The Earth may be divided among many countries, but since there is only one Heaven, there can be but one tianxia, or “all-under-heaven”. The Chinese concept tianxia might be literally translated into English as “sky-beneath”, and it has been variously rendered as “enlightened realm”, “world-system”, or simply “the world”. To keep Chinese scholars happy, just don’t translate it as “empire”. The West had empires. China had tianxia.
The word sensei in Japanese literally means “one who came before,” but that’s not what Janet Pocorobba’s teacher wanted to be called. She used her first name, Western-style. She wore a velour Beatles cap and leather jacket, and she taught foreigners, in English, the three-stringed shamisen, an instrument that fell out of tune as soon as you started to play it. Vexed by the music and Sensei’s mission to upend an elite musical system, Pocorobba, on the cusp of thirty, gives up her return ticket home to become a lifelong student of her teacher. She is eventually featured in Japan Cosmo as one of the most accomplished gaijin, “outside people”, to play the instrument.
If it hadn’t been for Ezra Pound and a 20th-century literature course at university, I would never have heard of Li Bai, and even then I thought his name was Rihaku, because in 1915 Pound, who knew absolutely no Chinese at all, published a number of “translated” poems by Rihaku in a collection entitled Cathay.
The author and journalist Xinran has written a number of non-fiction books about women in contemporary China, but in her latest book she goes back in time to examine the changes in love and marriage since the Republican era. Much has been written about political, social, and economic changes in China since before the 1949, but few authors apart from Lynn Pan—who explored the common notion that love originated in the West before it arrived in China—have taken an intimate look the Chinese women’s private lives spanning four generations.
Asians, in general, need little convincing that the United States is, if not an empire per se, at least imperial. The title of How to Hide an Empire might therefore be seen as an attempt at irony.
A tiger hunt! In No Beast so Fierce, Dane Huckelbridge tells the exciting true story of the extirpation of a man-eating tiger in colonial India in 1907. This was no safari with a fleet of elephants and an army of bearers. It was one Irishman with a rifle and three cartridges on foot against a tiger that had killed and eaten about 440 persons over a span of about a decade. The numbers are inexact because deaths of rural women collecting firewood weren’t carefully recorded in those years.
In August 1954, the United States revised its revenue code to allow the accelerated depreciation of fixed asset investments. The move was designed to encourage American manufacturers to invest in new plant and equipment. Its actual effect was to fuel an explosion in shopping center construction.
What is the modern in Southeast Asia’s architecture and how do we approach its study critically? This pathbreaking multidisciplinary volume is the first critical survey of Southeast Asia’s modern architecture. It looks at the challenges of studying this complex history through the conceptual frameworks of translation, epistemology, and power.
Some international relations scholars and commentators are rediscovering that Eurasia is a geopolitical unit, a “supercontinent”, in the words of Bruno Maçães in his interesting new book The Dawn of Eurasia. Maçães traces the origins of the term Eurasia to Austrian geologist Eduard Suess in 1885, but the idea that Eurasia should be viewed as a single geopolitical unit is traceable to the great British geopolitical theorist Sir Halford Mackinder in a little-remembered article in 1890 entitled “The Physical Basis of Political Geography”.
Oba Yozo, the central character and anti-hero of Dazai Osamu’s Ningen Shikkaku, is as familiar to Japanese readers as Holden Caulfield is to English readers. The Catcher in the Rye still sells a million copies per year, in dozens of languages, while in Japanese only a few novels, notably Natsume Soseki’s Kokoro, routinely outsell Ningen Shikkaku. Catcher, however, pales beside Ningen as a literary achievement.
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