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This autobiographical novel explores the coming of age of an Amerasian boy in Korea, torn between his mother's world - haunted by the specter of Japanese occupations and ruled by the imperatives of the spirit kingdom - and his father's transplanted America, the local U.S. army base where G.I.s are preparing for combat in another Asian nation, Vietnam. Young Insu grows up in the chaotic streets of Pupyong, among black marketeers, prostitutes, and castoff biracial children. Death comes daily to Pupyong - through cholera, murder, fatal accidents that are either sad or suspicious - and touches Insu's life directly when his beloved aunt commits suicide after being cruelly spurned by her G.I. lover, and his friend James is found drowned in a drain and neighborhood gossips accuse James's mother, whose pursuit of a new blond husband would have been hampered by a half-black son. Although life on the streets is brutal, and the American school Insu attends no better, his Korean family provides him with love and the nourishment of stories and laughter. Like his mother, Insu is attuned to the world of spirits, and he is haunted by the ghost figure of a young boy, a secret half-brother. When Insu learns the true identity of his ghost brother, he also makes a painful discovery about the corrosive prejudices that have torn his family apart.
The ghost as a literary figure has been interpreted multiple times: spiritually, psychoanalytically, sociologically, or allegorically. Following these approaches, Janna Odabas understands ghosts in Asian American literature as self-reflexive figures. With identity politics at the core of the ghost concept, Odabas emphasizes how ghosts critically renegotiate the notion of 'Asian America' as heterogeneous and transnational and resist interpretation through a morally or politically preconceived approach to Asian American literature. Responding to the tensions of the scholarly field, Odabas argues that the literary works under scrutiny openly play with and rethink conceptions of ghosts as mere exotic, ethnic ornamentation.
Since the Korean Wara the forgotten wara more than a million Korean women have acted as sex workers for U.S. servicemen. More than 100,000 women married GIs and moved to the United States. Through intellectual vigor and personal recollection, Haunting the Korean Diaspora explores the repressed history of emotional and physical violence between the United States and Korea and the unexamined reverberations of sexual relationships between Korean women and American soldiers.
Everything happens for a reason. At least that's what everyone keeps telling Liam Cooper after his older brother Ethan is killed suddenly in a hit-and-run. Feeling more alone and isolated than ever, Liam has to not only learn to face the world without one of the people he loved the most, but also face the fading relationships of his two best friends in the process. Soon, Liam finds themself spending time with Ethan's best friend, Marcus, who might just be the only person that seems to know exactly what they're going through-for better and for worse. The Ghosts We Keep is an achingly honest portrayal of grief. But it is also about why we live. Why we have to keep moving on, and why we should.
Features main character smoking, possessing pills; contains references to sexual harassment and violence.
“Oh has crafted a truly chilling middle grade horror novel that will grab readers’ imaginations.” —Publishers Weekly (starred review) “Even more impressive than the shiver factor is the way the author skillfully uses the compelling premise to present a strong, consistent message of not rejecting what you don’t understand.” —Booklist (starred review) “This mystery thriller infused with diverse characters and intriguing themes will appeal to horror fans and to reluctant readers who enjoy a good scare.” —School Library Journal We Need Diverse Books founder Ellen Oh returns with Spirit Hunters, a high-stakes middle grade mystery series about Harper Raine, the new seventh grader in town who must face down the dangerous ghosts haunting her younger brother. A riveting ghost story and captivating adventure, this tale will have you guessing at every turn! Harper doesn’t trust her new home from the moment she steps inside, and the rumors are that the Raine family’s new house is haunted. Harper isn’t sure she believes those rumors, until her younger brother, Michael, starts acting strangely. The whole atmosphere gives Harper a sense of déjà vu, but she can’t remember why. She knows that the memories she’s blocking will help make sense of her brother’s behavior and the strange and threatening sensations she feels in this house, but will she be able to put the pieces together in time?
Twelve-year-old Molly and her ten-year-old brother, Michael, have never liked their seven-year-old stepsister, Heather. Ever since their parents got married, she's made Molly and Michael's life miserable. Now their parents have moved them all to the country to live in a house that used to be a church, with a cemetery in the backyard. If that's not bad enough, Heather starts talking to a ghost named Helen and warning Molly and Michael that Helen is coming for them. Molly feels certain Heather is in some kind of danger, but every time she tries to help, Heather twists things around to get her into trouble. It seems as if things can't get any worse. But they do—when Helen comes.
The criminal underworld meets the spiritual otherworld in this thrilling debut collaboration between the inspiration for television's The Ghost Whisperer and an award-winning writer/director. Anza O'Malley is in most ways a typical single mom. She lives a happy, busy life with her five-year-old son in Cambridge, Massachusetts, juggling the joys and challenges of life as a doting parent and a freelance bookbinder. But there is more to Anza than meets the "ungifted" eye: she can see and speak with ghosts. Although she's been solving cold cases for the police for years, Anza has been hoping to focus her energies on her son and her bookbinding career. But when an exquisite and priceless illuminated manuscript is stolen from the Boston Athenaeum, and when its desecration spurs the appearance of some very unhappy spirits, Anza can neither look nor walk away. With an unlikely trio of ghosts by her side–a charming butler and two medieval monks–Anza leads us on an urgent journey through Boston's winding, cobbled streets to uncover a trail of deceit, danger, and ghoulish intrigue.
Is there such a thing as ghosts? Well, if you grew up in the town of Wabash, there is no shortage of the urban legend of the ghost of Coldwater Creek. Join Jessica Carrolton as she tells the tales of her older brother Brian and his two best friends Sean and Kevin as they find themselves in the middle of a mystery that may just prove the legend to be true! When a robbery at one of the town churches occurs, Brian, Sean, and Kevin take it upon themselves to find out who did it. What the junior sleuths don't realize is they are not the only ones on the lookout for the stolen church donation box. Little do they know that their search for the church bandits will lead them into an unexpected encounter. Is the ghost of Coldwater Creek for real? You decide as Jessica Carrolton relives the story of The Ghost of Coldwater Creek! 10% of all book sales are donated to Care STL, an organization committed to the protection and rehabilitation of animals who have fallen victim to abuse and neglect; and the Nine Line Foundation, whose goal is to "rebuild, strengthen and enrich the quality of life of wounded veterans."
Ends of Empire examines Asian American cultural production and its challenge to the dominant understanding of American imperialism, Cold War dynamics, and race and gender formation.Jodi Kim demonstrates the degree to which Asian American literature and film critique the record of U.S. imperial violence in Asia and provides a glimpse into the imperial and gendered racial logic of the Cold War. She unfolds this particularly entangled and enduring episode in the history of U.S. global hegemony—one that, contrary to leading interpretations of the Cold War as a simple bipolar rivalry, was significantly triangulated in Asia.The Asian American works analyzed here constitute a crucial body of what Kim reveals as transnational “Cold War compositions,” which are at once a geopolitical structuring, an ideological writing, and a cultural imagining. Arguing that these works reframe the U.S. Cold War as a project of gendered racial formation and imperialism as well as a production of knowledge, Ends of Empire offers an interdisciplinary investigation into the transnational dimensions of Asian America and its critical relationship to Cold War history.