Cambodian history is Cold War history, asserts Y-Dang Troeung in Refugee Lifeworlds. Constructing a genealogy of the afterlife of the Cold War in Cambodia, Troeung mines historical archives and family anecdotes to illuminate the refugee experience, and the enduring impact of war, genocide, and displacement in the lives of Cambodian people. Troeung, a child of refugees herself, employs a method of autotheory that melds critical theory, autobiography, and textual analysis to examine the work of contemporary artists, filmmakers, and authors. She references a proverb about the Cambodian kapok tree that speaks to the silences, persecutions, and modes of resistance enacted during the Cambodian Genocide, and highlights various literary texts, artworks, and films that seek to document and preserve Cambodian histories nearly extinguished by the Khmer Rouge regime. Addressing the various artistic responses to prisons and camps, issues of trauma, disability, and aphasia, as well as racism and decolonialism, Refugee Lifeworlds repositions Cambodia within the broader transpacific formation of the Cold War. In doing so, Troeung reframes questions of international complicity and responsibility in ways that implicate us all.

Cambodian history is Cold War history, asserts Y-Dang Troeung in Refugee Lifeworlds. Constructing a genealogy of the afterlife of the Cold War in Cambodia, Troeung mines historical archives and family anecdotes to illuminate the refugee experience, and the enduring impact of war, genocide, and displacement in the lives of Cambodian people. Troeung, a child of refugees herself, employs a method of autotheory that melds critical theory, autobiography, and textual analysis to examine the work of contemporary artists, filmmakers, and authors. She references a proverb about the Cambodian kapok tree that speaks to the silences, persecutions, and modes of resistance enacted during the Cambodian Genocide, and highlights various literary texts, artworks, and films that seek to document and preserve Cambodian histories nearly extinguished by the Khmer Rouge regime. Addressing the various artistic responses to prisons and camps, issues of trauma, disability, and aphasia, as well as racism and decolonialism, Refugee Lifeworlds repositions Cambodia within the broader transpacific formation of the Cold War. In doing so, Troeung reframes questions of international complicity and responsibility in ways that implicate us all.

One woman's heart-breaking, life-affirming memoir of loss, survival, bearing witness and a legacy of love 'Landbridge has forever altered what I know, how I love, and what I hope' Madeleine Thien, author of Do Not Say We Have Nothing 'A masterpiece to console and guide generations to come' Alice Pung, author of Unpolished Gem Born in, and named after, Thailand's Khao-I-Dang refugee camp, Y-Dang Troeung was - aged one - the last of 60,000 Cambodian refugees admitted to Canada, fleeing her homeland in the aftermath of Pol Pot's brutal Khmer Rouge regime. In Canada, Y-Dang became a literal poster child for the benevolence of the Canadian refugee project - and, implicitly, the unknowable horrors of the place she had escaped. In Landbridge, a family and personal memoir of astonishing power, Y-Dang grapples with a life lived in the shadow of pre-constructed narratives. She considers the transactional relationship between a host country and its refugees; she delves into the contradictions between ethnic, regional and national identities; and she writes to her young son Kai with the promise that this family legacy is passed down with love at its core. Written in fragmentary chapters, each with the vivid light of a single candle in a pitch-black room, Landbridge is a courageous piece of life writing, the story of a family, and a bold, ground-breaking intervention in the way trauma and migration are told.