Asia Week New York: March 9–18

Asia Week New York is an annual event in which top-tier Asian art specialists, major auction houses, museums, and Asian cultural institutions collaborate to honor and promote Asian art in New York City. Since 2009, the Asia Week New York Association has focused its efforts on putting together an event-filled week that draws collectors and curators from across the globe. If you’re going to be in the area, be sure to make time for some of the exciting special sales, lectures, receptions, and tours taking place in NYC. Here at PUP, we’re thrilled to be publishing two books that celebrate Asian art this season—Chinese Painting and Its Audiences by Craig Clunas and Kanban by Alan Scott Pate—and to revisit a favorite backlist title—Preserving the Dharma by John M. Rosenfield. If you can’t attend the events, you can always join the conversation on social media using the hashtag #AsiaWeekNY.

Exploring the complex relationships between works of art and those who look at them, Chinese Painting and Its Audiences sheds new light on how the concept of Chinese painting has been formed and reformed over hundreds of years.

Clunas

Providing a look into a unique, handmade world, Alan Scott Pate offers new insights into Japan’s commercial and artistic roots, the evolution of trade, the links between commerce and entertainment, and the emergence of mass consumer culture in Kanban: Traditional Shop Signs of Japan.

Kanban

In Preserving the Dharma: Hōzan Tankai and Japanese Buddhist Art of the Early Modern Era, eminent art historian John Rosenfield explores the life and art of the Japanese Buddhist monk Hozan Tankai (1629–1716).

Dharma

Featured image: The Art of Japan (Medina, WA) Torii Kotondo Beauty Combing her Hair 1933

An interview with poet Fiona Sze-Lorrain on “The Ruined Elegance”

Sze-Lorrain, poet

© Dominique Nabokov, 2015, Paris

Fiona Sze-Lorrain is a poet, literary translator, editor, and zheng harpist. In her new collection—an intercultural journey that traces lives, encounters, exiles, and memories from France, America, and Asia—she offers a nuanced yet dynamic vision of humanity marked by perils, surprises, and transcendence. Recently she took the time to answer some questions about The Ruined Elegance.

Can you speak a little about your writing process or how these poems came about?

FS: Almost every poem in this collection behaved like a beast. I lost whenever I tried to fight it, until I realized how far I missed the mark. “To question the options of elegy, I’ve probably chosen the wrong epic.” [from the poem “Back from the Aegean Sea”] Several verses and their poetic narratives were deviating at the start, in part because I had tried to be clever about a “lyric/anti-lyric.” I wanted silence and music. What better paradox could there be?

It did feel like a crisis when I could only pick these poems up from their “ruins.” I censored words and images even before saying them out loud or putting them down on the page. Part of my illusion had to do with my folly of “writing to tame vulnerability and speechlessness” on the page. While finding ways to cope, I felt drawn to reading poems that were gentle yet could sustain a certain emotional rawness and moral jolt. To recenter myself, I walked — from one arrondissement to another.

The Ruined Elegance jacketWhat colors come to mind when you revisit the poems in The Ruined Elegance?

FS: Violet, vermillion, and shades of gray-green. No vintage “black and white.”

Why not?

FS: Because I hope to have the poems operate beyond witnessing, documenting or commenting about their socio-historical sources, even if some of the thematic concerns relate to specific political events — these poems believe in history, but they don’t live in the past.

Why poetry?  What would you like to be if you weren’t a poet, literary translator, or zheng harpist?

FS: I didn’t plan to “be a poet.”  Poems and Bach bring me as much joy as doubt, though sometimes not as much company as would horses and trees.

Why poetry — because it can still resist greed and social constructs.  Were I not a poet or musician, I would like to play bridge professionally or practice herbology and phytotherapy.

What are some of your poetic influences?

FS: Dickinson, Lowell, Rimbaud, Milosz, Lorca, Białoszewski, Montale… as well as translations of Buddhist scriptures and Latin texts.

 Please offer some reading recommendations for our readers.

FS: Proust’s À la recherche du temps perdu: it is my perennial “drug” or ritual.

