Before I could go back to the Philippines in real life, I did so on paper, through my first novel.
‘No words of a Savior are news to a Woman. / No words of a resurrection sound gospel[-enough] / when you are both the Crucifixion and the Crowd.’
Three generations of Cambodian women in my family wrestle with the inherited trauma of the Khmer Rouge
Scotch-taped at the mirrors’ edges were photographs of birthdays, family vacations, running in the rain. Their edges had curled from sixteen years of steam from hot showers and baths.
‘I glanced curiously at the stranger. He looked old and frail. The sky outside the window seemed darker with his figure in profile. Though he was sitting next to us, he appeared to be somewhere else entirely.’
I see my forebears, warriors in retirement, laboring in endless fields, bustling markets, and desolate seas. One by one they all stop, turn to me, and say: “If you have good hands, anything can happen.”
‘I’ve heard the way some people breathe / at night and it made me want / to close their mouths. I think / inside of all of us lies / an animal trying its best to escape.’
When we point towards the horizon and say this is the color / of our grandfather, we do not know for how long // the night will carry your shade or what winds / brought you here.
I don’t teach my girls / to brave the violence of sun, sons, or stings. / When resources run out, don’t sit there and behave. / Abandon hive.
“Spock was good in math and science; so was I. Spock tended to suppress his emotions (his human side), and so did I.” Fred Ho on coming of age.
An interview with Akhil Sharma, author of Family Life, on how to write a novel that has no plot, literary modernism’s influence, and remembering India
Actor, writer, and father Randall Park shares an hour on the phone with Ashok Kondabolu, recalling his childhood in LA and how he stumbled into acting.