An Extraordinary Multigenerational Saga.A high position bestowed by China's empress dowager grants power and wealth to the Sun family. For Isabel, growing up in glamorous 1930s and '40s Shanghai, it is a life of utmost privilege. But while her scholar father and fashionable mother shelter her from civil war and Japanese occupation, they cannot shield the family forever.When Mao comes to power, eighteen-year-old Isabel journeys to Hong Kong, not realizing that she will make it her home--and that she will never see her father again. Meanwhile, the family she has left behind struggles to survive, only to have their world shattered by the Cultural Revolution. Isabel returns to Shanghai fifty years later with her daughter, Claire, to confront their family's past--one they discover is filled with love and betrayal, kidnappers and concubines, glittering pleasure palaces and underworld crime bosses.Lavishly illustrated and meticulously researched, Remembering Shanghai follows five generations from a hardscrabble village to vibrant Shanghai to the bright lights of Hong Kong. By turns harrowing and heartwarming, this vivid memoir explores identity, loss and the unpredictable nature of life against the epic backdrop of a nation and a people in turmoil.

    Both urgent and meditative, this literary anthology showcases fiction, memoir, and poetry from a diverse array of voices, including Alexander Chee on scarred bodies, Kimiko Hahn on gustatory memory, and Amitava Kumar on the art of writing immigrant narratives.

    In Shit, Actually, Lindy returns to those roots, re-examining beloved and iconic movies from the past 40 years with an eye toward the big questions of our time: Is Twilight the horniest movie in history? Why do the zebras in The Lion King trust Mufasa-WHO IS A LION-to look out for their best interests? Why did anyone bother making any more movies after The Fugitive achieved perfection? And, my god, why don't any of the women in Love, Actually ever fucking talk?!?!From Forrest Gump, Honey I Shrunk the Kids, and Bad Boys II, to Face/Off, Top Gun, and The Notebook, Lindy combines her razor-sharp wit and trademark humor with a genuine adoration for nostalgic trash to shed new critical light on some of our defining cultural touchstones-the stories we've long been telling ourselves about who we are. At once outrageously funny and piercingly incisive, Shit, Actually reminds us to pause and ask, "How does this movie hold up?", all while teaching us how to laugh at the things we love without ever letting them or ourselves off the hook.Shit, Actually is a love letter and a break-up note all in one: to the films that shaped us and the ones that ruined us. More often than not, Lindy finds, they're one and the same.

    Sixteen-year-old Padma sparked and burned. Fourteen-year-old Lalli was an incorrigible romantic.They grew up in Katra Sadatganj, an eye-blink of a village in western Uttar Pradesh crammed into less than one square mile of land. It was out in the fields, in the middle of mango season, that the rumors started.Then one night in the summer of 2014 the girls went missing; and hours later they were found hanging in the orchard. Who they were, and what had happened to them, was already less important than what their disappearance meant to the people left behind.In the ensuing months, the investigation into their deaths would implode everything that their small community held to be true, and instigate a national conversation about sex and violence. Slipping deftly behind political maneuvering, caste systems and codes of honor in a village in northern India, The Good Girls returns to the scene of Padma and Lalli's short lives and shameful deaths, and dares to ask: what is the human cost of shame?

    Compiled by Frank Warren, postsecret.com founder and author of the national bestseller Postsecret, the handmade cards bear compelling and personal messages that have remained secret--until now. Raw and revealing, My Secret expresses the hopes, fears, and wildest confession of young people everywhere.

