Check out our forthcoming books, recent releases and featured backlist titles in our 2025 Fall catalog. Download the pdf by clicking on the cover below or click here.

Librarians are on the front lines of the culture wars, and we are grateful for their support of the kinds of books Three Rooms Press publishes. Each year, the American Library Association hosts an annual conference that attracts from 20,000 to 30,000 librarians and their associates.

This year, the ALA Annual was in Philadelphia, and, between cheesesteaks (lol, the last “s” is intentional), 3RP co-directors Peter Carlaftes and Kat Georges introduced forthcoming and recent books, discussed strategies librarians are taking to counter the clampdown on diverse reads, and hosted 4 author signings.

Below are some of our favorite photos from the conference. Thanks to Christy Beattie and Celia Mattison from Ingram for all their help in making this such a success.

Summer Reads 2025

To celebrate Maintenant 19’s upcoming release, I talked to some of the journal’s contributors. This year, we sent out an open call for artists to submit work on the theme of ethics cleansing. I wanted to know why these contributors are called to Dada in 2025, how they define ‘ethics cleansing’, and incorporate it into the geography of their work. 

From the Introduction of Maintenant 19: “MAINTENANT 19 is a testament to the unflinching exposure of self-righteousness. We are no longer bred to be rational creatures.”

I spoke with Heide Hatry, Sandra Gea, Volodymyr Bilyk, Marta Janik, Kathleen Florence, Anna O’Meara, and Fork Burke. Read the conversation below.

Emma Foley: Why is Dada important to the post-postmodern world, and in 2025?

Heide Hatry’s EGG

Heide Hatry: “If art cannot find and affect the human beneath the accretion of habit, oblivion, and spiritual lassitude, then it has lost its purpose and we are without hope. This accretion is when the need for Dada is most desperate. In our own era, we speak of the red pill or perhaps a transformative virus; suggestions suited to an understanding of art amidst an existential situation that seems to cry out for a god, or horribile dictu, technology, to save us… I can reply only that if you know what freedom is, then you know that integrity and compassion are essential to it.”

Kathleen Florence: “Dada is important because it’s not. Its refusal to matter protects it from being absorbed by the systems it refuses to serve. Its lack of importance is what allows it to live on. Dada doesn’t attempt to fix the world. It reflects the strange rather than the stylized version that maintains established forms of power. Often, people don’t know what to make of Dada-inspired art. In part, that’s the point. Easy answers are slogans made to be consumed. Dada embraces the unresolved. It signals to those who want something more complex than ‘cleaning solutions’.”

Kathleen Florence’s, A Proven Formula

Anna O’Meara: “Everyone in the world today is in some way an inheritor of the world Dada portrayed and protested. As the world collapses, what do we do? Dada provides an outlet for protest and expression but also, very importantly, humor. Humor is Dada’s secret weapon. Instead of submitting under the boot of oppression and devastation, humor and irony create new alternatives, like a creative game. Humor gives individuals a sense of power that reverberates with audiences. Humor strikes with critiques of absurd contradictions.” 

Fork Burke: “Dada disrupts all validity of the construct–it has the capacity to bring clarity in infinite ways–revealing the collage of control’s power strategies at the core of control’s intention–it is language and expression–it’s a creation passage–the imagined realms are not stuck in resistance–the position of unstoppable is assumed–Dada has legacy beyond its first sparks.”

EF: What is Ethics Cleansing?

Volodymyr Bilyk’s Boom Galore

Volodymyr Bilyk: “Ethics is in many ways a hypocritical make-believe imposed by institutions that regulate culture. In Ukraine, ethical double standards get drunk and sleep in their own vomit. This manifests itself most vividly with a highly problematic concept of “doing it for the culture”–where you can’t make something because you find it curious or it reflects your ways of seeing the world, nah, you need to do something that would be a meaningful contribution to the Ukrainian Culture at large–something that would contribute to its “greatness”. Because otherwise the culture will cease to exist and it is going to be your fault.”

EF: How did making ‘Ethics Cleansing’ the backdrop to your creative process affect your work? 

