The Hmong community’s roots in the United States date back to the 1960s and the country’s imperial activities in Southeast Asia. Originally emigrating from China, the Hmong populated Laos, Thailand, and Vietnam. In violation of the Geneva Accords, the CIA forces covertly recruited and trained Hmong during the Vietnam War and Laotian Civil War to combat the rise of communism. After both communist forces won and the United States withdrew in 1975, abandoned Hmong communities fled backlash and persecution in Thailand. About 130,000 Hmong would flee to the United States. Today, Hmong communities in the U.S. can be mostly found in Wisconsin (MI,) the Twin Cities (MN,) Fresno, and Sacramento (CA.)

Siskiyou County lies approximately 260 miles north of Sacramento. Hmong communities began to migrate there in 2014. The latest census data shows that within a population of 45,000, 85% are white and 1.6% Asian American. Margiana Petersen-Rockney is an assistant professor at the University of Montana and is a research affiliate at UC Berkeley’s Department of Environmental Science, Policy, and Management. Through her work, she has collaborated with the Hmong community and came to understand how arriving at Siskiyou County was mostly due to low income. Having to migrate into racially segregated and low-income areas, many community members have had to work low-wage jobs like factory or farm work, which created what she referred to as “repetitive work injuries.”

“[They] had not been provided a lot of government support in that resettlement process,” she said. “[Many] are reaching retiring age and don’t have a lot of money, certainly things like pensions or retirement funds.”

This hurdle and the need to maintain community led them to buy lots in Siskiyou County for as cheap as $10,000. “A lot of people described moving there in order to own land,” Petersen-Rockney went on. “To be near the mountains, to be in a more rural landscape that reminded them of their…

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Have you ever been sucker-punched by a book? “Unassimilable: An Asian Diasporic Manifesto for the Twenty-First Century,” by Bianca Mabute-Louie, did that to me for good reasons. Like many Asians, I’ve been searching for resources that remind me of who I am and who I’m becoming. As a scholar who studies race, racism, and their impact on society, I don’t see my identity formation as linear, but instead as an ever-expanding and contracting constellation. During an era painted by genocide, COVID-19, and the rise of fascism globally, I’ve been looking for a north star to expand my constellation during this moment of contraction. In this process, I found a meteor. 

Mabute-Louie’s new release is that fallen star that was missing; it wants us to come back to earth, reground, and reclaim ourselves as Asian diasporic peoples racialized by both place and placelessness in a country rooted in a mirage of stars and stripes. “Unassimilable” is both here and there — and now. 

What Is the Book About? 

“Unassimilable” is a memoir-manifesto that turns Mabute-Louie’s life into a mirror of our own lives as Asians in America. She offers herself as a telescope through which we can see ourselves in the larger constellation of Asian American history. Mabute-Louie describes “unassimilability” as “an act of interdependent community … cultivating our own social networks and daring to prosper in America without Whiteness.” 

Mabute-Louie is talking about reclaiming ourselves from assimilation, an inherent process that happens to Asians as they are socialized into the United States by way of institutions, policies, culture, and practices. 

The “Asian diaspora” term offers a bridge between the United States and wherever we find ourselves placeless. Mabute-Louie says “placeless” because Asians occupy a third space materially and psychologically. She describes diaspora as including “the immigrant, the expatriate, the refugee, the migrant worker, the…

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Star Trek has always ventured “to boldly go where no one has gone before,” and since 2009, when J.J. Abrams’ film rebooted the franchise, old and new fans alike have been treated to new worlds and new formats, including animation. But so far, the films and spin-offs have focused on the Federation and Starfleet, making the latest Paramount+ film “Star Trek: Section 31” a unique adventure led by the award-winning actor Michelle Yeoh.

The straight-to-streaming film is a fast-paced adventure that follows Phillipa Georgiou, played by Yeoh, and a motley crew from the secret division of Starfleet known as Section 31, as she faces her past to save the universe. A Trekkie herself, Yeoh shares the significance of having been in a lead role in the Star Trek franchise and what she loves about this film. 

More About “Star Trek: Section 31”

Yeoh is not new to the franchise. She plays not one, but two versions of the fan-favorite Philippa Georgiou. Philippa was introduced in the TV series “Star Trek: Discovery” (2017-2020), where her recurring character was initially captain of the USS Shenzhou.

“It was such a privilege to be the first Asian captain of the series, and it was so beautifully written, where she was so loved,” Yeoh remarks. “She was a good leader — strong, tough, but at the same time loving of her crew and very wise. And then she gets killed.”

Of course, in true sci-fi fashion, no one ever truly dies. Philippa returns to the Star Trek universe albeit as a Mirror Universe version of the beloved captain. This version, however, is not the loving and righteous leader. This is Emperor Philippa Georgiou, and it is this imperial version of Philippa that we follow in “Section 31.” 

