In China, Qian’s parents were professors; in America, her family is "illegal" and it will require all the determination and small joys they can muster to survive.In Chinatown, Qian’s parents labor in sweatshops. Instead of laughing at her jokes, they fight constantly, taking out the stress of their new life on one another. Shunned by her classmates and teachers for her limited English, Qian takes refuge in the library and masters the language through books, coming to think of The Berenstain Bears as her first American friends. And where there is delight to be found, Qian relishes it: her first bite of gloriously greasy pizza, weekly "shopping days," when Qian finds small treasures in the trash lining Brooklyn’s streets, and a magical Christmas visit to Rockefeller Center — confirmation that the New York City she saw in movies does exist after all.But then Qian’s headstrong Ma Ma collapses, revealing an illness that she has kept secret for months for fear of the cost and scrutiny of a doctor’s visit. As Ba Ba retreats further inward, Qian has little to hold onto beyond his constant refrain: Whatever happens, say that you were born here, that you’ve always lived here.Inhabiting her childhood perspective with exquisite lyric clarity and unforgettable charm and strength, Qian Julie Wang has penned an essential American story about a family fracturing under the weight of invisibility, and a girl coming of age in the shadows, who never stops seeking the light.

    From the author of the Pulitzer Prize–winning novel The Sympathizer comes a searching exploration of the conflict Americans call the Vietnam War and Vietnamese call the American War—a conflict that lives on in the collective memory of both nations.From a kaleidoscope of cultural forms—novels, memoirs, cemeteries, monuments, films, photography, museum exhibits, video games, souvenirs, and more—Nothing Ever Dies brings a comprehensive vision of the war into sharp focus. At stake are ethical questions about how the war should be remembered by participants that include not only Americans and Vietnamese but also Laotians, Cambodians, South Koreans, and Southeast Asian Americans. Too often, memorials valorize the experience of one’s own people above all else, honoring their sacrifices while demonizing the “enemy”—or, most often, ignoring combatants and civilians on the other side altogether. Visiting sites across the United States, Southeast Asia, and Korea, Viet Thanh Nguyen provides penetrating interpretations of the way memories of the war help to enable future wars or struggle to prevent them.Drawing from this war, Nguyen offers a lesson for all wars by calling on us to recognize not only our shared humanity but our ever-present inhumanity. This is the only path to reconciliation with our foes, and with ourselves. Without reconciliation, war’s truth will be impossible to remember, and war’s trauma impossible to forget.

    The West, he argues, is being destroyed not by immigrants but by the fear of immigrants. He juxtaposes the phony narratives of populist ideologues with the ordinary heroism of labourers, nannies and others, from Dubai to New York, and explains why more people are on the move today than ever before. As civil strife and climate change reshape large parts of the planet, it is little surprise that borders have become so porous.This Land is Our Land also stresses the destructive legacies of colonialism and global inequality on large swathes of the world. When today’s immigrants are asked, ‘Why are you here?’, they can justly respond, ‘We are here because you were there.’ And now that they are here, as Mehta demonstrates, immigrants bring great benefits, enabling countries and communities to flourish.Impassioned, rigorous, and richly stocked with memorable stories and characters, This Land Is Our Land is a timely and necessary intervention, and literary polemic of the highest order.

    With insight and wit, it lays bare her journey to reclaiming her creativity and power, inviting readers to reflect on theirs.Advocating for ‘misfits’ everywhere, this timely, necessary book is a rousing and bold case against fitting in.

    Schizophrenia is not a single unifying diagnosis, and Esme Weijun Wang writes not just to her fellow members of the "collected schizophrenias" but to those who wish to understand it as well. Opening with the journey toward her diagnosis of schizoaffective disorder, Wang discusses the medical community's own disagreement about labels and procedures for diagnosing those with mental illness, and then follows an arc that examines the manifestations of schizophrenia in her life. In essays that range from using fashion to present as high-functioning to the depths of a rare form of psychosis, and from the failures of the higher education system and the dangers of institutionalisation to the complexity of compounding factors such as PTSD and Lyme disease, Wang's analytical eye, honed as a former lab researcher at Stanford, allows her to balance research with personal narrative. An essay collection of undeniable power, The Collected Schizophrenias dispels misconceptions and provides insight into a condition long misunderstood.

