Japan, after suffering from a massive irreparable disaster, cuts itself off from the world. Children are so weak they can barely stand or walk: the only people with any get-go are the elderly. Mumei lives with his grandfather Yoshiro, who worries about him constantly. They carry on a day-to-day routine in what could be viewed as a post-Fukushima time, with all the children born ancient—frail and gray-haired, yet incredibly compassionate and wise. Mumei may be enfeebled and feverish, but he is a beacon of hope, full of wit and free of self-pity and pessimism. Yoshiro concentrates on nourishing Mumei, a strangely wonderful boy who offers “the beauty of the time that is yet to come.” A delightful, irrepressibly funny book, The Emissary is filled with light. Yoko Tawada, deftly turning inside-out “the curse,” defies gravity and creates a playful joyous novel out of a dystopian one, with a legerdemain uniquely her own.

Japan, after suffering from a massive irreparable disaster, cuts itself off from the world. Children are so weak they can barely stand or walk: the only people with any get-go are the elderly. Mumei lives with his grandfather Yoshiro, who worries about him constantly. They carry on a day-to-day routine in what could be viewed as a post-Fukushima time, with all the children born ancient—frail and gray-haired, yet incredibly compassionate and wise. Mumei may be enfeebled and feverish, but he is a beacon of hope, full of wit and free of self-pity and pessimism. Yoshiro concentrates on nourishing Mumei, a strangely wonderful boy who offers “the beauty of the time that is yet to come.” A delightful, irrepressibly funny book, The Emissary is filled with light. Yoko Tawada, deftly turning inside-out “the curse,” defies gravity and creates a playful joyous novel out of a dystopian one, with a legerdemain uniquely her own.

A scholar and activist’s brilliant socio-political examination of Asians Americans who refuse to assimilate and instead build their own belonging on their own terms outside of mainstream American institutions, transforming the ways we understand race, class, and citizenship in America. In this hard-hitting and deeply personal book, a combination of manifesto and memoir, scholar, sociologist, and activist Bianca Mabute-Louie transforms the ways we understand race, class, American respectability, and the concept of assimilation and its impact on Asian American communities from the nineteenth century to present day. UNASSIMILABLE opens with a focus on the San Gabriel Valley (SGV), the first Asian ethnoburb in Los Angeles County and in the nation, where she grew up. A suburban neighborhood with a conspicuous Asian immigrant population, SGV thrives not because of its assimilation into Whiteness, but because of its unapologetic catering to its immigrant community. Mabute-Louie then examines “Predominantly White Institutions With A lot of Asians” and how these institutions shape the racial politics of Asian Americans and Asian internationals, including the fight against affirmative action and the fight for ethnic studies. She moves on to interrogate the role of the religion, showing how the immigrant church is a sanctuary even as it is an extension of colonialism and the American Empire. In the book’s conclusion, Bianca looks to the future, boldly proposing a reconsideration of the term Asian American for a new label that better clarifies who Asians in America are today. UNASSIMILABLE offers a radical vision of Asian American political identity informed by a refusal of Whiteness and collective care for each other. It is a forthright declaration against assimilation and in service of cross-racial, anti-imperialist solidarity and revolutionary politics. Scholarly yet accessible, informative and informed, this book is a major addition to Ethnic Studies and American Studies.

A scholar and activist’s brilliant socio-political examination of Asians Americans who refuse to assimilate and instead build their own belonging on their own terms outside of mainstream American institutions, transforming the ways we understand race, class, and citizenship in America. In this hard-hitting and deeply personal book, a combination of manifesto and memoir, scholar, sociologist, and activist Bianca Mabute-Louie transforms the ways we understand race, class, American respectability, and the concept of assimilation and its impact on Asian American communities from the nineteenth century to present day. UNASSIMILABLE opens with a focus on the San Gabriel Valley (SGV), the first Asian ethnoburb in Los Angeles County and in the nation, where she grew up. A suburban neighborhood with a conspicuous Asian immigrant population, SGV thrives not because of its assimilation into Whiteness, but because of its unapologetic catering to its immigrant community. Mabute-Louie then examines “Predominantly White Institutions With A lot of Asians” and how these institutions shape the racial politics of Asian Americans and Asian internationals, including the fight against affirmative action and the fight for ethnic studies. She moves on to interrogate the role of the religion, showing how the immigrant church is a sanctuary even as it is an extension of colonialism and the American Empire. In the book’s conclusion, Bianca looks to the future, boldly proposing a reconsideration of the term Asian American for a new label that better clarifies who Asians in America are today. UNASSIMILABLE offers a radical vision of Asian American political identity informed by a refusal of Whiteness and collective care for each other. It is a forthright declaration against assimilation and in service of cross-racial, anti-imperialist solidarity and revolutionary politics. Scholarly yet accessible, informative and informed, this book is a major addition to Ethnic Studies and American Studies.

