Haruki Murakami is a big Raymond Carver fan. He translated Carver’s works into Japanese with great enthusiasm during the early 1980s, and in 1984 Murakami and his wife Yoko made the journey to meet Carver at his house on the Strait Juan de Fuca, just round the coast from Seattle. Though this West Coast rendezvous was their only meeting, Carver has influenced Murakami’s career on multiple occasions. When the time came to find an American agent, Murakami was drawn to Carver’s former rep, Binky Urban, precisely due to her connection with the American novelist.
One of the most fascinating and mysterious literary phenomena is the process by which one author, Shakespeare, Pushkin, Dante, or in this case, Hafez, comes to loom so high above all their talented and successful contemporaries. Most poetry lovers outside of Iran will not recognize the names of any of Hafez’s rivals and colleagues, and would be surprised to learn that they once enjoyed reputations equal to his.
The twilight of the Ming Dynasty in Southern China, with its elegant courtesans, poets and playwrights, pageants, drinking bouts and boat rides, bedazzled the generation which witnessed its fall in 1644. It inspired a literary legacy which has fascinated readers ever since. The Ming twilight in “Southland” is immortalized in Kong Shang-Ren’s (d. 1719) classic opera “The Peach Blossom Fan”. Kong interviewed many protagonists of the late Ming, including Yu Hai (d. 1693), whose memoirs are translated here by Harvard’s Wai-Yee Lee.
Reviews of Asian fiction, poetry and non-fiction in translation from 2019, from Japanese, Chinese, Sanskrit, Tibetan, Korean, Bahasa Indonesia, Hindi, Farsi, Russian, French and German.
The classic Chinese novel The Water Margin (Shuihu zhuan) tells the story of a band of outlaws in 12th-century China and their insurrection against the corrupt imperial court. Imported into Japan in the early 17th century, it became a ubiquitous source of inspiration for translations, adaptations, parodies, and illustrated woodblock prints. There is no work of Chinese fiction more important to both the development of early modern Japanese literature and the Japanese imagination of China than The Water Margin.
The diva is a nearly universal phenomenon. When Tosca sings in Giacomo Puccini’s opera of devoting her life to art and love, she speaks not just for herself but for a tradition of divas connecting Rome’s Teatro Argentina to Shiraz’s mystical soirées, to the pleasure pavilions of Delhi, to the entertainment quarter of Yangzhou.
The diva is a nearly universal phenomenon. Wherever poetry, music and mime have been practised with virtuosity, great women performers always take centre stage. Traditional Asian divas are however less well known and understood among English language readers than the great divas of Mozart and Puccini. Whether from Shiraz at the court of the Injuids, from Delhi during the twilight of the Moghuls, or from Yangzhou under the last Ming emperors, these Asian divas constitute the first identifiably modern women.