on my desk: 1984, The Bluest Eye & more!

Selina Xu On My Desk (Letters from Library)

on my desk is a new feature on the blog where I jot down brief thoughts on the books I’ve read for the week, usually for class. This first installment covers some of the books I’ve read from week 2 to week 4 of Junior Spring. 

Wide Sargasso Sea Jean Rhys

Wide Sargasso Sea, Jean Rhys

An immediate classic. So incredibly fresh and vivid despite the years between us. I never did like Mr. Rochester (in Jane Eyre) growing up and this book does not redeem him. Rhys has created a backstory for the madwoman in the attic, who only appeared in brief glimpses in Eyre. Yet, the novel very much stands on its own, almost cannibalizing the original with its ferocious exploration of the Creoles in the Carribean. It’s not a retelling, but instead a creative translation across tropics, temporalities, and epistemologies — of a white woman growing up in Jamaica during the time of the British Empire. How does Antoinette become Bertha, locked up in the attic? The chambers of your mind will never be quiet while reading this.

Verdict: 🌓 🌔 🌕 🌖 🌗

1984 George Orwell

1984, George Orwell

Can’t believe it took me 4087823 years to read this classic. This is one book that has seeped into our collective consciousness and been normalized — we think of Big Brother when we articulate surveillance; we think of Room 101 when we describe a torture chamber, we now think thoughtcrime as not very surprising at all (politically unorthodox thoughts). The recent past, and even pockets of the present, is in a sense ‘Orwellian’. The policing of thought, interestingly, is tied to the policing of desire — of sex, of the body, of love. The subsuming of love and reproduction under the socialist agape of the state abhors us instinctively. Yet, Winston and Julia’s supposed ‘love story’ is never quite about love. It’s a temporary digression in desire that is rectified. The stark, satirical ending is a diagnosis of dictatorships — every authoritarian regime has power, but they want it to be bolstered by authority (which has to be gained). Even when totally secure of power, there is that eternal fragility and insecurity towards achieving ‘one body, one nation, one mind’ and the constant use of the language of ‘for the people’. At least, 1984 strips its authoritarian regime bare of any pretension or instinct for amelioration — the contradictions are there for all too see. Elsewhere, in real life, the masquerade goes on.

WAR IS PEACE. FREEDOM IS SLAVERY. IGNORANCE IS STRENGTH.

Verdict: 🌓 🌔 🌕 🌖

a mercy Toni Morrison

A Mercy, Toni Morrison

A powerful story of suffering — as bond or bondage? — and wilderness, told through Florens, a young black girl enslaved in the early years of European settlement in America — 1682 when “Virginia was still a mess.”

The criticism of the capitalist apparatus of slavery is subtle but impossible to ignore.

There was a profound difference between the intimacy of slave bodies at [Ortega’s plantation] and a remote labour force in Barbados. Right? Right, he thought, looking at a sky vulgar with stars.

The Puritan task of an errand into wilderness also takes shape through the stories of the women, each struggling to keep their internal wilderness restrained. But I’m left thinking, what is ‘wilderness’ in the first place? It’s nature and what was there before. Or is it very much a colonial construction, an attempt at legibility, of rhetorical erasure to justify their settlement (it’s raw, it’s clean, it’s up for grabs!), a patriarchal way of control and of domestication?

Verdict: 🌓 🌔 🌕

The Bluest Eye Toni Morrison

The Bluest Eye, Toni Morrison

Painful to read. In the first few pages, Morrison tells you the entire story. And yet, we cannot help but read on, driven by the urgency and rawness of her language. It’s about a little black girl who just desperately, fervently wanted blue eyes. The desire is a sign of an internalized inability to recognize her own personhood, worth, and beauty. One thinks of racism in quiet, insidious ways: reifying the violence of the normative subject in the West (Pecola is “the good subject”). But also in terrifying ways: the cosmology of whiteness is still ever-present — I wonder if the pursuit of certain beauty standards reflects that even for myself. We could call it, as Profé Carrasco does, the cosmological conviction of racism:

You looked at them and wondered why they were so ugly; you looked closely and could not find the source. Then you realized that it came from conviction, their conviction. It was as though some mysterious all-knowing master had given each one a cloak of ugliness to wear, and they had each accepted it without question. The master had said, ‘You are ugly people.’ They had looked about themselves and saw nothing to contradict the statement; saw, in fact, support for it leaning at them from every billboard, every movie, every glance. ‘Yes,’ they had said. ‘You are right.’ And they took the ugliness in their hands, threw it as a mantle over them, and went about the world with it.”

