From the indie rockstar of Japanese Breakfast fame, and author of the viral 2018 New Yorker essay that shares the title of this book, an unflinching, powerful memoir about growing up Korean American, losing her mother, and forging her own identity.
In this exquisite story of family, food, grief, and endurance, Michelle Zauner proves herself far more than a dazzling singer, songwriter, and guitarist. With humor and heart, she tells of growing up one of the few Asian American kids at her school in Eugene, Oregon; of struggling with her mother’s particular, high expectations of her; of a painful adolescence; of treasured months spent in her grandmother’s tiny apartment in Seoul, where she and her mother would bond, late at night, over heaping plates of food.
As she grew up, moving to the East Coast for college, finding work in the restaurant industry, and performing gigs with her fledgling band–and meeting the man who would become her husband–her Koreanness began to feel ever more distant, even as she found the life she wanted to live. It was her mother’s diagnosis of terminal cancer, when Michelle was twenty-five, that forced a reckoning with her identity and brought her to reclaim the gifts of taste, language, and history her mother had given her.
Vivacious and plainspoken, lyrical and honest, Zauner’s voice is as radiantly alive on the page as it is onstage. Rich with intimate anecdotes that will resonate widely, and complete with family photos, Crying in H Mart is a book to cherish, share, and reread.

故事发生在20世纪80年代的美国，美籍韩裔男子雅各布（史蒂文·元 Steven Yeun 饰）带着妻子莫妮卡（韩艺璃 饰）和两个孩子大卫（Alan S. Kim 饰）、安妮（Noel Cho 饰）一起从熟悉的西海岸搬到了偏僻而又陌生的阿肯色州。虽然对于丈夫的这一决定，莫妮卡的心中十分的反对，但她拗不过雅各布的坚决和顽固，只得被迫夫唱妇随。
蛮荒之地的生活既不舒适也不有趣，在最初的新鲜感过去之后，大卫和安妮很快就开始怀念起过去的生活了。之后，孩子们的外婆也来到了他们的身边，给这个家庭带来了一丝热闹的气息。雅各布没有发现的是，当他将越来越多的时间和精力投入到开发农场这件事情上时，他和妻子之间的距离就越来越远。

Citizenship 2.0 focuses on an important yet overlooked dimension of globalization: the steady rise in the legitimacy and prevalence of dual citizenship. Demand for dual citizenship is particularly high in Latin America and Eastern Europe, where more than three million people have obtained a second citizenship from EU countries or the United States. Most citizenship seekers acquire EU citizenship by drawing on their ancestry or ethnic origin; others secure U.S. citizenship for their children by strategically planning their place of birth. Their aim is to gain a second, compensatory citizenship that would provide superior travel freedom, broader opportunities, an insurance policy, and even a status symbol.
Drawing on extensive interviews and fieldwork, Yossi Harpaz analyzes three cases: Israelis who acquire citizenship from European-origin countries such as Germany or Poland; Hungarian-speaking citizens of Serbia who obtain a second citizenship from Hungary (and, through it, EU citizenship); and Mexicans who give birth in the United States to secure American citizenship for their children. Harpaz reveals the growth of instrumental attitudes toward citizenship: individuals worldwide increasingly view nationality as rank within a global hierarchy rather than as a sanctified symbol of a unique national identity.
Citizenship 2.0 sheds light on a fascinating phenomenon that is expected to have a growing impact on national identity, immigration, and economic inequality.

Why do Mexicans migrate to the United States? Is there a typical Mexican migrant? Beginning in the 1970s, survey data indicated that the average migrant was a young, unmarried man who was poor, undereducated, and in search of better employment opportunities. This is the general view that most Americans still hold of immigrants from Mexico. On the Move argues that not only does this view of Mexican migrants reinforce the stereotype of their undesirability, but it also fails to capture the true diversity of migrants from Mexico and their evolving migration patterns over time.
Using survey data from over 145,000 Mexicans and in-depth interviews with nearly 140 Mexicans, Filiz Garip reveals a more accurate picture of Mexico-U.S migration. In the last fifty years there have been four primary waves: a male-dominated migration from rural areas in the 1960s and ’70s, a second migration of young men from socioeconomically more well-off families during the 1980s, a migration of women joining spouses already in the United States in the late 1980s and ’90s, and a generation of more educated, urban migrants in the late 1990s and early 2000s. For each of these four stages, Garip examines the changing variety of reasons for why people migrate and migrants’ perceptions of their opportunities in Mexico and the United States.
Looking at Mexico-U.S. migration during the last half century, On the Move uncovers the vast mechanisms underlying the flow of people moving between nations.

