450:, and he began to write poetry that Carbó calls "silly love poetry that rhymes a lot." He was impressed by the famous writers that taught at Bennington like W.H. Auden, Theodore Roethke, and Bernard Malamud. While there he took classes from noted scholar Jose Hernan Cordova who exposed him to important Latin American writers Jorge Luis Borges, Julio Cortazar, Gabriel Garcia Marquez, Rosario Castellanos, Octavio Paz, Sor Juana Ines de la Cruz, Gabriela Mistral, and Jose Lezama Lima. During that period at Bennington College writers were getting published or signed by New York literary agents even before they graduated like Bret Easton Ellis and Donna Tartt. That was where Carbo forged a life-long friendship with Vietnamese writer Jade Ngoc Huynh, author of
416:. He attended the International School of Manila for Grades 2–12, putting him in direct contact with Filipino, American, and international elite. Carbó has stated that some of his early poems, such as "Civilizing the Filipino," stem from his experiences with the injustice of white administrators. As the capital city of the Philippines, Manila's close ties with America resulted in a heavy saturation of American pop culture and television shows like
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vehicles to convey the issues of their united identity. Palomar comments that the poets, who range from the early 1900s to 1990, are masters of
English nuance and idioms and the volume as a whole being a stylish testament to Filipino poetry. Not all reviewers appreciated the focus on English, however; Roger J. Jiang Bresnahan opposed the decision, claiming it bred disunity by ignoring their common Philippine culture.
513:"Philippine Literature: A Two-Fold Renaissance", Miguel Bernad contended that Philippine literature as an "inchoate literature of many languages." With 175 indigenous languages and both Spanish and American imperialism giving them new languages, Philippine authors split their readerships when choosing which language to write in. Carbó's conscious decision to amass Filipino-American writers into his anthology
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560:, Carbó establishes discourse on Filipina identity, citing Spanish and American colonialism to be the cause of the Filipinas' disconnect to identity. His introduction serves as an unbiased account of the Philippine colonial history, and the role Spaniards and Americans played in the creation of Philippine culture and identity. His contemporary colleague
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497:" as 'secret Asian man.' The poetry's protagonist is named Ang Tunay na Lalaki (The Real Man) and he comments on New York pop culture through a Filipino-American lens. The book itself is written as a novel-in-verse and the character Orpheus acknowledges his status of being a character of Carbó's first book,
553:'s Elisabetta Marino, Carbó claimed "the necessity of publishing more Filipino-related material for a world where there was no previous representation takes over the creative impulse." Carbó, alongside his poetry, began editing anthologies to group his contemporaries into the Filipino-American genre.
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intended to base
Filipino-American literature in the English language to keep their audience whole, which literary critics such as Al Camus Palomar appreciate. The anthology includes poetry that recounts symbols of Filipino and Filipino-American life, such as jeepneys and cuisine, and use them as
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His work in collecting
Filipino-American poetry into anthologies has set foundation for a Filipino-American literary culture to build off the rudimentary literary tradition of its mother country. There are not strong fundamentals for a literary tradition in the Philippines; in his 1961 lecture at
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won the
Commonwealth Literary Prize in 1940. He was also friends with the legendary short story writer Bienvenido N. Santos who used to play tennis in their house in Legazpi. His father often interrupted his television time to quiz him on classic literature and read poetry. Between ages 7 and 10,
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particularly resonated with him, as the family dynamic of the French plantation owner and his two children in the movie musical resembled his own, as noted in his featured interview on
National Public Radio. Carbó also enjoyed local Tagalog TV shows such as
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Carbó spent most of his early career developing contemporary
Filipino-American literature as a genre and he is credited by scholars such as Elisabetta Marino as playing an instrumental role in its modern conception. Through his anthologies
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His father was a major influence in Carbó's decision to become a writer and poet. Carbó's father was well connected to
Philippine literature, as he was college friends with Philippine literary giant Raphael Zulueta y da Costa, whose book
564:'s introduction serves as an artist's take on history, starkly contrasting Carbó's with her inclusion of emotion and experience as a Filipina. The verse and prose celebrate the Filipina and their struggle, and Carbó uses
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as "collective biographies," sharing the experiences of
Filipinos other than him. Carbó often alludes to older Filipino works, his stories often contain historical figures, continuing the literary tradition
485:. Gotera has also described his work as balancing cynical satire with poignant humor while addressing American erasures of Asian history. The most clear example, according to Gotera, is Carbó's
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Carbó's efforts to create both a
Filipino and Filipino-American literary genre has established him as a major influence among his peers. He describes his first two books of poetry,
462:. In 1990 he was accepted into the Masters of Fine Arts Poetry Program at Sarah Lawrence College. He studied under the poets Brooks Haxton, Thomas Lux, and Jean Valentine.
