Introduction
The world today is termed as a global village owing to the increasingly interconnectedness, we enjoy thanks to the various instantaneous technological advancements we see today. Traveling and communication among countries is an everyday phenomenon. This interconnectedness has allowed cultural integrations and interactions among people of different cultural and historical backgrounds. These interactions are well documented in current literature where diverse authors have comprehensively explored cultural intersections and how these interactions have developed diverse human relationships highlighting themes innate to human nature like love, intimacy, a sense of belonging and acceptance. Humans are social beings and they constantly seek acceptance within new groups by striving to conform to their various norms and practices.
There are situations where biculturalism pushes individuals to borrow and integrate new practices as improvements of their own as they seek to incorporate individuals from diverse backgrounds into a community. various authors have explored this cross-cultural migration while integrating the evolving nature of biculturalism within such scenarios. The novels —Elif Shafak’s “The Island of Missing Trees,” Kamila Shamsie’s “Home Fire,” Xiaolu Guo’s “A Concise Chinese-English Dictionary for Lovers,” and Bernardine Evaristo’s “Mr Loverman”— showcase these themes and perspectives with astonishing artistry and accomplishment. This paper will delve into how these books accomplish these themes and how the individuals involved are affected by these interactions in their partnerships.
Geographical and cultural landscapes possess diverse understandings and projections of love and intimacy. This is shaped by age-old cultural heritage, values and traditions that shape diverse communities and entire societies. For instance, some cultures are primarily matriarchal and others are patriarchal in nature. These hierarchical power structures define how males and females interact and how they consummate in their initiate partnerships. These interplay, generate tensions, struggles, and conflict as individuals from diverse cultures forge connections, navigate the ever-present cultural divide, and try to reconcile personal desires with societal expectations. The authors in these novels present protagonists whose journeys offer profound insights into the ways in which such cultural intersections redefine the notion of love intimacy and belonging.
The main theme within our exploration is the argument that cross-cultural migration significantly alters human connection dynamics and reshapes world outlook while highlighting the sharp diversity in cultural norms that interacting with ethically diverse individuals with distinct narratives brings in our relationships with others. Such perspectives are well explored within the four novels as the authors drive towards illuminating intimacies’ multifaceted nature and acknowledging their capacity to break cultural barriers and create environments that promote cultural tolerance and plurality.
Island of Missing Trees
The first book we explore is “The Island of Missing Trees” which explores the journey of two individuals who found themselves in a ‘forbidden love’ scenario when tensions between their individual countries were fit to boil over. The book is set at the backdrop of 1970s Cyprus where their intimate relationship happens against the backdrop of ethnic conflict (Shafak 2021 55). The novel is a depiction of being in between things where people are caught in between ethnic conflicts that threaten their peaceful coexistence with their society. The tale takes place in 1974’s Cyprus island. A bar beneath a fig tree is where Kostas and Defne, two romantic characters come together. Although they are members of distinct faith communities—Muslim and Christian, respectively—love transcends both the celestial and earthly realms. Kostas comments, “I’ve been thinking that you are my country,” later in his letters (Shafak 167). The fig tree observed this forbidden affair from an enchanted distance. Greeks and Turks are at war in the meantime.
The tree magically lives when the city is destroyed, and the lovers are split apart. Ada Kazantzakis, their little girl, who had not previously been to this exact island, went to the location of her parents’ childhood years afterwards in London. She is 16 years old but is unaware of her parents’ background. The “Island of Missing Trees” is a diasporic book that explores issues like identification, a sense of belonging multiculturalism, and identity in Third Spaces. The book describes the societal, political, societal, and spiritual landscape of Cyprus in the 1970s and offers a fictionalized account of the Greek-Turkish War. Additionally, it unites individuals from many faith backgrounds. A significant emblem of spirituality in the novel’s setting is the fig tree. Additionally, the fig tree symbolizes the superstitious attitude of Cypriots. The tree is revered as a holy object. The tree also represents the prevailing customs and society. The fig tree is the creed of contemporary Greek culture; in a way, trees are cultural reservoirs. Shafak states, ‘The fig tree is an interpreter of human narratives; nature was speaking all the time, but human hearing was too little to hear its words’ (207).
