If one ever forgets what poetry is for, this newly-released collection is a reminder of its ability to renew, sooth and provoke. Mirror is a translation of a lengthy posthumous selection of Chinese poet Zhang Zao’s lifelong opus.
Author: Peter Gordon
Political memoirs or, worse, philosophical treatises by political leaders, are often books best avoided. Yet Anwar Ibrahim’s recent Rethinking Ourselves is nonetheless one the most erudite collection of essays out in this or any recent year.
Although no longer as true as it was, East Asian trade in the early-modern period is often presented from the perspective of one more Western nation or another: the Spain’s Manila Galleon trade, the Portuguese spice trade and unique base in Macau, the Dutch East India Company, and latterly, the British via Canton and Hong Kong.
Prose poetry can be hard to get a handle on. It is literally oxymoronic, like “documentary fiction”; such terms are perhaps a recognition that most categories are really endpoints on a spectrum. As one now does in these situations, one asks AI, which unhelpfully replied: “Prose poetry is a hybrid literary form that adopts the structural format of prose—paragraphs without line breaks—while employing the stylistic and rhetorical devices of poetry.”
Mesopotamia is having a moment. Moudhy Al-Rashid’s Between Two Rivers: Ancient Mesopotamia and the Birth of History, joins among others Land Between the Rivers: A 5,000-Year History of Iraq by Bartle Bull, The Center of the World: A Global History of the Persian Gulf from the Stone Age to the Present by Allen James Fromherz and, some more esoterically, Enheduana: The Complete Poems of the World’s First Author by Sophus Helle, all released in the last 12 months or so.
Mandy Moe Pwint Tu describes herself as “a pile of ginkgo leaves in a trench coat from Yangon, Myanmar”; it perhaps comes as no surprise that she is a poet. She is also one now firmly ensconced in American poetry circles and with an MFA under her belt. Fablemaker is her first full-length collection and includes poems from her earlier chapbooks.
It never rains but it pours. From having no English translations of Akutagawa Prize-winning Rie Qudan, three of her novels have (or soon will have) become available in a matter of months, the first two—“Schoolgirl” and “Bad Music”—in a combined volume from Australian publisher Gazebo and Sympathy Tower Tokyo from Penguin in Britain and Summit in the US.
Nan Z Da has been teaching Shakespeare’s play King Lear, she says, for more than six years. One cannot help but envy her students.
The marketing blurb for Amitav Acharya’s most recent book From Southeast Asia to Indo-Pacific begins, rather portentiously, “Southeast Asia was created by geopolitics, and it might die with it.” The book itself, thank goodness, is a considerably more measured (and clearly-written) overview of how Southeast Asia and ASEAN came to be more or less synonymous and how the region, as a region, might fare in the newly-turbulent world of the second quarter of the 21st century.
The noun “Partition” (with a capital “P”) has, in South Asia and perhaps globally, come to mean the 1947 split of India and Pakistan, a climactic event that still roils, if not poison, domestic and international politics.
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