The American author uses fiction to explore the life of her Chinese mother as she seeks to understand the violence that marked their relationship

At first glance, the protagonist of Gish Jen’s latest novel seems like many of the other Chinese American immigrants Jen has portrayed so astutely in her decades-long career. Loo Shu-hsin is born into privilege in 1924 – her father is a banker in the largely British-run International Settlement of Shanghai – but her life is marked by her mother’s constant belittlement. “Bad bad girl! You don’t know how to talk,” she’s told, after speaking out of turn. “With a tongue like yours, no one will ever marry you.” Her only solace in the household is a nursemaid, Nai-ma, who vanishes one day without warning – a psychic wound that lingers even as she grows up, emigrates to the US and enrols in a PhD programme.

In one striking way, however, Loo Shu-hsin is different from Jen’s previous protagonists: she happens to be Jen’s own mother. Bad Bad Girl is in part a fictionalised reconstruction of Jen’s mother’s life, in service of a searching attempt to excavate their troubled relationship. “All my life, after all,” Jen writes, “I have wanted to know how our relationship went wrong – how I became her nemesis, her bête noire, her lightning rod, a scapegoat.”

Following the publication of the novelist’s letters, we count down the best of his books, from the dark magic of The Witches of Eastwick to the misadventures of Rabbit Angstrom

Inspired by and drawing on three British novels (HG Wells’s The Time Machine, George Orwell’s Nineteen Eighty-Four and Henry Green’s Concluding), Updike’s debut imagines a near future where the residents of a care home stage a revolt in which two antagonists, John Hook and Stephen Conner, struggle for supremacy. A curio.
Updike tropes Religion, death