An earlier manuscript titled The Music Child was shortlisted for the Man Asia Literary Prize in 2008. Alfred A. Yuson’s previous novels are Great Philippine Jungle Energy Cafe and Voyeurs & Savages. Again, this third novel explores the marvels skirting the boundaries of realism, or goes much farther beyond after establishing adequate suspension of disbelief. Genres are blurred in the crafting of long fiction that is both poetry and prophecy. This the author does with visionary whimsy. In this narrative, the central protagonist’s wondrous voice is stilled time and again by the deaths of his loved ones. Bereft of song, the boy finally learns to speak, then learns to turn the words of others into music on paper. The processes of mimicry and extrapolation result in an extended poetic suite that invents legends as well as a mythical conflict involving the imperialism of languages. The music child’s extraordinary talents are matched by those of the young mahjong queen who can’t be beaten in the game since the angels of her youth speak through her fingers. Around them, foreign friends and relations representing former colonizers provide a framework of discovery, while themselves dancing to the historic chorus of destiny in the magical East. The music child and the mahjong queen endear themselves to one another through the palpable vocabulary of flowers.

Texts written by Southeast Asian migrants have often been read, taught, and studied under the label of multicultural literature. But what if the ideology of multiculturalism—with its emphasis on authenticity and identifiable cultural difference—is precisely what this literature resists? Transitive Cultures offers a new perspective on transpacific Anglophone literature, revealing how these chameleonic writers enact a variety of hybrid, transnational identities and intimacies. Examining literature from Malaysia, Singapore, and the Philippines, as well as from Southeast Asian migrants in Canada, Hawaii, and the U.S. mainland, this book considers how these authors use English strategically, as a means for building interethnic alliances and critiquing ruling power structures in both Southeast Asia and North America. Uncovering a wealth of texts from queer migrants, those who resist ethnic stereotypes, and those who feel few ties to their ostensible homelands, Transitive Cultures challenges conventional expectations regarding diaspora and minority writers.

Laos, 1900 - a frontier land caught in a power struggle between Eastern kingdoms and Western colonial powers, a fertile place teetering between an ancient pastoral existence and the modern machine age. Alfred Raquez's Laotian Pages vividly describes his exploration of the diverse kingdoms of Laos at the turn of the last century with the same Parisian verve and ironic turn of mind that he brought to his first travel book, In the Land of Pagodas. Raquez's keen eye and sensitivity to the exotic in both nature and human culture, combined with a mastery of the genre and his hallmark conversational style, transport the reader to the largely unexplored frontier of fin-de-siècle Indochina. Long known only to specialists on the history and ethnography of the region, this new work presents a scholarly translation into English together with Raquez's original photographs that will finally allow a wide audience to experience the joys and hardships of travel in a land that is both timeless and forever changing. In addition, a wide-ranging introduction and extensive footnotes provide historical context and 'then-and-now' perspectives on the cultures and landscape that have undergone massive change in the past century. In the Land of Pagodas, a scholarly translation by William L. Gibson and Paul Bruthiaux of Alfred Raquez's book of travels through China in 1899, was published in 2017 by NIAS Press.

“The Joy Luck Club is one of my favorite books. From the moment I first started reading it, I knew it was going to be incredible. For me, it was one of those once-in-a-lifetime reading experiences that you cherish forever. It inspired me as a writer and still remains hugely inspirational.” —Kevin Kwan, author of Crazy Rich Asians Amy Tan’s beloved, New York Times bestselling tale of mothers and daughters, now the focus of a new documentary Amy Tan: Unintended Memoir on Netflix Four mothers, four daughters, four families whose histories shift with the four winds depending on who's "saying" the stories. In 1949 four Chinese women, recent immigrants to San Francisco, begin meeting to eat dim sum, play mahjong, and talk. United in shared unspeakable loss and hope, they call themselves the Joy Luck Club. Rather than sink into tragedy, they choose to gather to raise their spirits and money. "To despair was to wish back for something already lost. Or to prolong what was already unbearable." Forty years later the stories and history continue. With wit and sensitivity, Amy Tan examines the sometimes painful, often tender, and always deep connection between mothers and daughters. As each woman reveals her secrets, trying to unravel the truth about her life, the strings become more tangled, more entwined. Mothers boast or despair over daughters, and daughters roll their eyes even as they feel the inextricable tightening of their matriarchal ties. Tan is an astute storyteller, enticing readers to immerse themselves into these lives of complexity and mystery.

In Long Drawn Out Trip: My Life, Gerald Scarfe tells his life story for the first time. With captivating, often thrilling stories, he takes us from his childhood and early days at Punch and Private Eye, through his long and occasionally tumultuous career as the Sunday Times cartoonist, to his film-making at the BBC and much-loved designs for Pink Floyd's The Wall and Disney's Hercules. Along the way he has drawn Churchill from life, gone on tour with The Beatles and thoroughly upset Mrs Mary Whitehouse. It is a very personal, wickedly funny and caustically insightful account of an artist's life at the forefront of contemporary culture and society.