Sometimes the best traditions are the ones we invent ourselves. That’s what Yunlu Shen discovered as a Chinese Canadian transplant reading the work of Scottish poet Robert Burns. Seeking community in a new city, Yunlu hosted Gung Haggis Fat Choy, a mash-up of the Chinese New Year and Burns Night, a celebration of the poet’s birthday.
We fell in love with Yunlu’s essay, “To a Chinese Mouse,” and are excited to perform it on June 17 at Our Stories, Ourselves, in partnership with the San Jose Museum of Art.
A structural engineer working in New York City, Yunlu likes to read and go on long bike adventures in beautiful places. She kindly answered a few questions for us in advance of our show.
How did you hear about Play On Words?
I first heard about Play On Words from writer friends in the Bay Area.
How has your creative practice changed during the pandemic?
I began writing more letters to friends during the pandemic. That process often generated ideas for other pieces. I also became more patient. The lock-down created more time and space for introspection and drew me closer to the physical process of writing. I write more drafts by hand and set them aside for longer between editing.
What does “immigrant heritage” mean to you?
As someone who moved to North America at the age of 11, immigrant heritage is an direct and personal experience for me. Over the past two decades I have also learned to love the cultural contributions from other immigrant communities and how well they sometimes complement one another. There is a banjo-guzheng duet by Abigail Washburn and Wu Fei, Wusuli Boat Song/The Water is Wide, that melds together a Chinese folk song and an American folk song of Scottish origin. It’s a beautiful example of shared immigrant heritage in America and resonates with me deeply.
What else should we know about you?
I spend most of my day designing structures – skyscrapers, airports, museums. But I think the act of creation is really the same process, whether we are constructing sentences, ideas, or buildings.