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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.
A collection of short cartoons from Stefano Jun chronicling his experiences growing up a Korean immigrant in Western Canada. Having moved to Canada as an 8 year old with no knowledge of English, Stefano encounters culture shock, family love, friendship, and ultimately finding a place for himself in the vast country he has called home for 20 years now.
These slice of life stories are a keenly observed insight into the experience of growing up in an unfamiliar place. Full of emotion, humour and surprise, Modern Asian Family: Straight Outta Busan is a delight to read.
When young orphans Mala and Chun Chun encounter brothers Prakash and Ojha on the busy streets of Kolkata, they are immediately at odds. The brothers come from a lower-middle-class family and spend their time flying kites instead of attending class, while Mala and Chun Chun can only dream of going to school, a goal Aunty promises will be fulfilled if they beg for money from passersby. After a petty fruit-stall heist lands Ojha in Aunty’s cunning hands, the brothers are blackmailed into begging alongside Mala and Chun Chun, forcing the children to interact. Though they find each other nuisances at first, the kids soon realize their strength in numbers as Aunty’s scheming is slowly revealed.
An altar is a door; wonder is the key.
What losses and intimacies bring you to this threshold? Tabako on the Windowsill contends tenderly with such questions, initiating through them the work of transformation.
To shape an entire book around portals and thresholds is to search for living myth. Hari Alluri’s poems build from comic books, television, paintings, folklore, music, and a unique imagination. Following an immigrant point of view while maintaining home in a language that engages with blood and chosen family, Alluri offers multiple lived and ancestral spaces in India, the Philippines, Nigeria, the U.S., and Canada. Guided by a burning attention – to braids of displacement, loss, and joy, to multiple beginnings – Alluri creates moments where we can expand through the personhood of perception into wider, overlapping worlds of perspective and possibility.
#1 Best Canadian Gay Fiction on Goodreads
When a long-lost sister shows up as a trans man named Luke, a series of precipitous events throws the lives of boyfriends Daniel and David into turmoil. While David attends an extravagant family reunion in Sicily, Daniel’s ex Marcus plans the world-premiere of his one-man show. The couple’s vertiginous exploration of sex, intimacy and love comes to a head when a shocking revelation tests their commitment and future together.
Tales of the Emperor is based on the life of Qin Shi Huang (circa 260–210 BCE), the “First Emperor” – he who unified China, gave it his name, built the Great Wall, entombed an army of terra cotta soldiers, authored legalism, erased history, insinuated governance, and established paranoia as a national characteristic. His dynasty did not outlive him but his influence permeates the present and, there is ample indication, will dominate the future.
The literary method of Tales of the Emperor is derived from the first Chinese attempt at “writing history” – the famous Historical Records of Ssu-Ma Ch’ien. Like that Chinese classic, Tales of the Emperor is motivated by the desire to understand the past by entering it, mixing testimony with anecdote, interpretation with invention, biography with characterization, objective analysis with passionate self-interest.
Birth to death, Tales of the Emperor tells the story of its central figure in a thematic rather than a chronologic narrative. In a mosaic of separate tales – some no more than fragments, others chapter-length – intersecting characters are presented, entwined, relinquished, among them a failed assassin, a wily adviser, an ironic architect, a castrated historian, an entire tribe of grave builders, and, of course, the wry, conflicted, everyday tyrant himself. The Emperor’s accomplishments are documented, his strivings are examined, and intimate tittle-tattle about him is indulged.
There’s only one principal theme: you find the antiquity you look for, or, in the language of the book: “history is the study of the paintings of great events.”
What happens when a two-thousand-year-old language rooted in a classical poetics of land moves, along with some of its peoples, through colonial and postcolonial upheaval, war, and forced or voluntary migrations?
Questioning traditional concepts of time, place, labour, love, purity, and gender, this prismatic collection of poems, translations, transcreations draws connections between ancient Sangam landscapes and migrant labour songs; classical Tamil love poems and the wounded memories of colonial plantation workers and undocumented refugees.
