When Abigail Hing Wen was a teenager, she spent a summer in Taiwan to get in touch with her Chinese roots. The program, funded by the Republic of China, has been dubbed the “love boat”, but has nothing to do with ships or the sea.
It’s the first day of Spring and Miyuki, already running through the garden, can’t wait.
Only a few pieces of Chinese classical instrumental music have come close to entering the standard orchestral repertory. The 1939 “Yellow River Cantata” with lyrics by Guang Weiran set to music by Xian Xinghai, and the “Yellow River Concerto” later derived from it, is one of these.
In the late 1970s and early 1980s, two Jewish cartoonists brought the term “graphic novel” to the mainstream. Will Eisner’s A Contract With God tells the story of poor Jewish immigrants in New York tenements while Art Spiegelman’s Maus depicts two storylines that center around the Holocaust. These books address heavy subjects and differ from the lighter fare in comic books, which are usually thinner, magazine-like publications. The term graphic novel has come to refer to non-fiction, not just fiction.
The cover of Somewhere Only We Know, Maurene Goo’s latest young adult novel, isn’t inordinately different from other contemporary romantic comedies: a young Asian woman is seated while a young Asian man leans into her back, only part of his face and an arm are visible. Yet the story is unusually set almost completely in Hong Kong while the protagonist, Lucky, is an equally unlikely American-born internationally renowned teenage K-Pop star who isn’t a household name in the United States—yet.
In the summer of 2016, Hong Kong illustrator Joanne Liu was in New York City with a friend. Together they visited some New York museums but Liu felt a bit intimidated by the experience: “We just thought there were a lot of things we didn’t understand. We didn’t know what was going on.”
A father cradles his son and says: