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With the Saina as his figurative vessel—a ship built in modern times as an exact replica of the swift outriggers designed and sailed by the Chamorro people until banned by their oppressors—Craig Santos Perez deftly navigates the complexities in his bracing exploration of the personal, historical, cultural, and natural elements of his native Guam and its people. As the title—from unincorporated territory [saina]—suggests, by understanding where we are from, we can best determine where we are going. Perez collages primary texts and oral histories of the colonial domination and abuse brought by the Spanish, the Japanese, the United States, and the capitalist entertainment/travel industry, with intimate stories of his childhood experiences on Guam, his family’s immigration to the US, and the evocatively fragmentary myths of his ancestors. Resonant too in Perez’s title, and throughout this work, is this poet’s evocation of the unincorporated and unfathomed elements of our natures, as he seeks the means to access an expansiveness that remains inexpressible in any language. Perez is not afraid to press language beyond the territories of ‘the known’ as he investigates both the anguish and the possibilities that horizon as one attempts to communicate the spoken and unspoken languages of one’s native people, while fully appreciating the suffering inherent in every word he will use that is pronounced in, and thus pronounces, the language of their oppressors.

• Sales Rank: #200129 in Books
• Brand: Brand: Omnidawn
• Published on: 2010-09-01
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .40" w x 6.00" l, .50 pounds
• Binding: Paperback
• 136 pages

Features

• Used Book in Good Condition

Review
"Continues Craig Santos Perez's epic investigation of Chamorro culture, language, and identity. It is by turns ferocious and elegiac, historical and lyrical."� —Aaron Shurin, author, King of Shadows

"Perez gives the reader a subtle and serious version/vision of Guam (Guahan) that is necessary in understanding the country and other countries of colonization."� —Mary Kasimor, Jacket magazine

Review
“from unincorporated territory [saina], Craig Santos Perez’s second book of poems, is a touching and loving tribute to his grandmother, Milan Martinez Portusach Santos Reyes. As a central figure in his poems, “Grandma Santos” comes across as one of the more powerful metaphors and realities of survival in Guam: the sakman, or the long-range voyaging canoe. Perez and Santos thus embark on an oceanic journey from Guam to California, where they now reside, reflecting on a shared past of colonial violence and on an equally fraught and sometimes uncertain present. In the end, Grandma Santos assures Perez that her sakman, their sakman, will always be a vessel through which generations of Chamorros may navigate their respective futures. Saina and Sakman, Perez and Santos. These are the threads which link the poetic forms presented in Craig Santos Perez’s latest collection, which, to be sure, is a pleasure to read.” (Dr. Keith L. Camacho, Assistant Professor of Asian American Studies, University of California, Los Angeles)

“Saina reinscribes the contested territories of home(land) with shards of language and form. Fragments of English and Chamoru, Spanish and Japanese, trace violent routes of empire, colliding, weaving, one into the other. With admirable craft, Craig Santos Perez stitches together patches of jagged memory – Grandma and Grandpa forced to bow to Japanese soldiers; tradition – ‘flying proas’/ sea-going outriggers, fastest in the world; and the continued trauma of US military occupation in Guam -- into a garment of uneasy identities so characteristic of our neo/colonial moment. With its powerful, discordant music, Saina is a warrior response to the ‘call’ of empire. Bravo.” (Prof. Caroline Sinavaiana, author of Alchemies of Distance University of Hawaii, Manoa)

“from unincorporated territory [saina] continues Craig Santos Perez’s epic investigation of Chamorro culture, language, and identity. It is by turns ferocious and elegiac, historical and lyrical; it is a book of generations, of sedimentary language, of the ability and power to say “us,” of how a human family might actually be claimed. Filled with tidal spaces, broken by waves, garlanded by islands of brilliant attention and sub-surface groundings, Perez’s poem convenes an oceanic poetics. But if the indigenous canoe that sails through the book is freighted with immigration and emigration, colonialism and national piracies, its real cargo remains cultural authority and the incontestable wonder of origin. Ancestors weep and dance to have generated such creative reclamation as this poem achieves. Perez inherits, inhabits… and a great poem flows…” (Aaron Shurin, author of King of Shadows)

“In from unincorporated territory [saina], Craig Santos Perez––whose very name sounds a poem–– sends his reader out on a simultaneously sturdy and yet amorphous canoe, to discover, explore, circle and espy the oldest and most continuous global story: the imperialist, systematic destruction of a culture. Perez takes the water, sky, land, lost legends, ancestral spirits, and survivors of the Pacific Islands into his own tongue, complicated by “torrents of English,” enlivened by Chamoru. This is a great seafarer’s tale of our own lost oceans, lost no more. Reading this book, I was disabused of the notion that ‘poetry does nothing’.” (Gillian Conoley, author of The Plot Genie)

About the Author
CRAIG SANTOS PEREZ, a native Chamorro originally from the Pacific Island of Gu�han (Guam), has lived in California since 1995. He is the co-founder of Achiote Press and author of several chapbooks, including constellations gathered along the ecliptic (Shadowbox Press, 2007), all with ocean views (Overhere Press, 2007), and preterrain (Corollary Press, 2008). His first book, from unincorporated territory [hacha] (Tinfish Press in 2008) has been taught in universities across the United States and the Pacific. His poetry, essays, fiction, reviews, and translations have appeared in New American Writing, Pleiades, The Denver Quarterly, The Colorado Review, Sentence, and Rain Taxi, among others.
And, Craig is the recipient of this year’s Poets & Writers California Writers Exchange Award. He will receive an all-expenses-paid trip to New York City to give a public reading. Juan Felipe Herrera was the judge for poetry. His work was chosen from a pool of 712 poetry entries.