    Now Ta-Nehisi Coates explores the tragic echoes of that history in our own time: the unprecedented election of a black president followed by a vicious backlash that fueled the election of the man Coates argues is America's "first white president."But the story of these present-day eight years is not just about presidential politics. This book also examines the new voices, ideas, and movements for justice that emerged over this period--and the effects of the persistent, haunting shadow of our nation's old and unreconciled history. Coates powerfully examines the events of the Obama era from his intimate and revealing perspective--the point of view of a young writer who begins the journey in an unemployment office in Harlem and ends it in the Oval Office, interviewing a president.We Were Eight Years in Power features Coates's iconic essays first published in The Atlantic, including Fear of a Black President, The Case for Reparations and The Black Family in the Age of Mass Incarceration, along with eight fresh essays that revisit each year of the Obama administration through Coates's own experiences, observations, and intellectual development, capped by a bracingly original assessment of the election that fully illuminated the tragedy of the Obama era. We Were Eight Years in Power is a vital account of modern America, from one of the definitive voices of this historic moment.

    Award-winning film producer and artist Kip Fulbeck has created a forum in word and image for Hapas to answer the question they're nearly always asked: "What are you?" Fulbeck's frank, head-on portraits are paired with the sitters' own statements of identity. A work of intimacy, beauty, and powerful self-expression, Part Asian, 100% Hapa is the book Fulbeck says he wishes he had growing up. An introduction to the rest of the world and an affirmation for Hapas themselveswho now number in the millionsit offers a new perspective on a rapidly growing population.

    Park has spent his entire life trying to become a true American—a native speaker. But even as the essence of his adopted country continues to elude him, his Korean heritage seems to drift further and further away. Park's harsh Korean upbringing has taught him to hide his emotions, to remember everything he learns, and most of all to feel an overwhelming sense of alienation. In other words, it has shaped him as a natural spy. But the very attributes that help him to excel in his profession put a strain on his marriage to his American wife and stand in the way of his coming to terms with his young son's death. When he is assigned to spy on a rising Korean-American politician, his very identity is tested, and he must figure out who he is amid not only the conflicts within himself but also within the ethnic and political tensions of the New York City streets.Native Speaker is a story of cultural alienation. It is about fathers and sons, about the desire to connect with the world rather than stand apart from it, about loyalty and betrayal, about the alien in all of us and who we finally are.

    A new, wide world opened for Francois — but one which also required him to make painful personal choices, and sacrifices.From New York to the Soviet Union, Berlin to California, Clemmons has performed for audiences around the world, and remains a beloved figure. Evocative and intimate, and buoyed by its author’s own vivacious, inimitable energy, Officer Clemmons chronicles a historical and enlightening life and career of a man who has brought joy to millions of adults and children, across generations and borders.

    New York Times reporter and Chinese-American (or American-born Chinese), Jennifer 8 Lee, traces the history of Chinese-American experience through the lens of the food. In a compelling blend of sociology and history, Jenny Lee exposes the indentured servitude Chinese restaurants expect from illegal immigrant chefs, investigates the relationship between Jews and Chinese food, and weaves a personal narrative about her own relationship with Chinese food. The Fortune Cookie Chronicles speaks to the immigrant experience as a whole, and the way it has shaped our country.

    Years ago, when In the Heights was just starting off-Broadway, Maria got the word out to our community to support this new musical about our neighborhoods. She has been a champion of our triumphs, a critic of our detractors, and a driving force to right the wrongs our society faces. When Maria speaks, I’m ready to listen and learn.” —Lin-Manuel Miranda Emmy Award–winning journalist and anchor of NPR’s Latino USA, Maria Hinojosa, tells the story of immigration in America through her family’s experiences and decades of reporting, painting an unflinching portrait of a country in crisis.Maria Hinojosa is an award-winning journalist who has collaborated with the most respected networks and is known for bringing humanity to her reporting. In this beautifully-rendered memoir, she relates the history of US immigration policy that has brought us to where we are today, as she shares her deeply personal story. For thirty years, Maria Hinojosa has reported on stories and communities in America that often go ignored by the mainstream media. Bestselling author Julia Alvarez has called her “one of the most important, respected, and beloved cultural leaders in the Latinx community.” In Once I Was You, Maria shares her intimate experience growing up Mexican American on the south side of Chicago and documenting the existential wasteland of immigration detention camps for news outlets that often challenged her work. In these pages, she offers a personal and eye-opening account of how the rhetoric around immigration has not only long informed American attitudes toward outsiders, but also enabled willful negligence and profiteering at the expense of our country’s most vulnerable populations—charging us with the broken system we have today. This honest and heartrending memoir paints a vivid portrait of how we got here and what it means to be a survivor, a feminist, a citizen, and a journalist who owns her voice while striving for the truth. Once I Was You is an urgent call to fellow Americans to open their eyes to the immigration crisis and understand that it affects us all. Also available in Spanish as Una vez fui tú.

