‘The world is in desperate need of this book’ - Greta Thunberg 'It's Not Just You is a galvanising breath of fresh air' - Mikaela Loach 'Tori Tsui is changing the conversation around mental health and the climate crisis' - Vogue ‘A must-read for anyone who would love to understand the intersections of mental health and the climate crisis’ - Vanessa Nakate ------------------------ It’s not just you. The climate crisis is making us all unwell. But not just you. The climate crisis is affecting certain communities disproportionately. And it’s not just the climate crisis… The term ‘eco-anxiety’ has been popularised as a way to talk about the negative impact of the climate emergency on our wellbeing. In It’s Not Just You, activist Tori Tsui reframes eco-anxiety as the urgent mental health crisis it clearly is. Drawing on the wisdom of environmental advocates from around the globe, Tori looks to those on the frontlines of eco-activism to demonstrate that the current climate-related mental health struggle goes beyond the climate itself. Instead, it is a struggle that encompasses many injustices and is deeply entrenched in systems such as racism, sexism, ableism and, above all, capitalism. Because of this, climate injustice disproportionately affects most marginalised communities, who are often excluded from narratives on mental health. Tori argues that we can only begin to tackle both the climate and mental health crisis by diversifying our perspectives and prioritising community-led practices. In essence, reminding us that It’s Not Just You. Tackling this increasingly urgent crisis requires looking both inwards and outwards, embracing individuality over individualism and championing climate justice. Only then can we start to build better futures for both people and the planet.

CHINATOWN, U.S.A.: a state of mind, a world within a world, a neighborhood that exists in more cities than you might imagine. Every day, Americans find "something different" in Chinatown's narrow lanes and overflowing markets, tasting exotic delicacies from a world apart or bartering for a trinket on the street -- all without ever leaving the country. It's a place that's foreign yet familiar, by now quite well known on the Western cultural radar, but splitting the difference still gives many visitors to Chinatown the sense, above all, that things are not what they seem -- something everyone in popular culture, from Charlie Chan to Jack Nicholson, has been telling us for decades. And it's true that few visitors realize just how much goes on beneath the surface of this vibrant microcosm, a place with its own deeply felt history and stories of national cultural significance. But Chinatown is not a place that needs solving; it's a place that needs a more specific telling. In American Chinatown, acclaimed travel writer Bonnie Tsui takes an affectionate and attentive look at the neighborhood that has bewitched her since childhood, when she eagerly awaited her grandfather's return from the fortune-cookie factory. Tsui visits the country's four most famous Chinatowns -- San Francisco (the oldest), New York (the biggest), Los Angeles (the film icon), Honolulu (the crossroads) -- and makes her final, fascinating stop in Las Vegas (the newest; this Chinatown began as a mall); in her explorations, she focuses on the remarkable experiences of ordinary people, everyone from first-to fifth-generation Chinese Americans. American Chinatown breaks down the enigma of Chinatown by offering narrative glimpses: intriguing characters who reveal the realities and the unexpected details of Chinatown life that American audiences haven't heard. There are beauty queens, celebrity chefs, immigrant garment workers; there are high school kids who are changing inner-city life in San Francisco, Chinese extras who played key roles in 1940s Hollywood, new arrivals who go straight to dealer school in Las Vegas hoping to find their fortunes in their own vision of "gold mountain." Tsui's investigations run everywhere, from mom-and-pop fortune-cookie factories to the mall, leaving no stone unturned. By interweaving her personal impressions with the experiences of those living in these unique communities, Tsui beautifully captures their vivid stories, giving readers a deeper look into what "Chinatown" means to its inhabitants, what each community takes on from its American home, and what their experience means to America at large. For anyone who has ever wandered through Chinatown and wondered what it was all about, and for Americans wanting to understand the changing face of their own country, American Chinatown is an all-access pass.

Tsui Hark, one of China's most famous film artists, is little known outside of Asia even though he has directed, produced, written, or acted in dozens of film, some of which are considered to be classics of modern Asian cinema. This work begins with a biography of the man and a look at his place in Hong Kong and world cinema, his influences, and his thematic obsessions. Each major film of his career is then reviewed, production details are provided, and comments from Tsui Hark himself are given.

Part historical drama, part thriller, and part comedy, Tsui Hark's Peking Opera Blues (1986) invites--if not demands--examinations from multiple perspectives. Tan See Kam rises to the challenge in this study by first situating Tsui in a Sinophone context. The diasporic director explores different dimensions of "Chineseness" in the film by depicting competing versions of Chinese nationalism and presenting characters speaking two Chinese languages, Cantonese and Mandarin. In the process he compels viewers to recognize the multiplicities of the Chinese identity and rethink what constitutes cultural Chineseness. The challenge to a single definition of "Chinese" is also embodied by the playful pastiches of diverse materials. In a series of intertextual readings, Tan reveals the full complexity of Peking Opera Blues by placing it at the center of a web of texts consisting of Tsui's earlier film Shanghai Blues (1984), Hong Kong's Mandarin Canto-pop songs, the "three-women" films in Chinese-language cinemas, and of course, traditional Peking opera, whose role-types, makeup, and dress code enrich the meaning of the film. In Tan's portrayal, Tsui Hark is a filmmaker who makes masterly use of postmodernist techniques to address postcolonial concerns. More than a quarter of a century after its release, Tan shows, Peking Opera Blues still reverberates in the present time.

Cheng & Tsui's best-loved Chinese textbook series is new, revised, and better than ever!

This stunning nonfiction picture book tells the inspiring story of Sarah Gerhardt, one of the first female big-wave surfers. Have you ever seen a big wave? One that’s twenty, thirty, forty, even fifty feet tall? Here’s a better question: Would you ever surf a big wave? Sarah Gerhardt did—and this is her story. Sarah and the Big Wave, a tale of perseverance and indomitable spirit, is about the first woman to ride the waves at Mavericks, one of the biggest and most dangerous surf breaks in the world.

This book uncovers the guiding principles behind Tsui's evolutionary approach to explore the many design lessons that can be learned from nature and share the impressive results of their application to architectural projects.

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