Barbie’s cultural artifice is unmasked by Victoria Chang’s imagination, lifting the struggle of Asian American experience to mythic levels.

    There she learns more about loss and love than she could have ever imagined.Corazon Tagubio is an outcast at her Catholic school. She’s attending on scholarship, she keeps to herself, and her crush on her teacher Ms. Holden doesn’t help anything. At home, Cory’s less-than-perfect grades disappoint her mom and dad, who are already working overtime to support her distant half brother in the Philippines.When an accident leaves her dad comatose, Cory feels like Ms. Holden is the only person who really sees her. But when a crush turns into something more and the secret gets out, Cory is sent to her half brother. She’s not prepared to face a stranger in an unfamiliar place, but she begins to discover how the country that shaped her past might also change her future.This #ownvoices story takes readers on a journey across the world as Cory comes to understand her family, her relationships, and, ultimately, herself.

    After living in America for over a decade, Eun Ji Koh’s parents return to South Korea for work, leaving fifteen-year-old Eun Ji and her brother behind in California. Overnight, Eun Ji finds herself abandoned and adrift in a world made strange by her mother’s absence. Her mother writes letters, in Korean, over the years seeking forgiveness and love—letters Eun Ji cannot fully understand until she finds them years later hidden in a box.As Eun Ji translates the letters, she looks to history—her grandmother Jun’s years as a lovesick wife in Daejeon, the horrors her grandmother Kumiko witnessed during the Jeju Island Massacre—and to poetry, as well as her own lived experience to answer questions inside all of us. Where do the stories of our mothers and grandmothers end and ours begin? How do we find words—in Korean, Japanese, English, or any language—to articulate the profound ways that distance can shape love? Eun Ji Koh fearlessly grapples with forgiveness, reconciliation, legacy, and intergenerational trauma, arriving at insights that are essential reading for anyone who has ever had to balance love, longing, heartbreak, and joy.The Magical Language of Others weaves a profound tale of hard-won selfhood and our deep bonds to family, place, and language, introducing—in Eun Ji Koh—a singular, incandescent voice.

    features an Asian-American television news executive, Emi, and a Latino newspaper reporter, Gabriel, who are so focused on chasing stories they almost don't notice that the world is falling apart all around them. Karen Tei Yamashita's staccato prose works well to evoke the frenetic breeziness and monumental self-absorption that are central to their lives.-Janet Kaye, The New York Times Book Review

    Harassed as a kid for his brown skin, accent, and femininity, he believed he could belong in America by marrying a white man and shedding his Filipino identity. This was the first myth he told himself. The Groom Will Keep His Name explores the various tales Ortile spun about what it means to be a Vassar Girl, an American Boy, and a Filipino immigrant in New York looking to build a home.As we meet and mate, we tell stories about ourselves, revealing not just who we are, but who we want to be. Ortile recounts the relationships and whateverships that pushed him to confront his notions of sex, power, and the model minority myth. Whether swiping on Grindr, analyzing DMs, or cruising steam rooms, Ortile brings us on his journey toward radical self-love with intelligence, wit, and his heart on his sleeve.

    Through three distinct yet interconnected sequences, Cathy Park Hong explores the collective consciousness of fictionalized boomtowns in order to explore the myth of prosperity. The first sequence, called "Ballad of Our Jim," draws inspiration from the Old West and follows a band of outlaw fortune seekers who travel to a California mining town during the 1800s. In the second sequence, "Shangdu, My Artful Boomtown!" a fictional industrialized boomtown draws its inspiration from present-day Shenzhen, China. The third and last section, "The World Cloud," is set in the far future and tracks how individual consciousness breaks up when everything—books, our private memories—becomes immediately accessible data. One of our most startlingly original poets, Hong draws together individual voices at odds with the world, voices that sing their wonder and terror.

    DE VEYRAhas published two books of poetry: Subterranean Thought Parade and Shadowboxing in Headphones. He has won the Don Carlos Palanca Memorial Awards for Literature, the Free Press Literary Awards, and the very first National Commission for Culture and the Arts' Writers' Prize for Poetry. He also fronts the spoken word-jazz-rock band Radioactive Sago Project and currently works as a host and writer for the News and Public Affairs programs of TV5. This is his third collection of poems.

    A debut epic fantasy from an exciting new voice."I murdered a man and made my husband leave the night before they crowned me."Born under the crumbling towers of Oren-yaro, Queen Talyien was the shining jewel and legacy of the bloody War of the Wolves that nearly tore her nation apart. Her upcoming marriage to the son of her father's rival heralds peaceful days to come.But his sudden departure before their reign begins fractures the kingdom beyond repair.Years later, Talyien receives a message, urging her to attend a meeting across the sea. It's meant to be an effort at reconciliation, but an assassination attempt leaves the queen stranded and desperate to survive in a dangerous land. With no idea who she can trust, she's on her own as she struggles to fight her way home.