Marta Janik’s Belongings, Not Belongings

Marta Janik: “This year’s theme touches very important issues like ethics, power, wealth, corruption, favoritism. It all made me wonder about how we understand words, what they mean to us, do we reach any conclusions discussing them? While making the collage I thought about all these issues. It features a person who may have dreamt of a crown, of being a king, but the crown unfortunately turned out to be so big that it obscures the whole view, you can’t see anything from under it. This is a pity, because there is a mirror right next to it, which could force one to self-reflect. There are bars of gold, a symbol of wealth. They lie on the ground, what could be done with them? There is a scale, a symbol of justice, balance and impartiality. My favorite element is the book, from which light gushes forth. I want to believe that there is true freedom in the ability to read with understanding. This is what I cling to. Language, speech, conversation, imagination, stories – is there anything more precious?”

Sandra Gea’s The Shadows in my Closet

Sandra Gea: “My work, mainly autobiographical, is an act of self-empowerment, a reclaiming of my feminine body from the overculture. As long as societal conditioning insults and abuses my body, or any human body, I am–we are–not free. The collage “The Shadows in my Closet” exposes the pain and confusion of an instinctive nature yielding to the narratives of shame in order to survive. Trapped, fueled by the rage of self-betrayal and self-abandonment, younger versions of myself linger in the shadowlands of my subconscious. The creative process becomes the crucible for ethics cleansing: rage alchemized into a piece of redemption, self-forgiveness and freedom.”

Maintenant 19: A Journal of Contemporary Dada will be released on July 15th. Preorder it here.

Emma Foley is a writer and editor at Three Rooms Press. 

For nearly 20 years, Three Rooms Press has, thrived in bringing together work from hundreds of contemporary dada writers and artists around the world in each edition of our annual journal, MAINTENANT. Always provocative, radical, often laugh-out-loud funny, surprisingly beautiful, This month we release the latest issue, MAINTENANT 19, with the theme “Ethics Cleansing” and featuring cover art by renowned Romanian painter Adrian Ghenie.

MAINTENANT 19 is officially on sale starting July 16, but is available now to preorder directly from Three Rooms Press here, or from your local indie bookstore (by request via Ingram), or from many online retailers, including:

About Ethics Cleansing

In the face of right and wrong by the breed of weak or strong, humanity has placed far too much emphasis on belongings, not belonging. There was a time when ethical behavior had a fixity of purpose: the prevention of corruption, favoritism, undue influence and abuse of entrusted power. 

Yet it is those who commit these transgressions that prosper most, by completely dispensing with the need for ethics. What exists is a philosophy where the only guiding principle is to ensure the greatest profits. 

MAINTENANT 19 is a testament to the unflinching exposure of self-righteousness. We are no longer bred to be rational creatures. Denial is key. Freedom from blame is the promise. But if blame we must, then here we must first blame the face in the mirror that accepts this way of life.

These times of Ethics Cleansing enable some to think they are better than others, but if someone must be better, then let it be ourselves.

A small sample of what you can find in MAINTENANT 19

And Now For . . . The Contributors

Maintenant 19 features the work of 236 artists from 35 countries on six continents, including (in alphabetical order):

