100 books like Empire of Glass

Carroll’s debut novel has earned considerable praise for its quiet, elegant prose and the affecting realism of its characters: a young introverted American wholly at home in the small backwater college in Hunan Province where he teaches English and builds an aeolian harp, the awkward female student who tries to befriend him, and the choleric old misanthrope of an American with a crippled leg, who joins the school and inadvertently proceeds to disrupt their lives. What makes the novel work is its dramatic irony – the chemical reactions that ensue when three peculiar and hapless personalities combine and threaten to blow up into almost Greek-tragedy proportions, and only the reader understands why. A handful of memorable subplots and minor characters flesh out the tale.

Emily Hahn, prolific author and New Yorker correspondent whose sojourns in Shanghai (1935-39), Chungking (1939-40), and Hong Kong (1941-43) coincided with the Japanese invasions of these cities, fictionalizes the life of Canadian Lorraine Murray, turned high-class prostitute in Shanghai after living as a foreign geisha in Japan. Hahn was fascinated by sex workers and hung out with them (Hahn and Murray were roommates), but the novel later morphs into the autobiographical as the beautiful Hahn ingratiates herself with Japanese military officials until she’s forced into a Hong Kong internment camp for several years. Hahn is more reporter than novelist, but her flair for detail and eyewitness authenticity brings Shanghai to life in a way the historical novelist cannot. Especially hilarious is Jill’s hotel scene with the British john who thought he was getting a freebie.

An idyllic mountain town in Yunnan Province of the sort which drew Chinese artists and Western pot-smoking hippies several decades back (probably Dali or Lijiang before their tourist invasions) is the setting of an epic culture clash between older-generational locals and the motley crowd of foreigners and their teepees and incomprehensible ways. The characters and the narrative breathe with too much realism to be based on anything but real people and events, and we assume the first-person narrator to be the author himself thinly disguised. But whatever events inspired the story, Taylor succeeds in limning each scene and dialogue with archetypal significance, so that the novel transcends mere reportage dressed up as fiction for the sake of anonymity. It also makes a good companion piece to Carroll’s Up to the Mountains and Down to the Countryside.

Here we have the most politically incorrect of novels, an unflinchingly vicious take on China by a Westerner, though Party Members (pun on the second word) does have an acknowledged precursor in fellow Englishman Ralph Townsend’s Ways That Are Dark, an equally unsentimental account of China published in 1933. We follow the faceless bureaucrat protagonist, Yang Wei, as he inventively combines his passions for sex and KFC (China’s comfort food of choice) at one and the same time, and eggs on the state-sanctioned thugs who set his mother’s house on fire to clear it for developers – with her inside. To be fair, China is evolving out of the nasty pre-2008 Olympics era Meursault is documenting and this is after all satire. But the novel is not only very funny, it’s required reading precisely due to its pariah status.

After the gradual normalisation of relations between China and the US and the end of the Cultural Revolution in 1976, a small number of western journalists were allowed to open bureaus in Beijing. Access was limited and travel difficult but one talented Chinese American photojournalist really pushed the boundaries in showing the rest of the world what the long inaccessible country was like. His tenacity and eye for the telling detail were an inspiration for me to take up the challenge to devote my career to covering the historic era of change in due course. Such was Liu’s ability to cover more than his hosts were quite ready to show ethnic Chinese foreign journalists found it near impossible to gain accreditation for many years afterwards.

An absolute tour de force from the author of The Joy Luck Club. This novel is not as famous, but it’s actually my favourite Tan book. It has that epic sweep across history that I adore, whereby the movement of history catches people in its wake and hurls them hither and thither, uncaring of the consequences of its wreckage. The novel follows the experiences of a Chinese woman before and after Japan’s invasion of China in the 1930s and 40s and on to her move to America after the war. Reading this novel was truly immersive and fueled my interest in writing about war and showing how my own characters are caught up in its inexorable flow. A brutal and beautiful novel. 

The stories in Thank You, Mr. Nixon combine history and family, characters reflecting on the ravages of time and how their lives have been buffeted by world events outside their control. There’s even a ghost of a Chinese girl writing from the afterlife to President Nixon in Hell. She thanks him for his historic decision to establish diplomatic ties with the People’s Republic of China, a decision that changed her family’s life forever. The story is profound, moving, and very funny all at once. Jen is a master of the short story form, and this collection is superb.

Chua set off an international firestorm with her memoir, a frank account of the trials and tribulations of raising her two daughters the Chinese way in the U.S. Her strict, achievement-oriented parenting tactics often run counter to mainstream Western ideals about raising children and have drawn harsh criticism from many readers. Whether you agree with her methods or not, it’s impossible not to be touched by Chua’s book. 

Amy Tan is a master at telling stories that explore the complex dynamics of family relationships.

I’ve read a lot of her books, but The Hundred Secret Senses is my favorite because I adore Kwan, the main character’s half-sister from China. Kwan has a special secret that she can see and speak to ghosts, but Olivia always dismisses her as a little crazy and only pretends to believe her stories.

I love this book because it made me laugh out loud on multiple occasions and because it was so relatable.

We all have family members that we both love and can’t stand at the same time. This book goes back and forth between the 1990s and the 1800s.

If you love books about sisters, you need to read this one!

Taking a transnational frame and drawing on English- and Chinese-language sources by and about Eurasians, this book uses juxtaposition to bring different perspectives to bear on each other. People’s lives, the choices they make amid various external limitations, are at the heart. The book takes a unique structural approach, with a prologue before each main chapter that describes a central story and helps ground and guide the larger narrative. In exploring interracial marriages and the lives of couples and children, the work shows how Eurasians have been producers of knowledge. Through highly diverse sources from the era, the author demonstrates that Eurasians have engaged in self-representation in complex ways and a broad range of voices and experiences comprise the category “Eurasian.”