🇬🇧 MM. Chae (Taranto, Italy -1984) is an Italian writer with an unconventional background: she graduated in Fashion, pursued an international career in strategy and marketing, and lived between Italy and Denmark, always carrying with her a transnational and independent outlook.
She did not come from creative writing schools: her voice was born outside any academy, nurtured by philosophy, music, politics, and a radical attention to language.
Her prose is distinctive and unique: lyrical and carnal, fragmented and visionary, capable of shifting from everyday detail to symbolic violence. A language that moves across Italian, English, French, and Korean, reflecting the multiple and globalized reality of her characters.
contact me 📧 [email protected]
🇫🇷 MM. Chae (Tarente, Italie - 1984) est une écrivaine italienne au parcours atypique: diplômée en Mode, avec une carrière internationale dans la stratégie et le marketing, elle a vécu entre l’Italie et le Danemark, portant toujours un regard transnational et indépendant.
Elle ne vient pas des écoles d’écriture créative: sa voix est née en dehors de toute académie, nourrie par la philosophie, la musique, la politique et une attention radicale au langage.
Sa prose est reconnaissable et singulière: lyrique et charnelle, fragmentée et visionnaire, capable d’alterner le détail quotidien et la violence du symbole. Une langue qui traverse l’italien, l’anglais, le français et le coréen, reflétant la réalité multiple et mondialisée de ses personnages.
contactez-moi 📧 [email protected]
The Chinese Boy is not a normal love story. It is the first volume of a trilogy that blends intimacy and politics, desire and deception, destiny and the global economic system.
Luna Mariani, a 23-year-old Italian music producer, is sent to Seoul as a pawn in a political and economic deal that uses K-pop as a tool of global influence. In a city that both rejects and seduces her, she meets Kim Taejun, nineteen, a trainee disciplined and obsessed with duty. Around them move two decisive figures: Jae-eun, Tae’s sister, his opposite — extroverted, witty, resistant to social conventions — and Seo-woo, Luna’s right-hand man, reliable yet shadowed by secrets.
The relationship between Luna and Tae is born from a burning attraction, but it is built on deception: Luna loves a man who does not exist, Tae is consumed by jealousy of a rival who is nothing but his own shadow. Their lives mirror a world in transformation: the explosion of K-pop, the signing of the Korea–US Free Trade Agreement, the clash between East and West — action versus chance, stoicism versus existentialism — and the weight of racism, cutting through bodies, desires, and gazes. Everyone lies, everyone wears a mask: the protagonists, the families, the cultural industry, even the dreams.
The first volume unfolds as a field of forces: intimacy and politics, desire and system, destiny and global machinery. The atmosphere is oneiric, philosophical, and unsettling. A love story that is never “normal,” because it tells not only of two bodies reaching for each other, but of an era reinventing itself through lies.
The Chinese Boy is not a character in the novel. It is an evoked name, a ghostly figure.
The “Chinese boy” is a mistaken label, born of a Western gaze that confuses, flattens, and reduces Asian identities to a single stereotype.
The title is therefore an enigma: it points to an absence, a distortion, a lie that becomes revelation. It is the knot around which the entire trilogy revolves: distorted identities, deceptive perceptions, desire and power entangled until faces are erased and rewritten.