Verdict: 🌓 🌔 🌕 🌖 🌗

Dark Princess W. E. B. Du Bois

Dark Princess, W. E. B. Du Bois

Part romance, part quest, Dark Princess is unlike anything else I’ve read. At times allegorical, often a blending of genres, it meshes sharp critique of local politics (flushed by money), of racism, and most piercingly, of the color line within the color line: peoples who are oppressed, or even with the same oppressor, will not understand their oppression in the same way. How do you form an ethical community of resistance across faultlines (class, cultural, racial)? What does it mean to construct international solidarity when there is an uneven experience of violence? Even now, the chasm exists: the cosmopolitan elite seeking to liberate the masses despite widening gulfs.

Verdict: 🌓 🌔 🌕 🌖

A Woman Named Solitude Andre Schwarz-Bart

A Woman Named Solitude, André Schwarz-Bart

A Woman Named Solitude reads like part magical realism, part fairytale, part oral tradition. Yet, every once so often, historical dates and figures rupture the poetic shimmer of the language and we are reminded: all that we are reading — atrocities, revolts, humans treated like cattle, the cosmological upending of an entire continent’s lives — is in fact reality, or truth. The novel starts with “Once upon a time, on a strange planet, there was a little black girl named Bayangumay” (1). While the reference to “the ruins of the Warsaw ghetto” on the last page of the epilogue subtly ties two human holocausts together, Schwarz-Bart does it so much more sparingly and movingly than Philips.

The narrative distance (a detachment that’s no less passionate) brings a certain universality and oneness of human suffering to the story of Bayangumay and later, Rosalie who will metamorphose into Solitude. As Sarah De Mul terms it, the “forgotten holocausts” of the world in the case of this novel zoom into the brief span of years when the Africans enslaved in the Carribean vacillated between freedom and return to slavery, under the political machinations and Anglo-French rivalry of the metropole.

Caught between her yellow body and her black heart, Solitude is not just one “whose nation no longer exists, whose village has been destroyed and whose ancestors are dead” (64), but also one who loses her mother at a young age, abandoned with a yearning for Africa and Man Bobette’s secret. That Rosalie grows into Solitude, with her soulless eyes and her laughter is a soft yet powerful resistance. Her laugh — alongside the guttural laughs of other women, from her mother to the Congo woman Euphrosine — unsettles. In a land of “lies” (81) and “madness” (77), ruled by white men and (to a less extent) women, the unsettling nature of laughter represents a particular discursive contract that subverts — a moment of irrational recognition, rehearsed unexpectedness; it brings to mind Freud’s theory on jokes and their relation to the unconscious. In the face of such violence, Solitude mows over white men — surprised at the blood on her own hands — but ultimately, in the face of death, can only laugh.

Verdict: 🌓 🌔 🌕 🌖 🌗

The Nature of Blood Carl Phillips

The Nature of Blood, Carl Phillips

The many different strands of The Nature of Blood reminds me of what Mexican writer Carlos Fuentes called ‘multinarratives’ in a multiracial and polycultural universe and also one particular mode of Friedman’s three juxtapositional comparisons: collage. Stephen, Eva, Othello, the Jews of Portobuffole, and Malka’s stories are put side by side, each in its own distinctive context, but read together for their in/commensurability. The form of the novel itself refrains from the prescriptive and the didactic. Instead, the collage of narratives across time and space presented to us puts the autonomy in the hands of the reader. What rises to the surface when we see things side by side, whether we choose to make that comparison ourselves, and what constellations/collisions we end up holding in our hands is ours. The novel is suggestive.

What I really liked about the novel is its almost palimpsestic nature of time, which reflects the traumatic nature of remembering, of repetition, of unknowability. The narrative time frame defamiliarizes known stories (I, for one, didn’t realize that Anne Frank’s Diary of a Young Girl was an intertextual piece) — for instance, Othello remains nameless throughout, and his own observations of Venice (full of “enchanting promises” as well as “betrayal”) flesh out his diasporic subjectivity which fleshes out all the invisible and unsaid blanks within Shakespeare’s play. Othello’s inability to see the parallels between him and the Jews living in the ghetto is made all the more stark given the coeval story of the Jews of Portobuffole happening in Venice. Similarly, I found myself spotting the ironic, painful symmetry in Malka and Eva’s experiences — the feelings of being dehumanized into animals (“monkey-people” for Eva; “cattle” for Malka); their flashes of first-person confession that drowns amidst their silencing within the larger society.