Hamza Abu Ayyash, Derek Adams, Mariam Ahmed, Jamika Ajalon, Youssef Alaoui, Linda J. Albertano, Austin Alexis, Joel Allegretti, Maureen Alsop, Santiago Amaya, Lisa Andreini, Avelino Araújo, Penny Arcade, Louis Armand, Wayne Atherton, Liz Axelrod, Mahnaz Badihian, Amy Barone, Vittore Baroni, Hannah Behrens, Regina Lafay Bellamy, Martine Bellen, C. Mehrl Bennett, Volodymyr Bilyk, Mark Blickley, Jeff Boynton, Gedley Belchior Braga, Bob Branaman, Michael Georg Bregel, Kathy Bruce, Anaïs Bucher, Imanol Buisan, Fork Burke, Mike Callaghan, Mary Campbell, Billy Cancel, Peter Carlaftes, Mona Jean Cedar, Mario José Cervantes, Mutes César, Isra Cheema, Rachel Chitofu, Lynette Clennell, Andrei Codrescu, Terese Coe, Adrienne Connelly, Chuck Connelly, Roger Conover, Molly Crabapple, Malik Crumpler, Tchello d’Barros, Wer Da, Steve Dalachinsky, Allison A. Davis, Holly Day, Lily Despic, Dario Roberto Dioli, Rachel Dixon, Sam Dodson, Pete Dolack, Carol Dorf, Paul Dorf, Eric Drooker, Sophie Dunér, Cornelius Eady, Nicole Eisenman, Bridget Chebo Enggasser, Salvatore Esposito, Jeff Farr, Becky Fawcett, Jim Ferguson, Mike Ferguson, Rich Ferguson, Maria Filek, Cheryl J. Fish, Kathleen Florence, Giovanni Fontana, Robert C. Ford, Dorothy Friedman, Thomas Fucaloro, Rosalie Gancie, Sandra Gea, Kat Georges, Christian Georgescu, Adrian Ghenie, Robert Gibbons, Gordon Gilbert, Gemma Goette, Melissa Goodrum, S.A. Griffin, Fausto Grossi, Egon Guenther, Bibbe Hansen, Vidya Hariharan, Fred Harper, Heide Hatry, László Hegedűs, Robert Hieger, Karen Hildebrand, Mark Hoefer, Bob Holman, Matthew Hupert, Marta Janik, Ruud Janssen, Mathias Jansson, Kris Janvier, Jerry the Priest, Jerry Johnson, Milo Starr Johnson, Boni Joy, Milana Juventa, Lois Kagan Mingus, Suzi Kaplan Olmsted, Vincent Katz, Marina Kazakova, Linda Kleinbub, Henry Kneiszel, Doug Knott, Ron Kolm, Mark Kostabi, Paul Indrek Kostabi, Paweł Kuczyński, Zygimantas Kudirka, Bénédicte Kusendila, Tom Laichas, David Lawton, Marie C. Lecrivain, Jane LeCroy, Cecil W. Lee, Margaret Leonard, Patricia Leonard, Misa Levey, Lindsay Liang, Alexander Limarev, Goran Lišnjić, Jon Longhi, Brendan Lorber, Serse Luigetti, Marieta Maglas, Sara Maino, Sophie Malleret, Robyn Mallery, Fred Marchant, Malak Mattar, Bronwyn Mauldin, Jesse McCloskey, Charles Mingus III, Richard Modiano, Mike M. Mollett, Thurston Moore, Luiz Morgadinho, Jules Muck, Carli Munoz, Uche Nduka, Gerald Nicosia, Harry E. Northup, Juan Fran Núñez Parreño, Anna O’Meara, Ruth Oisteanu, Valery Oisteanu, Marc Olmsted, Yuko Otomo, Bibiana Padilla Maltos, Csaba Pál, Lisa Panepinto, Gay Pasley, John S. Paul, Giorgia Pavlidou, Puma Perl, Raymond Pettibon, Charles Plymell, Kai Pohl, Gene Pritsker, Linette Rabsatt, Renaat Ramon, Nicca Ray, Maryam Raz, Sabine Remy, Mado Reznik, Travis Richardson, Wes Rickert, Edel Rodriguez, Thaddeus Rutkowski, Martina Salisbury, Robert Scala, Beatriz Seelaender, Jack Seiei, Silvio Severino, Samantha Sharp, Katherine Shehadeh, Susan Shup, Bertholdus Sibum, Hilary Sideris, Lynn Skordal, Angela Sloan, Valeria Sofranko, Orchid Spangiafora, Dd. Spungin, Jac-Lynn Stark, Eva Helene Stern***, Richard Stone, W.K. Stratton, JeFF Stumpo, Belinda Subraman, Irina Tall, Neal Skooter Taylor, Fred Tomaselli, Robin Tomens, Zev Torres, John J. Trause, Nico Vassilakis, Jimmy Vega, Maggs Vibo, Benito Vila, Voxx Voltair, Barranca Vos, Silvia Wagensberg, Anne Waldman, George Wallace, Scott Wannberg, Mike Watt, Dig Wayne, Poul R. Weile, Ingrid Wendt, Lynn White, Maw Shein Win, A. D. Winans, Francine Witte, Yaryan, Lorene Zarou-Zouzounis, Larry Zdeb, Elzbieta Zdunek, Nina Zivancevic, and Joanie HF Zosike.

Based in Los Angeles, Red Hen Press has spawned hundreds of titles over the past 30 years, including poetry, literature, genre fiction, memoirs and more, earning award after award for their fine work. We recently caught up with our fellow indie press, in a discussion with media director Monica Fernandez. Their story is fascinating! We became associated with them a few years ago at the American Library Association’s conference, where our kiosk was located next to RHP’s, meeting co-founder Mark Cull, then, the following year we published the debut novel of fellow co-founder Kate Gale. Here’s the rest of the story . . .

