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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.
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Disappearing Moon Cafe was a stunning debut novel that has become a Canadian literary classic. An unflinchingly honest portrait of a Chinese Canadian family that pulses with life and moral tensions, this family saga takes the reader from the wilderness in nineteenth-century British Columbia to late twentieth-century Hong Kong, to Vancouver’s Chinatown.
Intricate and lyrical, suspenseful and emotionally rich, it is a riveting story of four generations of women whose lives are haunted by the secrets and lies of their ancestors but also by the racial divides and discrimination that shaped the lives of the first generation of Chinese immigrants to Canada.
Each character, intimately drawn through Lee’s richness of imagery and language, must navigate a world that remains inexorably “double”: Chinese and Canadian. About buried bones and secrets, unrequited desires and misbegotten love, murder and scandal, failure and success, the plot reveals a compelling microcosm of the history of race and gender relations in this country.
Winner of the Robert Kroetsch City of Edmonton Book Prize!Shortlisted for the 2017 Alberta Readers’ Choice Award!Finalist for the Georges Bugnet Award for Fiction at the 2017 Alberta Literary Awards!Shortlisted for Trade Fiction Book of the Year at the 2017 Alberta Book Publishing Awards!Lauralyn Chow’s debut, Paper Teeth, follows the lives of the Lees, a Canadian-Chinese family and their friends who reside in Edmonton, Alberta. While playing with time and place, from Edmonton in the 1960s and 70s up to present-day Calgary, Lauralyn Chow creates a world of walking dolls, family car trips, fashion and frosty makeup, home renovations inspired by pop culture, and moving up to big, new houses. The interconnected stories found in Paper Teeth are fun, funny, and heart-warming journeys about the pursuit of identity and the crafting of home.With domestic tomfoolery and through deft observation and prismatic-voiced humour—including ironic asides—Lauralyn Chow reveals how family nourishes hope.
Plagued by the success of his first book and haunted by his past, Sin Hwang arrives in Hong Kong with some unusual cargo and a lot of emotional baggage. Featuring a surreal cast of characters, from a foul-mouthed Paddington Bear to a wisecracking Buddhist monk, this sharply comedic and heartbreakingly poignant tale of self, familial, and spiritual discovery reflects the cycles from which we must all break free as we find our way.
The water belongs to itself. undercurrent reflects on the power and sacredness of water—largely underappreciated by too many—whether it be in the form of ocean currents, the headwaters of the Fraser River or fluids in the womb. Exploring a variety of poetic forms, anecdote, allusion and visual elements, this collection reminds humanity that we are water bodies, and we need and deserve better ways of honouring this.
Poet Rita Wong approaches water through personal, cultural and political lenses. She humbles herself to water both physically and spiritually: “i will apprentice myself to creeks & tributaries, groundwater & glaciers / listen for the salty pulse within, the blood that recognizes marine ancestry.” She witnesses the contamination of First Nations homelands and sites, such as Gregoire Lake near Fort McMurray, AB: “though you look placid, peaceful dibenzothiophenes / you hold bitter, bitumized depths.” Wong points out that though capitalism and industry are supposed to improve our quality of life, they’re destroying the very things that give us life in the first place. Listening to and learning from water is key to a future of peace and creative potential.
undercurrent emerges from the Downstream project, a multifaceted, creative collaboration that highlights the importance of art in understanding and addressing the cultural and political issues related to water. The project encourages public imagination to respect and value water, ecology and sustainability. Visit downstream.ecuad.ca.
In this brilliant and provocative first collection, Yaya Yao confronts her inherited fragmented self and her hunger for a home, using scraps of personal and communal memory to bridge languages, worldviews, and physical distance from her ancestral homeland. Bits of Cantonese, Mandarin, Hokkien, and Shanghainese are translated and altered to explore the dynamics between language and identity. In this collection, Yaya Yao has created a unique and authentic voice.
Chinksta rap is all the rage in Red Deer, Alberta. And the king of Chinksta is King Kwong, Run’s older brother. Run isn’t a fan of Kwong’s music – or personality, really. But when Kwong goes missing just days before his crowning performance and their mom gets wounded by a stray bullet, Run finds himself, with his sidekick, Ali, in the middle of a violent battle between Red Deer’s rival gangs – the Apes and the Necks – on the run from his crush’s behemoth brother, and rethinking his feelings about his family and their history, his hatred of rice-rap and what it means to be Asian.
Inspired by an old Japanese parlour game of the Edo period (1603-1868), The Game of 100 Ghosts is a lyrical tribute to the poet’s friends and relations who recently departed their lives. In the game, participants gather in the dark at night and sit around 100 lit candles. Each player tells a ghost story, after which a candle is snuffed out. The last candle ends the spiritual evocation, which the participants hope will summon a supernatural being. This wonderful collection then evokes the spirits of lost friends and relations while paying tribute to a tradition.
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.
With the loosening of restrictions on the Chinese economy in the 1980s and 1990s and the rise of the middle class, many observers thought that Western-style democracy would soon follow. Instead, China has adopted its own version, with a market-driven economy where actions that might call into question the decisions of the governing party are strictly forbidden.
In this fascinating account, Cormier chronicles numerous failed attempts to bring democracy to China in the last century, starting with a handful of brave souls who tried to move China towards a constitutional monarchy at the turn of the century and peaking with the student uprising of 1989. Using historical research (including surprising transcripts from Party meetings) and candid interviews with many of the dissidents — some now living in exile, others under house arrest in China — Cormier tells the very human story of real people struggling for human rights and freedoms.
The Legacy of Tiananmen Square was originally published in French as Les héritiers de Tiananmen. This updated edition was translated by Jonathan Kaplansky.
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.”
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
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.
A poetic travelogue, Gillian Sze’s Peeling Rambutan meditates upon the rifts between immigrant parents and their Canadian-born children and the struggle of overlapping values which sometimes arises when we view the complexity of our heritage through the lens of the present. Rooted in Sze’s first experience of Asia, these poems mingle the familiar spaces of her childhood home in Winnipeg with impressions of the distant villages of her parents’ origins. The result is a complex exploration of the relationship between identity, place, and history. Landscape and language prove unstable, inhabited by ghosts and other echoes of passing time which leave indelible impressions on the poet: A market in Hong Kong seems reminiscent of Montreal; the spirit of her great-grandmother shows up on a commercial street in China, then in Queen Elizabeth Park in Vancouver. The mundanea bite of fruit, a boy selling raisins, the floured hands of a bakertakes on a contemplative cast. In such a world, a traveller is never wholly certain whether she is discovering an unexplored world or descending into memory, but Sze’s lyrically-driven poems navigate confidently, mapping new terrain while remaining sensitive to the claims of the past.
Shortlisted for the 2014 A.M. Klein Poetry Prize.