In their respective experiences of dislocation, trauma, dehumanization, and othering, there is sameness in their difference, and difference in their sameness.

Verdict: 🌓 🌔

***

Have you read any of these books? What are your thoughts? Do you like this new feature? ٩◔‿◔۶

Lots of love,

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My Junior Spring Harvard Classes ≧◡≦

Selina Xu Harvard Class Schedule (Junior Spring)

MY FAVORITE SEMESTER INTELLECTUALLY! ❤️ Before I gush, a few things:

  1. I’m back to four classes (and also auditing a fifth).
  2. This has been the best schedule I’ve had so far, with no classes on Thursdays AND Fridays.
  3. But in terms of sheer reading, I have to average three books per week (not including some of the theory/academic journals I have to read for CompLit & English, as well as my own independent research for my junior tutorial).
  4. I’ve taken classes with three of the professors in previous semesters (Homi Bhabha, David Carrasco, and David Wang).

Here’s a snapshot of my desk with stacks of books organized according to each class, from left to right, HDS 2052, ENG 191C, and COMPLIT 277:

Selina Xu Books Harvard Classes

HDS 2052: Religion Around Toni Morrison and Gabriel García Márquez: Their Writings and Lives — Davíd Carrasco

Profé Carrasco was my Hum 10 seminar professor in my Freshman fall. Here’s a snippet of the blog post I wrote way back in September 2017, Things I Love:

The room is warm. My pulse is throbbing at an almost manic pace. In a hitched breath’s moment of unconscious cerebration, it occurs to me that I am surrounded by knowledge coming to life — in eager minds, raw stories, bustling thoughts, and this palpable sense of convivencia and of shared humanity that emerges from within all of us when we discuss vanished worlds in ancient texts (Odyssey, Oedipus Rex, Poetics, Symposium…). Unbelievable, but somehow it is happening, in this time and place, in this infinite now. (I am really loving my Humanities seminar under Professor David Carrasco! Every time I walk out of class, some ineffable change washes over me; I’m not sure what it is, but I feel just a bit more comfortable with uncertainty and a little bit more certain about what gives me meaning.)

No surprise that I’m taking a class again with Profé!

This class is my first venture into the Harvard Divinity School, looking at literature through the lens of religion. In particular, we focus on two Nobel Prize-winning writers, Toni Morrison and Gabriel García Márquez, and the religion AROUND their writings and lives. ‘Religion’ is meant in the broadest sense of the word — think of homeland and quests, sacred places and borders, memory and myths, terror and magical flight, ghosts and demons, goodness and evil, slavery and freedom, women and machismo, colonial violence and political and spiritual forms of resistance.

I’ve always been intrigued by the connection between holy and profane texts: Confucian ethics and Daoist cosmology have shaped China’s Four Literary Classics, the Greek pantheon of gods have sustained myth and tragedy, Christian symbolism and morality are intertwined with much of European literature; the same can be said for the Indic, the Islamic, and the Buddhist traditions…

The sacred and the secular are always interrelated. Great literature touches something divine.

ENGLISH 191C: Constellations — Homi K. Bhabha

My freshman spring seminar with Professor Bhabha was one of the most formative classes I’ve taken at Harvard. Even several semesters apart, I would often find myself referring to a fragment of conversation from that seminar — a certain way of looking at literature that is interdisciplinary, broadly humanist. I once wrote a short post on ‘Why Literature‘, which was inspired by that seminar.

When I tell people about this class, many are perplexed about the word ‘constellations.’ I picture it as a tapestry made from disparate intellectual threads: clusters of ideas, polyphonic conversations, and what Walter Benjamin calls “the constellation in which his own epoch comes into contact with that of an earlier one” (On the Concept of History). I can’t reduce this class to a single topic — it’s very much about identity, movement, communities, and collective speculation through literature.

The wide arc of historical experience is a genealogy of histories of inequality and injustice, and life-worlds of individuals who seek to make a claim to human dignity from a variety of contexts. How can we conceive of colonization and segregation in dialogue with migration and the predicament of refugees? What does citizenship mean in an age of international cosmopolitanism and national sovereignty?

