Set in Vancouver's Chinatown in the 1930s and 1940s, Choy continues the story of the Chen family household, this time narrated by First Son, Kiam-Kim. We first meet Kiam-Kim at the age of eight, staring at the yellowed photograph of his mother, who died in China when he was just a baby. Kiam-Kim, Poh-Poh (his larger-than-life grandmother) and Mr. Chen, his demure and honest father, journey to a new life in Vancouver's Old Chinatown. Following the dream of finding gold and then one day returning to China -- wealthy -- they, like many Chinese families around them, find themselves in a country on the brink of the Second World War, struggling to survive in a foreign land and keep alive the traditions of an older world. Finely crafted, and rich in historical detail, All That Matters depicts 1930s Vancouver in the haunting hues of memory, and sees in the Chen family a fragile miniature of a larger world. Dwelling on Kiam-Kim's sense of responsibility to his community, Choy unfolds the Chen family's secrets in thoughtful and luminous prose, leading the reader to a breathtaking conclusion that far transcends the limits of its time and place, and gestures towards all humanity.
In 1995, during the publicity tour for his much-acclaimed first novel, The Jade Peony, Wayson Choy received a mysterious phone call from a woman claiming to have just seen his mother on a streetcar. He politely informed the caller that she must be mistaken, since his mother had died long ago. "No, no, not that mother," the voice insisted. "Your real mother." Inspired by the startling realization that, like many children of Chinatown, he had been adopted, Choy constructs a vivid and moving memoir that reveals uncanny similarities between his award-winning first novel and the newly discovered secrets of his Vancouver childhood. From his early experiences with ghosts, through his youthful encounters with cowboys and bachelor uncles, to his discovery of family secrets that crossed the ocean from mainland China to Gold Mountain in the form of paper shadows, this is a beautifully wrought portrait of a child's world from one of Canada's most gifted storytellers.
Lily is the daughter of a humble farmer, and to her family she is just another expensive mouth to feed. Then the local matchmaker delivers startling news: if Lily's feet are bound properly, they will be flawless. In nineteenth-century China, where a woman's eligibility is judged by the shape and size of her feet, this is extraordinary good luck. Lily now has the power to make a good marriage and change the fortunes of her family. To prepare for her new life, she must undergo the agonies of footbinding, learn nu shu, the famed secret women's writing, and make a very special friend, Snow Flower. But a bitter reversal of fortune is about to change everything.
An exploration of the importance of family, which for Choy is constituted not through blood but through love. He provides a quiet manifesto for embracing life, and seeing how lucky we are for each day that comes.
Peony has neither seen nor spoken to any man other than her father, a wealthy Chinese nobleman. Nor has she ever ventured outside the cloistered women's quarters of the family villa. As her sixteenth birthday approaches she finds herself betrothed to a man she does not know, but Peony has dreams of her own. Her father engages a theatrical troupe to perform scenes from The Peony Pavilion, a Chinese epic opera, in their garden amidst the scent of ginger, green tea and jasmine. 'Unmarried girls should not be seen in public,' says Peony's mother, but her father allows the women to watch from behind a screen. Here, Peony catches sight of an elegant, handsome man and is immediately bewitched. So begins her unforgettable journey of love, desire, sorrow and redemption.
A catalog illustrating 354 Chinese jades from the collection of Brian McElney, the Peony Collection and the Rannerdale Collection, this bilingual volume includes essays on the art of Chinese jade carving.
Claiming Space: Racialization in Canadian Cities critically examines the various ways in which Canadian cities continue to be racialized despite objective evidence of racial diversity and the dominant ideology of multiculturalism. Contributors consider how spatial conditions in Canadian cities are simultaneously part of, and influenced by, racial domination and racial resistance. Reflecting on the ways in which race is systematically hidden within the workings of Canadian cities, the book also explores the ways in which racialized people attempt to claim space. These essays cover a diverse range of Canadian urban spaces and various racial groups, as well as the intersection of ethnicity, class, gender, and sexuality. Linking themes include issues related to subjectivity and space; the importance of new space that arises by challenging the dominant ideology of multiculturalism; and the relationship between diasporic identities and claims to space.
This book explores responses to Tang Xianzu's classic play The Peony Pavilion (Mudan ting) from three distinct segments of its public-literati playwrights; professional performers of Kun opera; and quite recently, directors and audiences outside China. Catherine Swatek first examines two adaptations of the play by Tang's contemporaries, which point to the unconventionality of the original work. She goes on to explore how the play has been changed in later adaptations, up to its most recent productions by Peter Sellars and Chen Shi-Zheng in the United States and Europe. Catherine Swatek is Associate Professor, University of British Columbia. She has published several articles on premodern Chinese drama and on female representation in Chinese opera.