There’s something about old Hong Kong and Shanghai that lend themselves to ghost stories and mysteries. They share a similar history during World War II as well as traditions like the Tomb Sweeping and Hungry Ghost Festivals that honour the dead. The two cities are also known for stately old colonial homes, many of which still remain today. After Kristen Loesch lived in Hong Kong 15-20 years ago, she learned of Dragon Lodge, an abandoned old home on the Peak rumored to be haunted, and formed the story that would become her new novel, The Hong Kong Widow, an engaging ghost story that alternates between wartime Shanghai, 1950s Hong Kong, and present-day US and Hong Kong. To add an extra touch to this chilling story, Hong Kong artist Jiksun Cheung’s illustrations are scattered throughout the story.
Hong Kong
Fifteen years have passed between the publication of Hon Lai Chu’s 《缝身》 (“Seam”) and Mending Bodies, its English translation by Jacqueline Leung. Readers who feel those years mark a drift toward dystopia may detect the eerie touch of prophecy in Hon’s writing. Yet she also digs into human problems with neither expiration date nor borders.
The star in Opera Hong Kong’s new production of Wolfgang Amadeus Mozart’s singspiel “The Magic Flute” is the staging. That is not to take anything away from the singing: Mexican tenor Andrés Moreno Garcia as Tamino, Americans John Chest and Sofia Troncoso (Papageno and Pamina) all sang credibly. Local soprano Rachel Kwok was a sparky Papagena and the “three ladies” (Candice Chung, Ashley Chui and Carol Lin—done up as airline stewardesses, more of which later) more than held their own.
Did you know Hong Kong used to be a hub for pirates? That factoid has long been part of the popular history for Hong Kong—and for Southern China broadly. For centuries, Chinese pirates raided merchants and coastal communities up and down the Chinese coast, taking advantage of weak imperial rule and safe havens like what’s now present-day Vietnam.
Dreamy and playful, Gabrielle Tse’s debut pamphlet Rustlings speaks to memory and domesticity, maintaining a balletic lightness above fractures in language and heritage. With all its subtle sounds and textures, Rustlings is a sensuous exploration of the absences and complications of daily life.
Karissa Chen’s debut novel, Homeseeking, a sweeping family saga set across eight decades, is informed in part by her grandfather’s story. In her author’s note, she writes that she became interested in Chinese exiles in Taiwan a couple decades ago, just after her grandfather’s death. One of the images from her grandfather’s belongings was a photo of her grandfather crying before his mother’s grave in Shanghai. He was especially distraught because he hadn’t seen his mother since he left China just before the Communist victory in 1949 and was unable to return more than half a century later, after his mother passed away.
This being the centenary of Giacomo Puccini’s death, operas from the popular Italian composer featured often in the list of operas performed in 2024 in Hong Kong and nearby.
Hong Kong rounded out the Puccini centenary year with Musica Viva’s new production of Il Trittico (“The Triptych”), a trio of one-act operas. Each is sufficient in itself, yet the whole magically becomes greater than the sum of its parts. Il tabarro (“The Cloak”) leads off with tragic melodrama, Suor Angelica is both spiritual and a tear-jerker, while Gianni Schicchi is Puccini’s sole foray into comic opera buffa.
Ruth Mandujano López starts her book Steamships across the Pacific with, as seems almost de rigueur now for almost any book about Latin American-Asian relations, with the history of the Manila Galleon, but for her, this is a point of comparison and departure.
A letter from a nephew to his uncle who died before he was born. It serves as a window into parts of a Eurasian child’s life which his family can never know, documenting his attempt to navigate racial confusion, religious trauma, the meaning of friendship, and the struggle for self-discovery in a shifting culture on the eve of the 1997 handover of Hong Kong to the People’s Republic of China.
You must be logged in to post a comment.