COMPLIT 277: Literature, Diaspora, and Global Trauma — Karen Thornber

Diaspora (noun)

  • The voluntary or involuntary migrations of peoples
  • A national, ethnic, or religious community living far from its native land
  • Ethnic minority groups of migrant origins residing and acting in host countries but maintaining strong sentimental and material links with their countries of origin (Stéphane Dufoix)

‘Diaspora’ has no fixed, singular definition. I like to think of it as dispersions and movements, with globalized communities and networks forming in their wake.

This being my first CompLit class, the comparative aspect really does stand out. Comparisons are never neutral: How do we think beyond our own frame of reference? How can ‘equal’ comparisons be undertaken in an unequal world? Can we start from our own position and not assume it as the center of the universe? Can we make comparisons that don’t reflect the structures of domination of the world?

The syllabus traverses many corners of the globe (every week we move to somewhere new!): African; East, South, Southeast, and West Asian (Chinese, Indian, Iranian, Korean, Vietnamese); and Middle Eastern (Jewish, Lebanese); as well as Latin American and Caribbean. Can we juxtapose traumas of one diaspora beside another?

More broadly speaking, I’m interested in trauma that’s not only event-based, but also prolonged, meandering, constant; not only centered on the poignant, persecuted figure of the refugee, but also the often invisible, assimilating, hybrid migrant.

HISTLIT 98: Junior Tutorial — Catherine Nguyen

I work with my tutor, Dr. Nguyen, towards a 6000-word (roughly 24 pages) essay on any possible topic that is remotely historical/literary, which is to say anything at all. I’m still brainstorming, but I have narrowed it down to the Anthropocene (the geological age of humans) novel, or climate fiction (cli-fi). For a long time, I was exploring my usual interests: diaspora, globalization, capitalism, postcolonialism. They all revolved around big ideas that undergirded my academic study: What does literary self-representation reveal about a subject? What is the relationship between writing and the self?

But, this semester, I’m quite obsessed with a different question: What new challenges does climate change or the Anthropocene pose to the work of the novel?

Our collective (in)ability to imagine climate change or to even imagine a future without us that is immediate, realistic, and urgent is ripe for critical dissection.

I’m totally new to the realm of climate fiction and eco-criticism. If you have recommendations for ANYTHING that could possibly be interesting, please send them my way. I need collisions! Constellations! Violent, rupturing, crazy inspirations!

CHNSLIT 245R: Literature & The State of Emergency — David Der-wei Wang

I’m auditing this class! The state of emergency — in the vein of Carl Schmitt, Walter Benjamin, and Giorgio Agamben — denotes the suspension of regular law and the intervention of the national sovereign. Yet, when the ‘state of emergency’ becomes normalized, regularized, and naturalized, the supposed state of exception becomes the rule.

Through case studies across the Chinese diaspora such as Hong Kong, Beijing, Taipei, Kuala Lumpur, and Lhasa, the class explores sovereignty, bare life, biopower, necropolitics, cyber-politics, contagion, disaster, slow violence, apocalypse, etc.

***

The semesters have really flown by. Gosh. Read previous renditions of my semester’s worth of classes below:

Happy to chat about any of these topics!!! 🐣✨🌲

Lots of love,

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My Junior Fall Harvard Classes!

Vietnam Ha Long Bay Cruise

Hello folks, we’re entering week 4 of Junior Fall?! Summer feels like yesterday — banana shirt days in flip-flops, lounging in the shade reading novels, and smearing the ring of condensation on my fingers when sipping iced tea/milk green tea with golden bubbles/pineapple smoothies (happy sigh).

My life has never been this routine and packed — classes, readings, dining hall meals, exercise. I’ve picked up running again. Weaving between Georgian buildings in the darkness, feet pounding on empty pavements, a flash of headlights, the smell of wet grass, a sliver of the night chilly between my slick fingers, my figure solitary between marble sky and solid earth.

For the first time ever, I’m taking 6 courses in a semester (one of them being an Independent Study) but still, my schedule looks deceptively doable — continuing my streak of no classes on Fridays! But, quite honestly, I’ve been feeling like I’m on a knife-edge. One misstep or a brief surrender to procrastination, and the wheel throws me off. Keeping my balance precipitously on the tightrope of discipline. It’s hard to finish all the readings but I really do want to.

