Stewart Dorward reviews The Adopted: Stories from Angkor by HENG Siok Tian, PHAN Ming Yen, YEOW Kai Chai, and YONG Shu Hoong (Singapore: Ethos Books, 2015).
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Deven Philbrick reviews Leonora Liow’s Moth (Singapore: Ethos Books, 2015).
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Andrea Yew reviews Sequoia Nagamatsu’s Where We Go When All We Were Is Gone (USA: Black Lawrence Press, 2016).
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Lily Piao reviews Jinat Rehana Begum’s First Fires (Singapore: Ethos Books, 2015).
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Soham Patel reviews Sonia Bahl’s The Spectacular Miss (India: Fingerprint!, 2016).
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Ng Yi-Sheng reviews Belmont by Stephen Burt (USA: Graywolf Press, 2013).
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Inez Tan reviews Nuraliah Norasid’s The Gatekeeper (Singapore and London: Epigram Books, 2017).
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Angus Whitehead reviews Paul Beatty's The Sellout (USA: Picador, 2016).
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Andrew Howdle reviews Cyril Wong’s The Lover’s Inventory (Singapore: Math Paper Press, 2015).
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P. J. Thum reviews Written Country, edited by Gwee Li Sui (Singapore: Landmark Books, 2016).
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Tse Hao Guang reviews Jennifer S. Cheng’s House A (USA: Omnidawn, 2016).
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Kevin Tan Kwan Wei reviews A Little Life by Hanya Yanagihara (USA: Doubleday, 2015).
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Stewart Dorward reviews Meddling and Murder by Ovidia Yu (USA: Killer Reads/Harper Collins, 2017).
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Cyril Wong reviews Louise Glück's Faithful and Virtuous Night (New York: Farrar, Straus and Giroux, 2014).
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Inez Tan reviews Balli Kaur Jaswal’s Erotic Stories for Punjabi Widows (London: HarperCollinsPublishers, 2017).
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Andrea Yew reviews Viet Thanh Nguyen’s The Refugees (USA: Grove Press, 2017).
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Cyril Wong reviews Marie Howe’s Magdalene (New York: W. W. Norton, 2017).
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Eric Norris reviews Chang’an: a Story of China & Japan by Wena Poon (CreateSpace, 2016).
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Cyril Wong reviews Jenny Tseng’s Red Flower, White Flower (Marick Press, 2013 (Translated by Mengying Han and Aaron Crippen) and Timothy Yu’s 100 Chinese Silences (Les Figues, 2016).
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