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As a child growing up in Cambodia, Ronnie Yimsut played among the ruins of the Angkor Wat temples, surrounded by a close-knit community. As the Khmer Rouge gained power and began its genocidal reign of terror, his life became a nightmare. In this stunning memoir, Yimsut describes how, in the wake of death and destruction, he decides to live. Escaping the turmoil of Cambodia, he makes a perilous journey through the jungle into Thailand, only to be sent to a notorious Thai prison. Fortunately, he is able to reach a refugee camp and ultimately migrate to the United States, where he attended the University of Oregon and became an influential leader in the community of Cambodian immigrants.Facing the Khmer Rougeshows Ronnie Yimsut's personal quest to rehabilitate himself, make a new life in America, and then return to Cambodia to help rebuild the land of his birth.

In the three years, eight months, and twenty days of the Khmer Rouge's deadly reign over Cambodia, an estimated 1.7 million Cambodians perished as a result of forced labor, execution, starvation, and disease. Despite the passage of more than thirty years, two regime shifts, and a contested U.N. intervention, only one former Khmer Rouge official has been successfully tried and sentenced for crimes against humanity in an international court of law to date. It is against this background of war, genocide, and denied justice that Cathy J. Schlund-Vials explores the work of 1.5-generation Cambodian American artists and writers. Drawing on what James Young labels \"memory work\"-the collected articulation of large-scale human loss-War, Genocide, and Justiceinvestigates the remembrance work of Cambodian American cultural producers through film, memoir, and music. Schlund-Vials includes interviews with artists such as Anida Yoeu Ali, praCh Ly, Sambath Hy, and Socheata Poeuv. Alongside the enduring legacy of the Killing Fields and post-9/11 deportations of Cambodian American youth, artists potently reimagine alternative sites for memorialization, reclamation, and justice. Traversing borders, these artists generate forms of genocidal remembrance that combat amnesic politics and revise citizenship practices in the United States and Cambodia. Engaged in politicized acts of resistance, individually produced and communally consumed, Cambodian American memory work represents a significant and previously unexamined site of Asian American critique.

This project employs a close textual reading of Cambodian Canadian hip-hop artist Honey Cocaine’s 2016 music video “Bad Gal.” Drawing from the fields of Critical Refugee Studies, comparative racialization, and neoliberal critique, I delineate the processes of gendered racialization for the Cambodian diasporic subject, and begin to unpack its racialized relationship to Blackness. In observing “Bad Gal” for its audiovisual content, temporal narrative, themes of deviance and Blackness, as well as supplemented by historical and spatial contexts, and interviews with Honey Cocaine, I argue that the construction of the “bad gal” or “bad refugee” persona is racialized through the genre of hip-hop and Blackness, and acts as a way for the Cambodian diasporic subject to negotiate against neoliberal logics and binary discourses of the “good” versus “dysfunctional” refugee. Through engaging with a cultural studies lens, this project encourages a reading of Asian diasporic hip-hop that complicates static understandings around authenticity, appropriation, and race relations, and to read the texts for their contradictions in revealing the ways it negotiates systems of neoliberalism, rather than to assess work for their “critical” or “politically resistive” value.

Sokunthary Svay is a Cambodian American writer and activist who grew up in the Bronx, New York. Her poetry, essays, and reviews appear in such publications as WSQ, Mekong Review, and Hyphen. Published in 2017, Apsara in New York is her first poetry collection. Svay is a founding member and board president of the Cambodian American Literary Arts Association (CALAA) and has been awarded an American Opera Projects Composers & the Voice Fellowship for 2017–2019 and the 2018 Emerging Poets Fellowship at Poets House. She is emerging as an important critic of and groundbreaking voice within Asian American cultural production. Rejecting the genre of survival memoirs, Svay creates a variety of personae across gender and generation. Her choice of language—Khmer, formal English, and urban vernacular—captures the individuality and complexity of each of these perspectives. As a performer, Svay draws on music and theater to move her poems beyond the page. Anita Baksh, Associate Professor of English at LaGuardia Community College at the City University of New York, conducted this interview with Svay in spring 2018.

In “Writing Trauma, Writing Life in Chanrithy Him's When Broken Glass Floats,” I discuss Him's autobiography within the context of recovery narratives, where survivors of traumatic events use writing as therapy and healing. In my exegesis of the text, I demonstrate how not just Him's memory but also the history and culture of Cambodia are reclaimed in this recovery narrative, with Him somewhat paradoxically infusing her memoir, a genre that goes against the grain of Cambodian literary tradition with its focus on the self, with elements of Cambodian culture, history, and poetic structure. The result, I argue, is a text that is neither traditional Cambodian literature nor typical American immigrant literature. I conclude the essay by locating this emergent literature within the recent global boom in witness narrative and, more specifically, within the emergent discourse of Southeast Asian American studies.

According to this proverb, shards of broken glass rising up to the water surface represent a time of darkness and evil. [...]mother earth\" takes the poem away from its historical specificity and brings readers into universal identification with the blood-shedding.

Like many young Cambodian Americans who arrived in the U.S. as refugees in the '80s, Loeun Lun, Many Uch and Kim Ho Ma hoped for the best. Little did they know that their destinies, guided by youthful mistakes and the unforeseeable events of 9/11, would bring them full-circle decades later: from birth in Cambodia to an unwilling return.

Focuses on housing, education, and employment in a study of the difficulties faced by former inmates, and the lifelong consequences of a felony conviction; draws on interviews and fieldwork in Newark, N.J. Exonerated: A History of the Innocence Movement by Robert J. Norris (New York University Press; 288 pages; $35). Criticizes prevailing approaches in development economics and argues for poor nations to build industrial parks and export-processing zones as a means of jump-starting their entrance into global markets. HISTORY OF MEDICINE The Invisible Injured: Psychological Trauma in the Canadian Military from the First World War to Afghanistan by Adam Montgomery (McGill-Queen's University Press; 352 pages; US$34.95). First English translation of an influential 1992 work by the German sociologist (1925-2002).