所有書籍

　　全球每年丟棄超過 13 億噸的穀物。當中有好大的百分比的食物處於可食用的狀態。越富裕、越發達的國家，情況越嚴重。暴殄天物如瘟疫一般，成為了消費者，還有餐飲業者的日常作息。醜的、邊角料、體型不達標的、儲存不當的、因生產過量導致售價暴跌的食材……全都淪為垃圾堆填區的一部分。 

　　世界浪費這些食物的當兒，每天依然有超過 8 億人挨餓，令人十分心痛。 

　　將剩餘食材、醜食和邊角料轉化為精緻餐點的餐廳此時正在各個大城市悄悄地崛起，而這些尊重環境、減少浪費、無偏見的都是全世界最好的大廚。 《食荒人》講述的，正是這麼一家專門將「垃圾」食物再循環成為美食的精品餐廳。書中透過講述來自破碎家庭的餐飲業者從成長到成熟、成功的故事，來探討、來反諷現代人對待食物、家庭、愛情和「價值」這兩個字的態度。

作者簡介

　　曾榮獲七屆新加坡金曲獎最佳作詞，也是第一位四度入圍台灣金曲獎最佳作詞的小寒，寫過陳奕迅《孤獨患者》、林俊傑《偉大的渺小》、林憶蓮《纖維》、蔡依林《我》、蔡健雅《達爾文》、張惠瑠《壞男人的歌詞》、《囍閑人》、《愛鎗人》、《愛鎗人》等。

　　擁有病毒學博士學位的她在為流行樂壇寫詞之餘，也為音樂劇如《老九》《聊齋》；電影如《881》《為你轉身》；大型活動如推廣華語運動、新加坡國慶、妝藝大遊行等填詞。

　　除了創作歌詞，小寒也是特約作者，已為《聯合晚報》與《新明日報》寫了超過十五年的專欄。她的第一本圖文並茂的小品散文集《眼淚是膠囊》於2011年初上架，並已再版四次。長篇小說《無指幸福》分別於新加坡（2013）、馬來西亞（2014）與中國（2015）出版，還有奇幻勵志小說《回不去的候車站》（2015）、得獎的生活勵志小品《幸好我不是滿分女生》（2017）都出自她的手，並已在中國出版。她為青少年編寫的校園小說《穿校服的老師》於 2019 年底上架，續集《整人中學》也已經於 2021 年初出版。

　　欲知更多小寒資料，請遊覽：https://zh.m.wikipedia.org/zh-sg/小寒_(填詞人)

Shezlez the Self-Proclaimed is an absurdist story about a poor man’s ambition to organise his own political party in an unnamed country characterised by moral apathy, poverty and heartless bureaucracy. Upon his first speech, so rousing as to attract the attention of the Progressive Party, Shezlez finds himself embroiled in a corrupt scheme of deceit and backstabbing in the leadup to the upcoming mayoral elections. A Machiavellian tale of political ambition, Shezlez the Self-Proclaimed examines the fickleness of loyalty, and interrogates the perennial question of whether the pursuit of power, no matter how idealistic its genesis, can ever remain a noble quest.

Hailed as “the definitive Singaporean novel”, this new edition of Heartland is accompanied by a new preface by author Daren Shiau and a publisher’s foreword that contextualises the novel’s imprint on the Singapore literary landscape since its first publication in 1999.

An iconic work, Heartland explores the paradox of rootedness and rootlessness in fast-changing Singapore. Set in the early 1990s, the novel follows the years of Wing Seng as he leaves school and is conscripted into full-time National Service. As Wing tries to reconcile his past with his future amid transitions through different phases of life, he finds meaning in his intense attachment to his surrounding landscape. Yet, as relationships and the years slip by, Wing is forced to question his own certainties and the wisdom of the people he values.

Set in Singapore’s heartland at the turn of the century, Heartland’s capturing of the texture of everyday life provides the backdrop essential to the bildungsroman’s exploration of identity, belonging and connection in an increasingly urbanised Singapore.

A glittering, bold, darkly funny novel about two sisters—one in New York, one in Singapore—who are bound by an ancient secret.

Sisterhood is difficult for Su and Emerald. Su leads a sheltered, moneyed life as the picture-perfect wife of a conservative politician in Singapore. Emerald is a nihilistic sugar baby in New York, living from whim to whim and using her charms to make ends meet. But they share a secret: once, they were snakes, basking under a full moon in Tang dynasty China.

A thousand years later, their mysterious history is the only thing still binding them together. When Emerald experiences a violent encounter in Central Park and Su boards the next flight to New York, the two reach a tenuous reconciliation for the first time in decades. Su convinces Emerald to move to Singapore so she can keep an eye on her—but she soon begins to worry that Emerald’s irrepressible behaviour will out them both, in a sparkling, affluent city where everything runs like clockwork and any deviation from the norm is automatically suspect.

Razor-sharp, hilarious, and raw in emotion, Sister Snake, a reimagining of The Legend of the White Snake, is a novel about being seen for who you are—and, ultimately, how to live free.

“Amanda Lee Koe’s tale of serpentine sisterhood will wend its way into your heart. Drawing equally from folklore and current events, this fearless novel entertains and delights. Beneath its beguiling surface, Sister Snake explores fundamental questions: Are our destinies determined by our bodies? What forms can family take? And what, in the end, does it mean to be human?”
—Rajesh Parameswaran, author of I Am An Executioner