“What might it mean to take the dead seriously as political actors?” asks Lia Kent. In Timor-Leste, a new nation-state that experienced centuries of European colonialism before a violent occupation by Indonesia from 1975 to 1999, the dead are active participants in social and political life who continue to operate within familial structures of obligation and commitment.
Does Southeast Asia “exist”? It’s a real question: Southeast Asia is a geographic region encompassing many different cultures, religions, political styles, historical experiences, and languages, economies. Can we think of this part of the world as one cohesive “place”?
Magdaragat is Filipino for “seafarer” or “mariner.” Its dictionary meaning is straightforward enough, and even those with only cursory knowledge of the lands colonially known as “the Philippines” will understand why one would choose that word as the title for an anthology of Filipino diasporic writing. After all, the Philippines is an archipelago of approximately 7,000 islands in the South Pacific; the sea, as both literal and metaphorical entity, has dominated Filipino life—economically, politically, and culturally—since time immemorial.
In the wake of anticolonial struggles and amid the two world wars, twentieth-century Southeast Asia churned with new political, cultural, and intellectual realities. Liberal democracies flourished briefly, only to be discarded for dictatorships and other authoritarian regimes as the disorder and inefficiencies inherent to democracy appeared unequal to postcolonial and Cold War challenges. Uniquely within the region, Laos maintained a stable democracy until 1975, surviving wars, coups, and revolutions. But Lao history during this period has often been flattened, subsumed within the tug-of-war between the global superpowers and their puppets.
Tatsuhiko Shibusawa’s 1987 novel Takaoka’s Travels opens like a straightforward volume of history: “On the twenty-seventh day of the first month in the sixth year of the Xiantong era, Prince Takaoka set sail from Guangzhou on a ship bound for Hindustan.” Takaoka was a real historical figure, son of the Japanese Emperor Heizei (ruled 806-809 CE).
Although it is the Silk Road that captures most of the contemporary attention and discussion, it was in fact spices, not silk, that drove Western Europeans to seek routes to Asia. “Lightweight and durable, spices” writes Roger Crowley in his new history (appropriately entitled Spice), “were the first truly global commodity … they could be worth more than their weight in gold.”
“At least 45,000 years ago, an artist using red ochre painted a mural of warty pigs at the back of a cave near modern-day Makassar on Sulawesi. The artist ‘signed’ the work with hand stencils. The mural is the oldest known representational art associated with modern Homo sapiens anywhere in the world.” This is just one of a multitude of details in Eric C Thompson’s The Story of Southeast Asia that one feels one should have known, but probably didn’t. A rather later one is that the word “Malay” did not originally specify an ethnicity.
The Glass Islands: A Year in Lombok chronicles Australian Mark Heyward’s triumphs and struggles in building a house on the Indonesian island directly east of Bali. The idea behind the title is that the islands of Indonesia are opaque and don’t reveal their troubled histories apart from in the odd transparent, or glass-like, moment.
As Comet Hyakutake passes Earth in March 1996, four friends experience an array of puzzling events: the dead reappear and the living disappear. Daryl Qilin Yam’s Lovelier, Lonelier begins in Kyoto, where the paths of Isaac Neo, Tori Yamamoto, Jing Aw and Mateo Calvo Morales first intersect, and where the trajectory of their lives change after one weekend together. Divided into three parts to weave through different perspectives, years and cities including Kyoto, Madrid and Singapore, Yam presents a story of once-in-a-lifetime encounters, not just with the brightest and closest comet to approach Earth in 200 years, but also with people.
From the temples of Angkor Wat and Borobudur to images of Ganesh and references to the Ramayana, anyone who visits Southeast Asia cannot fail to be struck by the influence of centuries-old Indian culture, an influence that seems more profound and deeply rooted than that of China. Yet in today’s Southeast Asia, the situation is largely reversed; India is very much a political and commercial also-ran.
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