371:(2004) Cherry Grove Collections. His most noted award is the 1999 Gregory Millard/New York City Department of Cultural Affairs New York Foundation for the Arts Fellowship.
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which won the Asian
American Writers Workshop's Readers Choice Award. He also won the 2005 Calatagan Award from the Philippine American Writers & Artists for his book
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Carbó was born in Legazpi City, where he and his younger sister Maribri were adopted by Sophie and Alfonso Carbó. At age 7, the family moved from their large home in
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of the topic and provide significant coverage of it beyond a mere trivial mention. If notability cannot be shown, the article is likely to be
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Bresnahan, Roger J. Jiang (1998). "Review of Returning a Borrowed Tongue: Poems by Filipino and Filipino American Writers, Nick Carbó".
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Palomar, Al Camus (1996). "Review of Returning a Borrowed Tongue: An Anthology of Filipino and Filipino-American Poetry, Nick Carbó".
363:, Philippines. Carbó writes poetry, essays, and edits magazines and anthologies. He is primarily known for his book of poetry titled
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Leung, Adrian (November 14, 2001). "And the Winners Are: APIA Literati Comes Out for 4th Asian American Literary Awards".
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Flanagan, Kathleen (2001). "Review of Babaylan: An Anthology of Filipina and Filipina American Writers, Nick Carbó".
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Galang, M. Evelina (Spring 2004). "The Struggle for Form: A Conversation between Nick Carbó and M. Evelina Galang".
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Carbó married fellow American poet Denise Duhamel on August 22, 1992, at the Stadler Center for Poetry at
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where he helped to establish the Pecan Grove Poets. That group would go on to become the
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Calatagan Literary Award from the Philippine American Writers & Artists, Inc. (2005)
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It may require cleanup to comply with Knowledge (XXG)'s content policies, particularly
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Gotera, Vince (Fall 2002). "Brave New Archipelago: Recent Filipino American Writing".
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In 1985 he moved to San Antonio, Texas and he finally graduated from
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he consolidates both Filipino and Filipino-American experiences. The
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Readers Choice Award from the Asian American Writers Workshop (2001)
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Crossroads: An Interdisciplinary Journal of Southeast Asian Studies
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Carbó's father would cajole him to recite Philippine national hero
768:"on writing the self through poetry: an interview with Nick Carbo"
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Please help to demonstrate the notability of the topic by citing
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In the fall of 1984, Carbó moved to the United States to attend
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John N Marsha, Kulit Bulilit, and Uncle Bob's Lucky Seven Club.
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Le Chateau de Lavigny Maison d' Ecrivain (1998, Switzerland)
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Literary reviewers such as Vince Gotera and critics such as
677:• Academy of American Poets Emergency Fund $ 4,000 (2019)
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to establish Filipino-American literary tradition further.
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PEN America Writers Emergency Fund $ 3,000 (2018)
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The unconventional inter-textual approach to narrative in
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which dominated his childhood. The movie and story of
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A major contributor to this article appears to have a
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The book's main premise is mishearing the lyrics in
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418:The Bionic Man, Charlie's Angels, and Star Trek
359:(born 1964) is a Filipino-American writer from
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700:The Corporation of Yaddow (1992, 1995, 2002)
52:Learn how and when to remove these messages
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291:Learn how and when to remove this message
273:Learn how and when to remove this message
216:Learn how and when to remove this message
102:Learn how and when to remove this message
697:Fundacíon Valparaiso (1995, 2001, Spain)
365:Secret Asian Man (2000) Tia Chucha Press
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