About the Author

Tash Aw was born in Taipei, in the Republic of China, andbrought up in Malaysia. He moved to England in his teens andnow lives in London. He is the author of ‘The Harmony Silk Factory’, which was the winner of the Whitbread First Novel Award and the Commonwealth Writers’ Prize for Best First Novel and was longlisted for the Man Booker Prize, and ‘Map of the Invisible World’. His most recent novel, ‘Five Star Billionaire’, was longlisted for the Man Booker Prize 2013.

Reviews

‘Aw’s gripping and strangely moving book has brought us, if not to an understanding, then at least towards some appreciation of the social complexity and steady flow of injustices that have led to this absurd yet terrifying moment’ John Burnside, Guardian

‘Deeply atmospheric, this is a touching and beautifully written novel that questions the whole nature of authority’ Mail on Sunday

‘A political novel in the best sense … a gritty, humane, uncompromising picture of an honest man caught in a corrupt developing country’ Guardian

‘Aw’s tone is never moralizing or trite; he skilfully interweaves the personal and political, leaving no doubt that the two are inseparable, that the forces that act on us privately are refractions of wider powers which need global, rather than individual, action to be changed’ TLS

‘A sort of The Red and the Black of our times, radical and contemporary. We, The Survivors is one of the most beautiful and powerful books I’ve read in years’ Édouard Louis, author of Who Killed My Father

‘This is the tale of poor people—refugees, day laborers—whose lives are ruled by cruel circumstance and extreme poverty, whose struggles end in defeat, who are not meant to survive. What would be abstract in a report is here given burning, lacerated flesh. In the twenty-first century it is our Everyman, alas’ Edmund White, author of The Unpunished Vice

‘Prejudice and the refugee experience are examined in this taut novel set in Malaysia … Aw doesn’t rely on tub-thumping; his achievement is to make a global story personal. When he finally circles back to Ah Hock’s crime, the scene is managed briskly, in keeping with a tale that, however grim, is never solemn or overwrought. It even ends on a gentle note; still, the novel’s horrors can’t easily be pushed out of mind’ Observer