The Asian Review of Books is highlighting works of authors appearing at the Asia House Bagri Foundation Literature Festival later in the Spring. This list will be updated regularly as we get get closer to the festival opening, so bookmark this page and check back. Recent additions include an extract from Louder than Hearts, poetry by Zeina Hashem Beck, a review Min Jin Lee’s Pachinko and an excerpt from The Kingdom of Women: Life, Love and Death in China’s Hidden Mountains by Choo Waihong.

The term “Chinese opera” usually refers to the traditional Chinese art form, but there are an increasing number of examples of modern attempts—such as the recent Dream of the Red Chamber—at a sort of cultural fusion of Chinese themes and traditions with Western operatic style and format. It is probably fair to say that none of these yet rises to the level of a Rigoletto or Carmen in the minds of either the public or critics, but the potential cultural rewards of a Chinese operatic repertoire successfully existing alongside and complementing the European ones are so obvious that is commendable and hardly surprising that the efforts are accelerating.

Most of us in our 20s or above remember where we were on 1 January 2000, when the planet welcomed the new year, decade, century and millennium. (Pedants however never tire of pointing out that the correct date should have been one year later.) Lijia Zhang’s Lotus begins with the title character facing a rather grim start to the year—on that January day, Lotus is arrested for suspicion of prostitution as she’s sitting shore side in Shenzhen, contemplating the turns of her 23 years of life.