Kat Georges: The Red Hen Press logo makes a big claim, identifying RHP as “The Biggest Little Indie Nonprofit Literary Publisher.” How is this vision supported by the work you do?

Monica Fernandez: Our roster of over 700 titles spans authors from all over the country and the world, and we’re honored to be able to share such incredible national and international work. We have a great bi-coastal presence, not only attending but also curating events in New York, Miami, the Pacific Northwest, and everywhere in between.

Red Hen Press team members Monica Fernandez and Chloe Zofia at the Brooklyn Book Fair

KG: Publishing is a very tough industry, especially for indie publishers. What do you find are the greatest challenges of being an independent publisher? And what are the greatest rewards?

MF: The greatest challenge of being an independent publisher is getting our books seen and noticed in such a saturated, nearly-monopolized-by-the-Big-Five market. Even though we publish 25 titles a year, it’s hard to compete with the hundreds of new books the larger publishers put out at the same time. But the greatest reward is being a part of an author’s literary journey. Whether we’re publishing an author’s first book or fifth, it’s always such an honor and so exciting to bring such important work to the world and have it connect with so many new readers.

Kate Gale, David Mas Masumoto, and Mark Cull at David Mas Masumoto’s Peach Farm

KG: Red Hen is known for publishing a wide variety of books, including poetry, memoir, fiction and nonfiction books. What have been the highlights you’ve published in each of these categories?

MF: Percival Everett‘s latest poetry collection, Sonnets for a Missing Key, has absolutely taken off, and we’re so honored to be his poetry publisher and watch his incredible work get the recognition it deserves! David Mas Masumoto‘s memoir Secret Harvests is an incredible story of him discovering a long-lost aunt that was separated from his family during the Japanese internment and was kept as a ward of the state. They finally found her 70 years later, not far from their own farm. He was able to reunite with her and learn her story, and wrote it all down in this gorgeous book. Bad Stories is a great example of one of our best nonfiction books — it’s an essay collection from author Steve Almond on observations and anecdotes he’s reflected on that attempt to explain how we ended up electing Trump in 2016. As for fiction, there are almost too many fiction highlights to name! Some recent favorites/highlights include the short story collection The Sea Gives Up the Dead by Molly Olguin, the serial killer thriller Now You Owe Me by Aliah Wright, and the campus detective novel A Punishing Breed by DC Frost.

Red Hen was built because our founders Kate and Mark wanted to create a literary community that they otherwise didn’t see at the time, so creating and maintaining and fostering that community is in the very DNA of Red Hen.

KG: In addition to book publishing and fundraising as a non-profit, Red Hen also runs a literary magazine, hosts numbers literary events in LA, NYC and internationally, publishes a literary journal, The Los Angeles Review, sponsors literary awards, and now produces a regular podcast, not to mention attending many industry conferences annually. Do you folks ever sleep? And how do all of these feed into your idea of not only publishing, but creating community among lovers of literature and authors? What is it about community that is important to your mission?

MF: Haha, we all alternate sleeping to get everything done It’s definitely a lot to keep track of and handle but we do it all because we feel almost a kind of responsibility to foster literary community, and we try to do that in any and every way possible. Red Hen was built because our founders Kate and Mark wanted to create a literary community that they otherwise didn’t see at the time, so creating and maintaining and fostering that community is in the very DNA of Red Hen.

Nancy Kricorian, Bianca Richards, Ron Koertge, and Lory Bedikian at the Red Hen Press 30th Anniversary Benefit Luncheon (Photo by Emily C. Petrie)

KG: As mentioned, you recently published Percival Everett’s Sonnets for a Missing Key. He is the author of James, which just won a Pulitzer Prize! As a small press, this is a monumental achievement! Describe your feeling to know your press published the other most recent book by Mr. Everett. How did you celebrate? And yes, congratulations!

MF: Thank you so much! We’re so elated, excited, and honored. Red Hen Press has been Percival’s poetry publisher for twenty years and we’re so lucky that his latest poetry collection came out the same year as James. With Percival being such a prominent figure in the literary news these days, it’s been fun showing people that, in addition to all of Percival’s incredible talents, he’s also a poet too. We toasted to Percival in the office and cheered him on when the results were announced, but also got to work putting together congratulations eblasts and social media posts and updating things like book cover descriptions and online metadata. The more good news Percival receives, the more we need to update everything (across all of his poetry books) to stay up-to-date!

