Macau, to its understandable chagrin, often seems an afterthought: to Hong Kong which overtook it, to Canton when it came to China trade, to Manila and the eponymous galleons when it came to being an entrepôt of global status, in the history of Western colonialism and imperialism in East Asia generally and today when it comes to business and tourism. But perhaps Macau owes its continuing uniqueness to just this. It always was, and remains, a distinct anomaly.
Category Archive: Reviews
Amrita Sher-Gil was an early 20th-century Hungarian Jewish-Indian painter, one of the most celebrated women artists in India of the time. Her father was a Sikh aristocrat and her mother a professional opera singer. She started painting in the western tradition, influenced by the likes of Cezanne and Gauguin, and became known for her paintings of Indian villagers. Sher-Gil died at the young age of twenty-eight, supposedly from a botched abortion. Alka Joshi’s latest novel, Six Days in Bombay, is loosely based on Sher-Gil’s story and is a mystery of sorts set not only in Bombay, but also Prague, Paris, Florence, and London, mainly in 1937.
Singaporean debut author Malcom Seah is a writer of originality, scope and ambition, who is unafraid to take on challenging issues, ranging from eating disorders, to sexual abuse, to the complexities of coming out in a conservative society. He is skilled at plotting, marrying his intricate and intriguing plot with elements of experimental fiction.
Sex is disgusting and unnecessary, men grow foetuses in a sac of artificial skin, and love between two spouses is strictly platonic and familial. These are the building blocks of the strange and deliriously fascinating alternative reality of Sayaka Murata’s newest novel, Vanishing World. Like all of Murata’s previous stories, questions around the terror of abnormal entities in polite society and atypical approaches to intimacy form the book’s core, puncturing every page with warbling instability. Vanishing World, like all of Murata’s other stories in English, has been translated by Ginny Tapley Takemori.
Of all the horrors of this benighted century, the genocide of the Yazidis at the hands of ISIS a decade ago stands out for its extreme brutality and inhumanity. At the time, few people outside the region were aware of the group’s existence; as non-Muslims (Yazidism has pre-Zoroastrian roots), Yazidis were specifically targeted. The world has by now, alas, largely moved on to other atrocities.
A forgery can be a laborious undertaking, requiring resources, labor, and knowledge. A literary forgery or hoax is categorically different from thoughtlessly plagiarized text. Indeed, if a plagiarized work steals the words and ideas of others, a forged work studiously invents words and ideas while misattributing authorship. Both plagiarism and forgery are deceptive, but forgery creates even as it deceives. It is generative. In The Forger’s Creed: Reinventing Art History in Early Modern China, JP Park shows how a 17th-century painting catalogue recording details of a non-existent collection generated further forgeries and misattributions and bolstered apocryphal art historical lineages. The history of Chinese art, Park argues, was never the same.
Chinese Parents Don’t Say I Love You, Candice Chung’s “memoir of saying the unsayable with food”, feels like a glimpse into her peri-pandemic journal. The title refers to the often-shared recognition by the children of immigrants, that expressions of love are indirect, and also filtered through food.
Fyodor Tertitskiy, a young and prolific academic specialist on North Korean affairs working in Seoul, has written a biography of the first North Korean leader that is both highly readable and extensively researched.
Yu Hua, one of China’s most-acclaimed contemporary novelists, leapt to prominence, in English as well as Chinese, some three decades ago with his novels To Live and Chronicle of a Blood Merchant, both of which were made into well-received films. Both novels, about ordinary people struggling with extraordinary hardships, were notable for their matter-of-fact, slice-of-life rendering of their characters’ tribulations. Although his next novel, Brothers, a decade or so later, made more explicit use of farce and satire, in City of Fiction, Yu Hua seems to have returned to his roots.
If you only read one book by the prolific and (now) venerable John Man, it should perhaps be this one, literally so for it “revises and condenses” several chapters in his other books Genghis Khan, The Terracotta Army, Barbarians at the Wall, The Great Wall and Xanadu. It is, as one might expect from Man, a very readable amalgam of history, storytelling and travel-writing.
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