It’s pretty hard to compete with the invention of the chariot, the Silk Road, Genghis Khan and Tamerlane, so Christoph Baumer’s fourth and presumably final volume in his magisterial history of Central Asia is something of a mopping up operation.
Before the Chinese Communist Party came to power, China lay broken and fragmented. Today it is a force on the global stage, and yet its leaders have continued to be haunted by the past. Drawing on an array of sources, Sulmaan Wasif Khan chronicles the grand strategies that have sought not only to protect China from aggression but also to ensure it would never again experience the powerlessness of the late Qing and Republican eras. The dramatic variations in China’s modern history have obscured the commonality of purpose that binds the country’s leaders. Analyzing the calculus behind their decision making, Khan explores how they wove diplomatic, military, and economic power together to keep a fragile country safe in a world they saw as hostile.
The ancient Indian epics carry a kind of authority different from their Western equivalents. The Indian audience has been ready to stay invested in the story for longer, unto the present times. The story of Rama is performed every year in India before the Hindu festivals of Dussehra and Diwali celebrated to mark, respectively, Rama’s victory over Ravana, and his return to Ayodhya.
Hong Kong soprano Louise Kwong recently completed a run of two performances as the lead in Giacomo Puccini’s La Bohème at the Opera di Roma, marking her debut with one of Italy’s leading companies.
Balancing on a narrow boat in the middle of Aberdeen Harbour—the Jumbo Floating Restaurant in the background—were two dancers from the Hong Kong Ballet in a perfect pose, the red of their shoes and shorts popping against the red of the boat’s lanterns. In the background Hong Kong Ballet Artistic Director Septime Webre was giving his feedback on the shot; photographer Dean Alexander was trying to capture the moment.
There were no Phoenicians, so we aren’t going to find them. Simply put, that is Josephine Quinn’s thesis in this pioneering study.
Jurrick Oson is a big man, forty-six years old, with muscles bulging inside his bright purple sleeveless T-shirt. He was raised to work around nets, fish, tides, and weather, and his skin is leathery from a lifetime at sea. His boat had always been moored at the end of a dirt track, with shacks and small stalls on one side and the gently lapping sea on the other. It was a colorful, chaotic old vessel, painted in yellows, greens and blues, and she plied her trade as such boats had done for thousands of years.