Manila was not the best place to be on New Year’s Eve 1941. US General Douglas MacArthur had withdrawn to Corregidor and had declared Manila an “open city”, not that the Japanese forces—literally at the city gates and expected to enter the next morning—were paying much attention to that.
But Melville Jacoby, a journalist for TIME and LIFE, was still there holed up in the Bay View Hotel, together with Annalee, his wife of a few weeks, and thirty other reporters.
There may come a time when Asian-American writing loses its hyphen and becomes “American”. Ranbir Singh Sidhu’s debut novel Deep Singh Blue provides some indication that this point may be approaching.
Vladimir K Arsenyev was an army officer, explorer and writer active in Russia’s Far East in the waning years of the Romanov dynasty. His major claim to fame, outside Russia at any rate, is having introduced the world to the aboriginal hunter and trapper Dersu Uzala, who several decades later became the subject of an Oscar-winning film by Akira Kurosawa.
Arsenyev undertook several expeditions in the mountainous region roughly between Vladivostok and the Chinese border in the first years of the twentieth-century, ostensibly to survey the region’s infrastructure. But Arsenyev’s extensive field journals became the basis of two books of what would now be called “travel literature”. Across the Ussuri Kray: Travels in the Sikhote-Alin Mountains was the first of these, published in Vladivostok in 1921 in the midst of the Russian Civil War, and is the account of of two separate expeditions in 1902 and 1906. This volume is available in a new translation by Jonathan C Slaght.
After the 2011 tsunami, TV commercials were, out of respect, replaced with public service messages. One was the following poem:
If I say, “Let’s play?”
you say, “Let’s play!”
If I say, “Stupid!”
you say, “Stupid!”
If I say, “I don’t want to play anymore,”
you say, “I don’t want to play anymore.”
And then, after a while,
I say, “Sorry.”
You say, “Sorry.”
Are you just an echo?
No, you are everyone.
Alfred A Yuson’s The Music Child was shortlisted for the 2008 Man Asian Literary Prize at a time when the prize was for unpublished manuscripts. Although the finished novel took the better part of a decade to finally emerge, The Music Child and the Mahjong Queen exemplifies the Prize’s objective of facilitating the publication of new and eye-opening Asian fiction.
Those with an academic interest in Chinese literature are undoubtedly aware of the CT Hsia classic History of Modern Chinese Fiction which has just been reissued by the Chinese University Press. Those who aren’t might find the thought of a 600-page tome of literary criticism to be more than a little daunting; that would be a pity, for the volume is an example of erudition and clarity of expression.
Unlike his Malaysian-Chinese compatriots, Tash Aw and Tan Twan Eng who have become well-known for novels which fit pretty squarely into the English-language, Ng Kim Chew writes in Chinese from a base in Taiwan. Slow Boat to China is a collection of his short stories, the first book of his—as far as I can tell—to appear in English.