Guo Xiaolu has always been a writer who has worn both her heart and her integrity on her sleeve, whether tearing pages from her own life for her novels, experimenting publically with form or writing in what is for her an entirely foreign language (something which is the cause for astonishment when an English-language writer even attempts it). So it is hardly a surprise that her recent memoir, Once Upon a Time in the East: A story of growing up, is by turn raw, intelligent, compelling, sad, uncompromising and reticent.
Jack Weatherford has a clutch of informed, and impassioned, books on the Mongols to his credit. In Genghis Khan and the Making of the Modern World, he argued that the Mongols were the precursors of modern economic globalization:
The Mongols displayed a devoutly and persistently internationalist zeal in their political, economic, and intellectual endeavors. They sought not merely to conquer the world but to institute a global order based on free trade, a single international law, and a universal alphabet.
He credits them with universal paper money, primary school education and a unified calendar.
The good news is that is Musica Viva’s four-performance run of Carmen was completely sold out.
Macau is endlessly fascinating in no small part because it is so anomalous. Dating back to the “Age of Exploration”, it was the only Iberian possession in East Asia that survived as such into the 20th century—and two years longer than Hong Kong. In spite of all the recent development, it is still a city of baroque churches, blue tiles and black-and-white pavements; streets are “ruas”; a local Portuguese patois unique to the city still just barely hangs on.
In The People’s Money, Chatham House’s Paola Subacchi discusses the internationalization, or relative lack thereof, of the renminbi. The subject can be rather like a room of mirrors if one does not follow developments in international currencies, but for those that do, the book serves as a clear overview of the history and the issues, both in general and those facing Chinese policy-makers in particular.
For a book targeted at children, Division to Unification in Imperial China has a ponderous title. Parents and teachers might wish to cover this over with masking tape so that young readers instead concentrate on the handsome black, white and ochre illustration that otherwise adorns the cover.
An article in the most recent Economist was subtitled “China’s newest export hit is classical music” with a lede about the China Philharmonic Orchestra on tour in New York.
Once, classical music generally travelled from the West to the rest. Now China is reversing the exchange, not merely performing Western classical music in China, but exporting it.
But China has been “exporting” individual performers of demonstrable world-class stature for quite some time: pianists Wang Yujia and Li Yundi and opera singers soprano He Hui and tenor Shi Yijie are just a few Chinese artists in demand worldwide. Hong Kong had the privilege to hear one of the others this weekend, classical guitarist Yang Xuefei, playing Joaquín Rodrigo’s “Concierto de Aranjuez” with the Hong Kong Philharmonic.