Muriel Leung is the author of bone confetti, winner of the 2015 noemi press book award. a pushcart prize nominated writer, Her poetry, fiction, and nonfiction can be found or is forthcoming in gulf coast, drunken boat, The Collagist, Fairy Tale Review, Ghost Proposal, Jellyfish Magazine, inter|rupture, and others. She is a recipient of a Kundiman fellowship and is a regular contributor to The Blood-Jet Writing Hour poetry podcast. She is also a poetry Co-editor of Apogee Journal. Currently, she is pursuing her phd in creative writing and literature at university of southern california. she is from queens, ny. she tweets (@murmurshewrote).
The following is a list of ongoing or completed poetry projects:
in collaboration with musician and composer, matt orenstein, "in absentia-land: a romance" is a film + music interpretation of a poem from my first poetry collection, bone confetti.
"This is a longing for"
"This is a longing for" is a video performance project and collaboration with artist Kimberly Jones (visual artist) that explores the mediation of technological devices in our everyday interactions. The project pairs together strangers who must communicate with each other using scripted words describing feelings of intimacy, desire, and longing through various digital communication devices -- Skype, SnapChat, Twitter, text message, email, etc. "This is a longing for" asks: What will ensue when our most private means of expression are made public? How should we regard the capacity for intimacy through technological devices? Do they create a wall that impedes upon authentic emotional expression? Or do they challenge us to make necessary connections in a globalizing world?
"images seen to be felt / difficult things seen cannot be unseen: a collaboration"
Sponsored by Elevator Projects, the international arts biennial Prospect 3 provided an opportunity for visual artists and writers to have a conversation that joins their respective art-making processes culminating in the form of interviews, original artwork, and other hybrid outlets. The above is a textual response to artist Kristine Thompson's two photo series, "images seen to be felt" and "difficult things seen cannot be unseen," which both experiment with journalistic gaze, witness, and (haunted) impressions.