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by Alaina Zhang ​for The 44 North, Newsletter & Reviews Editor


Via Sixth Tone
Via Sixth Tone
“One must have integrity—those without it are not worth knowing.” —Ye ShuRou, From Dear You (2026)

Growing up, I often wondered about my family’s history. The tales of lost generations and ancestors seemed to reside behind a screen of mist. I liked to ask my parents about their youth, what my hometown was like back then, and compare it with the history I’d learned myself. Sometimes the two accounts stand in stark contrast. Other times, they’re a mirror. Either way, these tales always had a mythical quality, as if they belonged in an otherworldly space and time. 


Watching the 2026 Chinese film Dear You with my family made me feel similarly. Dear You follows the journey of a grandson from Chao Shan, China, who ventures to Thailand in search of a grandpa he’s never met. What this journey unveils is a series of buried history between three characters—his grandmother Ye ShuRou, his grandfather Zheng MuSheng, and a mysterious woman named Xie NanZhi.


When the film begins, it has been forty years since Zheng MuSheng’s last letter to Ye ShuRou, in which a single photo of an unfamiliar woman and a group of kids is enclosed. Therefore, throughout the past forty years, Ye ShuRou has held onto the belief that Xie NanZhi, the woman in the photo, is Zheng MuSheng’s second wife in Thailand. From then on, all correspondence has halted between the family in China and Thailand. 



Instead, the truth is that Zheng MuSheng died a few years after arriving in Thailand, and Ye ShuRou had been a great friend of his there, helping him draft letters back home. The film depicted a history I had never known. Due to the Chinese Civil War, many ‘peasants’ decided to cross the ocean to Southeast Asia in search of better opportunities, and Zheng MuSheng, although a fictional character in the film, embodied that experience. 


Having grown up watching many Chinese films, I’ve realized just how entangled the history of a nation is with the personal fates of individuals. The era in which characters reside often determines the trajectory of their lives. Hence, lost relatives, untold family narratives, and misunderstandings are not rare occurrences. Each family has its own secrets and regrets—as China lurches forward, the ghosts of its past don’t simply disappear. 


At the same time, I was drawn to the film’s portrayal of literacy and education in tandem with immigration and family. Because many Chinese immigrants were illiterate, those who could read and write took up the responsibility to not only teach those who couldn’t, but help them draft letters back home. While Zheng MuSheng doesn’t know how to read, he’s the one who encourages Xie NanZhi, someone with Chao Shan heritage who grew up in Thailand, to learn the language and eventually become a teacher. Xie NanXhi then goes on to draft many letters for him to send back home to Ye Shurou. These literate individuals were crucial in leaving a written documentation and archive of just how much loved ones missed each other across the wide ocean that divided them. 



Dear You is a film about family, history, and education. But it’s also a film about two women and a man. What I loved most about it was the director’s intentional decision to steer clear of the idea that Xie NanZhi and Zheng MuSheng harboured romantic feelings for each other, making that Xie NanZhi’s motive for helping Zheng MuSheng write letters home. Instead, I appreciated the fact that while Zheng MuSheng was the thread that tied the characters together, all three protagonists are central to the story. Even after Zheng MuSheng dies, the string remains intact, and the two women meet each other in Thailand in their old age at the end of the film.


This simple narrative depicts an unconventional love story that’s so prevalent yet rarely portrayed in popular media. “Love stories” aren’t always about a couple—they can be about two friends, two families, people of the same origin in a foreign place, or even strangers who have never met. By defying gender norms, this story helped me see through the mysticism of stories from the past and how relationships between strong men and women were not always soap opera romances, but rather examples of incredible strength, mutual aid, and collective care that we can all learn from and lean on today. And even though times have changed, the medium of letter writing throughout Dear You shows how writing and language continue to be a beautiful way for people to connect and to express their love for each other. Sitting next to candlelight and reading the handwritten words from a loved one helps bridge the vast distance and time that stands in between. 

 

Sometimes, there’s no real villain in our past—only a series of unfortunate circumstances, misunderstandings, and lost voices amongst the rushing tide of history.

 

by Mikaela Brewer ​for The 44 North, Senior Editor



after Natalie Diaz’s “Of Course She Looked Back”


In a small middle school classroom in Red Lake, Ontario, Rilla Fable was called upon to answer a question in English class. 


Cocking his head to the side, so that his ear became a funnel for her voice, Mr. Wilcox nodded as Rilla spoke. But it was clear he hadn’t heard her, for he paraphrased his own question following a kind smile. 


Rilla wasn’t one for speaking, really, at all. But Jack, who sat behind her and had turned thirteen first, said that she better be careful: Her vocal cords would surely dry out if she didn’t use them enough, catching fire like sticks rubbed together when she ever did need to speak. 


Despite what everyone else thought, her inner world wasn’t, likewise, silent. It was anything but. 


Rilla glanced out the window. The smoke was so dense that the teachers’ parking lot was no longer visible. She closed her eyes for a moment and listened: The brush fires couldn’t be seen. Nor could the snapping and cracking be heard. 