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IGA 211/GOV 1796: Central Challenges of American National Security, Strategy, and the Press — Graham Allison, David Sanger, Derek Reveron

Piqued by a summer immersed in international news at CNN, I decided to take my first Government class at Harvard (eons ago in high school, I once took Geopolitics at NUS).  It’s held at the Harvard Kennedy School, with a small class that features a mix of Kennedy school students, National Security Fellows, cross-registered students, and undergrads.

The class is memo-style with national security cases on likely real-world scenarios ranging from North Korea’s ICBM tests to Chinese intervention in Hong Kong to Homeland Security and immigration to cybersecurity. The three professors offer different views/approaches to each of these security challenges. One fascinating dimension is the press: How does domestic press coverage inform/intrude national security decision making? How does social media (Twitter, for example) transform national security strategies? (Think: Trump.)

Fun fact: PM Lee Hsien Loong was a former student in this course (yes, it has been running for a long, long while).

HIST 14V: Walter Benjamin — Peter Gordon

My first History department course. 😳 (This is quite the semester of experimentation.) I still feel slightly out of my element due to the European focus of the class. Sorel on the myth of the general strike? Scholem on Jewish mysticism? Postlapsarian wha—?

But, I’m persisting. We are about to read Benjamin’s Origin of the German Trauerspiel this coming week and it’s apparently one of his most difficult pieces of writing. Let’s see how that goes.

Why am I taking this class? I’ve previously encountered Walter Benjamin only in snippets, sporadically in different courses across departments – for instance, “The Task of the Translator” in my freshman seminar on the creative work of translating, and his writings on the flâneur in Global Fictions. My academic interests lie in cosmopolitanism and the diasporic individual in the age of globalization/postcolonialism as well as at the intersections of phenomenology and literary subjectivity. Time to trace the roots of these ideas to one of the fathers of cosmopolitan thought.

If you’d like to give Benjamin a shot, here’s a short essay, “On Language as Such and on the Language of Man.”

ENGLISH CAFR: Advanced Fiction Workshop: Writing this Present Life — Claire Messud

My 4th creative writing workshop at Harvard. So excited! The first workshop I’ve ever been to in my life was Intro to Fiction with Claire, in the fall of 2017. I still remember when I was first rejected for the class and then miraculously got off the waitlist (Embracing Rejection At Harvard (also unexpected surprises)) — life works in mercurial, magical ways. Somehow, I’m just glad that I’m still writing, frantically, confessionally, unabatingly. 

That Freshman Fall workshop ended up completely altering my college trajectory (and aspirations). While before I had jotted down snippets in notebooks or started too many novel drafts left unfinished, I wrote my first full-fledged short story (posted as a Valentine’s Day short story on the blog: April, I Arrive on The Shores of Your Love) in that course. It only sank in then that ‘writer’ had contours that I could touch and maybe eventually fill.

This semester, I’m working a projected longer work. It’s a speculative fiction piece about celebrity worship, mass culture, and the future of media in 2035. If you have thoughts on this or some wild ideas, or if you just want to orate about a futuristic world, GRAB A MEAL WITH ME AND TALK TO YOUR HEART’S CONTENT.

HIST-LIT 98: History & Literature Junior Tutorial — Catherine Nguyen

There’s just three of us and our tutor. We create our own syllabus collectively — each of us decides the readings/topics for around 3 weeks. I like the autonomy but the fluidity of structure is quite unprecedented. For my weeks, I’m thinking of these topics:

  • Language and Exile (Nabokov? Pnin? Imaginary Homelands?)
  • Migration and Intimacies (Wong Kar-wai? Eileen Chang?)
  • Refugees, Displacement, and Transnational Futures (Exit West? Viet Thanh Nguyen?)

What would you study, if given the opportunity to craft your own syllabus?

PHIL 97: Philosophy Sophomore Tutorial — Rachael Goodyer

We are studying the concept of dignity through its historical foundations (four influential traditions include: the Stoic, the Catholic, the Kantian and the 19th century German), dignity’s relationship to human rights, and dignity’s discussion in medical ethics. Dignity is embedded in political and legal discourse, so the readings cover many genres (legal cases, philosophical texts, literature, political declarations/treatises).

Is dignity a ‘squishy, subjective notion’ as Steve Pinker calls it? Or is it essential to the conception of human rights? Ah, how hard it is to define dignity; how omnipresent it is in our lives.

