In Monsoon Postcards, journalist David H. Mould, notebook in hand, traverses the Indian Ocean—from Madagascar through India and Bangladesh to Indonesia. It’s an unpredictable journey on battered buses, bush taxis, auto-rickshaws, and crowded ferries. Mould travels from the traffic snarls of Delhi, Dhaka, and Jakarta to the rice paddies and ancestral tombs of Madagascar’s Central Highlands; from the ancient kingdom of Hyderabad to India’s so-called chicken neck—the ethnically diverse and underdeveloped northeast; and from the textile factories and rivers of Bangladesh to the beaches of Bali and the province of Aceh—ground zero for the 2004 tsunami. Along the way, in markets, shops, roadside cafes, and classrooms, he meets journalists, professors, students, aid workers, cab drivers, and other everyday residents to learn how they view their past and future. Much like its predecessor, Mould’s Postcards from Stanland, Monsoon Postcards offers witty and insightful glimpses into countries linked by history, trade, migration, religion, and a colonial legacy. It explores how they confront the challenges of climate change, urban growth, economic development, land, water and natural resources, and national and ethnic identity.

Provides vivid accounts of commercial and leisure spaces that captivated the public imagination in the past but have since been destroyed, forgotten, or refurbished. Monsoon Marketplace uncovers the entangled vernacular cultures of capitalist modernity, mass consumption, and media spectatorship in two understudied postcolonial Asian cities across three crucial historical moments. Juxtaposing Manila and Singapore, it analyzes print and audiovisual representations of popular commercial and leisure spaces during the colonial occupation in the 1930s, national development in the 1960s, and neoliberal globalization in the 2000s. Engaging with the work of creators including Nick Joaquin, Kevin Kwan, and P. Ramlee, it discusses figures of female shoppers in 1930s Manila, languid expatriates in 1930s Singapore, street hawkers in 1960s Singapore, youthful activists in 1960s Manila, call center agents in 2000s Manila, and super-rich investors in 2000s Singapore. Looking at the historical transformation of Calle Escolta, Avenida Rizal, Raffles Place, and Orchard Road, it focuses on Crystal Arcade, the Manila Carnival, the Great World and New World Amusement Parks, and Change Alley, all of which had once captivated the public imagination but have since vanished from the cityscape. Instead of treating capitalism, media, and modernity as overarching systems or processes, the book examines how their configurations and experiences are contingent, variable, pluralistic, and archipelagic. Diverging from critical theories and cultural studies that see consumerism and spectatorship as sources of alienation, docility, and fantasy, it explores how they create new possibilities for agency, collectivity, and resistance.

HEAT is part of a threesome of Southeast Asian urban anthologies. The other two are called FLESH and TRASH. You’ll find plenty of heat in this collection of stories, gathered from six different Southeast Asian nations: Indonesia, Malaysia, Thailand, Vietnam, the Philippines, and Singapore. As part of our selection process, we’ve tried to select the more unexpected, thoughtful and risk-taking from the available pool of writing, forging from them a compendium of twisted, tender visions of our region. Writers: Gabriela Lee, Zed Adam Idris, Vina Jie-Min Prasad, Rewat Panpipat (translated by Marcel Barang), Nikki Alfar, Joseph Ng, O Thiam Chin, Christine V. Lao, Alexander Marcos Osias, Catalina Rembuyan, Hồn Du Mục, Maf Deparis & Ivery del Campo, Diyana Mohamad, Peter Zaragoza Mayshle, Lee Ee Leen, Zedeck Siew, Bonnie Etherington and Julie Koh. (Fixi Novo) (Buku Fixi)

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Monsoon... is a journey into the hearts and memories of those caught in a certain time in a particular place. Sandy Donaldson has been working for a volunteer organisation in Vietnam for the past four years. As her contract nears it end, she is reluctant to leave so she invites her oldest friend, Anna, to come for a holiday and discover its beautiful tourist destinations. Both girls have unexplored links to this country. Sandy's father is a Vietnam vet and Anna's mother was a Vietnamese boat person. During their travels, they meet Tom, an old Australian journalist who covered the war and plans to report on the 40th anniversary of the Battle of Long Tan. It is Tom who tries to persuade Sandy's father to return to Long Tan and settle the ghosts that have haunted him for 40 years, and suggests that Anna should delve into her mother's past. But the girls are reluctant, swept up in their own concerns, relationships, and a business deal that has the potential to go horribly wrong. However, it is the near-blind Buddhist nun living alone in the pagoda atop one of the karsts in Halong Bay who might hold the key.

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