    Kendi, author of the number one bestseller How To Be an Antiracist, and fellow historian Keisha N. Blain, Four Hundred Souls begins with the arrival of twenty enslaved Ndongo people on the shores of the British colony in mainland America in 1619, the year before the arrival of the Mayflower. In eighty chronological chapters, the book charts the tragic and triumphant four-hundred-year history of Black American experience in a choral work of exceptional power and beauty. Contributors include some of the best-known scholars, writers, historians, journalists, lawyers, poets and activists of contemporary America who together bring to vivid life countless new facets to the drama of slavery and resistance, segregation and survival, migration and self-discovery, cultural oppression and world-changing artistic, literary and musical creativity. In these pages are dozens of extraordinary lives and personalities, rescued from the archives and restored to their rightful place in America's narrative, as well as the ghosts of millions more.Four Hundred Souls is an essential work of story-telling and reclamation that redefines America and changes our notion of how history is written.

    Holding all accountable, this collection fully embraces the loss, grief, and abundant joy that come with charting one’s own path in identity, life, and love.In the HospitalMy mother was in the hospital & everyone wanted to be my friend.But I was busy making a list: good dog, bad citizen, shortskeleton, tall mocha. Typical Tuesday.My mother was in the hospital & no one wanted to be her friend.Everyone wanted to be soft cooing sympathies. Very reasonablepigeons. No one had the time & our solution to itwas to buy shinier watches. We were enamored withwhat our wrists could declare. My mother was in the hospital& I didn’t want to be her friend. Typical son. Tall latte, short tale,bad plot, great wifi in the atypical café. My mother was in the hospital& she didn’t want to be her friend. She wanted to be the familygrocery list. Low-fat yogurt, firm tofu. She didn’t trust my fatherto be it. You always forget something, she said, even whenI do the list for you. Even then.

    Whether he's attending a Bruce Springsteen concert the day after visiting Michael Brown's grave, or discussing public displays of affection at a Carly Rae Jepsen show, he writes with a poignancy and magnetism that resonates profoundly.In the wake of the nightclub attacks in Paris, he recalls how he sought refuge as a teenager in music, at shows, and wonders whether the next generation of young Muslims will not be afforded that opportunity now. While discussing the everyday threat to the lives of black Americans, Abdurraqib recounts the first time he was ordered to the ground by police officers: for attempting to enter his own car.In essays that have been published by the New York Times, MTV, and Pitchfork, among others—along with original, previously unreleased essays—Abdurraqib uses music and culture as a lens through which to view our world, so that we might better understand ourselves, and in so doing proves himself a bellwether for our times.

    She can describe the smell, the atmosphere of the salon, and her mix of emotions when she saw her normally kinky tresses fall down her shoulders. For as long as Emma can remember, her hair has been a source of insecurity, shame, and—from strangers and family alike—discrimination. And she is not alone.Despite increasingly liberal world views, black hair continues to be erased, appropriated, and stigmatized to the point of taboo. Through her personal and historical journey, Dabiri gleans insights into the way racism is coded in society’s perception of black hair—and how it is often used as an avenue for discrimination. Dabiri takes us from pre-colonial Africa, through the Harlem Renaissance, and into today's Natural Hair Movement, exploring everything from women's solidarity and friendship, to the criminalization of dreadlocks, to the dubious provenance of Kim Kardashian's braids.Through the lens of hair texture, Dabiri leads us on a historical and cultural investigation of the global history of racism—and her own personal journey of self-love and finally, acceptance.

    We must hold the truth to account in the midst of sensationalism and international political turmoil. Nasty Women is a collection of essays, interviews and accounts on what it is to be a woman in the 21st century.People, politics, pressure, punk - From working class experience to racial divides in Trump’s America, being a child of immigrants, to sexual assault, Brexit, pregnancy, contraception, identity, family, finding a voice online, role models and more, Laura Jane Grace of Against Me!, Zeba Talkhani, Chitra Ramaswamy are just a few of the incredible women who share their experience here.Keep telling your stories, and tell them loud.

