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The King in Yellow is a fascinating, almost two-faced work. The first half consists of five legendary weird tales, loosely tied together by a fictional play—the eponymous King in Yellow—that drives those who read it mad. Celebrated by authors like H. P. Lovecraft and Lin Carter, these stories are classic tales of madness, despair, and strange happenings.

With the fifth tale the reader finds a sort of palate-cleansing collection of short prose-poems leading into the last four stories, which take a sharp turn away from the weird and into the romantic. The concluding tales are set in the Parisian art world.

In modern times The King in Yellow enjoys a reputation largely due to the strength of its first half of macabre tales, but by no means does that make the second half less enjoyable. Both halves are written in a quick, light prose style that demonstrates why Chambers was a best-seller in his day.

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Born to a family of humble origins near Macau, Yung Wing was educated in an English-language mission school. As a teenager, he was given the opportunity to attend a boarding school in Massachusetts. Afterwards, he enrolled at Yale and graduated in 1854, becoming the first Chinese graduate of an American university, as well as a naturalized citizen of the United States.

In his memoir My Life in China and America, Yung Wing recounts his experiences, beginning with his childhood and ending with his civil service in the Chinese government. He gives a firsthand account of major historical events like the Taiping Rebellion, the Qing dynasty’s modernization efforts, and Empress Dowager Cixi’s palace coup. Yung Wing’s memoir, which explores the complexities entailed by an intercultural and international identity, is one of the earliest examples of Chinese-American literature.

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