Memories Of My Ghost Brother

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.

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.

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.

Sebastian Young must find a way to help his brother Rhys when he breaks his one rule and saves the life of a mortal woman, which leads to a sensual encounter that makes him forget that he is a vampire. Original.

Frances Foggarty, now in her fifties, remembers her childhood.. When she was nine her ten-year-old brother, Tom, was hit by a milk-float and killed. He returns after the funeral and Frances's story is of her new relationship with Tom, the ghost and 'guardian angel'. Frances wears a caliper as a result of polio and she and her young brother live with a rather tyrannical aunt. In this touching tale of loss, hardship and endurance Frances comes to terms with Tom's death and moves on in her life.

When Amy E. Wallen's southern, blue-collar, peripatetic family was transferred from Ely, Nevada, to Lagos, Nigeria, she had just turned seven. From Nevada to Nigeria and on to Peru, Bolivia, and Oklahoma, the family wandered the world, living in a state of constant upheaval. When We Were Ghouls follows Wallen's recollections of her family who, like ghosts, came and went and slipped through her fingers, rendering her memories unclear. Were they a family of grave robbers, as her memory of the pillaging of a pre-Incan grave site indicates? Are they, as the author's mother posits, "hideous people?" Or is Wallen's memory out of focus? In this quick-paced and riveting narrative, Wallen exorcizes these haunted memories to clarify the nature of her family and, by extension, her own character. Plumbing the slipperiness of memory and confronting what it means to be a "good" human, When We Were Ghouls links the fear of loss and mortality to childhood ideas of permanence. It is a story about family, surely, but it is also a representation of how a combination of innocence and denial can cause us to neglect our most precious earthly treasures: not just our children but the artifacts of humanity and humanity itself.

“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?

As two brothers try to reunite the lonely ghosts of a farmer and a sheepdog, “readers will be cheering them on every step of the way” (Publishers Weekly). In this short-chapter winner of the IRA Children’s Choices, Peter and Martin enjoy living atop Popcorn Hill, except for two things: They long for a big dog and their cabin is haunted by a lonely ghost. They do get a frisky mutt named Rosie, but she’s not as big or as appealing as the stray sheepdog that has been roaming around outside. When the boys learn the sheepdog is a ghost, however, they devise a plan for bringing the two ghosts together. In the process, they learn to appreciate their real pet, Rosie.

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.