a very nice Montreal-based printer, Le Caïus du livre, that has a short turnaround and good rates for small runs.

8 – How many other people are involved with editing or production? Do you work with other editors, and if so, how effective do you find it? What are the benefits, drawbacks?

We have always hired cover designers, different ones for each book, and the process so far has been collaborative between the designers, authors, and ourselves. We do the majority of extent design and editorial ourselves, but we have hired outside editors where necessary, for example, for the Pinyin text in Small Beauty.

It’s been really great to work with people outside of Metonymy for the most part, as they can draw on themes in the work we haven’t focused on, and offer feedback and skills that support the text and also are instructive for us as editors and publishers. But ultimately we can’t afford to hire out for most steps, and also we both like a lot of control and we do things on a tight timeline, so doing a lot of the work ourselves suits us so far.

9– How has being an editor/publisher changed the way you think about your own writing?

[Oliver]: I know you can’t be your own only editor, but I do find that I am able to edit my own writing as I go in a way that I wasn’t able to before. In general I’ve gained an appreciation for the editorial and production processes, and what a piece of writing can become with care and time.

10– How do you approach the idea of publishing your own writing? Some, such as Gary Geddes when he still ran Cormorant, refused such, yet various Coach House Press’ editors had titles during their tenures as editors for the press, including Victor Coleman and bpNichol. What do you think of the arguments for or against, or do you see the whole question as irrelevant?

[Oliver]: I think that self-published work and work published by your own press can be so great! It’s pretty clear to us that a lot of what doesn’t get formally published is good writing with a real readership that publishers assume won’t sell. This belief is one reality that drives zine culture and a lot of small presses.

But as I said above, I also value the feedback found in more formal editorial and production processes, so I like the idea of those steps being a necessary part of publishing your own writing as well.

11– How do you see Metonymy Press evolving?

We’re a primarily print publisher, but are always considering ways to make our books accessible in multiple formats. We hope to launch ebooks for our first three titles later this fall and we’re exploring the option of audiobooks.

If we expand beyond being a two-person operation, we might develop a co-operative model of some kind, but that’s a longer-term possibility. In the meantime, we’d like to continue engaging in specific collaborations, like we did with our externally juried Gay Book Lovers Unite initiative last year.

12– What, as a publisher, are you most proud of accomplishing? What do you think people have overlooked about your publications? What is your biggest frustration?

It’s been extremely rewarding to see the communities we’re a part of provide such positive feedback and ongoing support for our work. It’s energizing. The award wins and nominations for our two novels, Small Beauty and Fierce Femmes and Notorious Liars, were exciting too.

Often critics put a significant focus on the queer and/or trans identities of our authors and their characters, while overlooking other intersecting realities as well as the particularities of their writing craft. This is a frustrating reality in CanLit when it comes to marginalized writers and how their work gets taken up.

13– Who were your early publishing models when starting out?

We’ve been inspired by the work of Arsenal Pulp Press, Fernwood Books, and Topside Press, to name a few.

14– How does Metonymy Press work to engage with your immediate literary community, and community at large? What journals or presses do you see Metonymy Press in dialogue with? How important do you see those dialogues, those conversations?

We’re a member of the Association of English Language Publishers of Quebec (AELAQ) and Oliver sits on the organization’s board as an associate member. We participate in their events alongside other Anglo presses in Quebec, through professional development, book fairs, etc. We contributed feedback for a piece Linda Leith wrote about the organization’s role and significance for Quill and Quire a couple months ago.

In terms of the broader conversations happening in CanLit over the past couple years, from the controversy over the “Appropriation Prize” to accusations of sexual assault made against high-profile players in the industry, our mandate makes it pretty clear where we stand. We value writers and writing that actively undo the conditions that lead to such controversies.

Our longstanding role in queer literary contexts in Montreal stems from our involvement in Queer Between the Covers. We were both members of the organizing collective for years and got a good sense of what readers, writers and micro presses in this realm were producing and what they were missing, especially produced in English in Quebec. Queer and feminist publications such as GUTS, Plenitude, Autostraddle, Bitch and even Teen Vogue have featured our authors and books in the past couple years. We think these conversations are as important as those with industry publications, since our readership is just (if not more) likely to read them. We tend to prioritize dialogues with queer communities rather than literary-specific ones.

15– Do you hold regular or occasional readings or launches? How important do you see public readings and other events?

We love hosting launches and have done so for all our titles so far, both locally and in Ontario, Nova Scotia and BC. Our ability to send authors on tour is limited by their time and our budget, but for closeby events, we often attend and we really enjoy doing so.

We hope to host other reading events in Montreal in the future, ideally in collaboration with other local artists. We see live reading events as important to community building. We also value the particularities of hearing authors read aloud from their own work and collaborate with other writers and engage with audience members in real time.

We also often meet potential new and emerging authors at public events and it’s a great way for readership to learn about our broader catalogue and the mandate behind the work we do.

16– How do you utilize the internet, if at all, to further your goals?

Social media, blog posts, e-newsletters and online interviews and reviews are crucial to reaching wider audiences. Our readership tends to lean young(er), so the internet plays a major role. We also do a lot of direct sales via our website. We have received rights requests from as far as Delhi and Melbourne, and this is thanks in large part to our online presence and how quickly things spread that way.

17– Do you take submissions? If so, what aren’t you looking for?

We have an open submission policy, outlined on our website. What we’re not looking for is work that replicates—whether in form or content—queer and trans narratives already out there. We get a disproportionate number of submissions set in New York City in the 1980s. There’s nothing inherently wrong with that, but as a Montreal-based small press looking to do something new, it’s not really our jam.

We are primarily interested in fiction and creative nonfiction, though we put out our first poetry collection this summer, so we’re not closed to that either. We have yet to publish graphic novels or children’s lit, even though we both really love the genres.

18– Tell me about three of your most recent titles, and why they’re special.

We’ve only put out four books so far, total. Instead, maybe we’ll take this opportunity to talk up our next title, nîtisânak, by Lindsay Nixon.

The manuscript works with the idea of kinship that derives from the author’s Plains Ojibway, Métis and Cree kinship teachings, and also how queer kin were some of their first experiences of this reciprocal relationality and care. The book is a creative nonfiction collection chosen by our Gay Book Lovers Unite jury. Opening up our acquisitions process like this was a first for Metonymy and we’re very pleased with the result. nîtisânak is scheduled for publication in early spring 2018.

An initial statement from the jury puts it thus: “Nixon’s work blends contemporary Indigenous experience within Queer and 2 Spirit spaces to strike at the heart of colonization and Canadian identity. Along the way, they explore masculinity, patriarchal oppression, racism in Canada, poverty, and the lingering weight of colonial history within Queer spaces. Their intersectional writing merges worldviews and deftly reveals the rotting underbelly of Canadian Queer identity as a space fraught with the legacy of a colonial past. It is vital and urgent work, expanding what it means to be both an Indigenous and a Queer writer in Canada today.”

12 or 20 (small press) questions;

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