Independent Study — David Wang

I’m tentatively working on a love story set in future Hong Kong in a time of crisis and collapse, in the vein of ‘Love in A Fallen City’ (倾城之恋).

After a long, wonderful conversation with Professor Wang about speculative realism, the Hong Kong protests (the city is a crucible of capitalist & socialist forces), post-humanism, and the biopolitics of the state, I’m brimming over with possibilities and the daunting thought that every story — no matter how outrageous — needs to be grounded in the conservative/ordinary/minute human concerns. The political cannot be brushed aside.

***

Read about my classes in previous semesters:

My Sophomore Spring Harvard Classes + Some Little Things

My Sophomore Fall Harvard Classes! (ft. Life)

My Freshman Spring Harvard Classes

Lots of love,

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Tada! All my Harvard papers in 1 place.

Le Petit Prince

Public announcement on the blog!!! : )

There’s now a blog tab apart from Chronicle and Contact called…

Academic 💙🤖📘🧬🌏

…where I’ve pooled together the A-grade papers/creative coursework I’ve written for my Harvard classes. In short, I present to you the intellectual arc of my college career.

There are some that I wish I could’ve done better, but all these intellectual-babies were born out of many frantic stretches of procrastination, mugs of green tea, adrenaline-filled nights, quiet conversations with professors, incredible seminars, and playlists full of stirring film soundtracks and sad Chinese love ballads.

The two things I’ve done most at college? Quite possibly reading and writing. 📚✍️ Very grateful to the professors, classmates, and TFs, who have truly expanded my mind in lecture/seminar and given me the freedom to engage with the ideas that excite me the most — these papers pretty much encapsulate and distill those intellectual experiences into my own words.

So just the other day, when I was trying to find something I wrote in high school (and literally COULD NOT FIND IT!), it struck me how scary it is to pour your mind and soul into an intellectual exercise or even crafting something from scratch (paper-writing is akin to creation) BUT then consign it to some spartan, dusty corner on the Mac, before they get carelessly deleted and lost forever someday down the road. In fact, apart from the eyes of my professors and TFs (Teaching Fellows), these papers have just languished unread.

(travesty!!!) (i feel so guilty to my past self, the one hunching over the Mac and punching furiously on the keyboard with six dog-eared books beside her) (it’s like having a short-lived passionate affair before negligence and then eternal limbo)

Therefore, I’ve finally decided to salvage these papers from the black hole of my laptop storage and to leave them all in one place for easy reference.

Happy reading! If you actually finish reading any and would like to talk about it, I would be very EXCITED to!!!

tom and jerry

Lots of love,

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April is tough. And brilliant. ᕦ(ò_óˇ)ᕤ

Easter Egg: Screenplay at the end of the post. 🥚✨

team

()

🌏 Harvard China Forum 💡

April 12th to 14th, Harvard College China Forum happened.

Remember last year when I was the Programming Associate in charge of the Culture Panel (ft. Fang Wenshan 💕)? As the Programming Chair this year, I oversaw how my amazing team put together an entire conference’s worth of content together. China’s growth will be one of the defining stories of our time and perhaps, we have shaped that narrative somehow.

Nothing beats months of brainstorming, invitation-writing, cold-emailing, drafting of panel descriptions and discussion questions, numerous color-coded spreadsheets, coordination of individual speaker logistics (400+ WeChat notifications and overflowing inboxes every day), the introduction of panelists to each other, staying up late at night at the GSD (Graduate School of Design) reviewing design details, and of course, the three forum days when everything came together — like the greatest show, painstakingly and lovingly built, scripted, and performed by numerous hands; like something that seemed to pass too fast but still endures, gathering minds and presenting ideas like cradling two brilliant continental halves of an earthly heart before a thousand people.

The number of speakers:

120+ (including Kevin Rudd, Jin Liqun, Yu Zheng etc.)

Kevin Rudd at Harvard China Forum

With Kevin Rudd, the 26th Prime Minister of Australia, who spoke at our Closing Ceremony ✨

The number of panels: 

11. (Finance, Entertainment, Pharmaceuticals, Technology, Arts, Culture, Philanthropy, International Relations & Development, Music, Philanthropy, and Entrepreneurship)

The number of keynote ceremonies:

3.

 

The number of attendees:

1085.

