Sun Li is a versatile writer, known for works such as De Zoetzure Smaak van Dromen and Happy in Holland, in which she explores themes like cultural identity and migration in a poignant and relatable way.
Header foto credits: Annaleen Louwes
“My motivation has always been to bring more diversity to stories and to amplify the voices of people who often don’t get the chance to tell their stories. It started small, with my father’s story, but grew into something much bigger. Now, it’s much broader than just my family history.”
“At first, my family wasn’t very interested, but over time they’ve come to appreciate it. They’re very pragmatic, so there wasn’t much space for creativity when I was growing up. Still, I was always creative—drawing, making up stories, writing songs, dancing—things I’ve taught myself. At the same time, I always had the security of a legal career. In the beginning, they were surprised that I took my creative side so seriously, but now that’s much more accepted.”
Becoming a writer was never Sun Li’s original intention, but it came her way unexpectedly. When her father passed away, she felt the need to write De Zoetzure Smaak van Dromen—his story had to be told. She mentions watching several YouTube videos about writing, and now she can’t watch a movie without asking herself: What are the plot points? What is happening exactly? She dissects everything. Her appreciation for stories—whether in books, films, or theater—has grown immensely. It has even changed the way Sun Li thinks about her own life.
“At first, I was a searching writer with no clear plan. Writing happened organically, but that sometimes made it chaotic. Through Madame Butterfly (link in Dutch), I developed a new work method. Together with Vera (Morina), we first mapped out the broad strokes of the story and imagined the characters and their development. This proved much more efficient than my previous approach. The freedom of writing spontaneously was fun, but also inefficient. Working within clear frameworks actually provided more direction and structure. I’m now applying this method to my next projects.”
“In theater, you work with many more elements: text, direction, actors, set design, light, sound. The final result is always a collaboration. With a novel, you have complete freedom. It’s just you and the words, and you can do whatever you want.”
“Dedicate at least an hour a day to writing. The more you do it, the less overwhelming it becomes. The only way to shape your thoughts into a novel is to make time for it consistently.”
“Cultural identity plays a major role in my work, especially in relation to migration and the experiences of the second generation. My stories reflect that reality. I draw a lot of inspiration from people like Rui Jun, Sioe Jeng, Pete, and Nhung, who create work and step into public spaces. It doesn’t matter what you create—the fact that you put yourself and your work out there is powerful. They encourage me to claim my own place and share my stories. And when it turns out to be good as well, that’s fantastic!”
“I don’t think people with a bicultural background carry a specific responsibility, but there is a certain pressure, simply because there are so few of us in this field. Sometimes you feel that burden, but ultimately, it’s about telling your own story without the obligation to speak for others. It’s about finding your own truth. You can never get it right for everyone. You just have to find your people—those who connect with what you create.”
In her work, Sun Li focuses primarily on first- and second-generation bicultural women. At the same time, her stories are meant for anyone who recognises themselves in the themes she explores, especially those who are often unheard. She hopes her work offers people emotional support. Racism is complex, and she wants to show that it’s okay to be vulnerable. Her stories are not just about resistance, but also about the right to be a full human being, with all the feelings that come with it—without the constant pressure to always be strong. At its core, Sun Li’s message is simple yet powerful: it’s okay not to be strong all the time. She wants to create space for vulnerability rather than reinforcing expectations of unwavering resilience. This idea forms the foundation of everything she does.
“My novel was a real surprise to me. Initially, there was a failed attempt, and I had to start over. What I enjoyed most was how the characters kept surprising me. They started doing things I hadn’t planned, as if they had a mind of their own. It felt as though a door in my mind had opened and everything just poured out.”
Sun Li explains that the book emerged after the Atlanta shootings, a moment that marked a peak of racism and violence in the United States. “This caused me a lot of grief and frustration. It was confronting, and I started asking myself: in what way am I contributing to all of this?
The idea of victim and perpetrator is a key theme in the book. The failed first version of the novel explored the stereotypes and assumptions about Asian Dutch people and the roles they are often assigned in society. Those same stereotypes and prejudices were being repeated.
This conflict is particularly evident in the characters Bie and Coco. Coco is another Chinese Dutch woman at Bie’s work who immediately rejects her. She sees her as an enemy, a rival. Yet, Coco extends a hand, which Bie refuses. This is something I’ve also struggled with: rejecting my own Chinese identity in an attempt to ‘fit in,’ something I address in the book.
The feelings and emotions in the book come from me. The sense of success you feel you don’t really deserve, the fear that it could be taken away at any moment. It’s a constant thought: ‘I don’t deserve this, it could all be gone in an instant.’ That sense of insecurity became the basis for the story. Why not destroy everything yourself first? At least then, you’re the one in control.”
A lot of the ideas about Chinese Dutch women that I’ve had were inherited from others. It’s almost inevitable. But it takes a lot of energy to constantly keep pushing back those ideas, to reassess them and refuse to internalise them. It’s an ongoing process.”
“I want the reader to recognise the microaggressions themselves. Many people struggle to understand these subtle forms of racism if they haven’t experienced them firsthand. What I want to do is make the reader reflect on what these subtle influences do to a person. It’s not about saying, ‘this is racism,’ but about the emotions it evokes.”
“Create! Feel free to experiment and claim your space. There is so much to learn from each other. I’m always curious about what others are making and how they tell their own stories. It’s really exciting to discover new voices and perspectives.”
Check the tour dates for theatre performance Madame Butterfly (in Dutch) on Theater Oostpool’s website.
Buy Sun Li’s book Kom maar liggen (in Dutch) online or at your local bookstore.
Follow Sun Li on Instagram.
Tips from Sun Li:
Books:
Minor Feelings – Cathy Hong Park
De bananengeneratie – Pete Wu
Modelverhalen – Liang de Beer
Series:
Beef – Netflix
Never Have I Ever – Netflix
Rui Jun Luong (1996), raised in Friesland, has faced discrimination and racism. As a multidisciplinary designer, photographer, videographer, creator of Guess Who: Asian Edition, and founder of Asian Raisins, she works to raise awareness of injustice, racism, and discrimination. Through the creation of this platform, she hopes to prevent others from experiencing what she went through.
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