Asian women have long been central figures in stories of ghosts and horror in cinema, but English literature has been slower to catch up. The prevalence of female ghosts across Asia is intriguing, as their origins often stem from concepts of failed femininity and spoiled maternity. These ghosts embody marginalization, fearsome empowerment, and freedom from restrictive gender norms. In Singapore and Malaysia, female artists have explored complex and sympathetic portrayals of the vampiric pontianak.
The marginalization of living women in Asia and the diaspora has led to social works and ingrained trauma that delve into systemic roots. Female Asian horror often takes an intersectional approach, particularly from the perspective of queer writers. These stories explore themes of violent patriarchy, colonialism, racism, fraught families, grief, and unresolved injustices, creating a rich tapestry of haunting narratives.
One such example is the novel „The Dark We Know,“ which follows Chinese American art student Isadora Chang as she returns to her secluded hometown for her abusive father’s funeral. The novel delves into Isadora’s complex relationships with her mother, friends, and the supernatural entity haunting the town. It is a story of healing and survival amidst haunting circumstances.
Several books featuring haunted Asian girls and women have made waves in literature. „The Vegetarian“ by Han Kang explores themes of carnivorism, patriarchy, abuse, and female autonomy through the story of a Korean woman who disavows eating meat. „She is A Haunting“ by Trang Thanh Tran and „The Manor of Dreams“ by Christina Li offer haunting narratives set against the backdrop of family troubles and colonial histories.
„How Much of These Hills Is Gold“ by C. Pam Zhang follows two Chinese sisters navigating the Wild West after their father’s death, while „Black Water Sister“ by Zen Cho explores Malaysian Chinese folklore and family dynamics. „The Hysterical Girls of St. Bernadette’s“ by Hanna Alkaf and „The Forest of Stolen Girls“ by June Hur delve into themes of mental health, trauma, and mystery in boarding schools and historical settings.
„Bat Eater and Other Names for Cora Zeng“ by Kylie Lee Baker and „The Eyes Are The Best Part“ by Monika Kim offer unique perspectives on anti-Asian violence and fetishization through horror and coming-of-age narratives. These books showcase the diverse and complex portrayals of haunted Asian women in literature, shedding light on their experiences and struggles.
Overall, the representation of Asian women in ghost stories and horror literature is a rich and evolving landscape that delves into themes of identity, trauma, and empowerment. These narratives offer a unique perspective on the intersection of gender, culture, and the supernatural, creating compelling and haunting tales that resonate with readers across the globe.