The trappings of Pan’s literary toolbox, too, evoke more established authors. Much of the novel is set in Taiwan, which Pan paints lovingly with meticulous detail-the pungent smells of its night markets, its big yolk moons and salty comfort foods. Many young adult novels’ efforts to account for representation veer into polemics, each character becoming a caricature of their demographic, but representation in “The Astonishing Color of After” feels intentional, yet careful accurate, yet not overly forceful. Pan’s character casting is representation par excellence: The protagonist is a half-Taiwanese, half-Irish girl, joined by her half-Filipino, half-Puerto Rican best friend, and another friend who identifies as lesbian. Though booksellers and librarians will inevitably shelve “The Astonishing Color of After” among other young adult novels, the scope of its themes-suicide, cultural identity, sexuality-evokes the gravitas of novels intended for much older demographics. In a smartly crafted and heartbreaking story, Pan weaves the evocative tale of a girl whose journey to understand her mother bends time and space. In the aftermath of this trauma, Leigh’s mother appears to her in the form of a red bird, delivering a strange gift that prompts Leigh to visit her maternal grandparents in Taiwan and delve into her family’s mysterious and troubled past.

Pan tells the story of Leigh, a half-Taiwanese, half-Irish girl whose first kiss with her longtime best friend Axel shockingly coincides with her mother’s suicide. Leigh’s candor, balanced with often surprising tenderness, sets the tone for “The Astonishing Color of After.” The poignant debut novel by Emily X.R. “This isn’t like some William Faulkner stream-of-consciousness metaphorical crap,” she says, matter-of-factly. Leigh Chen Sanders’ vision is not an allegory.

The astonishing color of after