Yeoh shares that the character of Emperor Georgiou was a “complex, beautifully crafted character” because she is at once scary and terrifying. Even if you haven’t watched the television series, you will learn in the film that this version of Philippa is not…

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In Mochi Mag’s list of new book releases for January, we explore the deep need for connection — with strangers in a laundromat, with a long-lost lover, for solidarity, for our family history, or with ourselves. This theme is timeless and spans genres, as you’ll see in the list below. 

“Yeonnam-Dong’s Smiley Laundromat”

 Kim Jiyun 
Adult Fiction
(Jan. 7, 2025, Pegasus Books)

“Homeseeking”

Karissa Chen
Adult Fiction
(Jan. 7, 2025, G.P. Putnam’s Sons)

“Immortal”

Sue Lynn…

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The post What We Are Reading in January appeared first on The Proud Asian.

Limited Series, Season 2
Jan. 16, 2025

Teen matchmaker Kitty Song Covey returns to Seoul for another semester at KISS. Determined to focus on casual dating and avoid her previous matchmaking drama, Kitty’s plans are disrupted when a mysterious letter from her mother’s past sends her on an unexpected journey of discovery. As she navigates new relationships and shocking revelations at school, Kitty learns valuable lessons about the complexities of love, family, and growing up.

Check out Anna Cathcart, Minyeong Choi, and Gia Kim in the Jenny Han-created series on Netflix. 

Movie
Jan. 10, 2025

Inspired by a true story, “The Prosecutor” follows a young man who is framed for drug trafficking in Hong Kong and, under pressure, falsely confesses to the crime. Despite his guilty plea, a determined prosecutor (Donnie Yen) becomes convinced of the defendant’s innocence. Risking everything, including his own career and life, the former policeman-turned-prosecutor launches a dangerous investigation to uncover the truth and bring the real criminals to justice.

Catch Donnie Yen, Francis Ng, Kent Cheng, Michael Tin Fu Cheung, Julian Cheung, and Shirley Chan in theaters across the U.S. 

Movie
Jan. 14, 2025

George Decker fantasizes about escaping to the Bahamas but feels trapped by his marriage, mounting debts, and soul-crushing job in a society he believes is designed to torment him. Meanwhile, his wife Annie (Elsha Kim) harbors her own dream of landing the starring role in America’s most-watched program — an infomercial for the “WOW! Sponge.” Their conflicting aspirations and George’s desperate desire for escape set the stage for what promises to be a dark comedy about the American Dream gone wrong.

Directed by Tiffany Kim Stevens, this movie starring Elsha Kim and Chau Long is available to stream on Apple TV.

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In the wake of the 2024 presidential election, many BIPOC and LGBTQ+ folks were feeling both hopeless and helpless. How could we get lawmakers to listen and acknowledge that our lives and well-being matter? And would it actually make a difference? The day after Election Day, New York Rep. Alexandria Ocasio-Cortez went live on Instagram, reassuring that yes, there is a long road ahead and a lot of work to do to protect our civil rights and democracy — but we will need to fight by working together and building community.

This is a message that many social activists have emphasized, including the great Grace Lee Boggs who said, “Movements are born of critical connections, not critical mass.” 

The same message is at the heart of the “Critical Connections: Protest Photography Past + Present,” currently on display at Pace University Art Gallery. Pairing historical Civil Rights Era photographs with contemporary photographs documenting the Blasian March, the exhibit provides much-needed hope and inspiration, stressing that social movements are fought by everyday people and achieved through intentional intersectionality.

At the height of the COVID-19 pandemic, anti-Black police brutality and anti-Asian hate crimes exacerbated the already fraught relationship between the two communities. Black Asian activist, community organizer, and writer Rohan Zhou-Lee sought a safe space for racial solidarity and founded Blasian March in response. 

It was in this space over the years where photographers Stas Ginzburg, Josh Pacheco, and Cindy Trinh not only documented Blasian March protests, but also participated in them. Altogether, the team was invited to select historic photographs from the George Stephanopoulos Collection of news photography at Pace to showcase alongside their own contemporary protest photographs, and the exhibit was then curated by independent curator Lin Ma, professor and art gallery director Sarah Cunningham, and Pace student Hannah Arias.

While the Pace…

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This December, delve into a diverse array of new book releases from the last two months, each offering unique perspectives on identity, family, and societal struggles.

“The Other Side of Tomorrow”

Written by Tina Cho, illustrated by Deb JJ Lee
Graphic novel
(Nov. 12, 2024, HarperAlley)

“The Magnificent Ruins”

Nayantara Roy
Fiction
(Nov. 12, 2024, Algonquin Books)

“Sister Snake“

Amanda Lee Koe
(Dec. 3, 2024, Ecco)
Fiction

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I was almost part of a silent epidemic. This is my story — and the story of too many others.

