LONGLISTED FOR THE PEN/OPEN BOOK AWARD"Compellingly complex…Expands the future of the immigrant novel even as it holds us in uneasy thrall to the past." – Gish Jen, New York Times Book ReviewCombining the emotional resonance of Home Fire with the ambition and innovation of Asymmetry, a lyrical and thought-provoking debut novel that explores the complex web of grief, memory, time, physics, history, and self...

“A knockout short story collection...Each one of these 10 dizzyingly immersive stories offers up a heady and visceral portrait of what ails us, from isolation and self-doubt, to unrequited love and regret over what might have been, to what it means to be (and to be considered) an American." -- San Francisco ChronicleMeng Jin’s critically acclaimed debut novel, Little Gods, was praised as “spectacular and emotionally polyphonic (Omar El-Akkad, ...

The Winter 2015-16 issue of Ploughshares. Ploughshares is an award-winning journal of new writing. Two out of each year's three issues are guest-edited by prominent writers who explore different personal visions, aesthetics, and literary circles, with the Winter issue staff-edited.The stories, poems, and essays that comprise this staff-edited issue of Ploughshares are diverse and timely. Visit a South African laundromat in Laurie Baker’s short story, Here I Am, Laughing with Boers;...

“Expands the future of theimmigrant novel.” – Gish Jen, New York Times Book Review“Spectacular and emotionally polyphonic…That Jin has managed tocraft such an intimate, emotionally complex story is an awesome achievement.That she managed to do it in her debut novel, doubly so.” – Omar El Akkad,BookPage (starred review)

“A knockout short story collection...Each one of these 10 dizzyingly immersive stories offers up a heady and visceral portrait of what ails us, from isolation and self-doubt, to unrequited love and regret over what might have been, to what it means to be (and to be considered) an American."" -- San Francisco ChronicleMeng Jin’s critically acclaimed debut novel, Little Gods, was praised as “spectacular and emotionally polyphonic (Omar El-Akkad,