Two new non-fiction titles.
Two new non-fiction titles.
A novel with a title like Pyre is unlikely to have a happy ending. Nevertheless, the journey towards this inevitable outcome delivers a disturbing insight into human bigotry and brutality whose application extends far beyond the novel’s treatment of inter-caste marriage in contemporary Tamil Nadu.
Journalist Paul Murphy spent a lot of time in Japanese courtrooms, as—one hastens to add—observer rather than defendant. These stories, vignettes really, are drawn from the 119 cases he followed in Matsumoto, a town of a quarter-million about 200km west of Tokyo.
If you turn to page 105 in this book you will see two extraordinary figures standing and facing each other in a colored albumen print from 1872. They both have bare feet; one wears a light-blue three-quarter length robe, rather like an elegant silk dressing-gown, and the other a similar one of a darker color, with what looks a little like a skirt underneath. They have rather serious expressions on their faces, and medium-length thick, dark, dry-looking hair. They both have upturned mustaches, rather in the style affected by Kaiser Wilhelm II, although not quite as extreme, and they look as if they’ve been painted on.
Well-researched and devastatingly beautiful, Madeleine Thien’s Do Not Say We Have Nothing is an ambitious book that articulates the reverberating impact of totalitarianism in communist China, as well as the transforming power of friendship and humanity.
In the second part of Don Quixote, before the “Prologue to the Reader”, there is a dedication “To the Count of Lemos”, Don Pedro Fernández de Castro, who was Cervantes’s patron. In this dedication, Cervantes complains about “another Don Quixote”, a false Quixote, whose practices greatly annoy him. What Cervantes refers to is the publication of a forged second part of Don Quixote in 1614 by an author whose true identity still remains unknown today, who capitalized on the fame and popularity of the first part of Cervantes’s original book, published nine years earlier in 1605.
The concept for this new production Madama Butterfly was been influenced the work’s literary background: the western perception of Japan present throughout the autobiographical novel of Pierre Loti (Madame Chrysanthème, 1887) and the diary treatment of the subject by Félix Régamey (The Pink Notebook of Madame Chrysanthème, 1894). These two sources present the protagonist Madame Chrysanthème is in two completely different characterizations: in Loti, she is a dissolute and licentious woman, while in Regamey she is a needy, extremely sensitive creature. David Belasco, meanwhile, (who wrote the play (1904)—derived via an 1898 short story by American John Luther Long—that was the main reference for Giacomo Puccini’s librettists Illica and Giacosa, describes her as a victim of a fatal and irresistible love.