In Kwa's debut novel, four narrators tell two stories, one of a contemporary Chinese-Canadian psychologist mourning the death of her father, another of two Chinese prostitutes in early 20th century Singapore.
In Kwa's debut novel, four narrators tell two stories, one of a contemporary Chinese-Canadian psychologist mourning the death of her father, another of two Chinese prostitutes in early 20th century Singapore.
Touch like a pulse. A young man dies by his own hands, and leaves behind a note urging his mother to remember Godzilla’s touch, a reference to her relationship with Natalie Chia in 1970s Singapore. Pulse is the story of Natalie, an acupuncturist in Toronto’s Chinatown who decides to return to Singapore to uncover the truths behind this tragedy. Selim and Natalie, although a generation apart, share secrets that they’ve kept from their families. Natalie discovers that her past with her domineering father may be the key to understanding Selim’s death. A novel about unrequited love and the compelling power of memory, Pulse investigates the disturbing force of personal and collective trauma, while testifying to the resiliency of the human spirit.
In 7th-century China, life is rife with magic, fox spirits, and demons. Xie, the demon lover of the empress Wu Zhao, believes he must possess the oracle bone, which will bestow immortal powers on him. In his way is Qilan, an eccentric Daoist nun, who is training the orphan girl Ling to avenge her parents’ murder.
In 7th-century China, life is rife with magic, fox spirits, and demons. Xie, the demon lover of the empress Wu Zhao, believes he must possess the oracle bone, which will bestow immortal powers on him. In his way is Qilan, an eccentric Daoist nun, who is training the orphan girl Ling to avenge her parents’ murder.
In 1988, Lydia Cabrera (1899–1991) published La lengua sagrada de los Ñáñigos, an Abakuá phrasebook that is to this day the largest work available on any African diaspora community in the Americas. In the early 1800s in Cuba, enslaved Africans from the Cross River region of southeastern Nigeria and southwestern Cameroon created Abakuá societies for protection and mutual aid. Abakuá rites reenact mythic legends of the institution’s history in Africa, using dance, chants, drumming, symbolic writing, herbs, domestic animals, and masked performers to represent African ancestors. Criminalized and scorned in the colonial era, Abakuá members were at the same time contributing to the creation of a unique Cuban culture, including rumba music, now considered a national treasure. Translated for the first time into English, Cabrera’s lexicon documents phrases vital to the creation of a specific African-derived identity in Cuba and presents the first “insider’s” view of this African heritage. This text presents thoroughly researched commentaries that link hundreds of entries to the context of mythic rites, skilled ritual performance, and the influence of Abakuá in Cuban society and popular music. Generously illustrated with photographs and drawings, the volume includes a new introduction to Cabrera’s writing as well as appendices that situate this important work in Cuba’s history. With the help of living Abakuá specialists in Cuba and the US, Ivor L. Miller and P. González Gómes-Cásseres have translated Cabrera’s Spanish into English for the first time while keeping her meanings and cultivated style intact, opening this seminal work to new audiences and propelling its legacy in African diaspora studies.
First published in Cuba in 1954 and appearing here in English for the first time, Lydia Cabrera’s El Monte is a foundational and iconic study of Afro-Cuban religious and cultural traditions. Drawing on conversations with elderly Afro-Cuban priests who were one or two generations away from the transatlantic slave trade, Cabrera combines ethnography, history, folklore, literature, and botany to provide a panoramic account of the multifaceted influence of Afro-Atlantic cultures in Cuba. Cabrera details the natural and spiritual landscape of the Cuban monte (forest, wilderness) and discusses hundreds of herbs and the constellations of deities, sacred rites, and knowledge that envelop them. The result is a complex spiritual and medicinal architecture of Afro-Cuban cultures. This new edition of what is often referred to as “the Santería bible” includes a new foreword, introduction, and translator notes. As a seminal work in the study of the African diaspora that has profoundly impacted numerous fields, Cabrera’s magnum opus is essential for scholars, activists, and religious devotees of Afro-Cuban traditions alike.
The Temple Art of East Java, a study of the temples created in East Java between the tenth and sixteenth centuries, fills an important scholarly lacuna. The arts of Central Java, home of the great Buddhist monument, Borobudur, and Hindu Prambanan, have been given thorough scholarly attention. The architectural and sculptural treasures of the East Javanese kingdoms of Kadiri, Singasari, and Majapahit, are little known in comparison, yet beautiful and significant in Indonesian history. The author presents the major sites of these three historical periods, and discusses their architecture and sculpture. The many narrative reliefs illustrating sacred and secular literature have been painstakingly identified. The reader is thus able to follow their stories and understand where, why, and how they fit into the visual program planned for each temple and their relation to historical events and the wayang theater. These descriptions are augmented by extensive site summaries. Superb color photography supports the text throughout and is a major contribution in itself. The book contains a wealth of information that is not available all together in any other publication. Not only are the descriptions of the monuments valuable but the author identifies numerous sculptures in collections around the world that were once associated with the East Javanese temples discussed. The attempted reconstruction of sculptural programs at the sites is extremely important. To understand an ancient Javanese stone sculpture, knowledge of its original cultural context is required rather than its current location on a stand in some museum. Today, with the number of fakes appearing on the art market, such associations are invaluable for dating and authenticating stone sculpture said to come from unidentified East Javanese sites. The Temple Art of East Java is a welcome and significant addition not only to Javanese studies but also to architecture, art history, comparative religion, Buddhist, Hindu, and Southeast Asian studies generally.
The scale of [this book] encompasses vast continents and global forces, but often its descriptive focus on individual lives has the most impact. Stories of people and families make the study of geography compelling. Students begin to grasp the complex patterns at work in the world today as they see how people are affected by, and respond to, economic, social, and political processes. Through these stories of individual lives, [the authors] hope to convey the impact of globalization, a major theme of the text. To highlight global to local and interregional connections, the text includes a number of topics that have no borders: the war on terrorism, realignments in the global political order, interregional trade, the global economy, popular culture, the environment, and the Internet. Here, again, the focus on the individual person provides insight, offering local perspectives on these global trends.-Preface.
Discusses the origins, way of life, spirituality, and social organization of the Iroquois nations, as well as their relationships with the European settlers.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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