Toward the end of his life, Algernon Blackwood famously reminisced that “I used to tell strange, wild, improbable tales…” The tale of the friendship between Lu Xun and Uchiyama Kanzō would have met Blackwood’s standard—a look at Shanghai during those times, now nearly 100 years ago, suggests why.
The diva is a nearly universal phenomenon. When Tosca sings in Giacomo Puccini’s opera of devoting her life to art and love, she speaks not just for herself but for a tradition of divas connecting Rome’s Teatro Argentina to Shiraz’s mystical soirées, to the pleasure pavilions of Delhi, to the entertainment quarter of Yangzhou.
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.
In 1415, the English forces under Henry V inflicted a terrible defeat on the French army. After the battle, under a heap of dead soldiers, they found and captured a young man who turned out to be Charles, duc d’Orléans (1394-1465). He was taken to England and placed in honorable captivity, but Henry V ordered that he not be ransomed, so he remained in England until his release in 1440. During his 25 years in England, he learned English and wrote a great deal of well-regarded poetry in that language, and when he finally returned home it was remarked that his English was better than his French.
Yone Noguchi: The Stream of Fate is the first full-length biography of the pioneering international Japanese poet Yone Noguchi (Noguchi Yonejiro, 1875-1947).