Suicide is the leading cause of death among Asian American, Native Hawaiian, and Pacific Islander (AANHPI) youth. This statistic weighs heavily on my heart because it reflects a tragic reality: too many young people feel unseen, unheard, and unvalued. But this isn’t a story of loss. It’s a story of connection.

I grew up in the San Gabriel Valley, just east of Los Angeles, in a community with more Asian Americans than in 42 states combined. Surrounded by the Asian diaspora, I often felt connected to my heritage. But beneath this, I also carried feelings of isolation and worthlessness. For years, I kept these struggles to myself, believing I was alone in my pain.

At the age of 13, I reached a breaking point. I felt like I didn’t belong, like I didn’t matter — so I tried to end it all. The cruelty of my bullies and the silence of those around me felt unbearable. It almost cost me everything. But in that darkness, I found a flicker of light. With the guidance of a mentor, I discovered the strength to embrace vulnerability and a deep love for myself that had always been there.

What I learned — and continue to learn — is that my pain wasn’t mine alone. Too many young people in our community are carrying that same burden, silenced by the stigma surrounding mental health. I knew I couldn’t stay silent any longer. I had to act. That’s why I co-founded Asian Girls Ignite (AGI), a Colorado nonprofit focused on empowering AANHPI girls and gender-expansive youth through culturally responsive and social-emotional learning programs. We are here to rewrite the narrative — transforming silence into conversation and isolation into connection.

Challenging Stigma by Building Courage and Community

In our community, mental health struggles are often swept under the rug, hidden behind a veil of shame. “Saving face” becomes more important than confronting our emotions, and…

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Content warning: This article contains references to suicide. If you or someone you know needs assistance, please, contact your physician, go to your local ER, or call the National Suicide Prevention Lifeline at 800-273-TALK (8255), or message the Crisis Text Line at 741741. Both programs provide free, confidential support 24/7.

I was almost part of a silent epidemic. This is my story — and the story of too many others.

Suicide is the leading cause of death among Asian American, Native Hawaiian, and Pacific Islander (AANHPI) youth. This statistic weighs heavily on my heart because it reflects a tragic reality: too many young people feel unseen, unheard, and unvalued. But this isn’t a story of loss. It’s a story of connection.

I grew up in the San Gabriel Valley, just east of Los Angeles, in a community with more Asian Americans than in 42 states combined. Surrounded by the Asian diaspora, I often felt connected to my heritage. But beneath this, I also carried feelings of isolation and worthlessness. For years, I kept these struggles to myself, believing I was alone in my pain.

At the age of 13, I reached a breaking point. I felt like I didn’t belong, like I didn’t matter — so I tried to end it all. The cruelty of my bullies and the silence of those around me felt unbearable. It almost cost me everything. But in that darkness, I found a flicker of light. With the guidance of a mentor, I discovered the strength to embrace vulnerability and a deep love for myself that had always been there.

What I learned — and continue to learn — is that my pain wasn’t mine alone. Too many young people in our community are carrying that same burden, silenced by the stigma surrounding mental health. I knew I couldn’t stay silent any longer. I had to act. That’s why I co-founded Asian Girls Ignite (AGI), a Colorado nonprofit focused on empowering AANHPI girls and gender-expansive youth through culturally responsive and social-emotional learning programs. We are here…

Read the full article here

The post From Silence to Strength: Addressing Suicide Among Asian American Youth appeared first on The Proud Asian.

The author’s content and opinions have not been pre-reviewed, approved, or endorsed by Discover.

What does it mean to belong when the places you root yourself in stretch across continents? For third-culture kids, especially those who are Asian American, the journey of self-discovery is filled with rich experiences and profound challenges that shape who they are.

I talked to Jon Kung, a Chinese American chef and podcaster; Cindy Chen, an avant-garde makeup artist and TikTok personality; and Winnie Gu, a webcomic creator. All three of these third-culture kids shared how their unique upbringings shaped their perspectives as Asian Americans and creatives. 

What is a Third-Culture Kid?

The term “third-culture kid” was coined by American sociologist Ruth Useem in the 1950s to describe American children who grew up abroad due to their parents being expats, diplomats, or in the military, for example. Because their home life reflected American culture, while outside the house, they were exposed to a different culture, these children developed a “third culture” that was a blend of the two they were exposed to. 

Today, third-culture kids can most easily be defined as people born into one culture and raised in another. Chen told me that the resulting third culture is not just a mixture of the two cultures but is also layered with personal experience. 

What that has been shown to do to people who grew up this way is that it gave them a greater sense of empathy. It helped them with their communication skills.

There are debates as to whether children of immigrants or who are immigrants themselves are considered third-culture kids. Kung says that the definition is more fluid and can encompass those who are adopted or live in multicultural households. While Gu believes that there are similarities between the experiences of children of immigrants, the experience of third-culture kids — and the adults they become — is not quite…

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