In his review of my book China Tomorrow: Democracy or Dictatorship?, Francis Sempa took issue with the point I made that China’s willingness to become a “respected great power and full member of the international community” may convince her elites in the future to democratize her political system, in arguing that this country has already acquired this status.
The world is perhaps changing when translations from Chinese feature as the first volume in a series of just about anything. Two Lines Press, an independent publisher based in San Francisco, has recently launched the Calico Series of translated literature. “Each Calico is a vibrant snapshot that explores one aspect of the present moment, offering the voices of previously inaccessible, highly innovative writers from around the world.” That We May Live is the first in the series and features seven stories in translation from authors in Hong Kong and China.
In Jia Zhangke’s 2018 movie “Ash is Purest White”, the protagonist, Qiao, gets off a Yangtze river ferry near the Three Gorges Dam. She knows nobody in this new city and has no money. Desperate, the ruse she employs is to walk into a restaurant, call a rich looking young man out of a private dining room and tell him he has got her younger sister pregnant. She demands money as compensation. The trick works, the scared man hands over a bunch of red hundred RMB notes. Qiao, a gangster’s girlfriend fresh from jail, has skills that Matthew Evans, the antihero of Tom Carter’s “An American Bum in China”, couldn’t dream off. Evans, like Qiao, finds himself broke and alone in China. Unlike Qiao, he is not a character in a movie where wild schemes succeed.
Among all European countries, Russia’s relations with China are unique in that the two countries—empires for most of their relevant histories—shared a border. Trade between the two was, on the whole, carried out by caravan rather than ship; there were border garrisons a stone’s throw from each other. People and information transited the border along with goods.
Translating the poetic sentiments of imperial China is Xu’s prime concern. Embedded in his works are multiple references to literature, painting, calligraphy and religious art in classical China. By synthesising these ideas with those drawn from his vocabulary of Western shapes, Xu gives energy to traditional Chinese dress.
In the summer of 1924, Soviet playwright Sergei Tretyakov took up a one-year appointment as Professor of Russian at the University of Beijing. He returned with material that resulted in the 1926 play Roar, China!, based upon a historical incident in Wanhsien in which an American businessman drowned after an argument with a local boatman. The captain of the British gunboat Cockchafer, which happened to be in the area, demanded that when the ferryman could not be found and executed, two other men be executed instead or he would bombard the town.
In this extended essay, David Chaffetz, a scholar of Persian and related literary traditions who has lived for years in China and Southeast Asia, zeroes in on erasures in the history of these traditions: the brilliant and highly trained women virtuosos—poets, singers, and dancers—who cut a swath through the opulent courts of Iran, India, and China.