Thank you to each of you who made this another great year. ❤ I’ve learned so much from this journey that never ceases to amaze me — at what other institution in the world would this be possible? The incredible caliber of speakers, the sheer depth of dialogue, the commitment from everyone involved, and the team that handles this professionally demanding role outside of our busy Harvard lives.

The other day at an IOP (Institute of Politics) dinner, I met another student who asked me intently, “Do you think we should be afraid of China? Like with their One Belt, One Road initiative?” It is moments like this when I’m convinced that there is a great need to bring thinkers from the U.S. and China in dialogue on all fronts, at a place of learning where misunderstandings and stereotypes really do still exist BUT, at least, where people are curious and seek more answers beyond the reign of media and the limits of historical subjectivity.

Blessed to be here and I hope I can keep growing alongside this forum.

(´・ω・`)

paper-writing woes 😪

In the dimly lit DeWolfe common room, I’m curled up on the couch against the floor-to-ceiling windows. I felt timeless. It could be 2AM or 5AM. The hours are collapsing into one other.

In the hours spent typing away, tiny black letters crawl over the blank page on my laptop screen like an ant army, expanding the boundaries, encroaching on the ever-expanding territory of whiteness… My thoughts flowing and flowing, like a stream punctuated by soft, rhythmic punches on the keyboard.

It’s a draft for my History & Literature sophomore essay — 3000 to 4000 words in length, on any topic that has to do with ’empire’ or ‘imperialism.’ My topic of choice? Kevin Kwan’s Crazy Rich Asians (not the movie!!). What does CRA have to do with imperialism? At first glance, not much. After two days of reading, knee-deep in literature, all kinds of thoughts jump around my spinning head: what does the novel tell us about ‘Chineseness’? How can we understand class — in particular, the elite Chinese diasporic subject? How are capitalism and mobility in interplay? In the background, against which all the drama, catfights, and ostentatious displays of wealth are set, there is the postcolonial city-state of Singapore, where I grew up in.

Behind me, tiny filaments of light are seeping through the blinds, painting my bare legs in stripes. Bleary-eyed, I press one finger on a blind and peer out of the window. Gentle, pale sunlight touches my cheek.

I look at the digital clock. It’s 6:28 AM.

Here marks the first time in college I’ve stayed up all night writing an essay. It’s not cool — the big, red pimple on my chin will be a battle scar — but it feels like a college ritual that has finally happened. Here’s what happens when you have three papers due in one weekend.

April is tough, tough, tough!!!

ʕʘ‿ʘʔ

🤖 what have i been reading? 🧟

For the latest paper in one of my courses, “Forbidden Romance in Modern China,” I’ve decided to write a screenplay adapted from the most violent scene in Yu Hua’s Classical Romance 余华的《古典爱情》— it’s a short story that parodies the literary archetype of the Scholar-meets-Maiden romance (think: Peony Pavilion 《牡丹亭》) by subverting it with irrational, absurd violence that recapitulates the trauma of the Cultural Revolution. A climactic moment in the story is when the scholar is in a tavern and discovers that his long-lost beloved is being chopped alive for consumption in an adjacent room.

I decided to re-write that particular scene of monstrosity and bleakness into the format of a screenplay. (Scroll to the bottom of the post for my short 6-page screenplay. Hands down, the most violent thing I’ve ever written.)

How to represent the unrepresentable? How to imply violence? How to avoid explicit gore, yet still create suspense and dread?

As someone who is adamantly and unabashedly terrified of horror and thriller films — the scariest movie I watched until I turned 16 was Spirited Away (imagine your parents turning into pigs?!) —  I decided to approach this academically. I researched the best thriller films (they had dreadful names… Like Texas Chainsaw Massacre… And some that were more normal like Hitchcock’s Psycho.) and read their screenplays to study how they conveyed violence. 

The result? I was shivering in broad daylight and was terrified to turn off the lights at night. (My roommate also happened to be away. T_T)

In the meantime, to relax my English-addled brain, I also fell down the rabbit hole of Chinese novels which are CRAZILY GOOD. The genre of choice has been a mix of mystery and speculative fiction — one that I really liked is about being infinitely suspended in a Matrix-like game that simulates real-life unsolved cases.

Sigh, happily reading while floundering in a sea of deadlines. Now I’m five days away from leaving campus and ending my Sophomore year. Books are time machines!!!

Lots of love,

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