Through deep reporting with key activists and thinkers, passionately personal writing, and distinguished cultural criticism, We Gon’ Be Alright links #BlackLivesMatter to #OscarsSoWhite, Ferguson to Washington D.C., the Great Migration to resurgent nativism. Chang explores the rise and fall of the idea of “diversity,” the roots of student protest, changing ideas about Asian Americanness, and the impact of a century of racial separation in housing. He argues that resegregation is the unexamined condition of our time, the undoing of which is key to moving the nation forward to racial justice and cultural equity.

    The language barrier and power imbalance that defined their early relationship followed them to the predominantly white, upstate New York suburb where they moved to raise their only daughter. There, Elizabeth grew up with the trappings of a typical American childhood and adolescence. Yet even though she felt almost no connection to her mother's distant home, she also felt out of place among her peers.Decades later, Elizabeth comes to recognize the shame and self-loathing that haunt both her and her mother, and attempts a form of reconciliation, not only to come to terms with the embattled dynamics of her family but also to reckon with the injustices that reverberate throughout the history of Okinawa and its people. Clear-eyed and profoundly humane, Speak, Okinawa is a startling accomplishment--a heartfelt exploration of identity, inheritance, forgiveness, and what it means to be an American.

    The pieces range from long meditations on topics like loneliness and being an outsider, to short humor pieces, conversations, and memorable one-liners.Jonny's honest writings about his struggles with feeling productive, as well as his difficulties with anxiety and depression will connect deeply with his fans as well as anyone attempting to create in our chaotic world. It also features a recipe for scrambled eggs that might make you cry.

    So, you just give more. MORE of the gut-busting jokes that draw people in and MORE of the witty one-liners that keep people reading. MORE of the silly pickup lines that spark romance and MORE of the moving speeches that inspire generations. And MORE of the magic that only Senator Miriam Defensor Santiago can deliver.Stupid is Forevermore is the sequel to the phenomenal hit that has been read by people of all ages, genders, and classes. Chockfull of humor and eloquence, the beloved Senator is back along with Cj de Silva-Ong, Andrew Drilon, Apol Sta. Maria, Julius Villanueva, and a who's who of the Philippines' best young illustrators.

    But when a crack appears at the bottom of the pool, they are cast out into an unforgiving world without comfort or relief. One of these swimmers is Alice, who is slowly losing her memory. For Alice, the pool was a final stand against the darkness of her encroaching dementia. Without the fellowship of other swimmers and the routine of her daily laps she is plunged into dislocation and chaos, swept into memories of her childhood and the Japanese internment camp in which she spent the war. Narrated by Alice's daughter, who witnesses her stark and devastating decline, The Swimmers is a searing, intimate story of mothers and daughters, and the sorrows of implacable loss, written in spellbinding, incantatory prose. The most commanding and unforgettable work yet from a modern master.

    Cho grew up as the daughter of a white American merchant marine and the Korean bar hostess he met abroad. They were one of few immigrants in a xenophobic small town during the Cold War, where identity was politicized by everyday details—language, cultural references, memories, and food. When Grace was fifteen, her dynamic mother experienced the onset of schizophrenia, a condition that would continue and evolve for the rest of her life.Part food memoir, part sociological investigation, Tastes Like War is a hybrid text about a daughter’s search through intimate and global history for the roots of her mother’s schizophrenia. In her mother’s final years, Grace learned to cook dishes from her parent’s childhood in order to invite the past into the present, and to hold space for her mother’s multiple voices at the table. And through careful listening over these shared meals, Grace discovered not only the things that broke the brilliant, complicated woman who raised her—but also the things that kept her alive.

    By that afternoon, she saw the world—quite literally—upside down. By New Year’s Day, she was unable to form a coherent sentence. And after hours in the ER, days in the hospital, and multiple questions and tests, her doctors informed her that she had had a stroke. For months afterward, Lee outsourced her memories to a journal, taking diligent notes to compensate for the thoughts she could no longer hold on to. It is from these notes that she has constructed this frank and compelling memoir.In a precise and captivating narrative, Lee navigates fearlessly between chronologies, weaving her childhood humiliations and joys together with the story of the early days of her marriage; and then later, in painstaking, painful, and unflinching detail, the account of her stroke and every upset—temporary or permanent—that it caused. Lee illuminates the connection between memory and identity in an honest, meditative, and truly funny manner, utterly devoid of self-pity. And as she recovers, she begins to realize that this unexpected and devastating event has provided a catalyst for coming to terms with her true self—and, in a way, has allowed her to become the person she’s always wanted to be.