Kostas’s careful maintenance of the tree indicates that he is the guardian and defender of his culture; upon returning home, he carries the tree cuttings to London. His culture is an integral part of who he is, and he could not exist without it. The tree is revered as a holy object. The tree also represents the prevailing customs and society. The destruction of the fig tree during an armed struggle indicates a significant impact on culture. Ada has an innate affinity with indigenous culture and enjoys eating the meals that her aunt prepares. ‘Food is the heart of a culture,’ her aunt explains. The desolation of war has a negative impact on each character. “You will find use for this suffering someday” (307). Ada is kept in the dark about the past, Defne remarks, adding, “Remembering is necessary for healing” (308). Postcolonial study goes further to uncover the concept of third space identity, which emerges from characters juggling many identities and shapes third space identity. The textual and situational study of the book demonstrates how multiculturalism contributes to the development of third-space identities against an environment of postcolonial identities. The book’s textual and contextual study demonstrates how, against the backdrop of postcolonialism, bilingualism connects to the flourishing of third space.
In the backdrop of the 1970s civil war, the narrative of two teens named Kostas and Dene is told in “The Island of Missing Trees”. It tells the story of the forbidden relationship between Turkish refugees and Greek Cypriots, which develops when they move to London. It also shows Ada, their conflicted daughter, as having a unique character. Her relationship with Cyprus is limited to the fig tree. The novel spans the years 1974, 2000, and 2010 before coming back in 2010. The Greek-Turkish civil war broke out in 1974, and the couple went through a period of seclusion. They are shackled by race and identity concerns, immigration, and the division of colonial ethnic backgrounds. Ada, their daughter, is of Greek descent from her parents. She faces prejudice because she was born in Britain. She is caught amid two different cultural norms. Twenty-five years later, in 2000, Kostas travels to Cyprus in an attempt to make amends with Defne. He is remorseful things, and she embraces him. They intend to relocate to England after escaping. They revisit the Happy Fig Tree before leaving, where they are able to restore their old dreams. When Kostas wasn’t around, Defne overdosed and died in 2010. However, things take an unexpected turn for the worst and they find themselves in a hopeless predicament in the strange country. They face challenges and changes to their identity.
The prevailing cultures are becoming more and more apart, and as a consequence of this collision, a new identity known as the “Third Space Identity”—the paper’s key measure—emerges. The mixing of two cultures within a society is known as multiculturalism. Immigrants must learn about other cultures to ensure their survival. They take up the language of the destination nation, which has a rich cultural heritage and customs. This third section serves as a bridge over cultural divides between various societal groups. Shafak wrote about this postcolonial element after seeing how linked everything is. The book deftly illustrates the lingering impacts of colonialism, the challenges of constructing an identity, and the struggle for re-colonization in a postwar context. Though time ultimately appears to provide an answer, the two lovers, Kostas and Defne, are unsure if they will ever encounter one other afterwards. They learn being separated by two thousand miles that overcoming the cultural differences is easy. Shafak states that “a chasm opens between those who go away and those who stay whenever something terrible happens to a country” (203).
Home Fire
Home Fire centres on two Muslim families in modern-day Britain. The earliest member of the family is the Pashas, which consists of Isma, 28, and her two younger siblings, Parvaiz and Aneeka. The Lones, consisting of Karamat Lone, their Irish-American spouse Terry, and their 24-year-old son Eammon, are the other main family in the narrative. The two clans have their origins in Pakistan and identify as entirely British, however, the Lones are better integrated into non-Muslim British culture, whilst the Pashas feel more alienated due to their adherence to more traditional Muslim customs. Thus, Shamsie draws attention to the tension that exists between the Muslim and British identities, analyzing how prejudice and Islamophobia predominantly impact modest Muslims, especially in the wake of the Islamic State.
Shamsie does this by highlighting the differences and parallels among the two families. Shamsie contends that persecution frequently drives Muslims to choose one facet of their identity above the other, despite their best attempts to uphold both their cultural and religious customs and find acceptance in the Western community they call home. Shamsie presents the Pashas as an example of how Muslims who follow their beliefs are frequently persecuted in Britain and compelled to feel like they are not British. Isma ensures she doesn’t carry anything that will call notice to her when she travels to the United States, saying she won’t bring a Quran, family photos, or books on subjects of her interest. Isma missed her connecting flight and endured a two-hour interrogation due to her hijab. The security guard specifically asks, “Do you consider yourself British?” as one of his queries (Shamsie 2017, 11). The incident and the officer’s questioning suggest that a factor about Isma’s Islam renders her dishonest and less British than a non-Muslim, despite the fact that Isma is a citizen.
