This anthology of eight short stories and eight narrative essays depicts diverse facets of the South Asian experience in the American South. Some of them relate to the proverbial longing for what the immigrants have left behind, while the others spotlight the immigrants’ struggles to reconcile with realities they did not sign up for. In Chaitali Sen’s “The Immigrant,” Dhruv is unable to talk about a lost boy because he feels “as if he were trapping the boy with his story,” as if the lost boy’s story were his own story of getting lost in a foreign country. In Hasanthika Sirisena’s “Pine,” a Christmas tree becomes more than “only a pine tree with decorations thrown on it” when Lakshmi’s ex-husband lets her know he is converting to Christianity “to get ahead in this country.” Aruni Kashyap’s “Nafisa Ali’s Life, Love, and Friendships, Before and after the Travel Ban” tell a post-2016 immigrant story in which love is baffling. In “Gettysburg,” Kirtan Nautiyal asks, how does an immigrant become part of the new country’s history? Soniah Kamal’s essay “Writing the Immigrant Southern in the New New South” reflects on what it means to be an immigrant writer and if one can write from two places at once. Together, the stories and essays in the anthology compose a mosaic of South Asian lived experiences in the American South.
This anthology of eight short stories and eight narrative essays depicts diverse facets of the South Asian experience in the American South. Some of them relate to the proverbial longing for what the immigrants have left behind, while the others spotlight the immigrants’ struggles to reconcile with realities they did not sign up for. In Chaitali Sen’s “The Immigrant,” Dhruv is unable to talk about a lost boy because he feels “as if he were trapping the boy with his story,” as if the lost boy’s story were his own story of getting lost in a foreign country. In Hasanthika Sirisena’s “Pine,” a Christmas tree becomes more than “only a pine tree with decorations thrown on it” when Lakshmi’s ex-husband lets her know he is converting to Christianity “to get ahead in this country.” Aruni Kashyap’s “Nafisa Ali’s Life, Love, and Friendships, Before and after the Travel Ban” tell a post-2016 immigrant story in which love is baffling. In “Gettysburg,” Kirtan Nautiyal asks, how does an immigrant become part of the new country’s history? Soniah Kamal’s essay “Writing the Immigrant Southern in the New New South” reflects on what it means to be an immigrant writer and if one can write from two places at once. Together, the stories and essays in the anthology compose a mosaic of South Asian lived experiences in the American South.
Migrating Craft: The Art and Practice of Contemporary U.S. Writers with Immigrant Roots brings together twenty essays by contemporary U.S. writers on their art and craft. Representing a wide range of cultures, literary traditions, and writing genres, these authors reflect on their creative processes, craft techniques, and relationships to language. They also explore how literary heritage and aesthetic principles from their countries of origin intersect with, or resist, the dominant Western frameworks of craft taught and celebrated in the United States. Rather than treating immigrant experience as peripheral, these essays place it at the center of artistic innovation and practices, showing how multiple heritages enrich and expand contemporary U.S. writing. This anthology offers a window into diverse creative practices and a reimagining of craft itself—craft as something continually shaped by movement, history, and the porous boundaries between cultures and languages.