A Korean nonagenarian learns on the news that the last remaining “comfort woman” is on her deathbed. The narrator, unnamed until the end of the book, is determined to meet this last victim: she wants to know if she knew the woman from 70 years earlier. She also wants to assure her that she’s not in fact the last one left. The narrator has never told anyone about her past—not even her siblings and their children; it’s finally a chance to talk about it.
Tens of thousands of men from southern China changed the course of American history with their tireless work in the California gold fields in the 1850s and their crucial contribution in the building of the first Transcontinental Railroad in the following decade.
From the author of The Green Phoenix comes a riveting tale of female friendship, honor, and sacrifice for love, set in 17th century China and featuring the intertwined stories of three of the era’s most renowned courtesans, escorts skilled in music, poetry and painting who could decide themselves whether or not to offer patrons bed favors.
Reminiscent of the tone and atmosphere of Somerset Maugham and George Orwell’s Asia-set novels, Glorious Boy is a Second World War story of adventure and loss, uniquely set in the Andaman Islands, one of India’s farthest flung territories.
Samira Ahmed is a force in young adult literature, bringing voice to Muslim American teens and calling out increasingly rampant Islamophobia. In her latest novel, Mad, Bad & Dangerous to Know, she combines a contemporary story with historical fiction that reaches back to Lord Byron (who bore the sobriquet that also titles the novel), Alexandre Dumas and Eugene Delacroix. Two young women are at the centers of these stories, thereby telling history from women’s perspectives.
The Chronicles of Lord Asunaro is a curious little volume. In length, perhaps 10,000 words, it is long for a short story but short for a novella. The protagonist, a minor feudal lord in late Tokugawa Japan, was an actual person (apparently: like much else here, it is hard to be sure), his life heavily fictionalized according to the author’s note. While labeled a “tale” or “story”, the narrative in fact lacks much of might conventionally be called a plot.
It is 1931 in colonial Singapore. A Chinese bondmaid of fifteen stands trial for her aunt’s murder. Mei Mei, born on the inauspicious double seventh day, feels her doomed destiny taking over.