    The unwanted daughter of a concubine, she refused to have her feet bound, ran away to join an opera troupe and eventually met Mao Zedong in the mountains of Yenan.

    The Skin We're In will spark a national conversation, influence policy, and inspire activists.In his 2015 cover story for Toronto Life magazine, Desmond Cole exposed the racist actions of the Toronto police force, detailing the dozens of times he had been stopped and interrogated under the controversial practice of carding. The story quickly came to national prominence, shaking the country to its core and catapulting its author into the public sphere. Cole used his newfound profile to draw insistent, unyielding attention to the injustices faced by Black Canadians on a daily basis.Both Cole’s activism and journalism find vibrant expression in his first book, The Skin We’re In. Puncturing the bubble of Canadian smugness and naive assumptions of a post-racial nation, Cole chronicles just one year—2017—in the struggle against racism in this country. It was a year that saw calls for tighter borders when Black refugees braved frigid temperatures to cross into Manitoba from the States, Indigenous land and water protectors resisting the celebration of Canada’s 150th birthday, police across the country rallying around an officer accused of murder, and more.The year also witnessed the profound personal and professional ramifications of Desmond Cole’s unwavering determination to combat injustice. In April, Cole disrupted a Toronto police board meeting by calling for the destruction of all data collected through carding. Following the protest, Cole, a columnist with the Toronto Star, was summoned to a meeting with the paper’s opinions editor and informed that his activism violated company policy. Rather than limit his efforts defending Black lives, Cole chose to sever his relationship with the publication. Then in July, at another police board meeting, Cole challenged the board to respond to accusations of a police cover-up in the brutal beating of Dafonte Miller by an off-duty police officer and his brother. When Cole refused to leave the meeting until the question was publicly addressed, he was arrested. The image of Cole walking out of the meeting, handcuffed and flanked by officers, fortified the distrust between the city’s Black community and its police force.Month-by-month, Cole creates a comprehensive picture of entrenched, systemic inequality. Urgent, controversial, and unsparingly honest, The Skin We’re In is destined to become a vital text for anti-racist and social justice movements in Canada, as well as a potent antidote to the all-too-present complacency of many white Canadians.

    In these fierce yet tender narrative poems, Thom draws from both memory and mythology to create new maps of gender, race, sexuality, and violence. Descended from the traditions of oral storytelling, spoken word, and queer punk, Thom's debut collection is evocative and unforgettable.Kai Cheng Thom is a trans writer and performance artist whose work has been published in Buzzfeed, Autostraddle, Asian American Literary Review, and xoJane. She writes regularly for Everyday Feminism.

    But while her family despairs of marrying her off, she has a passionate heart and powerful dreams, and wants only to find a way to make them come true.Then a young man named Sterling Promise comes to their village to offer Jade Moon and her father a chance to go to America. While Sterling Promise's smooth manners couldn't be more different from her own impulsive nature, Jade Moon falls in love with him on the long voyage. But America in 1923 doesn't want to admit many Chinese, and when they are detained at Angel Island, the "Ellis Island of the West", she discovers a betrayal that destroys all her dreams. To get into America, much less survive there, Jade Moon will have to use all her stubbornness and will to break a new path... one as brave and dangerous as only a Fire Horse girl can imagine.