Book excerpt: “An Asian face on stage is significant, and signifying. So as a writer I consider it my job to try and shape how and what it signifies.” 2023 Pulitzer Prize finalist Lloyd Suh is a celebrated Chinese-American playwright who's work reveals how history can exact an emotional toll across culture and time. As a writer his work explores often ignored pivotal moments of Asian American history, drawing on a variety of forms and aesthetics, from historical realism and punk rock musicals to sci-fi plays and comedies for young audiences. In his first collection of plays Suh brings to life the story of America's first female Chinese immigrant and carnival attraction, Afong Moy as well as offering an intimate epic that follows an unlikely family's journey from rural Taishan to the wild west of California in the wake of the Chinese Exclusion Act and a meeting of two very different cartoonists, Gyo Fujikawa and Walt Disney, in 1942. Together they offer an expressive and formally inventive look at historical and personal events in a variety of theatrical forms. From New York Times Critic's Picks and the Pulitzer Prize final shortlist to intimate one-act dramas, Suh's work is revelatory, insightful and ripe for study and enjoyment in this inaugural collection, introduced by the author himself. The Far Country: “An artful examination of the emotional price of immigration. Directed with sensitivity & spirit by Eric Ting! The Far Country meditates on ethnicity & identity; an act, loving and sorrowful, of reclamation.” (NY Times) The Chinese Lady: "Lloyd Suh's play is a riff on the arrival of the real Afong Moy, possibly the first woman from China in the United States, and a lens on contemporary racism." (NY Times) Disney & Fujikawa; "The play is enlightening about the Internment of Japanese and Japanese Americans during World War II." (Theatre Times) The Heart Sellers: "Suh has a gift for dialogue, and his plays are richly rewarding. The Heart Sellers makes it easy to get swept up in the plight of its characters. It shouldn't surprise audiences if, at the end of the play, they feel part of these characters' lives." (Third Coast Review)