Building community with each other, Tamil translators living on Indigenous terrains in North America reflect on the violence of settler colonialism, descendants of Tamil indentured labourers in Malaysia and Singapore confront erasures inflicted upon them, and those rooted in Tamil’s traditional homelands encounter the intimacies and distances of a migrant tongue.
AURORA AWARD WINNER“This packs a punch.” — Publishers Weekly“One of the most unique and engaging voices in genre fiction.” — Booklist“In this rich and nuanced universe, Mohamed offers an emotionally fierce and human story that takes the time and space to personalize apocalypse.” — STARRED review, Quill & QuireA novella set in post–climate disaster Alberta; a woman infected with a mysterious parasite must choose whether to pursue a rare opportunity far from home or stay and help rebuild her communityThe world is nothing like it once was: climate disasters have wracked the continent, causing food shortages, ending industry, and leaving little behind. Then came Cad, mysterious mind-altering fungi that invade the bodies of the now scattered citizenry. Reid, a young woman who carries this parasite, has been given a chance to get away — to move to one of the last remnants of pre-disaster society — but she can’t bring herself to abandon her mother and the community that relies on her. When she’s offered a coveted place on a dangerous and profitable mission, she jumps at the opportunity to set her family up for life, but how can Reid ask people to put their trust in her when she can’t even trust her own mind?With keen insight and biting prose, Premee Mohamed delivers a deeply personal tale in this post-apocalyptic hopepunk novella that reflects on the meaning of community and asks what we owe to those who have lifted us up.
According to Chinese folklore, when his favourite daughter falls ill, Yanwang, the ruler of the underworld, sends his servants to look for a doctor who has as few ghosts as possible following him. This means that he is a better doctor than others, because when a patient dies, the ghost follows and haunts the doctor.
Li Qunying, a Communist doctor of great dedication, undoubtedly had fewer ghosts behind her. Yet her life was in many ways ill fated, as she struggled through the Anti-Japanese War, the Civil War, the Korean War, the great famine of the early ’60s and numerous political movements, including the notorious Cultural Revolution. The Great Leap Forward Movement tragically took away her son Bingbing’s life, and the persecution of her husband during the Cultural Revolution took a serious toll on his health, and consequently led to his early death. Besides enduring personal misfortune, she also witnessed the suffering of the peasants, who were the majority of the population at the grass-roots level and whose sorrowful stories have rarely been told.
This haunting memoir traces all of the major events of brutal twentieth-century China, interweaving eyewitness history, folklore, superstition, and Dr. Li’s own first-hand accounts.
Every family has rituals and routines holding them together. But sometimes they are the very things that tear them apart. The Family Code is a gritty family drama featuring the troubled life of Hannah Belenko, a young single mother dogged by the brutality of past traumas and a code of silence that she must crack in order to be free—or else lose everything.
Hannah was raised by this code and rules her own family by it. When she loses her daughter to the state and her boyfriend threatens her, she flees from Ottawa to Halifax with her remaining son, six-year-old Axel. While she bulldozes her way through everything and schemes to protect him, Axel flounders in the chaos. He begins to doubt his mother and her dream of a way out. With her life crashing down, Hannah is driven by desperation to survive yet hangs on to elusive hope.
With unvarnished and high-voltage prose, The Family Code unabashedly reveals the power and perils of parenting, but also the longing and vulnerability of children.
The poems in The Language We Were Never Taught to Speak explore the many identities, both visible and invisible, that a body contains. With influences from pop culture, the Bible, tech, and Hong-Kongese history, these pieces reflect and reveal how the stories of immigrants in Canada hold both universal truths and singular distinctions. From boybands that show the way to become “the kind of girl a girl could love” to “rich flavours that are just a few generations of poverty away,” they invite the reader to meditate on spirituality, food, and the shapes love takes.