From the acclaimed author of the YA graphic novel Flamer, comes a gorgeous, heart-warming adult debut following four gay Asians as they navigate love, identity, and friendship in Seattle during the early aughts. When AJ arrives in Seattle, naïve and eager for a new, gay, life, he has no friends, no job, no money. His first apartment sits so far north of the gayborhood that "not even lesbians live there." Leaning into his identity for the first time in his life, AJ he walks past the velvet rope into his first gay bar and discovers what he moved across the country to gay men who are out, proud, and unashamed. That first night, a chance spilled drink unites him with new group of friends, also of Asian  K, ethereal drag queen, activist, matriarch; John, introverted gaymer who doesn't feel seen in real life; reckless Steven, who wields his good looks to secure validation via sex (whites only, please); and Tai and Eddie, the "perfect" Chinese-American couple. Together, this “Boy Luck Club” helps AJ navigate his new semi-fabulous life, with its equal trials and unbridled joys. But just as AJ begins to find his way, a devastating attack splinters the group, and tests everything each one of them knows about love, friendship, and family. A meticulously observed, gorgeously-crafted snapshot of gay culture in the pulsing early years of the tech boom, Gaysians renders its hilarious, flamboyant, human protagonists with love and individuality, showing tenderly the particular joy of queer friendship and yearning.

From the acclaimed author of the YA graphic novel Flamer, comes a gorgeous, heart-warming adult debut following four gay Asians as they navigate love, identity, and friendship in Seattle during the early aughts. When AJ arrives in Seattle, naïve and eager for a new, gay, life, he has no friends, no job, no money. His first apartment sits so far north of the gayborhood that "not even lesbians live there." Leaning into his identity for the first time in his life, AJ he walks past the velvet rope into his first gay bar and discovers what he moved across the country to gay men who are out, proud, and unashamed. That first night, a chance spilled drink unites him with new group of friends, also of Asian  K, ethereal drag queen, activist, matriarch; John, introverted gaymer who doesn't feel seen in real life; reckless Steven, who wields his good looks to secure validation via sex (whites only, please); and Tai and Eddie, the "perfect" Chinese-American couple. Together, this “Boy Luck Club” helps AJ navigate his new semi-fabulous life, with its equal trials and unbridled joys. But just as AJ begins to find his way, a devastating attack splinters the group, and tests everything each one of them knows about love, friendship, and family. A meticulously observed, gorgeously-crafted snapshot of gay culture in the pulsing early years of the tech boom, Gaysians renders its hilarious, flamboyant, human protagonists with love and individuality, showing tenderly the particular joy of queer friendship and yearning.

An electrifying new side of the National Book Award Winner Yoko Tawada: her first book of essays in English. I am trying to learn, with my tongue, sounds that are unfamiliar to me. A foreign-sounding word learned out of curiosity is not “imitation” per se. All of these things I learn leave traces that slowly grow to coexist with my accent. And that balancing act goes on changing indefinitely. How perfect that Yoko Tawada’s first essay in English dives deep into her lifelong fascination with the possibilities opened up by cross-hybridizing languages. Tawada famously writes in both Japanese and German, but her interest in language reaches beyond any mere dichotomy. The term “exophonic,” which she first heard in Senegal, has a special allure for the author: “I was already familiar with similar terms, 'immigrant literature,’ or ‘creole literature,’ but ‘exophonic’ had a much broader meaning, referring to the general experience of existing outside of one’s mother tongue.” Tawada revels in explorations of cross-cultural and intra-language possibilities (and along the way deals several nice sharp raps to the primacy of English). The accent here, as in her fiction, is the art of drawing closer to the world through defamiliarization. Never entertaining a received thought, Tawada seeks the still-to-be-discovered truths, as well as what might possibly be invented entirely whole cloth. Exophony opens a new vista into Yoko Tawada’s world, and delivers more of her signature erudite wit―at once cross-grained and generous, laser-focused and multidimensional, slyly ironic and warmly companionable.