    DuBois’s classic collection of essays on race and American society, Wesley Yang’s debut book marks a fresh contribution to the conversation about race in America today. Yang’s essays are an eclectic mix of reporting, sociology, and personal history, and The Souls of Yellow Folk collects thirteen of his best. These include his New York cover story “Paper Tigers,” on Asian values and the American Dream; his New York Times Magazine portrait of chef and author Eddie Huang; his n+1 dispatch “The Face of Seung- Hui Cho,” who was then the largest mass murderer in U.S. history; and his provocative essays on white supremacy. Written with freewheeling candor, The Souls of Yellow Folk deftly examines a new cohort of men who have emerged in our time—embattled, haunted, and out on a limb.

    citizenship, Talusan found childhood comfort from her devoted grandmother, a grounding force as she was treated by others with special preference or public curiosity.As an immigrant to the United States, Talusan came to be perceived as white. An academic scholarship to Harvard provided access to elite circles of privilege but required Talusan to navigate through the complex spheres of race, class, sexuality, and her place within the gay community. She emerged as an artist and an activist questioning the boundaries of gender. Talusan realized she did not want to be confined to a prescribed role as a man, and transitioned to become a woman, despite the risk of losing a man she deeply loved.Throughout her journey, Talusan shares poignant and powerful episodes of desirability and love that will remind readers of works such as Call Me By Your Name and Giovanni's Room. Her evocative reflections will shift our own perceptions of love, identity, gender, and the fairness of life.

    Born and raised in South Carolina as a son of immigrants, he knew that his parents had fled Vietnam during the fall of Saigon. But even as they struggled to adapt to life in America, they preferred to forget the past—and to focus on their children’s future. It was only in his late twenties that GB began to learn their extraordinary story. When his last surviving grandparents die within months of each other, GB visits Vietnam for the first time and begins to learn the tragic history of his family, and of the homeland they left behind. In this family saga played out in the shadow of history, GB uncovers the root of his father’s remoteness and why his mother had remained in an often fractious marriage; why his grandfather had abandoned his own family to fight for the Viet Cong; why his grandmother had had an affair with a French soldier. GB learns that his parents had taken harrowing flight from Saigon during the final hours of the war not because they thought America was better but because they were afraid of what would happen if they stayed. They entered America—a foreign land they couldn’t even imagine—where family connections dissolved and shared history was lost within a span of a single generation.In telling his family’s story, GB finds his own place in this saga of hardship and heroism. Vietnamerica is a visually stunning portrait of survival, escape, and reinvention—and of the gift of the American immigrants’ dream, passed on to their children. Vietnamerica is an unforgettable story of family revelation and reconnection—and a new graphic-memoir classic.

    . . A woman in an arranged marriage struggles to connect with the son she hid from her husband for years . . . A well-meaning sister unwittingly reunites an abuser with his victims . . . Through the lives of an indelible array of individuals--musicians, housewives and pastors, children and grandparents, the men and women who own the dry cleaners and the mini-marts--Yoon Choi explores the Korean American experience at its interstices: where first and second generations either clash or find common ground; where meaning falls in the cracks between languages; where relationships bend under the weight of tenderness and disappointment; where displacement turns to heartbreak. Suffused with a profound understanding of humanity, Skinship is, ultimately, a searing look at the failure of intimacy to show us who the people we love truly are.

    I am a survivor of the Cambodian holocaust. That's who I am.He became famous through his academy award-winning performance as Dith Pran in the film The Killing Fields, but the key to Haing Ngor's screen success was the terrible truth of his own experiences in the rice paddies and labour camps of revolutionary Cambodia.Here, in a gripping memoir of life under the communist Khmer Rouge regime, he reveals the country's descent into a hell beyond our imaginings: a world of war slaves and senseless brutality, where family life simply ceases to be. But with the pain he also gives us hope and an illuminating example of how the best sort of love can actually be strengthened through the shared experience of a life-threatening ordeal. An eyewitness account of the real killing fields by an extraordinary survivor, this book is both a reminder of the horrors of war and a testament to the resilience of the human spirit.