Rounding up publications from the first half of 2022 with work in @TheSchooner, @washingtonpost, @altajournal, and a cameo in the @latimes

My story, “Uncle Juicy’s America Boy,” is in the current print issue of Prairie Schooner.

Back in March, I reviewed Elaine Hsieh Chou’s stellar, funny debut Disorientation for The Washington Post. For the San Francisco Chronicle from January through April, I reviewed Mike Chen’s page-turner Light Years From Home, interviewed Randy Rainbow about his memoir Playing With Myself, and reviewed three books about the political changes in Hong Kong.

For NPR, I reviewed David Yoon’s post-apocalyptic City of Orange and contributed to their mid-year Books We Love. For Alta Journal, I wrote about Steph Cha’s acclaimed novel Your House Will Pay.

Finally, I’m quoted in this Los Angeles Times story in April about the San Gabriel Valley Food Club, which is made up of writers and poets bonding around local food.

Rounding up the last few months of 2021 with a story “Office of the Mind” at @ElectricLit Recommended Reading, and reviews at @GeorgiaReview, @NPR, and @sfchronicle

If you’re not done with pandemic stories, I’ve got one up at Electric Literature’s Recommended Reading set in a near-future of multiple pandemics! Check out “Office of the Mind” here.

I reviewed Hard Like Water, Yan Lianke’s latest novel to be translated in English, over at Georgia Review.

In the San Francisco Chronicle, I reviewed two books about the Asian American immigrant experience and picked my favorite book of 2021.

At NPR, I contributed two selections to Books We Love 2021, including The Woman in the Purple Skirt, by Natsuko Imamura, translated by Lucy North.

Happy reading and onward to 2022!

Reviewed @LysleyTenorio’s new novel THE SON OF GOOD FORTUNE over at @SFC_Datebook #sfchronicle #bookreview #writingcommuntiy

Review: ‘Son of Good Fortune’ finds comedy in Filipino Americans’ life on the margins

With the Supreme Court recently upholding the Deferred Action for Childhood Arrivals program, which provides a path to legal status for qualified undocumented immigrants, Lysley Tenorio’s funny and poignant second novel, “The Son of Good Fortune,” couldn’t come at a better time. Concerning an undocumented Filipino American family living in Colma, the book portrays the murky ethics of America’s treatment of the illegal immigrant.

Excel is a 19-year-old TNT, tago ng tago, Tagalog for “hiding and hiding.” His mother, Maxima, gave birth on the plane to the U.S. Neither American nor Filipino, Excel is a true nowhere man. “I’m not really here,” he says to his girlfriend, Sab.

Both Excel and Maxima are denied a path to legal status and live a life on the margins. Hotels and passports are foreign to them, and acronyms like TSA require Googling to be decoded. Maxima, a former actress in bad Filipino action movies, is relegated to scamming lonely white men online, while Excel works under the table at a spy-themed pizza joint named The Pie Who Loved Me, whose tyrant owner whimsically decides when and when not to pay Excel. Stifled and lovesick, Excel follows Sab to Hello City, a desert artist community, where his life only gets more complicated, driving him back to Maxima for help.

Read the rest of the review here.

Talked to @thelondonmag about the comic novel and BAD ASIAN! #readindie #buyindie #writingcommunity

Which comic writer would you say had the most influence on No Good Very Bad Asian?

I’d say Artie Lange, whose memoir Too Fat to Fish really moved me and inspired Sirius Lee. Lange’s not my favourite comedian, but his life story of growing up in a working class family, rising to success, and then falling prey to the excesses that a comedian’s life offers transcended the typical celebrity memoir. As a reader, you really feel that psychic and emotional void he can’t fill no matter how many laughs he gets, no matter how famous he becomes. That’s what I tried to get at with Sirius.

It’s been said that some countries, like Italy and Germany, don’t really recognise the genre of the comic novel. Would you say it’s harder to publish comic novels in America?

Is that right? I’m no expert on Italian or German novels but Gabrielle Tergit’s novel Käsebier Takes Berlin was quite hilarious to me. Any character named Cheese Beer is going to make me laugh. I also find wit in Ferrante’s and Starnone’s novels. I’d say it’s hard to publish any novel in America, and if one wanted to, they could point to almost any type of novel and find it hard to publish. That said, comedic novels are often seen as less literary than their dour counterparts.

Read the rest of the interview here.