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May is Asian Heritage Month, and the perfect chance to check out new and new-to-you books by Asian-Canadian writers.
Showing 33–48 of 101 results
The characters in these ten stories are longing for escape and attempt to leave home, but inevitably and perhaps ironically find themselves homesick. Chih-Ying Lay, a Montreal-based expatriate from Taiwan familiar with both homesickness and home sickness, probes our desperate need for home, often matched with an equally desperate need to get away from it. Lay’s characters are outsiders, whether queer, indigenous, unloved or lost, and each discovers that home is not the sanctuary it was meant to be. Sometimes, they find a place to call their very own, as if to tell the reader: You can, too.
How do we scale up our imagination of the human? How does one live one’s life in the Anthropocene?
How to Hold a Pebble–Jaspreet Singh’s second collection of poems–locates humans in the Anthropocene, while also warning against the danger of a single story. These pages present intimate engagements with memory, place, language, migration; with enchantment, uncanniness, uneven climate change and everyday decolonization; with entangled human/non-human relationships and deep anxieties about essential/non-essential economic activities. The poems explore strategies for survival and action by way of a playful return to the quotidian and its manifold interactions with the global and planetary. Of loss no scale remains no seawall… Between one’s despairs / they will brighten / Hope’s in-built traces.
Nanci Lee’s debut explores 4th Century Su Hui’s palindrome of longing. Hsin arises from an ancient Chinese ethical philosophy, less a set of moral standards than an appeal to tune.
Heart-mind and nothingness are fair English translations of Hsin, but their tidiness risks losing some of the sharper, wider sides of absence and appetite. As a historical process, according to Hang Thaddeus T’ui-Chieh, Hsin frustrates, “the psychological fragmentation and compartmentalization of the West.”
Born to a Syrian father and a Chinese mother, who gave her up for adoption, Lee explores her origins in a compendium of poem fragments where form embraces the process of its unfolding. These are Koan-like poems, resonant with tones at turns ageless and contemporary; Hsin holds silence in ways that both claim and keep at bay.
In this lyrical memoir, Lily Hoy Price writes with moving detail about her childhood and adolescence in a large Chinese Canadian family in the Cariboo country of northern British Columbia. The ninth daughter in a family of 12 children, Lily is an observant child who tucks away every image of life in rugged Quesnel during the 1930s for one unforgettable tale after another. She has carefully selected many of her father’s early photographs to illustrate her stories. The celebrated pioneer photographer Chow Dong Hoy left a legacy of more the 1,500 photographs taken after 1909, and created an invaluable record of the cultural diversity of the Cariboo region. With similar sensitivity and the same eye for detail, Lily Hoy Price seamlessly weaves both the innocence and expectations of a young child and the struggles of her parents, who came to Canada during the racially charged days of the imposed $100 head tax.
Filled with love, confusion, family celebrations and family tragedies, these stories open a window on an era long past. Rich with the author’s own insight, the stories are at times sad and humourous, but always thoughtful and interesting. I Am Full Moon creates an intimate portrait of life in an unusual, gifted family and is a significant addition to the historical literature of British Columbia.
Introduction to the Introduction to the Introduction by André Alexis
For me, reading the Introduction was like being caught in a spring shower while waiting for the 41, and running into a library to get out of the rain and, because the rain lasts, wandering the aisles on the fifth floor, taking books from the shelves (Waley’s translations from the Chinese, a work by Roland Barthes, an oversized book about eastern birds…), draping my winter coat on a chair and sitting down to read.
My coat smells of wet coconut matting, and the library is warm, and I fall asleep, my head on the desk, and dream about a strange library filled with impossibly rare and impossibly beautiful works: Waley on birds, Barthes’ translations from the Chinese, an oversized book about rain…
And when I wake, moments later, after what seems like hours, I have the momentary and vivid conviction that, if I listened properly, I could translate water into any language at all.