    V. M. Gonzalez has influenced an entire generation of young Philippine writers and has also acquired a devoted international readership. His books, however, are not widely available in this country. The Bread of Salt and Other Stories provides a retrospective selection of sixteen of his short stories (all originally written in English), arranged in order of their writing, from the early 1950s to the present day.This is a powerful collection, both for the unity and universality of the author's subjects and themes and for the distinctive character of his prose style. As Gonzalez remarks in his Preface: "In tone and subject matter, [these stories] might suggest coming full circle - in the learning of one's craft, in finding a language and, finally, in discovering a country of one's own."Gonzalez has traveled widely and has taught the writer's craft in various countries. Nonetheless, his primary metaphor is his colonial island homeland, and his stories are peopled with the farmers and fishermen, the schoolteachers and small-town merchants, "the underclass who constitute the majority in all societies." He portrays, in the men, women, and children of the peasantry, an ordinary and enduring people who live lives of stark dignity against a backdrop of forgotten and unknown gods. A broad humanity suggests itself: "This feeling of having emerged out of a void, or something close to it, is not uncommon, and we face our respective futures predisposed, by an innocence, to prayer and hope."Colonization, Gonzalez feels, has created in Filipinos "a truly submerged people." The stories in The Bread of Salt explore this rich vein at several levels, from the river-crossed wilderness of the kaingin farmers, stoic in the hard face of nature; to the commercial centers of the town dwellers, cut off from the mythic animism of the land; to the America of the contemporary sojourner, exiled from the old ways without the guidance of new traditions. Gonzalez writes: "It was in America that I began to recognize my involvement in the process of becoming a new person . . . of trying to shed my skin as a colonial."Gonzalez's social commentary is implicit throughout his stories. His message is humane, moral, tellingly accurate, and gently ironic; he is neither sentimental nor doctrinaire. His narratives are presented without intrusive explanation, invoking instead the reader's own powers of contemplation and discovery. His strong prose style, spare yet lyrical suggests the cadences of Philippine oral narrative traditions.Each of these sixteen tales is a small masterpiece. The language and its imagery, the characters and their aspirations, all connect powerfully with the reader and serve to illuminate the dreams of exiles and colonials, suggesting what it was like, as a Filipino, to witness the endless interacting of cultures.

    It was not because of a comet, prophecy, natural disaster or whatever garbage foretold on the internet, but because every myth ever written turned out to be an account of historical fact. These monsters we’ve read about as children waged a war that lead to the human race’s downfall. And the unlucky who survived are hunted down or, worse, tortured.In these dark times, people could only turn to the Shepherd for help. I am one such Shepherd and I thought my only task was to protect the few humans who still thrived on this desolate world. But when I rescued Dorian from Dwende captivity, I discovered that not only is he the most dangerous thing to have around, but he could be our one hope for redemption. I now find myself protecting a born killer, but in doing so, I’m turning my back on everything human.

    A classic work of autobiography that transcends the self, Dictée is the story of several women: the Korean revolutionary Yu Guan Soon, Joan of Arc, Demeter and Persephone, Cha's mother Hyung Soon Huo (a Korean born in Manchuria to first-generation Korean exiles), and Cha herself. The elements that unite these women are suffering and the transcendence of suffering. The book is divided into nine parts structured around the Greek Muses. Cha deploys a variety of texts, documents, images, and forms of address and inquiry to explore issues of dislocation and the fragmentation of memory. The result is a work of power, complexity, and enduring beauty.

    An advocate of the literature of the imagination, he is the publisher of the Philippine Speculative Fiction anthologies, an annual showcasing Filipino fictionists that he began in 2005.

    So the kind and character of his works: very rare, exceptional, unique, maverick, exceedingly original fiction: rara avis that's a quantum leap away and departure... At least three or four in this collection already strike one as veritable classics." - GREGORIO C. BRILLANTES

    Pong Lou is a larger-than-life, wildly creative Chinese American entrepreneur who sees something intriguing in Tiller beyond his bored exterior and takes him under his wing. When Pong brings him along on a boisterous trip across Asia, Tiller is catapulted from ordinary young man to talented protégé, and pulled into a series of ever more extreme and eye-opening experiences that transform his view of the world, of Pong, and of himself.In the breathtaking, "precise, elliptical prose" that Chang-rae Lee is known for (The New York Times), the narrative alternates between Tiller's outlandish, mind-boggling year with Pong and the strange, riveting, emotionally complex domestic life that follows it, as Tiller processes what happened to him abroad and what it means for his future. Rich with commentary on Western attitudes, Eastern stereotypes, capitalism, global trade, mental health, parenthood, mentorship, and more, My Year Abroad is also an exploration of the surprising effects of cultural immersion—on a young American in Asia, on a Chinese man in America, and on an unlikely couple hiding out in the suburbs. Tinged at once with humor and darkness, electric with its accumulating surprises and suspense, My Year Abroad is a novel that only Chang-rae Lee could have written, and one that will be read and discussed for years to come.

    Richly imagined, gloriously written, Banana Heart Summer is an incandescent tale of food, family, and longing—at once a love letter to mothers and daughters and a lively celebration of friendship and community. Twelve-year-old Nenita is hungry for everything: food, love, life. Growing up with five sisters and brothers, she searches for happiness in the magical smell of the deep-frying bananas of Nana Dora, who first tells Nenita the myth of the banana heart; in the tantalizing scent of Manolito, the heartthrob of Nenita and her friends; in the pungent aromas of the dishes she prepares for the most beautiful woman on Remedios Street. To Nenita, food is synonymous with love—the love she yearns to receive from her disappointed mother. But in this summer of broken hearts, new friendships, secrets, and discoveries, change will be as sudden and explosive as the monsoon that marks the end of the sweltering heat—and transforms Nenita’s young life in ways she could never imagine.