Many years ago a Parisian dance act from Pigalle received an invitation to play at a nightclub on Cairo’s Pyramid Road. Like “costumes” at the Crazy Horse today, the dancers’ body stockings left nothing to the imagination. The audience of worldly Cairiotes, the tarbouche-wearing musicians with their lutes and durabukas, the indefatigable army of busboys, gazed on this spectacle of female nubility with a mix of indifference and condescension.
In many ways, Taiwan presents a compelling example of how autocratic regimes impose their will on a population, often as colonial overlords. A peaceful island peopled by Austronesians and ethnic Chinese, rich in agricultural output, has been a geopolitical pawn in recent history, first by the Japanese and then the defeated regime of Chiang Kai-shek in China. Parallels throughout the world are not difficult to find.
Mirza Ghalib is one of the most celebrated poets in the Urdu literary canon. Yet, at the time, Ghalib was prolific in both Urdu and Persian.
Edward Rutherfurd is known for massive historical novels usually set in cities like New York, Paris and London. They dig deeply into a specific place and he focuses on a certain period. His latest is titled China and spans the last seventy years of the Qing Dynasty: which covers the Opium Wars, Taiping and Boxer Rebellions, and Pu Yi’s ascension to the throne as the last emperor.
If anyone thought Sei Shōnagon (ca 964-after 1027) was little more than a gossipy, snooty, disingenuously prim and sometimes acerbic observer of life at the effete Heian court of ancient Japan, here is a book to prove that notion completely wrong. Not only can her classic Pillow Book be read on several levels, but it has enjoyed a life of its own as different generations of readers interpret it and reimagine it.
Heaven is excruciating. Readers share viscerally in the protagonist’s victimization at the hands of sadistic bullies. Fans of Breasts and Eggs, Mieko Kawakami’s first novel published in English in 2020, might be expecting another women-centered narrative. Heaven is radically different. This time, an unnamed male narrator describes his appalling position in the social hierarchy of his junior high school.
Lindsey Miller spent two years in North Korea from 2017 to 2019 when her husband was posted to the British Embassy in Pyongyang. Miller (some research reveals) has a career of her own (she is currently musical director at the Royal Shakespeare Company) and finding herself (one supposes) somewhat at loose ends as a diplomatic spouse, started taking photographs.
In his debut short story collection, Jonan Pilet explores the lives of Mongols and expats, looking for a sense of home within the nomadic culture. Based on the author’s insights having grown up in Mongolia, the series of interlinked narratives capture the cultural turmoil Mongolia experienced after the fall of the Soviet Union, painting a vivid picture of Mongol landscapes, Western interactions, and the rise of cultural tensions.
Cai Feng is a twenty-two year-old studying for China’s university entrance exams after failing year after year since he first sat for the exams at the age of eighteen. Most of his high school classmates are graduating from university and starting professional jobs, yet Feng continues to disappoint his parents and their expectations for their only child.
When Micaëla comes on Act III, looking for the estranged Don José at the smugglers’ camp, she sings that Je dis que rien ne m’épouvante—“I tell myself that nothing will frighten me”. One could sense, in this, its first full-staged production in eighteen months, Opera Hong Kong telling itself much the same thing.
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