I’ve always found the term “chapbook” off-putting. You’d think poets, being poets, could come up with a better word for what is a shorter-than-normal collection, as prose people did with “novella”.
In 1932 a new Asian country suddenly came into being in northeastern China. It was named Manchukuo, and it had been created as a result of the so-called “Mukden Incident”, in which Japanese soldiers had detonated a small charge of dynamite on a Japanese-built railway line and then claimed that Chinese dissidents had done it.
Who are the new Chinese intellectuals? In the wake of the crackdown on the 1989 democracy movement and the rapid marketization of the 1990s, a novel type of grassroots intellectual emerged. Instead of harking back to the traditional role of the literati or pronouncing on democracy and modernity like 1980s public intellectuals, they derive legitimacy from their work with the vulnerable and the marginalized, often proclaiming their independence with a heavy dose of anti-elitist rhetoric. They are proudly minjian—unofficial, unaffiliated, and among the people.
A Japanese American war hero has a secret. A secret so awful he’d rather die than tell anyone—one so entwined with the brave act that made him a hero that he’s determined never to speak of the war. Ever.
Fifteen-year-old Aiko Cassidy, a bicultural girl with cerebral palsy, grew up in Michigan with her single mother. For as long as she could remember, it was just the two of them. When a new stepfather and a baby half sister enter her life, she finds herself on the margins. Having recently come into contact with her biological father, she is invited to spend the summer with his indigo-growing family in a small Japanese farming village. Aiko thinks she just might fit in better in Japan. If nothing else, she figures the trip will inspire her manga story, Gadget Girl.
Recently wed—and quickly divorced—twenty-four-year-old Sarah Coomber escapes the disappointments of her Minnesota life for a job teaching English in Japan. Her plan is to use the year to reflect, heal and figure out what to do with her wrecked life while enjoying the culture of the country where she had previously spent a life-changing summer that included a romance with a young baseball player.
Pioneering Chinese American actress Anna May Wong made more than sixty films, headlined theater and vaudeville productions, and even starred in her own television show. Her work helped shape racial modernity as she embodied the dominant image of Chinese and, more generally, “Oriental” women between 1925 and 1940.