When the end came, it came quickly and, for most of the Japanese inhabitants of occupied Manchuria, unexpectedly. Kiku Kyuzo, protagonist of Beasts Head for Home, was of one of the great many Japanese left behind when Manchuria fell to the Soviet Army in August 1945.
For those who had been living under Western imperialism in Asia, the sudden loss of presumed superiority in almost all things political, social, and cultural of the European colonial powers after Japan’s sudden attack in late 1941 was a seminal event. Japan’s own, often violent, experiment in colonial administration that immediately took its place, lasting through to the summer of 1945, and its attempts at pan-Asianism reinforced for the many that the “civilizing” project need not demand colonial masters from abroad.
What better subject for satire than new money and those spending it? The wealthy suburbs of Delhi provide rich pickings for Diksha Basu who sets her tale of social jockeying amid its denizens.
The Musha Incident is a dark moment in Taiwan’s colonial history (1895-1945), as well as a long-forgotten one. On 27 October 1930, the indigenous Atayal people decapitated 134 Japanese soldiers. Japanese revenge was brutal, bringing the Atayal tribe to the edge of extinction. Later, the Nationalist government labeled the Incident a heroic retaliation against Japanese invasion, but condemned the Atayal’s primal ritual of headhunting.
Taiwanese writer Wu He was not satisfied with this highly superficial and politicized discourse and determined to uncover the truth of this period of history and its legacy. The result is this novel.
Most places other than those where English is the main language are usually—in terms of literature—defined by works in the local language; English-readers view this tradition via translations. But the situation in Hong Kong is reversed: because Hong Kong Chinese works are so rarely translated, and because there is a considerable body of Hong Kong writing in English, Hong Kong has come to most non-Chinese readers via the English rather than the Chinese tradition. Translated Hong Kong Chinese literature remains all too uncommon, so the small (but numerous) morsels in Cantonese Love Stories, a collection of twenty-five short pieces by Dung Ka-Cheung, are very welcome.
Meeting with My Brother is prefaced by an illuminating introduction by professor and translator Heinz Insu Fenkl in which he provides a literary and personal background to Korean author Yi Mun-Yol and Korean literature in general.
Balli Kaur Jaswal’s teasingly entitled and intricately plotted novel incorporates multiple storylines with elements of rom-com, mystery, and family saga. The main protagonist, Nikki, is a 22-year-old, single, independent-minded university drop-out in London. She lives alone above the pub where she works while she searches for her calling, and for love. In the way of adult children everywhere, she is breaking her parents’ hearts with her choices. But her parents are Punjabi immigrants to Britain, and so as well as negotiating all the usual intergenerational pitfalls, Nikki must also negotiate diverging cultural expectations, both between herself and her family, and also between herself and the wider Punjabi community.