This concept gets much more explicit in personal terms when Isma and Aneeka’s brother, Parvaiz, is slain after embracing and then trying to leave ISIS. His body is taken to Pakistan instead of England since Karamat Lone, the British Home Secretary, implements rules that revoke citizenship for dual nationals that “left Britain to join our enemies” Forcing Parvaiz to flee ISIS is grounds for rejection, even if the UK is the one nation he has ever considered home (143). Instead, Lone’s approach shows how deeply hostile Britain is to Islamic fanaticism, to the extent that even individuals who want to flee ISIS are no longer regarded as British.
Even though Parvaiz never used aggression while he was an ISIS member, losing his nationality is a worse penalty than aggressive non-Muslim offenders would likely face in Britain. The effects of this rule extend well beyond only penalizing those associated with ISIS. Aneeka, a devout Muslim, gets her British passport removed when she attempts to reclaim her older brother’s remains from Pakistan and return them to London, underscoring the unfairness and brutality of the legislation that Lone enacted. Her British visa is seized by security agents when she lands in Pakistan, therefore she lacks the ability to submit an application for a fresh one. When Lone learns about this change, he muses to himself, “Let her continue to be British; but let her be British outside Britain” (179).
Even Lone acknowledges the ridiculousness of this statement: Aneeka has no place to call home as she is a citizen of one country but is not permitted to reside there. Aneeka’s Muslim beliefs and her ties to Pakistan are therefore considered to be totally at odds with her official citizenship as a British citizen, even if she hasn’t committed any crimes. Conversely, the Lones—Karamat and Eamonn in particular—represent the other extreme. Karamat is of Pakistani heritage but he abandons his faith and Muslim identity so as to be embraced and accepted by the larger British populace, implying that he, too, believes he is unfit to be British and Muslim all at once.
Isma comes across an article shortly afterwards that characterizes Karamat as “a man ‘from a Muslim background,’ which corresponds to what others have consistently claimed concerning him, believing that “Muslim-ness were a thing he enjoyed brazenly stridden away from.” This presents Karamat as an individual who has abandoned his religious beliefs in order to fit in with the British populace. Eamonn also mentions how his father had to distance himself from his religion in the past due to it being derided. A photo of Karamat visiting a mosque appeared during his initial tenure as an elected official of parliament, and it was released with the title “Lone Wolf’s Pack Revealed” (34).
Karamat emphasized that he had only visited the mosque for burial, that the photo was from a few years ago, and that he “would ordinarily not enter a gender-segregated space” (34). Karamat’s virtual forced absolution from these religious practices illustrates the necessity for Muslims to distance themselves from their religious beliefs in order to win widespread electoral backing. Karamat accepts this viewpoint and reiterates his activities in a speech delivered at his old school, which had a primarily Muslim audience.
He acknowledges the students’ British heritage but makes the case, “Don’t set yourself apart in the way you think, the way you dress, the outmoded morals you adhere to, or the ideologies to which you attach your loyalties” (71) because you’ll receive distinct treatment if you do. Lone basically contends that the kids ought to elect to be British rather than Muslim because the characteristics that define them as Muslims also set them apart from the majority of British people. His scenarios underscore the changing biculturalism tenets that people go through when they cross boundaries and interact with a new culture whose perspectives differ greatly from their own. We see Lone having to denounce his religion in order to achieve acceptance by his British community.
Mr. Loveman
Sexuality and gender fluidity is a topic that has been hitting mainstream media and the community in recent years owing to the legalization of same-sex marriages and relationships. Many individuals especially with the various social media platforms today including TikTok, Instagram, and YouTube are vocal about their gender and sexual orientations within the LGBTQ+ community. This sparks debate on the limits there are to gender and sexual identities due to the explosion of many genders and identities owing to the lack of scientific proof of these identities. However, the current affairs on gender theory and the legality of these communities’ diverse sexuality dynamics have not always been legal. These relationships are still frowned upon in the community and many individuals who identified within these communities were forced to live their LGBTQ lives in private from the public limelight for fear of judgment and ostracization.
