Latin America is home to a large East Asian diaspora, the result of much the same forces that created the not dissimilar diaspora in North America; the authors arising in that other diaspora, however, write in Spanish (and perhaps Portuguese, depending on how one defines things) rather than English. Very few of these works end up in English. The arrival of The Enlightenment of Katzuo Nakamatsu by Augusto Higa Oshiro in an inspired translation by Jennifer Shyue, is a glimpse into a world and literary tradition that English readers rarely get to experience.
Author: Peter Gordon
The first half of May was been a busy fortnight for opera in the Greater Bay Area. The renowned Chinese soprano He Hui sang her first Wagner role, Senta in Der fliegende Holländer, at the Guangzhou Opera House on 5 and 7 May, a dramatic move (literally and figuratively) away from the Verdi and Puccini heroines for which she is best known.
There is nothing, really, in the title of Fortune’s Bazaar: The Making of Hong Kong to indicate that Vaudine England’s new history centers neither the British colonialists nor the (to a greater or less extent) native Chinese, but rather everyone else—Parsis, Armenians, Baghdadi Jews, Portuguese and Macanese and, in particular, “Eurasians” (a term which merits the inverted commas)—who, she writes, “through their lives have accidentally created the place.”
Il trovatore, Opera Hong Kong’s second production of the year so far, opened with a star-studded cast featuring soprano Martina Serafin as Leonora, tenor Marco Berti as the troubadour Manrico, baritone Simone Piazzola as the villainous Conte di Luna and mezzo-soprano Marianne Cornetti as Azucena, all performing in a simple yet elegant revolving set.
Sometimes one ends up reviewing the book one read rather than the one that was written. Lin Zhang’s The Labor of Reinvention: Entrepreneurship in the New Chinese Digital Economy is more sociology than tech, more labor theory than business. But it is also a granular, grass-roots, bottom-up view of the past couple of decades of the development of China’s digital landscape. As such, she provides color and detail to the developments that have been covered in a far more generalized and ad hoc way as business stories.
There is a general consensus that in 1820, China had the world’s largest economy. By the end of the century, it was suffering from an existential crisis. Much ink, scholarly and otherwise, has been spilled as to what went “wrong” and why; somewhat less common are discussions as to how China came to terms with the new globalized reality and what it, and Chinese society, did to emerge from the other side.
While the first two books in Ahmet Altan’s “Ottoman Quartet”, Like a Sword Wound and Love in the Days of Rebellion, could be read as stand-alone novels, the third installment, Dying is Easier than Loving, requires familiarity with the story that came before.
Thailand remains under-represented in English-language fiction, contemporary or otherwise; little has been translated and only a little more has been published by authors who can claim roots in the country. Mai Nardone is a Thai-American writer who, while represented in such mainstream publications as Granta, McSweeney’s and Ploughshares, was raised and lives in Bangkok: any debut would be welcomed; it helps that his is very good.
While perhaps not immediately obvious, the appeal of George Frideric Handel’s Giulio Cesare as an Academy production becomes clear once the production is underway.
Philip Snow opens his engaging, and refreshingly straightforward, history of Sino-Russian relations with an observation born out ever more frequently in the opinion pages of current (at least English-language) newspapers: “Ever since they emerged from the rubble of the Second World War Western societies have looked with apprehension on either Russia, or China, or both.” Today, it’s fair to say, it’s probably “both”.
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