May Ngo

We can view Don Mee Choi as a kind of bricoleur in DMZ Colony; a quilt maker, image assembler, improviser, who uses multiple tools – research, fiction, memoir – to assemble the beginnings of an archive.

The rush to push out COVID literature and thinkpieces is troubling, if only because surely the pandemic has taught us the value of slowing down, of being wary of endless production in all its forms. Surely, the pandemic should have taught us, if nothing else, to take time, if we are privileged enough to be able to do so. Yet I write this knowing about the economic necessity to write – this review is also, in a literal sense, born out of economic necessity.

Salesses asks what forms of fiction writing, and hence ways of being in the world, are marginalised in conventional understandings of craft? Conversely, how do different ways of being in the world – that is, not being part of the culturally dominant population – express themselves in a writer’s craft?

Like many fairy tales that are about coming of age, this novel also explores girlhood, but a girlhood that is indelibly formed by race and most of all — by class.

Growing up, I saw negative media depictions of Asians and migrants and I didn’t want to be lumped into the same category as them. I didn’t want to confront questions of race and belonging. I didn’t want to examine my identity and culture, particularly how I inhabited both a problematic settler culture and the Chinese-Cambodian culture of my family. I was sure that meaning and purpose was not to be found where I came from in western Sydney. When I got older, I longed to be part of the middle-class north shore of the city where my sociology lecturers came from, or the cultured and hip crowd in the inner west, or the white beach-life of Manly. These places seemed to offer possibilities of other worlds where I could finally be other than what I was. People from these places didn’t seem to have deal with questions of belonging and identity.