Craig received a B.A. in Art History & Literature from the Johnston Center of Integrative Studies at the University of Redlands (2002) and an MFA in Creative Writing from the University of San Francisco (2006). He is currently a Ph.D. candidate in Comparative Ethnic Studies at University of California, Berkeley, where he studies Native American & Native Oceanic Literature and Theory.

Since 2007, Craig has been involved with Famoksaiyan, a Chamorro grassroots activist organization. In 2008, he joined a delegation of Chamorro activists and testified on the negative cultural, environmental, and political impact of U.S. militarization on Guam at the United Nations' annual meeting of the Fourth Committee (Special Political and Decolonization) in New York City. The delegation also met with representatives from the U.S. Virgin Islands, Argentina, the Philippines, and Indonesia.

You can find Craig online at craigsantosperez.wordpress.com.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Excellent and Enjoyable Book
By Marcus A Werner
This book was a requirement for a Globality and Literature class. Normally I find that we are made to read literature for such classes more for its commentary on post-colonialism than for its artistic ingenuity. Happily that is not the case with this book!

Perez does use an unconventional form in his poetry, unconventional that is, if the only post-WWI poetry you've read was off Hallmark greeting cards. If intentional whitespace, crossed-out paragraphs, excerpts from travel guides, UN testimonies, and legal documents sounds scary, then this might not be your cup of tea. And that's not mentioning that it's actually written in a mix of four languages, English, Spanish, Japanese, and Chamorro (though English is all you really *need* to know).

So many post-colonial writers feel the need to beat the reader over the head with their oppression, making sure the reader knows that white European/Americans are the problem. Perez never takes that tone, and is never really accusatory. He mixes in a lot of data, though he does it in a lyrical way that doesn't feel like reading reams of statistics. He paints a beautiful-but-troubling picture of Guam and life in Oceania. He is proud of his heritage, but is quick to point out where his people could have done a better job of protecting their culture.

Speaking from a strictly poetical standpoint, Perez really throws all he has at the experimental forms he uses. There are six basic "types" that Perez creates in the book, each approaching things with a unique form, theme, and perspective. Perez rolls through these forms as needed, putting ten poems in a chapter, in a book of five chapters. Many are one page and quite a few go on for longer than that. This is clearly meant to be read as a book, and not as individual poems. However, if you're struggling to connect some of the dots, try reading the book going through one poem-type at a time. This will let you see more clearly how he is using one to build on the next.

Perez is pulling in a lot of techniques from Literary Non-fiction in this book, both through the use of the aforementioned outside sources, and through the structure and ordering of the poems he chooses. It could easily be argued that this is actually a book of lyrical non-fiction pushed to the extreme. It sits on a hazy border between the two genres, occupying a place similar to the Chamorros people's hazy nationality.

I'm not usually a fan of global literature, but I thoroughly enjoyed what Perez is doing textually in this book. If you're interested in seeing someone push the boundaries of what creative writing is capable of, this is a good place to start.

0 of 0 people found the following review helpful.
A beautiful exploration of origins, futures, history, & language
By Jennifer Dick
When I first picked up from Unincorporated Territory [Saina] I was in NYC reading it on the subway and every few minutes I just wanted to lean over to the person next to me and say--"hey, read this line, it's amazing" or "hey, isn't this beautiful?" I was so excited by the snapshots of visual imagery, by the emotive links, by the snippets of story (His but somehow speaking to my own space in a global economy, in a world of pasts and futures linked to ancestries lost and recaptured). I had to take the book in little by little so as to keep myself contained as something about it excited my mind so completely. Now I have read it a few times and let it take me back to the 2 books which led to this one, and I can definitely recommend this book to people who: 1) are interested in writing that surprises, experiments, unravels and reravels language(s) 2) are interested in issues of origin, ancestry, vanishing and reconnecting ancestral lineage on cultural, linguistic and personal levels 3) are interested in unusual methods of telling a story and who get excited by an author being able to make you the reader see the world you are in anew because of such methods of telling 4) are interested in reflecting while reading, not just passively absorbing, in being invited into the story/poem/literary space 5) are interested in learning more about Guham, about the Chamorro language, about how significant it is for CSP to reconnect us to that language and 6) are simply looking for an amazingly well-composed book, so attentive to the page, the line, the syllable, the space that separates and connects language(s)/us(es). This is a book that makes me reflect also on the way the world geographically, economically and personally makes, writes over, erases, and remakes history--those of others, but also my own place in that process, even if my place has been to not be aware of it until I opened this book and began to see. What is not to admire?

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