Pain Not Bread is a collaborative writing group formed in 1990 by Roo Borson, Kim Maltman and Andy Patton. In Introduction to the Introduction to Wang Wei, they occupy the border created by translation, allusion and echo, and make it into habitable space, a place where the subtle sensitivities of poets from the troubled late Tang Dynasty (Wang Wei, Li Bai, Du Fu, …) blend with our own millennial anxieties. What do poets do in a difficult time? It’s as though Pain Not Bread were talking and drinking with their Tang contemporaries on some old rickety ferry making its way back and forth between English and Chinese, Chinese and English, in the process weaving together a music of supreme nuance and tonal registration, a mode of speaking and feeling which is “undisfigured by sentiment” and yet riddled with its own mortality.
An endearing and beautifully illustrated children’s book about learning to embrace our heritage and celebrating what makes us unique.
Multicultural Day is coming up at school, and Kai is nervous about sharing her family’s Chinese food with her classmates. Kai’s mother is excited about making some special dishes, but Kai doesn’t like feeling different from everyone else.
Upset, she runs off on her own and meets Ming the dragon, who takes her on a magical journey to explore different parts of Chinese culture – especially all the delicious food! With Ming’s help, Kai learns about her family roots and how to celebrate all that makes her unique.
Kai’s Tea Eggs is a charming story for anyone who, like Kai, has felt the frustration of trying to fit in before finally learning to appreciate who they are.
Ages 3 to 7.
Winner of BEST CRIME NOVELLA at The Crime Writers of Canada Awards of Excellence 2022
Set in Toronto 1970, just as the FLQ crisis emerges to shake an innocent country, eleven year old Johnny Wong uncovers an underbelly to his tight, downtown neighbourhood. He shares a room with his Chinese immigrant mother in an enclave with American draft dodgers and new Canadians. He is befriended by Rollie, one of the draft dodgers who takes on a fatherly and writing mentor role. Johnny’s mother is threatened by the “children’s warfare society.” A neighbour is found murdered. He suspects the feline loving Catwoman next door and tries to break into her house. Ultimately he is betrayed but he must act to save his family. He discovers a distant kinship with Jean, the son of one of the hostages kidnapped by the FLQ who have sent Canada into a crisis. As his world spins out of control, his only solace are letters to Dave Keon, who “as Captain of the Toronto Maple Leafs, can be trusted.”
Winner of the Lambda Literary Award, Lesbian Poetry, 2012
Honourable Mention, San Francisco Book Festival, Poetry, 2012
In Love Cake, Leah Lakshmi Piepzna-Samarasinha explores how queer people of colour resist and transform violence through love and desire. Refusing to forget the traumas of post 9/11 Islamophobia, and Sri Lanka’s civil war, Love Cake documents the persistence of survival and beauty. It maps the complicated, luscious joy of reclaiming the body and sexuality after abuse, examines a family history of violence with compassion, and celebrates the beautiful resistance of queer people of colour in love and home-making.
Shortlisted for the Guyana Prize, Best Book of Poetry, 2014
Whether in the heart of downtown Toronto, a bookstore in Boston, the courtyard of the Taj Mahal–through the portals of cyberspace–on the banks of a Tampa river, or a journey through time to Georgetown, an old colonial capital, love circumscribes everything. But this book is no wide-eyed outpouring; it probes and questions concepts and beliefs, pokes fun at age, companions taken for granted, and the realization that, like a mannequin in a Manhattan storefront, love is “faceless and, almost, raceless.” If love circumscribes everything, these poems show that everything–economics, politics, ambitions and exiles–also circumscribes love.
Joan is on the brink. Cough drop addict, school bus driver, mixed race daughter of a Maoist English father and Chinese-Canadian mother, Joan struggles for meaning after a friend’s death reveals a secret life. Migration Songs is a lost letter from your past, an intimate experience full of humour and grace.
“A strong debut from a new hopeful voice.”—The Coast
“Quon writes with a great deal of humour, and she spins a good yarn.”—Quill & Quire
Over the years Anna Yin has had the honour to translate more than 50 poets’ works. With more and more people growing interested in translation and bilingual poetry, it is time to publish these translations in book form. I hope this serves as a good resource, and will further stimulate wider and stronger interest and conversation for cross-cultural exchange. As Maya Angelou said: “I long, as does every human being, to be at home wherever I find myself.” I hope this contribution will open more of these homes.