10 books like Finding Venerable Mother

I have always been a seeker, fascinated by all cultures, philosophies, and spiritual perspectives. Although the concept is often different—for some, it’s a place of refuge, feeling safe or sheltered from pursuit, danger, or trouble; for others, it’s a state of being, an inner peace, I’ve found that the search for sanctuary—safe-haven—elsewhere—has ancient roots and contemporary reverberations. My novel, Guesthouse for Ganesha, further heightened my interest in this subject, for my protagonist, Esther Grünspan, both deeply wounded and unsafe, was compelled to seek sanctuary. As a first-time novelist with an 18-year journey to publication, I fully immersed myself in this topic’s study and comprehension.

I have always been a seeker, fascinated by all cultures, philosophies, and spiritual perspectives. Although the concept is often different—for some, it’s a place of refuge, feeling safe or sheltered from pursuit, danger, or trouble; for others, it’s a state of being, an inner peace, I’ve found that the search for sanctuary—safe-haven—elsewhere—has ancient roots and contemporary reverberations. My novel, Guesthouse for Ganesha, further heightened my interest in this subject, for my protagonist, Esther Grünspan, both deeply wounded and unsafe, was compelled to seek sanctuary. As a first-time novelist with an 18-year journey to publication, I fully immersed myself in this topic’s study and comprehension.

I have always been a seeker, fascinated by all cultures, philosophies, and spiritual perspectives. Although the concept is often different—for some, it’s a place of refuge, feeling safe or sheltered from pursuit, danger, or trouble; for others, it’s a state of being, an inner peace, I’ve found that the search for sanctuary—safe-haven—elsewhere—has ancient roots and contemporary reverberations. My novel, Guesthouse for Ganesha, further heightened my interest in this subject, for my protagonist, Esther Grünspan, both deeply wounded and unsafe, was compelled to seek sanctuary. As a first-time novelist with an 18-year journey to publication, I fully immersed myself in this topic’s study and comprehension.

I have always been a seeker, fascinated by all cultures, philosophies, and spiritual perspectives. Although the concept is often different—for some, it’s a place of refuge, feeling safe or sheltered from pursuit, danger, or trouble; for others, it’s a state of being, an inner peace, I’ve found that the search for sanctuary—safe-haven—elsewhere—has ancient roots and contemporary reverberations. My novel, Guesthouse for Ganesha, further heightened my interest in this subject, for my protagonist, Esther Grünspan, both deeply wounded and unsafe, was compelled to seek sanctuary. As a first-time novelist with an 18-year journey to publication, I fully immersed myself in this topic’s study and comprehension.

I grew up in a small town in the days before the internet and cable television, so books were my escape, and through them, I traveled to faraway places and learned about different customs and cultures. Later, I studied Chinese cultural anthropology and lived and worked in Asia for many years. Now, I write a series about a Chinese police inspector in the brutally cold far north province of Heilongjiang and use mystery stories to unpack some of the more fascinating and essential aspects of Chinese society, politics, and religion.

During 30 years living in Chiang Mai, Thailand, I have developed a deep appreciation of Northern Thai culture and a fascination with its 700-year history. Though the region escaped being colonised as were nearby Laos (by the French) and Burma (by the Brits), a teak boom in the late 19th century came close to pulling it under the colonial yoke as Western trading companies muscled in. Teak Lord explores the frequently fragile relationships between circumspect Asians and adventurous Westerners, against a background of shifting borders and impenetrable jungle.

As Professor of History and Global Asian Studies and Director of the Engaged Humanities Institute at the University of Illinois at Chicago, I'm interested in intersections at the margins between cultural systems. I first became drawn to Chinese history after visiting the country in 1982 and returned to teach English there before undertaking graduate studies. My work on eighteenth-century China focuses on ethnography and cartography as tools of empire building during its period of growth and expansion. My current project, Bridging Worlds: Reflections on a Journey, chronicles a quest for personal integration when obtaining an education has too often become predicated on the ability to cut oneself off from aspects of one’s own inner knowing and lived experience.

I’m a writer and journalist with an eye on South and Southeast Asia. I first worked in Thailand in 1999, researching the Thailand chapter for the first edition of the Rough Guides Southeast Asia Guide. Since 2001, I’ve been a Thailand correspondent for German publisher Reise Know How. For the past decade, I have worked as Thailand Destination Expert for The Daily Telegraph. I co-wrote the bestselling Sacred Skin – Thailand’s Spirit Tattoos with photographer Aroon Thaewchatturat, and have written countless articles about Thai culture, politics and tourism. It took 20 years to write a novel set in Thailand – The Monsoon Ghost Image – a testament to the complexities of Thai society. 

I’m a writer and journalist with an eye on South and Southeast Asia. I first worked in Thailand in 1999, researching the Thailand chapter for the first edition of the Rough Guides Southeast Asia Guide. Since 2001, I’ve been a Thailand correspondent for German publisher Reise Know How. For the past decade, I have worked as Thailand Destination Expert for The Daily Telegraph. I co-wrote the bestselling Sacred Skin – Thailand’s Spirit Tattoos with photographer Aroon Thaewchatturat, and have written countless articles about Thai culture, politics and tourism. It took 20 years to write a novel set in Thailand – The Monsoon Ghost Image – a testament to the complexities of Thai society. 

During 30 years living in Chiang Mai, Thailand, I have developed a deep appreciation of Northern Thai culture and a fascination with its 700-year history. Though the region escaped being colonised as were nearby Laos (by the French) and Burma (by the Brits), a teak boom in the late 19th century came close to pulling it under the colonial yoke as Western trading companies muscled in. Teak Lord explores the frequently fragile relationships between circumspect Asians and adventurous Westerners, against a background of shifting borders and impenetrable jungle.