An electrifying new side of the National Book Award Winner Yoko Tawada: her first book of essays in English. I am trying to learn, with my tongue, sounds that are unfamiliar to me. A foreign-sounding word learned out of curiosity is not “imitation” per se. All of these things I learn leave traces that slowly grow to coexist with my accent. And that balancing act goes on changing indefinitely. How perfect that Yoko Tawada’s first essay in English dives deep into her lifelong fascination with the possibilities opened up by cross-hybridizing languages. Tawada famously writes in both Japanese and German, but her interest in language reaches beyond any mere dichotomy. The term “exophonic,” which she first heard in Senegal, has a special allure for the author: “I was already familiar with similar terms, 'immigrant literature,’ or ‘creole literature,’ but ‘exophonic’ had a much broader meaning, referring to the general experience of existing outside of one’s mother tongue.” Tawada revels in explorations of cross-cultural and intra-language possibilities (and along the way deals several nice sharp raps to the primacy of English). The accent here, as in her fiction, is the art of drawing closer to the world through defamiliarization. Never entertaining a received thought, Tawada seeks the still-to-be-discovered truths, as well as what might possibly be invented entirely whole cloth. Exophony opens a new vista into Yoko Tawada’s world, and delivers more of her signature erudite wit―at once cross-grained and generous, laser-focused and multidimensional, slyly ironic and warmly companionable.

A formal approach to anime rethinks globalization and transnationality under neoliberalism Anime has become synonymous with Japanese culture, but its global reach raises a perplexing question—what happens when anime is produced outside of Japan? Who actually makes anime, and how can this help us rethink notions of cultural production? In Anime’s Identity , Stevie Suan examines how anime’s recognizable media-form—no matter where it is produced—reflects the problematics of globalization. The result is an incisive look at not only anime but also the tensions of transnationality. Far from valorizing the individualistic “originality” so often touted in national creative industries, anime reveals an alternate type of creativity based in repetition and variation. In exploring this alternative creativity and its accompanying aesthetics, Suan examines anime from fresh angles, including considerations of how anime operates like a brand of media, the intricacies of anime production occurring across national borders, inquiries into the selfhood involved in anime’s character acting, and analyses of various anime works that present differing modes of transnationality.  Anime’s Identity deftly merges theories from media studies and performance studies, introducing innovative formal concepts that connect anime to questions of dislocation on a global scale, creating a transformative new lens for analyzing popular media.

Specifically designed for use on a range of undergraduate and graduate courses, Introducing Japanese Popular Culture is a comprehensive textbook offering an up-to-date overview of a wide variety of media forms. It uses particular case studies as a way into examining the broader themes in Japanese culture and provides a thorough analysis of the historical and contemporary trends that have shaped artistic production, as well as, politics, society, and economics. As a result, more than being a time capsule of influential trends, this book teaches enduring lessons about how popular culture reflects the societies that produce and consume it. With contributions from an international team of scholars, representing a range of disciplines from history and anthropology to art history and media studies, the book’s sections Written in an accessible style by a stellar line-up of international contributors, this textbook will be essential reading for students of Japanese culture and society, Asian media and popular culture, and Asian Studies in general.

In recent years, manga and anime have attracted increasing scholarly interest beyond the realm of Japanese studies. This Companion takes a unique approach, committed to exploring both the similarities and differences between these two distinct but interrelated media forms. Firmly based in Japanese sources, this volume offers a lively and accessible introduction, exploring the local contexts of manga and anime production, distribution, and reception in Japan, as well as the global influence and impact of these versatile media. Chapters explore common characteristics such as visuals, voice, serial narrative and characters, whilst also highlighting distinct challenges and histories. The volume provides both a basis for further research in this burgeoning field and a source of inspiration for those new to the topic.

Anna May Wong was perhaps the best known Chinese American actresses during Hollywood's golden age, a free spirit and embodiment of the flapper era much like Louise Brooks. She starred in over fifty movies between 1919 and 1960, sharing the screen with such luminaries as Douglas Fairbanks Sr. and Marlene Dietrich. Born in Los Angeles in 1905, Wong was the second daughter of six children born to a laundryman and his wife. Obsessed with film at a young age, she managed to secure a small part in a 1919 drama about the Boxer Rebellion. Her most famous film roles were in The Thief of Baghdad, Old San Francisco, and Shanghai Express opposite Dietrich. Despite these successes, instances of overt racism plagued Wong's career. When it came time to make a film version of Pearl Buck's The Good Earth, she was passed over for the Austrian-born actress, Luise Rainer. In a narrative that recalls both the gritty life in Los Angeles's working-class Chinese neighborhoods and the glamour of Hollywood at its peak, Graham Hodges recounts the life of this elegant, beautiful, and underappreciated screen legend.

