Journey to the West, and especially the character of Sun Wukong, the Monkey King, is beloved by readers across China, East Asia, and beyond. The story and its characters have been written and rewritten in books, comics, graphic novels, movies, television shows, and video games. In many ways, Journey to the West and Son Wukong have become archetypes: stories and characters that people refer to and recognize, without ever looking at the original source material.

The French philosopher Jacques Derrida once described his idea of absolute hospitality as follows:

 

Absolute hospitality requires that I open up my home and that I give not only the foreigner, but to the absolute, unknown, anonymous other, and that I give place to them, that I let them come, that I let them arrive, and take place in the place I offer them, without asking of them either reciprocity (entering in a pact) or even their names.

 

In 1935, the writer Baburao Patel wrote the following about Bombay’s film industry:

 

In India, with financing conditions still precarious, the professional film distributor thrives… He comes with a fortune made in share and cotton gambling, advances money to the producer at a killing rate of interest plus a big slice of royalty and recovers his investment by blackmailing the exhibitors into giving heavy and uneconomic minimum guarantees. His only aim in life is to multiply his rupee and in prosecuting this aim he does not worry about the future of the industry or about the existence of the producer or exhibitor.

 

Around the Chinese New Year period, millions of Chinese migrant workers return home from jobs in China’s major cities to their rural villages to visit their families. China’s urban centers and factory towns rely on migrant workers from provinces like Guizhou: places that are still relatively underdeveloped, despite the massive growth seen on China’s coasts. The fact that, this year, many migrants likely can’t return home due to the COVID-19 pandemic is a reminder of the instability that defines much of their lives.

 

At 10:20pm on 15 August 1969, Ravi Shankar—then, and still, the most famous practitioner of the sitar and Indian classical music—takes the stage at Woodstock. It’s arguably the zenith of Indian music’s popularity in the West, with musicians like the Beatles, the Byrds and Led Zeppelin embracing elements of Indian music. But this was merely the middle-point of Shankar’s artistic development, nor was it a personal highlight in a long and storied career. For many musicians in several different genres, both in and outside of India, Shankar is the most important messenger for the ideas and concepts of Indian music.

The COVID-19 pandemic has affected every country around the world in a manner not seen since the Great Financial Crisis of 2008, and is perhaps one of the most transformative events in decades. Most countries and governments have played catch-up to the pandemic, trying to get a handle on case numbers after an explosive increase. But a few places: Taiwan, Singapore, Hong Kong, South Korea, New Zealand, Australia, Vietnam and China appear to have kept the virus largely under control.