《摘金奇缘》后，好莱坞继续开发亚洲相关影视：在英国演戏的四川妹子李坤珏(《浴血黑帮》《开膛街》)将出演Netflix电影《虎尾》(Tigertail，也是美国一个地点)，马志(《降临》)已加盟。故事来自《无为大师》联合主创杨维榕，他的父母来自台湾，该片讲述台湾移民到 美国的两代人历程和内心联结：
一个叫Grover的男子在台湾出生长大，童年艰难的他抛弃了真心热爱的家庭，和一个女子真真跑到了美国，他跟真真之间没什么感情，但两人还是一起在美国寻找新生活。
后来Grover开始审视自己一生做过的和抉择，他是一个顽固的男人，他的女儿Angela已长大成人，也成了一个顽固的女人。父女俩压根没意识到他们俩有多相像，但最终，都后悔过、失败过之后，两人开始互相理解。
坤珏饰演年轻时的珍珍，一个安静、礼貌、不碍事的台湾女子，和Grover一起去到美国生活，对她来说很艰难。直到遇到了一个叫Peijing的朋友，珍珍才开始真正思考独立和自身价值。Grover的女儿Angela，跟父亲疏远又取得联系。马志饰演年长的Grover。

意大利普拉托是个人口只有十几万的小镇，自20世纪99年代始，这里的纺织业开始聚集越来越多的温州人，目前已达25000人之多。《世界温州人研究丛书·生活在高墙外：普拉托华人研究》记述了这些温州人来到普拉托的历史，研究了他们对意大利纺织业的贡献，分析了他们在融入当地社会对面对工作环境和生活网络的“迷失”与“陌生”，赞扬了这些国际移民吃苦耐劳的精神，以及他们在中意两国经贸合作发展中的作用。《世界温州人研究丛书·生活在高墙外：普拉托华人研究》还研究了普拉托温州人对家乡发展的回报。《世界温州人研究丛书·生活在高墙外：普拉托华人研究》出对认识海外华人创业史及其在发展中外经贸关系中的作用具有重要价值。

On March 9, 1996, tens of thousands of readers of a daily newspaper in China’s Anhui province saw a photograph of two young women at a local long-distance bus station. Dressed in fashionable new winter coats and carrying luggage printed with Latin letters, the women were returning home from their jobs in one of China’s large cities. As the photo caption indicated, the image represented the “transformation of migrant women”; the women’s “transformation” was signaled by their status as consumers. New Masters, New Servants is an ethnography of class dynamics and the subject formation of migrant domestic workers. Based on her interviews with young women who migrated from China’s Anhui province to the city of Beijing to engage in domestic service for middle-class families, as well as interviews with employers, job placement agencies, and government officials, Yan Hairong explores what these migrant workers mean to the families that hire them, to urban economies, to rural provinces such as Anhui, and to the Chinese state. Above all, Yan focuses on the domestic workers’ self-conceptions, desires, and struggles.
Yan analyzes how the migrant women workers are subjected to, make sense of, and reflect on a range of state and neoliberal discourses about development, modernity, consumption, self-worth, quality, and individual and collective longing and struggle. She offers keen insight into the workers’ desire and efforts to achieve suzhi (quality) through self-improvement, the way workers are treated by their employers, and representations of migrant domestic workers on television and the Internet and in newspapers and magazines. In so doing, Yan demonstrates that contestations over the meanings of migrant workers raise broad questions about the nature of wage labor, market economy, sociality, and postsocialism in contemporary China.