Qing Yuan works in a morgue, cleaning bodies. He grew up in a cultured family before 1949, studying art and literature in university. Qing Yuan’s father owned a jewelry shop and got into trouble with the new government after he tried to hide a small amount of gold during the early days of nationalization. Qing Yuan was punished for his father’s capitalist ways and when Ruyan Meng’s novel opens in 1966, he’s been the morgue keeper of the title for sixteen years.

Ann YK Choi made a splash on the literary scene a decade ago with her debut novel, Kay’s Lucky Coin Variety, a coming of age story of a young Korean-Canadian who grew up in her family’s convenience store in 1980s Toronto. This book was a finalist for the Toronto Book Awards, among many accolades. With her new novel, All Things Under the Moon, Choi effortlessly switches genres from contemporary to historical fiction.

The term “Industrial Revolution” entered modern parlance in 1799, courtesy of the French diplomat Louis-Guillaume Otto. What began with incremental improvements in steam power and textiles would sweep the world, freeing societies from the Malthusian trap while upending the distribution of political power. But for all that epochal significance, scholars have never arrived at a consensus on why it began in Western Europe and not, say, East Asia. After reading Mehran Gul’s The New Geography of Innovation, one suspects that the present revolution in silicon and algorithms will also evade simple explanations. 

There’s something about old Hong Kong and Shanghai that lend themselves to ghost stories and mysteries. They share a similar history during World War II as well as traditions like the Tomb Sweeping and Hungry Ghost Festivals that honour the dead. The two cities are also known for stately old colonial homes, many of which still remain today. After Kristen Loesch lived in Hong Kong 15-20 years ago, she learned of Dragon Lodge, an abandoned old home on the Peak rumored to be haunted, and formed the story that would become her new novel, The Hong Kong Widow, an engaging ghost story that alternates between wartime Shanghai, 1950s Hong Kong, and  present-day US and Hong Kong. To add an extra touch to this chilling story, Hong Kong artist Jiksun Cheung’s illustrations are scattered throughout the story.