***


Rilla’s N95 mask strings were too tight, folding her ears down as she walked home from school. Her dad’s cycling sunglasses, with wraparound wind protection, didn’t block the ash from slipping behind her contact lenses. The fires weren’t far now, and the sky was thick with an orange haze that bled the sun’s light. Surely, the evacuation order would come soon. 


Rilla stopped, knelt, and thumbed a brown-singed red lily growing from the boulevard. She looked across the dry grass as she stood; the wildlife was scorched along the sidewalks. Summer gardens had scattered into crumbs across front yards. Tree leaves had withered to lace. Rilla swept a finger along her bare forearm: No sweat. The air itself seemed dead, parched in the 35-degree heat.


Taking a shortcut through a paved ravine without sidewalks, Rilla had to avoid the bluffs this time—closed to the public to delay the fire spreading. There wasn’t much foot or car traffic here, given the steep, uneven asphalt, but there was usually a wide river bisecting the road, continuing beneath it. Rilla could always hear it rushing a few hundred metres away, comforted: It always seemed to know which direction to run. But there was no sound, now. For weeks it had been nothing but a small stream, hardly even a ‘burn’ as Rilla’s Scottish grandfather would’ve called it. But nestled among it were the friendly faces she’d hoped to see—the real reason she took this shortcut.


Rilla stopped on the metal-plated bridge overlooking the river, smiling as she watched pots being filled in the stream, soon to soak and soften dried ramen noodles. The coloured tents looked like a carnival, and perhaps that wasn’t an entirely dismissive observation. Each person she’d met in the encampment had a skill to offer the group: Cooking, sewing, medicine, geography, and knowledge of safe injection sites. The difference was, no one lined up to see the brilliance they had to offer the world. Locals seemed to see them as glitches in their life: Stains, filth, and impurity. They didn’t see Tomah’s large brown hands whittling wooden brushes and spoons from fallen trees, or Mag’s knowledge of nettle, witch hazel, and willow bark, or the fact that she could make absorbent diapers. There was Jern’s dexterity with a knife and needle, crafting bandages and clothes from scraps. Arnold seemed to have a complete territorial map of the area in his head, all the way to Thunder Bay. And then there was fourteen-year-old Fariq, who made Rilla blush, and tracked the moon while he carried buckets of toothpaste water to be discarded away from the stream. Just now, he looked up from mending a shoe with thread and needle alongside Jern. His serious, dark brows unfurrowed as he smiled and nodded. Rilla nodded back, lifting her elbows from the bridge that overlooked the encampment to wave. Would they ever be seen past houselessness, or struggling with heroin, psychosis, schizophrenia, HIV, and more that Rilla hadn’t yet seen the impact of? She admired their togetherness and their skills, but quickly caught herself: They were worthy of care, belonging, food, shelter, and dignity—unconditionally.


Fariq waved to her, but it seemed sad, as if ‘goodbye’ in code. She had to go home, now. The sky was reddening. 


***


No one was home, which wasn’t unusual. As Rilla sat at the island on a bar stool, shelling pistachios, the kitchen saturated with orange light streaming in the windows. But Rilla stood to close the curtains as she did every evening: With her eyes closed, clearing shell residue from her teeth with her tongue. She didn’t want to see the sign across the street, today or any day, but just as she thought of it, the curtain clips clattered over the tension rod, and an alarming sound reverberated through the small townhouse. The evacuation order.


Rilla clamped her eyes shut and accidentally swallowed a sharp bit of shell. Her phone continued to siren, and the curtain clips seemed to reverberate their clanging in her teeth. She opened her eyes, just a crack, no wider than what was left of the burn in the ravine, and her gaze fell on the sign. One of those black and white, “Safer Ontario” signs filled with straight-faced, armed police officers in flapjackets. As the screen changed every day, it read abbreviated versions of, “Protecting Ontario neighbourhoods: Ontario is working to protect our neighbourhoods by tackling auto theft, clearing encampments, shutting down drug injection sites near schools and daycares, building more jails and strengthening the bail system, so criminals stay behind bars.”


Rilla winced, shook her head until dizziness blurred the image, and turned away.


“What do you think this means about remaining human, or finding the human spirit, in difficult times?” Mr. Wilcox had asked about Octavia Butler’s Parable of the Sower. 


“To grieve, prepare, and breathe,” Rilla had replied, recalling the fascinating etymology of that word ‘spirit’: The breath of life, or of God. 


There was only fire to breathe, now. Breathing would be hard—speech even harder. But Rilla’s voice had never been loud, and maybe it wasn’t a speaking voice she needed, but a quiet, generative one to disrupt the silence she longed for. One that says: Witness.


In the distance, flames cast ghostly shadows on the underbelly of the clouds. They flickered through the curtains like the sun through closed eyelids. 


What if they didn’t receive the evacuation order? Rilla wracked her brain for a memory of anyone in the encampment with a phone. 


