Pirates and piracy seem to be about as universal as death and taxes, and Chinese and Western piracy bear much in common, from violence and hardship, to oppression from the authorities as both cause and consequence, as well as a certain amount of popular romanticism. In Outlaws of the Sea, Robert J Antony provides an overview of the Chinese version of the phenomenon, situated “along the southern coast of China and in the South China Sea between the 1630s and 1940s,” which he places firmly in the broader sweep of Chinese history.
Author: Peter Gordon
The modern classics of Southeast Asian literature, with the singular exception of Pramoedya Ananta Toer, largely remain a blank spot on the English-language literary map. Thank goodness, then, that Penguin Southeast Asia has in recent years published translations from, for example, Vietnamese and Tagalog; Pauline Fan’s recent translation of a collection of Malay short fiction by the iconic writer Fatimah Busu is a welcome addition.
Hong Kong rounded out the Puccini centenary year with Musica Viva’s new production of Il Trittico (“The Triptych”), a trio of one-act operas. Each is sufficient in itself, yet the whole magically becomes greater than the sum of its parts. Il tabarro (“The Cloak”) leads off with tragic melodrama, Suor Angelica is both spiritual and a tear-jerker, while Gianni Schicchi is Puccini’s sole foray into comic opera buffa.
Books can be the subjects of podcasts, podcasts can spawn books, but only rarely does a podcast itself rise to be a possible stand-in for a book. Paul Cooper’s recent two-part podcast “The Mongols: Terror of the Steppe” is one of these.
As an award-winning novelist, Jeet Thayil may need little introduction, but given that I’ll Have It Here is his first collection in a decade and a half, some readers may need some reminding that he is also an accomplished poet.
Ruth Mandujano López starts her book Steamships across the Pacific with, as seems almost de rigueur now for almost any book about Latin American-Asian relations, with the history of the Manila Galleon, but for her, this is a point of comparison and departure.
Titles from the venerable Penguin Classics imprint are usually books one knows one should have read even if one hasn’t (yet): known unknowns, as the famous saying goes. Behind the Painting by Thai author Siburapha is, even for the well-read anglophone consumer of literature, likely to qualify as an unknown unknown. First published 1937, this slim novel is one of Thailand’s best-known modern classics, has been adapted to film twice (as well as three stage musicals), and is a common set text in Thai secondary schools. Yet it is surely largely unknown outside Thailand.
Japanese woodblock prints of the 18th and 19th centuries are, one comes to realize, one of the earliest example of mass commercial art, at least purely secular art, and one that still resonates with modern sensibilities. As testament to their volume, Britain’s Victoria & Albert Museum has, quite literally, tens of thousands of prints, a collection which began with an acquisition from the 1886 Exposition Universelle in Paris and rounded out, if that’s the word, with a purchase in 1886 (“at the height of Japonisme”) of more than 12,000 from the London-based Asian art dealer, SM Franck & Sons. Fortunately, this volume, which features prints from the collection, also testifies to their aesthetics and long-lasting appeal.
Much has already been written about the Manila Galleon, the system of annual commercial sailings between Manila and Acapulco that dominated trans-Pacific trade for two and a half centuries from the latter part of the 16th-century until the early 19th, a development which is often taken to mark the beginning of “globalization”. Juan José Rivas Moreno reviews much of that as background, but unlike perhaps any other book on the subject to date, he turns his gaze to what was going on in Manila itself.
At a time when much of what passes for international commentary has the depth and nuance of a tweet, Geoff Raby’s Great Game On is something of a relief. The former Australian Ambassador to China keeps his politics largely to himself, but doesn’t have much time for mainstream Western (read “American” for the most part) views, which he finds simplistic.
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