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James Albon (author and illustrator), Love Languages, Top Shelf Productions, 2025. 176 pgs.

The book begins with six pages of vibrant illustrations depicting people of diverse cultural backgrounds at Paris landmarks, expressing affection to their loved ones in more than ten languages. Immediately afterwards, Albon shows us everyday life in Paris and how challenging it can be for new residents. Originally from England, Sarah Huxley has been in Paris for nine months and tries her best to be an “easy-going local.” Passing a “boulangerie,” Sarah mistakes it for a “pâtisserie.” The entire scene is dominated by the colour blue, symbolising her dissatisfaction with life in Paris. Thinking about her morning brew, she queues behind a man who has ordered two baguettes. The prominence of bread seems a subtle reminder that this is primarily a place for buying bread, not for takeaway coffee. She also tests her skills by eavesdropping on conversations outside shops, but all she manages to catch are fragments of words. Later, her encounter with two pantomime performers turns into an intimidating mockery of Sarah’s disconnection from Paris. This scene also raises the question of how accepting society is of newcomers. Living a new life in a city that takes pride in its local traditions goes beyond the challenge of overcoming language barriers. It also involves the continual effort of discerning social nuances and adapting to cultural norms. Eventually, she loses her balance and drops all her belongings, including her coffee, just as her eyes meet Ping Loh, an au pair who checks in with her at the boulangerie the following day—an act of kindness from a fellow outsider.

When meeting international people in a non-Anglophone environment, it is often difficult to decide which language to use and whether it enables everyone to express themselves fully. This is a challenge Sarah and Ping navigate throughout the story. Their first exchange begins in French with Ping’s effort: “Madame ! Comment ça va ?” (Madame? How is it going?). Although Sarah knows some French, she responds in English. This, intentionally or otherwise, is a subtle depiction of the casual linguistic racism that many non-White people often face. When she learns that Ping is from Hong Kong, she recalls a previous work trip and thanks her in Cantonese, “do zeh!”, which surprises and delights Ping. Their budding friendship develops through meetings at a café, a museum, a park, a dinner at a Chinese restaurant, and through text messages mixing French, Cantonese, English, and even emojis. Unlike the well-travelled Ping, these intercultural encounters help Sarah discover new facets of herself, including her evolving ideas of love and gender.

In terms of visual storytelling, speech bubbles play a significant role. Rounded bubbles are used for dialogue, while ribbon-like ones indicate what characters understand. The mixture of languages (Cantonese romanisation appears in a somewhat non-standard jyutping, some of which is difficult to comprehend) reflects Sarah and Ping’s attempts to communicate and connect despite linguistic barriers. The interplay of bubbles becomes particularly meaningful during Sarah’s reflections on love. When Ping asks about Sarah’s male colleague, the two discuss the ambiguous meanings of “ami” [male friend or boyfriend] and “aimer” [to like or to love, depending on the context]. Interconnected bubbles appear with naked pink muscular male figures holding a rose, performing a front double bicep, and making a heart gesture. This kitsch yet comical imagery echoes Ping’s response, “Yes, but we don’t say it. Hou yuhk mah [好肉麻], umm… very cheesy,” to Sarah’s question, “So how do you tell someone you love them?” When Sarah realises her feelings, her body is enveloped by the ribbon-like bubbles against a sumptuously colourful background. As their bond deepens, they reach a point where they no longer need to rely on every single word to understand and feel each other’s significance and presence. This forms a steadfast foundation for the challenges they later face in the story.

Unaware of my Hong Kong heritage, the owner of a francophone comic bookshop on Leith Walk recommended this heart-warming tale to me. Polish, Spanish, Nigerian, Greek, Japanese, and Chinese restaurants, together with many independent bookshops, line the street. Signs and items appear in languages I have not learned or have almost forgotten. Once again, languages prompt me to evaluate my sense of belonging and remind me how little I know. Away from the Old Town, there are no bagpipe players performing, only the sound of trams gliding up and down. Here, people lead different sorts of days, showing me what life outside the bubble in Edinburgh is like.

How to cite: Yeung, Vanessa Winghei. “Life Outside the Bubble in James Albon’s Love Languages.” Cha: An Asian Literary Journal, 19 Oct. 2025, chajournal.blog/2025/10/19/love-languages.

Vanessa Winghei Yeung works as a visitor assistant and a waiter. Having lived in Hong Kong and Rome, she is now making Glasgow her home. Her writing has been featured on the website of the International Council of Museums (ICOM), Zolima CityMag, and in the Scottish Book Trust’s Book Week Scotland Teaching Toolkit. Her short story “Victoria Harbour” was performed at the Liars’ League Hong Kong. She currently dedicates her efforts to writing about and researching decorative arts and modern architecture in pre-war Hong Kong. Her first academic article, exploring the short-lived Arts and Crafts Limited, has been accepted by the Journal of the Royal Asiatic Society Hong Kong Branch. She is also working on an upcoming book on Hong Kong’s Art Deco heritage. Follow her documentation and research journey: @artdecohongkong. [Read all contributions by Vanessa Winghei Yeung.]

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