The Philippine economy has, relative to both its history and many other parts of the world, seen something of a recent boom. Yet although the poverty rate has plunged by about a third in the three years to 2018, Filipinos leaving their country for a future abroad still abound. Longtime New York Times reporter Jason DeParle explores global migration through a tightly-woven biography of a Filipino migrant family in A Good Provider Is One Who Leaves: One Family and Migration in the 21st Century.
As a child growing up in Atlanta, author Julie Leung didn’t have the opportunity to read about inspiring Chinese-Americans and, specifically, Chinese-American artists. When she learned about Tyrus Wong, the artist who created the style in the Walt Disney film Bambi, through his New York Times obituary, Leung decided to write his story in the picture-book biography Paper Son: The inspiring story of Tyrus Wong, immigrant and artist.
It requires an inventive streak to write extensively of a person whose known biography might only fill a few pages. This is the long shot taken in The Chinese Lady: Afong Moy in Early America, by historian Nancy E Davis, who refers to her as “the first Chinese woman to arrive in America.”
Here is the most comprehensive account you are ever likely to find of the building of the western section of America’s transcontinental railway. Gordon Chang has certainly set himself a difficult task, as he seeks to document the daily life of the roughly 20,000 Chinese who contributed to building the Central Pacific section of American’s first transcontinental line in the late 1860s.
Unsettled Solidarities examines contemporary Asian and Indigenous cross-representations within different settler states in the Americas. Quynh Nhu Le looks at literary works by both groups alongside public apologies, interviews, and hemispheric race theories to trace cross-community tensions and possibilities for solidarities amidst the uneven imposition of racialization and settler colonization.
When Salimah, the African refugee at the center of Iwaki Kei’s Farewell, My Orange, arrives in small-town Australia with spouse and sons, her situation is dire. She can hardly speak English and her options for gainful work are few.
The Chinese diaspora, and the diasporic experience, is typically covered country-by-country or perhaps region-by-region, the geography usually determined by what is relevant to a particular group of readers. The narratives of the Chinese in, say, California and London are usually treated separately.