KG: What are some of your favorite upcoming titles we should know about?

MF: Angel Eye by Madeleine Nakamura is our upcoming adult fantasy novel, coming out in June! It’s such an exciting novel, part magical murder mystery, part haunting representation of an emotionally abusive relationship, part budding gay romance. Definitely something to look out for this summer! And in the fall, we have a new novel from Lara Ehrlich called Bind Me Tighter Still which features a mermaid burlesque. It’s a fantastic take on mother monsters, women’s independence, and mother-daughter relationships.

Red Hen Press’s team and booth at AWP 2025 Los Angeles

KG: A fun one: you’re hosting a dinner party hoping to sign any three authors, dead or alive. Who do you invite? And what do you serve?

MF: Oh, that’s so tough! I had to consult the team so this is a group answer but we’re thinking Margaret Atwood, Haruki Murakami, and Toni Morrison. All of these authors are so innovative, groundbreaking, and smart with their work and messages. They’re definitely huge influences in the kind of work we look to publish. As for what we’d serve, lemon roasted chicken with sweet potato and green beans, with strawberry rhubarb pie for dessert. Rich, hearty, sweet, and satisfying!

Emma Foley: Why did you start Hive Mind Books? When did the idea of a queer-focused book store come to you?

Jules Wernersbach: Hive Mind Books started in 2021, in the hazy year when we were all figuring out how to live again after Covid restructured society. We met as booksellers about 14 years ago and shared a similar dedication to books and a love for reading, and a frustration with bookstores that used the word “community” as a way to serve their bottom line, denying the needs of its own community of booksellers, and being more concerned about profit than the store’s literal community impact. We didn’t like that. We wanted to work for a bookstore that centers people over profits, so we made one. 

Photo © Copyright Hive Mind Books

After operating as a traveling bookstore for a while and selling books around Brooklyn (and a lot of other places), and observing the city’s literary landscape, it became clear that there was a real desire for queer literature, but no bookstore in Brooklyn at that time was dedicated to queer books. There were no queer bookstores in Brooklyn! So we made one. We’d been hosting our own queer book fairs in local bars and heard so many times how hard it was for people here in the biggest friggin city to find a lot of these books. We want to keep queer and trans literature circulating. We added the coffee shop element to the brick and mortar to encourage the community feel of the space. You can hang out here, you don’t just have to browse, buy, and leave. And, of course, we host a ton of events, all of them specifically for queer and trans readers and writers. 

EF: Is there a reason why Hive Mind opened in Bushwick, specifically?

JW: I live about a six minute walk from the store. I moved to the neighborhood with my girlfriend in 2023. She’d lived in Bushwick previously and we wanted to move in together. Our neighborhood is very queer. I was putting up fliers for a Queer Book Fair at a queer bar down the street when I noticed the vintage shop that had been in this space was going out of business. I’d been casually looking at rents in the neighborhood, because I love it here, but everything was way out of our price range. This rent was manageable. The place is on a corner with big street-facing windows, it gets amazing light, and it already had this crazy colorful flower tile all over it from the last tenants. It just seemed like a nice place to land. We’d spent months lugging boxes up and down steep flights of stairs and in and out of our cars. Our backs hurt. It felt right. 

EF: I noticed that since opening, Hive Mind has already put on a ton of events. How have the open mics, reading and writing nights, book club, etc. been going? 

JW: Really well! I’ve been doing book events for 20 years. It’s so much fun to do them for our own store. We curate a lot of programming for queer and trans writers, too. People love our queer writing nights. I love our open mic. It’s felt really special to have regulars at these events already, to have people come with so much love and genuine self. We opened one week before the presidential election. We would’ve done a ton of events anyway, but I felt how needed it was for us to have any reason at all to come together. Like I say all of the time at our events: it’s a good time to know your neighbor. People feel that and are responding to opportunities to do that. We are stewards of this space, that’s how I see it. We have the keys to the front door and make sure the rent gets paid on time. It’s here for everyone else to use, to find a sense of humanity, friendship, spontaneous connection, to facilitate the “contact” that Samuel R. Delany describes in Times Square Red, Times Square Blue as necessary and valuable for healthy urban culture. 

