The ASEAN Miracle observes that Southeast Asia is the world’s most diverse region. Although obvious once mentioned, it still seems novel. Southeast Asia’s history is a mix of Chinese, Indian and Islamic influences, with sizable populations of several of the world’s major religions. Yet despite this and its complicated colonial and postcolonial history, Southeast Asian countries have fought no major wars between them over the past half-century. The most significant war in Southeast Asia, the Vietnam War, involved an extra regional power: namely, the United States.
For those who had been living under Western imperialism in Asia, the sudden loss of presumed superiority in almost all things political, social, and cultural of the European colonial powers after Japan’s sudden attack in late 1941 was a seminal event. Japan’s own, often violent, experiment in colonial administration that immediately took its place, lasting through to the summer of 1945, and its attempts at pan-Asianism reinforced for the many that the “civilizing” project need not demand colonial masters from abroad.
If you were to visit the British Museum and take a quick look at HC Cornelius’s View of the ruins of a Bramin temple at Brambanang, you might surmise that it is an exquisite piece of landscape art, depicting a typical rural scene in early 19th-century Java.
There are few recent books as deeply anchored in both global and urban history as Su Lin Lewis’s exploration of urban life in early-twentieth-century Southeast Asian port cities. Combining a keen interest in the consequences of the world’s growing connectedness during the tail end of the age of steam, a thorough familiarity with the places it studies, and painstaking archival research, the book showcases how two subfields of history can be merged to great benefit. While Lewis speaks to recent debates in global history, she successfully eschews the now familiar charge that the field’s practitioners have veered too far from concrete, empirical studies of the local. The elegantly presented results of her research therefore should be read by a wide range of historians.
Thailand’s most popular literary writers rarely get an introduction onto the world stage. An English language newspaper like The Bangkok Post will hint at the greatness of one seminal Thai author or another in their arts and culture section. But non-Thai readers will be clueless as to why. That short stories by the Thai writer Prabda Yoon are now available in his first English language anthology The Sad Part Was is at least one significant corrective. Nearly two decades after Prabda caught the attention of Thai readers and won the S.E.A. Write Award, non-Thais are gifted this rare opportunity to enjoy his works through Mui Poopoksakul’s fluid translation.