The novel Mr Loveman chronicles the life of Barry as he navigates the life of an LGBTQ person and narrates societal views and his personal views on the community. These perspectives are a reflection of how biculturalism cultural norms can reject and accept certain norms, values or practices based on their interpretation of them. Bernardine Evaristo’s Mr. Loverman is an LGBT-themed novel that delves into the complex lifestyles of the characters, including the adventures of an Antiguan man navigating uncertainties about his sexual orientation, marriage, and relationship. In addition, he considers how his children would be raised in this environment and how others will view him as a Black guy living in a foreign nation.
Mr. Loverman explores harsh and violent anti-gay bigotry, which is part of a heteronormative cultural backdrop that prohibits the main character and his boyfriend from coming out. Heterosexuality is a worldview that regards heterosexuality as the norm and finds anything else than it abnormal. Mr. Loverman reveals the links between social and personal prejudices by examining the various types of anti-gay bias that might exist. Barry is afraid of being discovered as homosexual since he links it with violence.
. Barry describes living in terror in Antigua, saying, “I was afraid I’d be up before a judge on some trumped-up charge of indecent exposure; or end up lying on an operating table with a bar of wood between my teeth and electric volts destroying parts of my brain forever” (Evaristo, 2013: 38). Notably, the violence in this text is institutionalized; it mentions shock therapy, meaning that the judicial and/or healthcare systems would see Barry’s orientation as a condition that needed to be treated and could be addressed with force.
We also see that Evaristo (2013) refers to the LGBTQIA+ group’s acceptance of lesbians as “pinkification,” which has existed for an extended period of time. However, he suggests that males should be more subtle. Barry liked to frequent the nighttime covert meetings of males in Abney Park Cemetery. Barry and his companion were ambushed one night, prompting the others to cry “Batty man!” Bum bandit! Poofter! Barry avoids using the phrase “Anti-Man!” (Evaristo, 2013: 122) while addressing them. However, this is only true when speaking about oneself. The incident left a lasting impression on Barry, potentially hindering his accepted themselves and his emerging out.
Barry appears to prioritize his role as a provider for his family over gay individuals. The man who is knowledgeable and articulate. Morris admires homosexual exhibitionists who defy the ‘system’. he says that he likes to infiltrate the system and benefit from it. The same goes for his marriage. I don’t like being an outsider.” He leads a fulfilling existence, yet in his internal monologue and interactions with Morris, he appears to be open and honest about their connection. However, he remains committed to his heterosexual lifestyle. He is afraid of jeopardizing his possessions and himself, as well as the unknowns of openly homosexual existence. Barry says to Morris during their conversation, “I didn’t really appreciate that attention-seeking behavior of those gay liberationists. They should have reduced their noise down a little. I believe in prudence.” This instance shows the friction existing in the interaction between liberal cultures that advocate for homosexual individuals crashing with cultures that consider it a taboo or wrongdoing.
He appears to believe that being in the shadows is beneficial since it makes it possible to be discreet and avoid drawing attention to themselves. Barry’s perspective on liberationists appears to be driven by fear, whereas Morris values their efforts. Morris recognizes the necessity for equality, even if same-sex partnerships are legal in the UK. Barry believes they are consuming up an excessive amount of space, echoing his childhood sentiments from Antigua. Morris sees through Barry and doesn’t seem hesitant to drag him back to reality: “You’re talking nonsense again, Barry. I too believe in moderation, but society won’t grow more equal till designated individuals launch uprisings in countries like France, and Mexico from their soapboxes. Unlike you, I believe in equality rather than superiority. I never liked discrimination of any kind”. Morris contends that Barry considers dominant to the LGBTQIA+ community and everyone else.
Morris contrasts Barry to Carmel’s buddies, who espouse the faith and are openly homophobic. Morris accuses Barry of insincerity, but Barry refuses to acknowledge it, stating, “Morris, I am an individual, not generic.” I am not a pooftah, homophobe, bully, or anti-man. I’m not a gay. “I am Barrysexual!” (Evaristo, 2013, 138).
Derogatory phrases such as “pooftah,” “buller,” and “anti-man” refer to homosexuals. He attempts to distinguish himself from other homosexual guys by using pejorative adjectives that he believes others would use against him when they learned the truth. He asserts his individuality and distinguishes himself from others who are portrayed as inferior or anti-men. Individuality is frequently seen positively, yet it can lead to discrimination and a desire to elevate ourselves over others. Not even if the offending individual is a member of the organization or society and recycles offensive words in a lighthearted or even mocking way. It is possible to be homophobic as a gay guy.
