Taiwan’s top court just recently ruled in favor of gay marriage, culminating in what could be Asia’s first jurisdiction to allow members of the same sex to marry. Despite many challenges that still persist politically with the ruling, it indicates a more liberal attitude toward non-heterosexual relationships than when Qiu Miaojin published the novel Notes of a Crocodile in the early 1990s.
Unlike his Malaysian-Chinese compatriots, Tash Aw and Tan Twan Eng who have become well-known for novels which fit pretty squarely into the English-language, Ng Kim Chew writes in Chinese from a base in Taiwan. Slow Boat to China is a collection of his short stories, the first book of his—as far as I can tell—to appear in English.
A few weeks after her inauguration, incoming Taiwanese President Tsai Ing-wen of the Democratic Progressive Party said that Taiwan would be re-evaluating its trade links with the Mainland. This was expected after the student-led Sunflower Movement had resisted attempts by the defeated incumbent, Ma Ying-jeou of the Kuomintang, to pass further free trade agreements.
At first glance, this makes sense. The DPP is pro-independence while the KMT still supports the “One China” principle. Thus, one would expect each party’s attitude towards political unification to be correlated with their attitudes towards trade: the KMT would be pro-trade, while the DPP would be anti-trade.
Anthony Giddens and Martin Wolf in London, Thomas Friedman in Washington, Saskia Sassen in New York, John Meyer and Manuel Castells in California … nearly all of the best-known writers on globalization come from the parts of the world that are doing the globalizing, not from the places that are getting globalized.
In Global Exposure in East Asia, Taiwanese sociologist Ming-Chang Tsai tells the story from the other side. People in China, Japan, Korea, and Taiwan have been on the front lines of globalization as waves of economic and social change washed over East Asia.
Reading and translating Taiwanese poet Ling Yu reminds me much of American writer, environmentalist, and activist Terry Tempest Williams’s wisdom: There is an art to writing, and it is not always disclosure. The act itself can be beautiful, revelatory, and private.
In my opinion, Ling Yu’s poetry contains the above qualities: perhaps aware of how several poets in her country and language are prone to cultivating celebrity fame and fan culture, or capitalizing on Facebook or Twitter to sustain their poetic careers and publicity, Ling Yu strives to create a Beckettian lyricism and silence—in life and her art. What results is a poetic voice that often does not need to be loud or echoey in order to assert its confidence, passion, and weight. On the contrary, it may be heard and felt through the imagery or ambiance it evokes, hence an overall Impressionist effect that comes across as distinctly moving yet oblique.