Anna May Wong was perhaps the best known Chinese American actresses during Hollywood's golden age, a free spirit and embodiment of the flapper era much like Louise Brooks. She starred in over fifty movies between 1919 and 1960, sharing the screen with such luminaries as Douglas Fairbanks Sr. and Marlene Dietrich. Born in Los Angeles in 1905, Wong was the second daughter of six children born to a laundryman and his wife. Obsessed with film at a young age, she managed to secure a small part in a 1919 drama about the Boxer Rebellion. Her most famous film roles were in The Thief of Baghdad, Old San Francisco, and Shanghai Express opposite Dietrich. Despite these successes, instances of overt racism plagued Wong's career. When it came time to make a film version of Pearl Buck's The Good Earth, she was passed over for the Austrian-born actress, Luise Rainer. In a narrative that recalls both the gritty life in Los Angeles's working-class Chinese neighborhoods and the glamour of Hollywood at its peak, Graham Hodges recounts the life of this elegant, beautiful, and underappreciated screen legend.

A brilliant, action-packed reimagining of The Adventures of Huckleberry Finn , both harrowing and ferociously funny, told from the enslaved Jim's point of view. When the enslaved Jim overhears that he is about to be sold to a man in New Orleans, separated from his wife and daughter forever, he decides to hide on nearby Jackson Island until he can formulate a plan. Meanwhile, Huck Finn has faked his own death to escape his violent father, recently returned to town. As all readers of American literature know, thus begins the dangerous and transcendent journey by raft down the Mississippi River toward the elusive and too-often-unreliable promise of the Free States and beyond. While many narrative set pieces of The Adventures of Huckleberry Finn remain in place (floods and storms, stumbling across both unexpected death and unexpected treasure in the myriad stopping points along the river’s banks, encountering the scam artists posing as the Duke and Dauphin…), Jim’s agency, intelligence and compassion are shown in a radically new light.

A brilliant, action-packed reimagining of The Adventures of Huckleberry Finn , both harrowing and ferociously funny, told from the enslaved Jim's point of view. When the enslaved Jim overhears that he is about to be sold to a man in New Orleans, separated from his wife and daughter forever, he decides to hide on nearby Jackson Island until he can formulate a plan. Meanwhile, Huck Finn has faked his own death to escape his violent father, recently returned to town. As all readers of American literature know, thus begins the dangerous and transcendent journey by raft down the Mississippi River toward the elusive and too-often-unreliable promise of the Free States and beyond. While many narrative set pieces of The Adventures of Huckleberry Finn remain in place (floods and storms, stumbling across both unexpected death and unexpected treasure in the myriad stopping points along the river’s banks, encountering the scam artists posing as the Duke and Dauphin…), Jim’s agency, intelligence and compassion are shown in a radically new light.

This Nebula Award-winning sequel to Parable of the Sower continues the story of Lauren Olamina in socially and economically depressed California in the 2030s. Convinced that her community should colonize the stars, Lauren and her followers make preparations. But the collapse of society and rise of fanatics result in Lauren's followers being enslaved, and her daughter stolen from her. Now, Lauren must fight back to save the new world order.

This Nebula Award-winning sequel to Parable of the Sower continues the story of Lauren Olamina in socially and economically depressed California in the 2030s. Convinced that her community should colonize the stars, Lauren and her followers make preparations. But the collapse of society and rise of fanatics result in Lauren's followers being enslaved, and her daughter stolen from her. Now, Lauren must fight back to save the new world order.

In 2024, with the world descending into madness and anarchy, one woman begins a fateful journey toward a better future. Lauren Olamina and her family live in one of the only safe neighborhoods remaining on the outskirts of Los Angeles. Behind the walls of their defended enclave, Lauren’s father, a preacher, and a handful of other citizens try to salvage what remains of a culture that has been destroyed by drugs, disease, war, and chronic water shortages. While her father tries to lead people on the righteous path, Lauren struggles with hyperempathy, a condition that makes her extraordinarily sensitive to the pain of others. When fire destroys their compound, Lauren’s family is killed and she is forced out into a world that is fraught with danger. With a handful of other refugees, Lauren must make her way north to safety, along the way conceiving a revolutionary idea that may mean salvation for all mankind.

In 2024, with the world descending into madness and anarchy, one woman begins a fateful journey toward a better future. Lauren Olamina and her family live in one of the only safe neighborhoods remaining on the outskirts of Los Angeles. Behind the walls of their defended enclave, Lauren’s father, a preacher, and a handful of other citizens try to salvage what remains of a culture that has been destroyed by drugs, disease, war, and chronic water shortages. While her father tries to lead people on the righteous path, Lauren struggles with hyperempathy, a condition that makes her extraordinarily sensitive to the pain of others. When fire destroys their compound, Lauren’s family is killed and she is forced out into a world that is fraught with danger. With a handful of other refugees, Lauren must make her way north to safety, along the way conceiving a revolutionary idea that may mean salvation for all mankind.