Unsettled Solidarities examines contemporary Asian and Indigenous cross-representations within different settler states in the Americas. Quynh Nhu Le looks at literary works by both groups alongside public apologies, interviews, and hemispheric race theories to trace cross-community tensions and possibilities for solidarities amidst the uneven imposition of racialization and settler colonization.
Persia was long a fault-line in an Islam that liked to think of itself, and was often presented as being, monolithic. Notwithstanding the best efforts of the Umayyad Caliphate—which defeated the Persian Sassanids in the 7th century—at both Arabization and Islamization, linguistic, cultural and even religious divisions remained. Persian identity began to reassert itself soon thereafter and the turn the of 10th century, the rise of the Ghaznavids constitute a very intriguing period from the point of view of flourishing of Persian literature, art, music, philosophy, and contribution in science and mathematics.
In an age of social media and reality television, reading and consumption habits in India now demand homegrown pulp fictions. Ulka Anjaria categorizes post-2000 Indian literature and popular culture as constituting “the contemporary,” a movement defined by new and experimental forms—where high- and low-brow meet, and genres break down.
“Greatest novelist.” I’ve never been much of a fan of someone being dubbed the “greatest” anything, as it assumes there can never have been anyone better and perhaps never will be.
If it hadn’t been for Ezra Pound and a 20th-century literature course at university, I would never have heard of Li Bai, and even then I thought his name was Rihaku, because in 1915 Pound, who knew absolutely no Chinese at all, published a number of “translated” poems by Rihaku in a collection entitled Cathay.
In his new book, The Origins of Dislike, Amit Chaudhuri unwraps several aspects of reading, writing, publishing, criticism, and thinking in general, mostly to dismantle the perceived virtuosity of these phenomena.
Ling Hon Lam encourages us to think of emotions in terms of space; when we sympathize with a character in a play or feel something for another person, that emotion takes place, for it moves us outside ourselves. In Chinese this relation between space and emotion is described by the term qingjing; a scenery of feeling or in Ling’s translation an “emotion-realm”.