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I am delighted that you are including an Asian American character in your book, without hyphens and everything, too. You have my word that I will delve into your book, confident that you've done your best to be respectful, thoughtful, and diligent about your portrayal of Asian Americans and our varied experiences. For example, in crafting your characters, I know you have kept in mind the factors that have ravaged the Asian American psyche, little things, like the discriminatory laws that prohibited the immigration of Chinese laborers to the US as recently as the sixties, while not limiting the immigration of other races.

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It was also completely exhausting, requiring nonstop eloquence and enthusiasm about a difficult topic my own rape —and all this while jet-lagged, surrounded by translators. It was simultaneously exhilarating and lonely, yet also the kind of publicity platform any ambitious novelist would love to have. But throughout most of this, a question popped up, the inverse of a more familiar one: Would my Korean publishers have done this if I were white?

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Her words were gospel to my ears as the narrative followed the trials and tribulations of three British Asian young females — all of whom were walking different paths of their lives — yet coming together in sister solidarity. Thus began my understanding of what we often quote as the South Asian diaspora. Thrust into the depth of cultural expectations, the book was an awakening into intertwining friendship, loyalty and self-respect to find the courage to create their own contemporary choices.

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Popular culture in America rarely looks Asian. But sometimes—and, thankfully, increasingly often—we are seen, especially when we take matters into our own hands and create stories and characters that reflect the diversity of America. Feeling seen is a powerful thing. For Asian American Heritage Month, we asked authors that we admire about their first experience reading work by an Asian American writer, to highlight the importance of representation in American literature.

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Sarah Gambito and Joseph O. Legaspi were sitting in a hammock at a big, Filipino family gathering. Surrounded by food, love, and comradery, the two friends came to a realization: We need this in our literary lives.

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In many ways, the women of East Asian literature are the prominent voices of their cultures today. In Japan and Korea especially, those writers who have the greatest clarity of mind and creative spirits are insightful, fascinating, and imaginative women. Women who speak for the sidelined and the unrepresented, women who show us our lives and our cultures from an original perspective, women who can teach us love and pain and quiet introspection.

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For the purpose of this post, "Asian-American" refers to Americans or those who identify as American of any Asian descent. Alexander Chee is an essayist and the author of the novel Edinburgh and the forthcoming The Queen of the Night. Chee was the recipient of a Whiting Writers' Award in

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The action that follows takes readers on a journey of meta-criticism, which does well to entertain while asking some serious questions about the state of Filipino literature as a whole. The compelling confrontation of societal echelons and social norms that ensues is a captivating consideration of contemporary Indian society, and, indeed, the identities of all minorities currently living on the margins. Following on from his first novel The Gift of Rain, in much the same style, Tan Twang Eng offers up this masterfully-sculpted narrative with all his trademark mysticism and esoteric turns of phrase.

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He won the S. Write Award in for his work, Chao Ngin Princess. He attended the Faculty of Fine Arts at Chulalongkorn University but did not graduate before starting his career as editor-in-chief Pai Yarn Yai, a publication belonging to writer and singer.

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