Graphic novels are taken more seriously in Europe than in the English-speaking world, and so it is perhaps not surprising that The King of Bangkok, a socio-political-historical narrative based on ten years of ethnographic research by anthropologist Claudio Sopranzetti, first appeared in Italian. Although a “novel” in the sense it’s fictionalized, the elements (say the…
Back in the early 1990s, when I was trying to pitch the idea of including Vladivostok-listed stocks in Asian emerging markets funds, I was told by one Hong Kong fund manager that “Asia stops at the Amur River.” Three decades or so on, that aphorism might still serve to summarize the findings contained in Franck…
The story could be from Disney: in 1653, 14-year-old Venetian Nicolò Manucci, suffering from youthful wanderlust, stows away on a ship. Befriended (and hired) by an English nobleman (Henry Bard, Viscount of Bellomont) en route to Persia to solicit assistance from the Shah for exiled Charles II, he travels through the Ottoman Empire to Esfahan….
One doubts COP26 made much of an impression on Georgetown University’s Thane Gustafson; his recent book Klimat: Russia in the Age of Climate Change doesn’t even entertain the possibility that climate change can be stopped, to say nothing of being reversed.
Neither the “Indian abroad” nor the “gaijin in Japan” novel are particularly rare, but by making an intra-Asian combination of these two, Sarayu Srivatsa has, with her latest novel That Was, turned these two sub-genres on their head.
In the annals of Russian and Soviet literature and drama, Sergei Tretyakov is not perhaps the first name on the list. He remains, says Robert Leach, “curiously elusive”. Yet he was “absolutely at the heart of avant-garde modernism”, collaborating closely with Sergei Eisenstein, “one of the poet Vladimir Mayakovsky’s most intimate associates” and an influence…
There was a time when to get to Moscow from Hong Kong, one had to transit through Bangkok onto an Ilyushin which came down, due to its relative short range, in both New Delhi and Tashkent before finally arriving at Sheremetyevo.
Cantonese is only rarely included as part of broader discourses on language, but journalist James Griffiths (who lives in Hong Kong) has it as one of three languages considered in detail in his new book Speak Not: Empire, Identity and the Politics of Language.
Photographer Arseniy Kotov has a thing for “modernist” Soviet architecture and has made a career of documenting it via (this being now a decidedly post-Soviet world) Instagram, entries to which were gathered into a book Soviet Cities which has been followed by Soviet Seasons, a collection of photos divided into four quarters, nominally by time…
The brilliant set of the Opera Hong Kong’s new production of Madama Butterfly, which opened on 6 October, is a panel set a few meters back from the front of the stage that emulates the front of a Japanese house. The room itself is set into this panel almost 2 meters above the stage floor….
Diversity, even—or perhaps especially—Asian diversity, in crime novels and dramatizations is of course nothing new: Inspector Ganesh Ghote first appeared in 1964; Priyanka Chopra debuted in Quantico in 2015. But, mirroring the real world, there is now diversity within the diversity. Bloody Foreigners, Neil Humphreys’s latest “Inspector Low” novel, this time has the bipolar Singapore…
Anyone who has gone even slightly off the beaten track in Southeast Asia is likely to have come across “sea people”, which go by various names: Orang Laut, Sama Bajau, Chao Le, “Sea Gypsies”. These are the people covered in Sea Nomads of Southeast Asia From the Past to the Present, a recently-published collection of…
Written when the composer was just 12, Wolfgang Amadeus Mozart’s La Finta Semplice qualifies as a real rarity. After a performance the year following its composition, it dropped from the repertoire and was not staged again until modern times. That Musica Viva’s recent production at Hong Kong’s City Hall was a premiere seems beyond doubt,…
This story of business in China starts, alarmingly, with a hostage-taking over a commercial dispute. But rather than launching into a tale of business noir, the author admits that, well, the hostage-taker had a point: he had not in fact been paid.
Perhaps it was being forced to skip a year that prompted Opera Hong Kong to step outside the normal commercial comfort zone and program Vincenzo Bellini’s I Capuleti e i Montecchi for this year’s summer semi-staged production at City Hall. Whatever the genesis of the decision, it was a fortuitous choice.