EF: Any plans for the store in the future?

JW: We’re taking this first year as it comes, getting to know our flow and what people are looking for from us in terms of books and curation, coffee, coworking, and events. You really just have to ride the first year of a business, try some things, observe, listen to people, and watch your expenses. We’re expanding our team and thinking about how to structure ourselves. The best thing we can do right now is build a firm foundation. Our responsibility to the people who are finding meaning and use in this place is to be a healthy, sustainable business. 

After that, we talk about doing all kinds of things. Saying more feels like telling someone what you wished for on your birthday candles. We’re only six months in. I’m still holding my breath, waiting to see what comes.

Emma Foley is a writer and editor at Three Rooms Press.

MY VIETNAM, YOUR VIETNAM: A Father Flees. A Daughter Returns. A Dual Memoir. By Christina Vo and Nghia M. Vo

Ms. Magazine called MY VIETNAM, YOUR VIETNAM one of its top-10 most anticipated Feminist memoirs of the year. And there’s good reason for this. Ostensibly, this dual memoir tells the story of Nghia M. Vo, who fled Vietnam in 1975 when the war ended. His daughter and co-author, Christina Vo, grew up in the US, for the most part in smaller midwestern cities where she was often the only Asian-American at her school. As a young adult in search of heritage, and against her father’s wishes, Christina traveled alone to Vietnam where she worked a variety of jobs and lived in both the northern city of Hanoi and the former South Vietnam city of Saigon. Her courageous journey led her to commit herself to helping people of the diaspora and those in Vietnam on the path to reconciliation and healing from intergenerational trauma from the war, even after 50 years. Also available in Vietnamese, MY VIETNAM, YOUR VIETNAM is a must-read for its honest and brave stories of both father and daughter. More details here. Also available in the Vietnamese translation: VIỆT NAM CỦA CON, VIỆT NAM CỦA CHA (translated by Kalynh Ngo).

THE COLORS OF APRIL: Fiction on the Vietnam War’s Legacy 50 Years Later

Fifty years after the Vietnam War ended, literary voices of the Vietnamese American diaspora and authors currently living in postwar Vietnam speak to the experience of those who left and those who stayed in THE COLORS OF APRIL, an anthology of new short fiction edited by Quan Manh Ha and Cab Tran.

For much of the twentieth century, Vietnam played an outsized role on the global stage, charting the destinies of superpowers and reshaping the world’s politics. Now fifty years after the end of the Vietnam War comes The Colors of April, an anthology of fiction that finally speaks to the Vietnamese experience: voices of both those who left and those who stayed, what was gained and lost in the half century since, and for the generations that followed—what it means to be Vietnamese. More than two dozen distinct literary voices are featured in this collection, including those of Viet Thanh Nguyen, Andrew Lam, Barbara Tran, and Vi Khi Nao, among others. The stories are as diverse in style, tone, and subject matter as the ancestral lands of the Vietnamese people. From the rubble of the Ancient Citadel in Quảng Trị to the makeshift orphanages outside Sài Gòn, from Palo Alto to a tony Lincoln Park apartment in Chicago, the narratives straddle continents and generations, the political as well as the personal. But what they share is much greater than their differences. They speak to a common language, to a culture steeped in history and myth and storytelling that vividly captures the enduring spirit of the Vietnamese people. More details here.

Other book featured in our AAPI Month special include:

• JAPANTHEM: Counter-Cultural Experiences, Cross-Cultural Remixes by Jillian Marshall
• LAST BOAT TO YOKOHAMA: The Life and Legacy of Beate Sirota Gordon by Nassrine Azimi and Michel Wasserman
• THE DOOR TO INFERNA: An Elklorian Novel by Rishab Borah

In addition, a very special limited edition box set of both the English and Vietnamese versions of MY VIETNAM, YOUR VIETNAM, is available here. The set is recommended to promote intergenerational and international discussion on the path the healing and reconciliation from the ongoing trauma of the Vietnam War. It includes:

• One copy of MY VIETNAM, YOUR VIETNAM
• One copy of VIỆT NAM CỦA CON, VIỆT NAM CỦA CHA
• Handwritten notes in English and Vietnamese by author Christina Vo and translator Kalynh Ngô
• Discussion questions in English and Vietnamese
• Limited Edition of 50 

Order your copy today to ensure availability. Click here to order.