Over the course of the past 25 years, women authors from Asia have published in French in Québec and in Canada works that evoke a “trans-local imaginary” (Lequin, 2008; CuiZine’s translation) and that construct convergence and decentering. Ying Chen and Kim Thúy’s respective works consider the representation of food and the sensorial, which are associated with the identities and affects of the protagonists. Aki Shimazaki, a Québécois novelist from Japan, has written work that has rarely been considered from this angle, despite the fact that food is periodically mentioned in the majority of her novels. This article examines the literary inscription of food in Shimazaki’s works: Le poids des secrets (1999-2004), Au Coeur du Yamato (2006-2013), and L’ombre du chardon (2014-2018). Specific attention is given to how the use of food is informed by the author’s transcultural experience. Shimazaki leverages an esthetic of distance in her culinary and nutritional descriptions, which are connected to nature, cultural codes, and Japanese social spaces (domestic, semi-public, and public).