I also recommend C.G. Jung’s The Red Book, Aesop’s Fables, photography catalogues of Tina Modotti, Susan Stewart’s On Longing, Pico Iyer’s The Open Road, Mark Strand’s Collected Poems, Simone de Beauvoir’s Une mort très douce [A Very Easy Death], and photographs of the Baudelairian Paris by Eugène Atget.

An excerpt from The Ruined Elegance. Note, the first line is after the last verse of her translation “Mirror,” by contemporary Chinese poet Zhang Zao, forthcoming from Zephyr Press:

Poem excerpt
Chapter one is available here.

A Q&A with Madeline Hsu, author of THE GOOD IMMIGRANTS

Hsu jacketWhat lead to the radical shift in public perception of Asians from dangerous “yellow peril” to celebrated model immigrants and overachievers? Madeline Hsu, author of The Good Immigrants argues that the short answer is the American government, and the CIA in particular. Recently she took the time to tell us a bit more about the book, its intended audience, and her reasons for writing this fascinating ethnic history. Check out chapter one here.

What inspired you to get into your field?

MH: As an undergraduate at Pomona College, I benefited from excellent teaching and mentorship. History seemed to come very naturally to me and the emphasis on explaining through telling stories is for me a very instinctive way to understand the world.

What are you reading right now?

MH: I have just finished reading Rise of a Japanese Chinatown: Yokohama, 1894-1972 by Eric Han (Harvard University Press, 2014) which provides an illuminating comparison of how Chinese fared in monoracial Japan as it was evolving into a world power as compared to racial dynamics in the United States. Han is particularly effective in linking the changing fortunes of Chinese Japanese to the relationship between Japan and China, particularly with the decline and rise of the latter’s international standing. I am also reading Please Look After Mom by Kyung-sook Shin and The Usagi Yojimbo Saga, Bk. 2, a long-running graphic novel series by Stan Sakai featuring a rabbit ronin protagonist.

Describe your writing process. How long did it take you to finish your book? Where do you write?

MH: I had been thinking about and researching this project for about 7 or 8 years. It had begun with my observation that at a time of highly restrictive immigration laws before 1965, international students from Taiwan and other Asian countries were nonetheless able to resettle permanently in the United States. From there, my research took me many places such as refugee programs, the establishing of international education programs in the United States, US missionary activities in China, and the earliest of Chinese students to come to the US.  After about 6 or 7 years, I was able to gain a sabbatical that gave me time to decide the parameters of the book and divide it into chapters. After that, it took me about a couple of years of hard writing to adapt and expand my various conference papers into the current manuscript. The key was figuring out my main arguments and chronology. I usually write at my desk at home, which looks out a window with a view of my neighbor’s beautifully kept front yard with agave and pecan trees.

Do you have advice for other authors?

MH: Rather than starting out with a fixed idea of what the book would argue, I had a question to which I sought answers. The subsequent research and the journey it has taken me on has revealed stories that have been unknown to myself and most others, but also help to make sense of major shifts in the positioning of Asians in the United States.

What was the biggest challenge involved with bringing this book to life?

MH: I am a single parent and struggle constantly with juggling responsibilities to my household and maintaining a certain level of writing and research.

Who do you see as the audience for this book?

MH: At a basic level, I hope it is accessible to informed and interested general readers who want to learn more about immigration policy, U.S. multiculturalism, and 20th century Chinese society with particular regard for migrations overseas.  My goal is to explain complicated intersections between laws, popular attitudes, and government projects and how they shape the behaviors and choices of migrants in ways that highlight their humanity and shared values.

How did you come up with the title or jacket?

MH: The main title was suggested by the editorial board. I came up with the subtitle, which addresses a key problem in Asian American/immigration/ethnic history which has been how quickly Asians have transformed from being such dangerous and racially different “yellow peril” threats that they justified the earliest immigration restrictions and within a generation became celebrated model immigrants and overachieving Americans. The short answer is that the U.S. government, and in my book the CIA in particular, were pulling strings in the background. There were many unintended consequences, nonetheless, but Asians selected for their employment traits emerged as welcome immigrants.

Madeline Y. Hsu is associate professor of history and past director of the Center for Asian American Studies at the University of Texas at Austin. Her books include Dreaming of Gold, Dreaming of Home and the coedited anthology Chinese Americans and the Politics of Race and Culture.