“You are what you eat,” or so goes a well-worn adage. But what if “you” are an 18th-century Brit and “what you eat” is exotic fare from the Orient? The implications are explored by Yin Yuan in Alimentary Orientalism: Britain’s Literary Imagination and the Edible East.
Literary criticism
Literature tends to be defined by language and place. For instance, Japanese literature is written in Japanese, or translated into another language, and written by Japanese authors. Chinese literature is however a little more complex because writers may also hail from Taiwan, Hong Kong, Singapore, and Malaysia. In most of these places, citizens—a significant minority if not the vast majority—speak, read, and write Chinese. In the case of Hong Kong and Singapore, ethnically-Chinese writers may also read and write in English. But Malaysia is a case apart. Despite the Chinese being a minority that speak a variety of languages and dialects, there has been a robust Chinese literary tradition from Malaysia for almost a century. Cheow Thia Chan’s new book, Malaysian Crossings: Place and Language in the Worlding of Modern Chinese Literature, discusses the history and complexities of Mahua, or Malaysian Chinese literature, to show how it has developed and endures stronger than ever today.
Over the last decade or two, publishing has seen an increase in graphic novels and comics from Asian American writers and illustrators that addresses both contemporary and historical topics. Eleanor Ty has put together a collection of nine essays, including one of her own, in Beyond the Icon: Asian American Graphic Narratives, to demonstrate how these graphic novels and comics also tell a larger story than the ones depicted in their pages.
Paper Republic’s definitive guide to contemporary Chinese literature in translation features detailed biographical entries covering almost 100 of the most important writers working in the Chinese language today, from Anni Baby to Zhang Yueran, by way of Nobel Prize-winner Mo Yan.
Beyond English: World Literature and India radically alters the debates on world literature that hinge on the model of circulation and global capital by deeply engaging with the idea of the world and world-making in South Asia. Tiwari argues that Indic words for world (vishva, jagat, sansar) offer a nuanced understanding of world literature that is antithetical to a commodified and standardized monolingual globe.
Ideas about how to study and understand cultural history—particularly literature—are rapidly changing as new digital archives and tools for searching them become available. This is not the first information age, however, to challenge ideas about how and why we value literature and the role numbers might play in this process. The Values in Numbers tells the longer history of this evolving global conversation from the perspective of Japan and maps its potential futures for the study of Japanese literature and world literature more broadly.
New Book Announcement: “A Companion to The Story of the Stone” by Susan Chan Egan and Pai Hsien-yung
The Story of the Stone (also known as Dream of the Red Chamber) is widely held to be the greatest work of Chinese literature, beloved by readers ever since it was first published in 1791. The story revolves around the young scion of a mighty clan who, instead of studying for the civil service examinations, frolics with his maidservants and girl cousins. The narrative is cast within a mythic framework in which the protagonist’s rebellion against Confucian strictures is guided by a Buddhist monk and a Taoist priest. Embedded in the novel is a biting critique of imperial China’s political and social system.
Serendipity, we may say, is a wonderful thing sometimes. Here are both a newly expanded edition of Hinton’s translation of Tu Fu’s poems, and at the same time his book about Tu Fu’s life as exemplified in an examination of some of these poems as they relate to the poet’s precipitous journey through life.
The classic Chinese novel The Water Margin (Shuihu zhuan) tells the story of a band of outlaws in 12th-century China and their insurrection against the corrupt imperial court. Imported into Japan in the early 17th century, it became a ubiquitous source of inspiration for translations, adaptations, parodies, and illustrated woodblock prints. There is no work of Chinese fiction more important to both the development of early modern Japanese literature and the Japanese imagination of China than The Water Margin.
The diva is a nearly universal phenomenon. When Tosca sings in Giacomo Puccini’s opera of devoting her life to art and love, she speaks not just for herself but for a tradition of divas connecting Rome’s Teatro Argentina to Shiraz’s mystical soirées, to the pleasure pavilions of Delhi, to the entertainment quarter of Yangzhou.
You must be logged in to post a comment.