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About Aimee E. Liu
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For now, here's my personal story:
Although I was born in Connecticut, my earliest memories are of India - the crisp feel of baked grass during the heat of summer, the primary colors of the tents that formed the classrooms of my nursery school, the taste of candied fennel seeds, and the faces of children peering, crying, playing, and begging from the fusty arcades of Connaught Circus to the alleys of Chandni Chowk. My father was born in Shanghai and my mother in Milwaukee, but India was the first home of my heart.
During my family's two years in New Delhi, my father traveled throughout Asia on business for the United Nations. My mother worked with the Indian Government, developing cottage industries, and adored South Asia. Expatriate life was full of everyday surprises, cultural challenges, and many Indian friends. My father, however, preferred China - at least until the Communist takeover in 1949.
Growing up with this quiet divide, I gave it little thought until, as an adult, I realized that it had contributed to my own overlapping loyalties. Though one quarter Chinese, I owed an allegiance to India, and although I was born and mostly raised in the U.S., my father's career with the United Nations gave me a stamp of internationality that made me more inclusive than exclusive about my cultural identity. As a result, I have always been partial to stories and images of people with mixed heritage.
When I began to write fiction, these same stories and images informed my novels, from FACE, about a young quarter-Chinese photographer coming to terms with her childhood in New York's Chinatown, to CLOUD MOUNTAIN, based on the marriage of my white American grandmother and Chinese revolutionary grandfather. My third novel, FLASH HOUSE, centers on an American social worker whose quest to rescue her missing husband produces an unlikely bond with a native child of mysterious origins in India and western China in 1949. These novels have been published in more than a dozen languages.
My new novel, GLORIOUS BOY, also is set in India, but in a remote corner, the Andaman Islands, which was the farthest western flank of Japanese occupation during WWII. This novel is a family drama that weaves this extraordinary history together with the archipelago's fascinating anthropological secrets. It is a story of mysterious minds, familial devotion, and heroic sacrifice.
Between India and fiction, of course, I did strike off in a few other directions. I spent my later childhood in suburban Connecticut, worked as a fashion model in New York, and graduated as a painting major from Yale University. My first book, SOLITAIRE, chronicled my passage through anorexia nervosa as a teenager. Released when I was just twenty-five, it was America's first anorexia memoir. In 2007, I returned to the subject of eating disorders in GAINING: THE TRUTH ABOUT LIFE AFTER EATING DISORDERS, which explores the many ways that eating disorders are NOT about eating and do not simply end with recovery of a healthy weight.
I have also co-authored seven books on psychology and medical topics, edited business and trade publications, and worked as a flight attendant and as associate producer for NBC's TODAY show.
Since 2006, I've been a member of the faculty of Goddard College's low-residency MFA in Creative Writing Program at Port Townsend, WA.
I live in Los Angeles with my husband. We have two grown sons.
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One of Booklist’s Top Ten Historical Fiction Books of 2020
Glorious Boy is a tale of war and devotion, longing and loss, and the power of love to prevail. Set in India’s remote Andaman Islands before and during WWII, the story revolves around a mysteriously mute four-year-old who vanishes on the eve of the Japanese occupation. Little Ty’s parents, Shep and Claire, will go to any lengths to rescue him, but neither is prepared for the brutal and soul-changing odyssey that awaits them.
“A riveting amalgam of history, family epic, anticolonial/antiwar treatise, cultural crossroads, and more . . . a fascinating, irresistible marvel.” —Library Journal (starred review)
“The most memorable and original novel I’ve read in ages . . . evokes every side in a multi-cultural conversation with sympathy and rare understanding.” —Pico Iyer, author of Autumn Light
Shortlisted for the Staunch Book Prize
New York Post’s Best Books of the Week
Good Housekeeping’s 20 Best Books of 2020
Parade’s 30 Best Beach Reads of 2020
False Love and Other Romantic Illusions is about the mistakes we all make in love, why we make them, and how we can correct them. Using in-depth case histories, Dr. Katz traces the course of false love from early childhood conditioning to adolescent crushes to adult relationships. He shows how our first misconceptions about love lead to mistakes, and how mistakes become patterns.
But the patterns of false love can be broken, and Dr. Katz points the way, with a practical, far-reaching program for achieving and sustaining true love. This timely, intelligent book will alter not only the way we seek intimate relationships, but the way we live them.
This revolutionary book proposes nothing less than a new definition of success, a new philosophy of life, and a realistic path to fulfillment and happiness.
Comment s’attendre à ce qu’ils comprennent la menace de la guerre ? Qu’ils vivent leurs derniers moments ensemble ?
"Dix minutes, dit-elle à Naila. Emmène-le jouer juste dix minutes de plus."
Et se prenant par la main, Naila et Ty s’éclipsent en sautillant dans le soleil.
Mais Claire ne reverra pas son fils, son garçon magnifique, dans dix minutes. Ni dans plusieurs heures, ou semaines, ou mois. Naila, treize ans à peine, qui est chargée de veiller sur lui, le kidnappe, incapable d’envisager d’en être séparée.
Nous sommes en 1942, dans les îles Adaman, au cœur du golfe du Bengale et les Japonais arrivent. Il faut évacuer en hâte les Anglais – dont Ty et sa mère – et laisser sur place Naila, qui est une ' native '. C’est dans la jungle, à l’intérieure de la plus grande île, au sein d’une tribu très primitive, que celle-ci va se réfugier avec l’enfant, qui va connaître là une vie extraordinaire. Mais jusqu’où peut aller une mère qui veut retrouver son fils ?