Luise Guest’s Half the Sky is a welcome addition to works on Chinese contemporary art. Amid all the froth of the Chinese art scene, Guest focuses solely on female artists, long overlooked and under-studied, presenting the work and thoughts of some thirty artists.
In a corner of the Russian Far East, just across the Chinese border and wedged in between Heilongjiang’s upturned chin and lip, lies the Jewish Autonomous Oblast (Region) whose capital is Birobidzhan. The Oblast is somewhat larger than Israel, but with a fraction of the population: it peaked at 214,000 in the late 1980s, and has dropped by some 20% since then. The Oblast is neither very autonomous nor terribly Jewish—well under 2000 Jews live there now. Where the Jews Aren’t, Masha Gessen’s story of this peculiar place, has an apt title.
In Turkey: The Insane and the Melancholy, political commentator Ece Temelkuran invites the reader to draw up a chair as she attempts to untangle the complicated, often contradictory, nature of her country’s current political environment.
Integral to the misguided conception of China as unknowably complex is the sheer scale of its history. While historians of the United States, for example, need to cultivate a knowledge base which extends back a few centuries or so, scholars of Chinese history must contend with a national story of anything between three thousand and five thousand years, depending on what you consider “China” to be. Either way, the terrain of Chinese history seems deeply forbidding to the non-specialist, who is left asking the question: how much of China’s history do I need to know in order to understand the country today?
Lee Fook Chee’s Hong Kong: Photographs from the 1950s is a remarkable book with many levels of meaning. It tells the story of a lone immigrant photographer and presents his collection of photographs portraying 1950s Hong Kong. A photo book, and of the highest standards at that, it also brings sharp and fresh research into the social history of the place that invites scrutiny on how it compares itself sixty years later. The entire book, its sum greater than its parts, will delight therefore not only photography aficionados but anyone with a serious interest in Hong Kong.
No opera composer turned to William Shakespeare more often than Giuseppe Verdi, who composed three works, Macbeth, Otello and Falstaff, based on the Bard’s plays. But if it hadn’t been for the persistence of his publisher Ricordi and would-be librettist Arrigo Boito, Verdi might well have stopped at one. He had to be coaxed out of a post-Aida retirement to write Otello, which finally premiered in 1887, sixteen years later.
But Otello was worth waiting for. A masterpiece, a thorough integration of music, words and drama that, astoundingly, manages to illuminate the original work—itself an unequalled masterpiece—on which it is based.
A few weeks after her inauguration, incoming Taiwanese President Tsai Ing-wen of the Democratic Progressive Party said that Taiwan would be re-evaluating its trade links with the Mainland. This was expected after the student-led Sunflower Movement had resisted attempts by the defeated incumbent, Ma Ying-jeou of the Kuomintang, to pass further free trade agreements.
At first glance, this makes sense. The DPP is pro-independence while the KMT still supports the “One China” principle. Thus, one would expect each party’s attitude towards political unification to be correlated with their attitudes towards trade: the KMT would be pro-trade, while the DPP would be anti-trade.