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.
There is much to admire in Salvatore Babones’s short book American Tianxia. It is a welcome corrective to the often-unchallenged conventional wisdom that the 21st century belongs to a rising China that is fast overtaking US global predominance.
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.
Nicholas Gordon interviews Kishore Mahbubani, author of The ASEAN Miracle.
One of the defining debates in economic development theory is one of chicken-and-egg: whether good institutions and governance are needed for markets and growth, or vice versa.
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.
Knowingly or not, anyone who has spent much time at all on what used to be called the “China Coast” will surely have come across the paintings of the George Chinnery, an English artist active in Macau in the second quarter of the 19th century. Whatever profile Chinnery may have in the broader painterly pantheon, in Hong Kong and Macau he is the closest to an artistic native son that the Western colonial tradition has.