Aatish Taseer, with roots in England, India, Pakistan, and the USA, appears to be a member of the globalized elite, able to call multiple nations his own. For Taseer, however, there is only one country he calls home. A self-described “Indian writer”, Taseer, for much of his adult life, has distanced himself from his absentee, Pakistani politician father. Still, despite Taseer’s best efforts, his father’s nationality has come back to haunt him.
For many middle and high school students across the United States, the book Farewell to Manzanar has been their introduction to one of the darkest times in American history. Jean Wakatsuki Houston’s memoir tells of her childhood years in what was called the Manzanar War Relocation Center but in reality was a concentration camp. From 1942 until just after the end of the war in 1945, more than 120,000 Americans of Japanese descent were held in Manzanar alone. It wasn’t the only concentration camp for first, second and third generation Japanese-Americans, but it is the most well-known because of Wakatsuki Houston’s book, first published a half-century ago.
In 1898, during an era of racial terror at home and imperial conquest abroad, the United States sent troops to suppress the Filipino struggle for independence. The deployment included three regiments of the famed African American “Buffalo Soldiers.” Among them was David Fagen, a twenty-year-old private in the Twenty-Fourth Infantry, who achieved notoriety after deserting to join the Filipino guerrillas.
Mud, blood, farts and plenty of swearing: esteemed author Jia Pingwa minutely details the brutal reality of peasant life in this magnum opus set during the Cultural Revolution.
The American expat-in-Asia novel has been done so many times it’s practically its own genre, but the inverse is almost unheard of—until now. Naomi Xu Elegant’s debut novel, Gingko Season, is a witty, humorous and clever story of twenty-five-year-old Penelope Lin, an expat from Beijing who navigates adulthood alongside a diverse cast of friends.
For centuries, scribes across East Asia used Chinese characters to write things down–even in languages based on very different foundations than Chinese. In southern China, Japan, Korea and Vietnam, people used Chinese to read and write–and never thought it was odd. It was, after all, how things were done.
Bali 1952: Through the Lens of Liu Kang documents a seven-week trip to Java and Bali in 1952 by four China-born and Shanghai-trained Singapore artists—Chen Wen Hsi, Chen Chong Swee, Cheong Soo Pieng and Liu Kang—to sketch and paint tropical beauty.
That Before Colonization can be read in several ways is to its favour, but also makes it hard to review. It takes aim at the way international relations (referred to by the field’s formal initials IR) has tended to go about its business; it is also a refreshingly straightforward discussion of, as in the subtitle, “Non-Western States and Systems in the Nineteenth Century”, which includes clear explanations of theory as well as numerous interesting examples. But, most interestingly perhaps, authors Charles R Butcher and Ryan D Griffiths also treat their data statistically, implying that IR could do with some additional empirical rigor.
It’s customary to begin writing on North Korea by acknowledging how difficult it is to get reliable information from such a secretive and tightly-controlled regime in such a highly politicized context. Though an undoubtedly repressive regime, in an information vacuum misinformation can spread, such as the easily-disproved but persistent misconception that all North Korean citizens must sport the same distinctive hairstyle as their leader Kim Jong-un.
The new exhibit at Hong Kong’s Palace Museum is somewhat undersold by its title: “Wonders of Imperial Carpets”. There are indeed carpets—marvelous and quite extraordinary carpets—but the lesson of the exhibition—that of the two-way artistic and cultural influence between China and Islamic world—is mostly carried in the other exhibits, the bronzes, pottery, books, drawings and paintings drawn (with a few exceptions) from the collections of the Museum of Islamic Art in Doha, Qatar.
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