Carmel invites Christian friends to her house, but their conversation irritates Barry. During one of their conversations, they discuss how homosexuality is considered bad and sinful. Carmel’s friends question their oldest child Donna about her homosexual behavior, her son Daniel’s potential sexual orientation, as well as what she might say if he was gay. They talk about a prospective lesbian woman who lives in their town before they engage Donna. The faith-driven women at the cooking table oppose the prospective affair, deeming it an “abomination” and referring to ancient Romans from the Word of God, “if man lies with man as he lies with woman, he will surely be put to death?”
They conclude that the “pope agrees” with their principles (Evaristo, 2013: 56). Barry remains mute and quietly signals his disapproval of the ladies amid the talk. He understands that speaking up may generate suspicions about himself. Yet, his oldest daughter Donna attempts to persuade them otherwise, pointing out that these texts are several thousand years old and therefore it would be completely absurd to build modern beliefs on them (Evaristo, 2013: 57). Donna opposes homophobia, including the musical compositions of Buju Banton, Beenie Man, and others. She also opposes Danny’s enjoyment of such music (Evaristo, 2013:58). There appears to be an age gap between Donna and her mother’s acquaintances over their perspectives on sexual orientation.
This shows the friction existing between Christian doctrines of homosexuality as a sin and heterosexuality as God’s only true sexual relationship that should exist. We also see this transitional conflict between diverse countries and cultures in the world today. Many countries in Africa and the Middle East have explicit bans and legal consequences for any individual(s) who engages in any homosexual activity. conversely, countries like the UK and the US condone homosexuality. The book showcases these interactions and conflicts that may arise within society owing to the difference in beliefs and customs on sexual orientation and gender-based relationship dynamics. This interaction reveals the challenges of biculturalism and the diverse perspectives that come up when different individuals with diverse beliefs interact.
A Concise Chinese-English Dictionary for Lovers
The book is the very astute portrayal of biculturalism and how the integration of diverse cultures provides a leeway to explore new perspectives and adopt new customs and traits that conform to our new realities. The book’s main character Z showcases the challenges and opportunities she encounters and the effects they have on her personal beliefs, character and cultural outlook. The book is portrayed as a “diary-stroke-language-notebook”; Z always takes a Chinese-English dictionary, and subsequently a Collins succinct English Dictionary, with her, and frequently refers to both in her efforts to comprehend and explain her surroundings. Chapter titles (e.g., “romance”) are borrowed from the former, along with descriptions (“fantasy, fiction, legend, novel, story, tale; exaggeration, falsehood, lie; ballad, idyll, song”) (72), and the entire book is expressed in the 2nd person, directed to an unnamed man. The encounter with European customs is frequently amusing, albeit she strains to adjust to her lover’s unfamiliar tongue and opulent lifestyle. Her time in England represents an adventure from childhood to maturity via the syntax of sex, motivated by her fears and need to dominate her surroundings.
She takes a notepad to her language sessions in England and jots down unfamiliar phrases and thoughts. This notepad becomes her primary tool for navigating the new surroundings. It develops into a word list and a chronicle of her fears and accomplishments. She transforms into a completely different person in a short period of time, returning to China with a renewed sense of freedom. Her parents are unhappy with her decisions, but she enjoys her newly gained freedom to travel and think autonomously.
Most of those whom Z meets are kind, despite the fact that they can’t help but tease her; only twice, over a solo jaunt within Europe, does she come across a person who attempts to exploit her, although the interactions are uncomfortable, they do not seem irreversibly horrible. Z is not afraid of what’s happening around her, even if it regularly baffles her. On the contrary, she is frequently outraged with her life and adventures. She notes that “English is a sexist language… perpetually talking about mans, no women” (26), but in spite of this realization, she has a very conservative idea of what makes a partnership.
Furthermore, she is continually aware of the divide separating herself and her boyfriend: “You are a man of the free world.” I am not free like you” (113); “In the West, in this nation, I am a barbarian, an uneducated peasant girl, a face of the Third World, and an irresponsible alien” (153); “You are the boss of yourself, thus you have dignity” (184). When linked together, these instances convey the reality of Z’s existence — we are put into the man’s shoes showcasing the outlook of Britons towards Asians and how their culture distinctively alienates her from the rest of the people within the UK.
