The Japanese Discovery of Chinese Fiction: The Water Margin and the Making of a National Canon, William C Hedberg (Columbia University Press, October 2019)
The Japanese Discovery of Chinese Fiction: The Water Margin and the Making of a National Canon, William C Hedberg (Columbia University Press, October 2019)

The classic Chinese novel The Water Margin (Shuihu zhuan) tells the story of a band of outlaws in 12th-century China and their insurrection against the corrupt imperial court. Imported into Japan in the early 17th century, it became a ubiquitous source of inspiration for translations, adaptations, parodies, and illustrated woodblock prints. There is no work of Chinese fiction more important to both the development of early modern Japanese literature and the Japanese imagination of China than The Water Margin.

Three Asian Divas: Women, Art and Culture In Shiraz, Delhi and Yangzhou, David Chaffetz (Abbreviated Press, November 2019)
Three Asian Divas: Women, Art and Culture In Shiraz, Delhi and Yangzhou, David Chaffetz (Abbreviated Press, November 2019)

The diva is a nearly universal phenomenon. Wherever poetry, music and mime have been practised with virtuosity, great women performers always take centre stage. Traditional Asian divas are however less well known and understood among English language readers than the great divas of Mozart and Puccini. Whether from Shiraz at the court of the Injuids, from Delhi during the twilight of the Moghuls, or from Yangzhou under the last Ming emperors, these Asian divas constitute the first identifiably modern women.

Globalization usually means manufacturing. But globalization reaches into other realms, even waste disposal as Adam Minter wrote in his debut book, Junkyard Planet. In his new book, Secondhand, he investigates what happens to material goods we donate after we’re done using them and travels throughout North America, Asia, and Africa to explore how different countries reuse discarded items.

With the exception of Eileen Chang to whom she is often compared, few writers have become as synonymous with Shanghai as Wang Anyi. Although born in Nanjing, Wang was brought to Shanghai at the age of one by her mother, noted writer and Shanghai native Ru Zhijuan, and her quest to know the city over the years in spite of its protean elusiveness (as well as Wang’s intermittent absences) has become something of an elegiac obsession for the celebrated author.

In his introduction to this new biography of Yuan Shikai, Patrick Fuliang Shan makes reference to the long-held view of Yuan as a stereotypical historical villain—or, in Chinese, fanmian lishi renwu. The Chinese phrase is perhaps the more apposite, as one literal translation would be “a person on the wrong side of history”. Whatever one’s view of Yuan Shikai, who rose to governmental and military power in the late 19th century before becoming China’s first permanent president in 1912, it is fairly uncontroversial to assert that he ended up, on a few occasions, on what would later come to be viewed as the “wrong side” of various historical moments.