Bangkok, as Thailand’s largest and most economically-important cities, attracts migrants from all over the country. Drawn to its economic opportunities, migrants eke a living working in informal jobs, with few protections—yet they build a community among their fellow migrants and workers.
Thailand
Graphic novels are taken more seriously in Europe than in the English-speaking world, and so it is perhaps not surprising that The King of Bangkok, a socio-political-historical narrative based on ten years of ethnographic research by anthropologist Claudio Sopranzetti, first appeared in Italian. Although a “novel” in the sense it’s fictionalized, the elements (say the authors) are based on real people and real events: the result is a sort of distillation of recent Thai social history.
Since Thailand’s political crisis began with royalist mobilization against prime minister Thaksin Shinawatra in 2005, observers have been treated to easy clichés about reactionary Thai elites. The chapters in this book invite readers to refrain from quick judgement and engage with the conservative norms of sections of the middle class, military, intellectuals and state ideologues.
At the start of Ira Sukrungruang’s new book, This Jade World, he’s about to meet a new woman in a hotel room while his wife is packing her things to walk out on their marriage. This is going to be an open and honest memoir, a journey that will conclude with lessons learned and a new lease on life. Along the way, Sukruangruang writes about Asian masculinity, women’s relationships, and how his Chicago upbringing was shaped by his divorced Thai immigrant parents.
Comics in Thailand have enjoyed a long and rich history and have been enjoyed by people of all socio-economic classes, even though they’ve had a reputation as a form of “low culture”. In The Art of Thai Comics: A Century of Strips and Stripes, Nicolas Verstappen goes back even further than a hundred years to show just how long comics have been embedded in Thai culture.
Det, Chang and Lek are young university students living in Thailand during the 1970s. It is a turbulent time for the country’s politics: student-led protests in 1973 succeeded in (briefly) overthrowing the country’s military dictatorship. Det, Chang and Lek—three students from very different backgrounds—navigate the country’s changing politics from the streets of Bangkok to the jungles of northern Thailand.
Sarah Mullins, an American woman, arrives at “The Kingdom”: a fading luxury apartment complex in Bangkok. She is there to lay low, after passing over forged collectors’ items in Hong Kong. She meets the other residents of the Kingdom, including the energetic, yet mysterious Mali. This starts an unfolding story set amidst the fictional backdrop of growing protests, as both the Kingdom’s expatriate tenants and the local Thai staff evaluate what will happen next.
With the exception of Singapore and Malaysia, where English is relatively widely used, and with the further exception of so-called “expat fiction” featuring foreign protagonists, Southeast Asia seemingly generates fewer novels in English—whether in translation or written directly in the language—than other regions of South and East Asia. This situation has ameliorated somewhat in recent years, a period that has coincided with the rise of a regional Southeast Asian culture and media market. Southeast Asian publishers are increasing sourcing and marketing books regionally.
American Sarah Mullins, an erstwhile mousy brunette turned blue-eyed blonde, has just pulled off an obscure literary fraud, netting a suitcase of cash and needing a place to hide out, which is why Lawrence Osborne’s most recent novel opens in a luxury apartment in an upscale residential tower block in Bangkok known as “The Kingdom”.
What do you do with a gang of monks who have been condemned to death for immorality? If you are King Rama II of Siam (1809-24), you commute their sentences to hard labor, which consists of making them cut grass for your elephants every day. This is one example of the sometimes quirky humanity of the Chakri Dynasty, which, as royal houses go, is a relative newcomer, having been founded only in 1784.
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