Her rage churned from grief in her stomach, like cheese from milk. She knew her dads would be texting her that they were coming, driving towards the meeting spot they’d chosen that morning: Under the sign. It stood on two thick concrete poles above the seesaw, a sentinel on two immovable legs. 


Parallel burns streamed down Rilla’s face as she grabbed her evacuation-ready bag and walked outside, grateful, now, for the tightness of the mask.


Do they have masks?


Out the front door, Rilla could see the flames licking the treetops in the hills. Fire isn’t survivable. Rilla knew that much. It can’t be breathed, digested, or burned inside the body. But she was sure that’s what her grief felt like. Only when she was safe would she cough up the ash of all that had burned behind her. 


The anticipatory grief, it seemed, wouldn’t burn into anything but a stream in a ravine. Rilla scanned the county road her house sat on. Across the street, to the left, was the playground and the sign. To the right was the lip of the ravine. Rilla closed her eyes so tight, they squeezed out ash and salt. Hardening is human, whether into the charred bone of death, or alive into the salty-sting of regret.


Of course, when Rilla opened her eyes, she ran back.



Resources:


by Gillian Smith-Clark, ​for The 44 North, Editor-in-Chief


Les Misérables at the West End, featuring the 40th Anniversary London cast. Photo courtesy of the production.
Les Misérables at the West End, featuring the 40th Anniversary London cast. Photo courtesy of the production.

A few weeks ago, I found myself sitting in a London theatre watching Les Misérables, a musical I had not seen for many years, based on a book I loved as a teenager.


I had mixed feelings about going. I knew it would be a good performance, but I had already seen the musical twice and wondered whether the experience would offer me anything new. Instead, the soaring, grief-filled music took me by surprise. Perhaps it was the perspective brought by time and distance, or simply the experience of encountering a familiar story at a different stage of life, but I found myself unexpectedly moved by both its force and its continuing relevance.


Les Mis left me thinking about memory, grief, repair and redemption: Themes echoed throughout this issue, beginning with Alaina Zhang’s thoughtful review and analysis of Eternal Sunshine of the Spotless Mind.


We often speak of "moving on" or "moving forward" as though healing requires us to leave the past behind. But perhaps the more difficult—and more honest—task is learning what to carry forward.


The pieces in this issue approach that question from many directions. In the Writers’ Room, Mikaela Brewer’s short story, "On the Wildfires: Of Course She Ran Back," follows a young girl walking home through wildfire smoke, confronting an environmental crisis her generation did not create but will nevertheless inherit. In Poet’s Corner, a discussion of Amanda Gunn’s "Ordinary Sugar" considers memory, ancestry and the ordinary acts through which people remain present in our lives.


Two feature essays examine darker forms of inheritance. In the first instalment of a three-part series, Randa Ali explores the environmental costs of war and the damage that continues long after the immediate fighting has ended. Temi Jolaawo’s "It’s in Our DNA: The Resurgence of Eugenics and Health Propaganda" examines how discredited ideas can return in new forms when the histories behind them are forgotten or deliberately distorted.


Elsewhere, "Dinner Isn’t Debt: What Paying the Bill Reveals About Romance, Power, and Control" considers the expectations we bring into intimate relationships, while "Searching for a Voice in Politics: Youth Are Citizens Now, Not in the Future" challenges us to recognize youth as full participants in civic life now, rather than treating their voices as preparation for some later point when their citizenship will finally count.


We also share key insights, notes and quotations from our recent live podcast event, Beyond Words: Addressing Anti-Black Racism and Discriminatory Language in Schools, along with Farhaan Batchkhan’s essay, "Racist Language Is Never Just a Joke: On Building a World Worth Belonging To."


And last but certainly not least, our spotlighted artist, Patrick de Belen, invites us into grief, memory, responsibility, silence, scars, wounds, and how they coexist across creative work and relationships alike.


Together, these pieces ask us to consider not only what we remember, but what our remembering requires of us.


We are all shaped by what came before: The stories our families tell, the histories our countries choose to remember or forget, the landscapes altered by decisions made long before we arrived, and the private joys and griefs that change how we move through the world. But inheritance is not the same as destiny. Part of becoming fully ourselves, individually and collectively, is deciding what we will carry forward, what we will repair and what we must finally learn to put down.


I will end with a recommendation to see Christopher Nolan’s recent adaptation of Homer’s ancient Greek epic, The Odyssey—or better yet, to read the original. I particularly recommend Emily Wilson’s translation, although Wilson herself has offered a decidedly critical assessment of the film.


Regardless of how faithfully the adaptation captures Homer’s work, the story’s enduring themes reinforce an idea that runs throughout this issue: Every generation inherits a world shaped by memories it did not personally create. We inherit stories, wounds, traditions, warnings and unfinished work.


Our responsibility is not to hand the next generation a version of the past stripped of discomfort. It is to help them carry its hard truths without being crushed by them—and to trust them to create something wiser and more compassionate from what remains.


Thank you, as always, for reading.


Warmly,

Gillian Smith-Clark

Editor-in-Chief, The 44 North Media


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