By Jacob Edmond
Why is our international nonetheless understood via binary oppositions-East and West, neighborhood and international, universal and strange-that should have crumbled with the Berlin Wall? What may literary responses to the occasions that ushered in our period of globalization let us know concerning the rhetorical and old underpinnings of those dichotomies? In a standard Strangeness, Jacob Edmond exemplifies a brand new, multilingual and multilateral method of literary and cultural stories. He starts with the doorway of China into multinational capitalism and the looks of the Parisian flaneur within the writings of a chinese language poet exiled in Auckland, New Zealand. relocating between poetic examples in Russian, chinese language, and English, he then strains a chain of encounters formed through fiscal and geopolitical occasions from the Cultural Revolution, perestroika, and the June four bloodbath to the cave in of the Soviet Union, September eleven, and the invasion of Iraq. In those encounters, Edmond tracks a shared drawback with strangeness in which poets contested previous binary oppositions as they reemerged in new, post-Cold warfare varieties.
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Additional info for A Common Strangeness: Contemporary Poetry, Cross-Cultural Encounter, Comparative Literature (Verbal Arts: Studies in Poetics)
41 Duoduo’s poetry similarly stages the interplay between country and city. Just as the sun signified differently to Duoduo than it did to Baudelaire, so the city-country divide reflects a very different political and historical context. Written the year Duoduo encountered Baudelaire’s poetry, “Gaobie” 告别 (“Farewell”; 1972) addresses the Cultural Revolution’s rustication campaign, which sent thousands of urban youths, including Duoduo himself, into the countryside. 43 Yet this exile to the countryside is treated metaphorically through the figure of a walker, who moves through streets, taking “an unfamiliar turn / in the side lane leading toward maturity” (陌生的分路 / 在走向成长的那条僻巷 中).
Photo by Joanna Forsberg. time: “Time passes day by day,” but “nothing happens. 101 The tension between the passing of time and a pervasive sense of stasis is underscored through a play on words that is central to “Eclipse”: rizi 日子 means both “time” and “day” and contains the character for “sun,” ri 日. Because this character also appears in the title “Rishi” 日蚀 (“[Solar] Eclipse”), which is followed immediately by the line I have just quoted, the “eclipse” signifies not only the darkness resulting from the superimposition of the moon on the sun but also the erasure produced both by overloading a single sign, such as ri, with multiple meanings and by the spatial and temporal movements that the walker performs in his daily strolls through the city-text.
By superimposing the mythic on modernity and emphasizing a repetitious and entrapping intertwining of the two through the figure of the sun, he implied that the changes of the 1980s hid the continuity of political repression and located this sense of entrapment within the Chinese tradition. 56 exile For Yang, June 4, 1989, confirmed his sense of the sameness beneath the semblance of change that forms an undercurrent in his xungen poetry; it also marked a shift in his life and writing. Yang was in Auckland, New Zealand, in the run up to June 4.
A Common Strangeness: Contemporary Poetry, Cross-Cultural Encounter, Comparative Literature (Verbal Arts: Studies in Poetics) by Jacob Edmond