    Ten years ago, the town's harvest failed utterly, and the people---believing the gods had abandoned them--left their farms and moved on.Now, on a Friday before a long weekend, Regina ends her workday at an office in Makati, and walks home with a new colleague, Diana. Following a strange and disturbing conversation between them, Diana does not show up at work on Monday, nor Tuesday, nor Wednesday.On Thursday, Regina finds a folded piece of paper In her bag. In Diana's handwriting are two names and a strange map that will send Regina back to her hometown. Here, in her quest to find Diana, she encounters rumors of genetic experiments, stumbles upon a strange facility that no one seems to know about, finds herself in places that don't exist, and discovers that people are not who they seem to be. And the biggest question in the bizarre chain of events is not what, or how, but why?Wounded Little Gods is a tale that brings mythology to a sci-fi thriller that's filled with a sense of place--a place where gods are in many ways human and point to the ways in which humans can be inhumane. As Regina struggles to unwind the knots surrounding the mystery of this facility and the people connected to it. She discovers that she is more intertwined in the strange events in her hometown than she ever knew.

    A series of Turing Test-inspired poems grounds its exploration of questions not just of identity, but of consciousness―how to be tender and feeling and still survive a violent world filled with artificial intelligence and automation. We are dropped straight into the tangled intersections of technology, violence, erasure, agency, gender, and loneliness.

    She had always been a source of support--until Maya became a mother herself. Then, the parent who had once been so capable and attentive turned unavailable and distant. Struggling to understand this abrupt change while raising her own young child, Maya searches for answers and soon learns that her mother is living with Alzheimer'sWhen Maya steps in to care for her, she comes to realize that despite their closeness, she never really knew her mother. Were her cherished stories--about life in India, about what it means to be an immigrant, about motherhood itself--even true? Affecting, raw, and poetic, What We Carry is the story of a daughter and her mother, of lies and truths, of receiving and giving care--and how we cannot grow up until we fully understand the people who raised us.Advance praise for What We Carry"A dazzling, courageous memoir about the weight we carry as women, daughters, and mothers--and what happens when we let go. Lang takes us deep into the heart of her relationship with her mother, a brilliant psychiatrist and Indian immigrant with long-buried secrets. After a health crisis brings mother and daughter under the same roof for the first time since childhood, Lang grapples with new information about the parent she'd idolized, and realizes it's time to tell the story of her own life. What We Carry is a love letter to everyone who has swum through turbulent water before reaching the shores of selfhood."--Chloe Benjamin, New York Times bestselling author of The Immortalists

    Starts with an M. Ends with a U. Has a lechon named after it. #travelTwenty-something travel blogger Five thinks she has hit the jackpot when she gets invited to glittering Macau for an all-expense-paid bloggers tour. Think majestic old churches, sparkling casinos, exhilarating bungee jumps, and the world's most unforgettable egg tarts. The trip is practically perfect, except for one little glitch. She gets assigned to be travel buddies with Jesse, the world's most infuriating photo blogger, and it's definitely war at first sight. Will Five let Jesse turn her dream vacation into a total nightmare? Or will falling in love be on the itinerary?

    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.

    In addition, beginning at the age of five, Sellars was isolated for two years at Coqualeetza Indian Tuberculosis Hospital in Sardis, British Columbia, nearly six hours' drive from home. The trauma of these experiences has reverberated throughout her life.The first full-length memoir to be published out of St. Joseph's Mission at Williams Lake, BC, Sellars tells of three generations of women who attended the school, interweaving the personal histories of her grandmother and her mother with her own. She tells of hunger, forced labour, and physical beatings, often with a leather strap, and also of the demand for conformity in a culturally alien institution where children were confined and denigrated for failure to be White and Roman Catholic.Like Native children forced by law to attend schools across Canada and the United States, Sellars and other students of St. Joseph's Mission were allowed home only for two months in the summer and for two weeks at Christmas. The rest of the year they lived, worked, and studied at the school. St. Joseph's Mission is the site of the controversial and well-publicized sex-related offences of Bishop Hubert O'Connor, which took place during Sellars's student days, between 1962 and 1967, when O'Connor was the school principal. After the school's closure, those who had been forced to attend came from surrounding reserves and smashed windows, tore doors and cabinets from the wall, and broke anything that could be broken. Overnight their anger turned a site of shameful memory into a pile of rubble.In this frank and poignant memoir, Sellars breaks her silence about the institution's lasting effects, and eloquently articulates her own path to healing.

    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.

    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.