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.
Most places other than those where English is the main language are usually—in terms of literature—defined by works in the local language; English-readers view this tradition via translations. But the situation in Hong Kong is reversed: because Hong Kong Chinese works are so rarely translated, and because there is a considerable body of Hong Kong writing in English, Hong Kong has come to most non-Chinese readers via the English rather than the Chinese tradition. Translated Hong Kong Chinese literature remains all too uncommon, so the small (but numerous) morsels in Cantonese Love Stories, a collection of twenty-five short pieces by Dung Ka-Cheung, are very welcome.
All too many places have the form of democracy—elections—without the substance. Hong Kong, just about uniquely, has the opposite: most of the substance—a free press, independent courts, rule of law, privacy protections, etc.—without the form. The territory suffers having a significant democratic deficit, a situation that Christopher Patten, the “last governor”, famously called “liberty without democracy”.
The reportedly increasing average age of opera audiences—or the flip-side of a purported lack of appeal to new and younger audiences—is a cause of ongoing angst among opera circles the world over. Regardless of whether the reports of opera’s death may in fact be exaggerated, it is encouraging when someone deliberately sets out to do something about it.
It’s 2017, and Wonder Woman is about to make her big screen debut. Fearless, mighty girl-heroes such as Rey, Jyn Erso, and Katniss Everdeen take centre-stage in the film-going public’s imagination.
It is time to reclaim the hero story with an empowered feminine lens. Girls’ Adventure Stories of Long Ago is both a tribute, and a wake-up call. A poetic re-imaging of Joseph Campbell’s Hero With a Thousand Faces, my second collection explores ancient and modern landscapes, love lost and rediscovered; adventures undertaken and obstacles overcome.
Chinatown Sonnets is a sonnet sequence that updates the age-old idea of East meets West in which West fetishizes East, Hong Kong emulates Paris, Mong Kok is the “Times Square of Asia”, and primetime television in Hong Kong rivals American soap operas in upper class drama.
Hong Kong Women in Publishing is an organization that promotes the status of women working in publishing and related fields and publishes an annual anthology of members’ writing and artwork. Imprint 16 is the latest volume in the series.