However, the dread that underpins such concerns unavoidably affects her relationship. Z and her partner love with delight and energy, but it emerges in distinct qualities which are associated with their contrasting histories. To Z, romance is a reciprocal act, an obligation that eliminates individuality and, for instance, allows her to review her man’s journals and casually inform him when she has does. Love is about constructing a place to call home, building a family, and a future together: the three are intricately linked, reflecting an insufficiently interpreted cultural tradition and leading to conservatism.
Love serves as both protection and community. However, the man whom she falls for seems more casual—as Z points out, he has the means to be. He is a bohemian, craftsman who has lived his life thinking that “the future only comes when it comes” and that nothing is permanent; he appreciates his individuality (144). For him, love pertains to the value of the current time, rather than the prospect of tomorrow. We see the sharp contrasts in cultural norms regarding intimate relationships among the two lovers. Their perspectives are diametrically opposed to those established by their individual cultures. this defines their romantic affair.
In fact, the physical interaction serves as a stimulant. Z’s depictions of sex, whether successful or unsuccessful, are as pleasantly straightforward as her accounts of everything else; and, despite her limited early grasp of making love and the emotional accoutrements it necessitates, she’s a quick learner. She attends a burlesque performance, enjoys a great deal of sex with her boyfriend, and starts exploring herself, eventually coming to trust in her own freedom. This increasingly traps her in an odd, inspiring, and tragic paradox: a love catch-22. This showcases the changes she goes through after interacting with the new culture. The Western culture preaches and promotes sexual liberation and freedom for women who are encouraged to “explore their bodies” without the limit of feminist perspectives (Mahon & Hevey, 2021). This sexual liberation is in sharp contrast to cultures in countries like China where sexual relations are considered quite sacred and are encouraged to occur between married couples.
The language change is also a major shift into her normal language at home. She says:
“I don’t like plural because they not stable. I don’t like nouns too, as they change all the time like verbs. I only like adjectives, and adverbs. They don’t change. If I can, I will only speak adjectives and adverbs” (49).
She also claims that she does not miss her home all that much except for the convenience of communicating in her native tongue. Her displeasure with English actually reflects all of her other problems, which are usually not addressed directly: The country’s unfamiliar environment that surrounds her makes her feel plainly strange, frequently practically unfathomable. The consolations of speaking Chinese, where someone may express themselves in a manner wherein the language functions differently, are still elusive. Such changes reflect the many changes she has to go through in communicating with her lover and expressing her love.
Conclusion
The fur books explore changing cultural perspectives, outlooks and practices as the protagonists interact with new norms and practices. We see them explore the theme of love and intimacy in diverse ways owing to their personal beliefs, cultural backgrounds, and the practices and beliefs of the community around them. The paper explores the themes of change and intimacy within diverse cultural landscapes that shape these themes and inform their practice. Mr Loveman explores the notion of homosexuality how it is perceived within diverse communities and how these community perspectives influence the protagonist’s behaviour. The book Home Fire also explores these themes through the protagonist’s separation from their lover and how the world outlook from the fig tree tells the story of a love lost due to differences in opinion and perspectives between the Greeks and the Turks in Cyprus and how these community wrangles affected their relationship and resulting generational gap after the separation. A Concise Chinese-English Dictionary for Lovers book explores Z’s journey during her time in the UK her experiences with her environment and her lover and how these have morphed her perspectives on love and lifestyle as she understands herself. These books paint a picture of how human relationships are bound and influenced by our surrounding ecosystem which helps us or derails us in exploring human innate nature for companionship and friendship with fellow human beings.
References
Elif Shafak, 2021. The Island of Missing Trees, 354 pages. Bloomsbury Publishing. https://www.goodreads.com/book/show/56587382-the-island-of-missing-trees
Evaristo, 2013. Mr. Loverman : a novel. New York, NY : Akashic Books.
Kamila Shamsie, 2017. Home Fire: A Novel, Riverhead Books, 288.
Mahon, C., & Hevey, D. (2021). Processing body image on social media: Gender differences in adolescent boys’ and girls’ agency and active coping. Frontiers in psychology, 12, 626763.
Xiaolu Guo. A Concise Chinese-English Dictionary for Lovers
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