Tag: Reading

on my desk: thinking about race

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Selina Xu On My Desk (Letters from Library)

on my desk is a regular feature on the blog where I jot down brief thoughts on the books I’m reading, either for class or leisure. In light of the protests against racial injustice in the U.S. and around the world, I revisit a few formative works that have shaped how I think about race.

Black Skin, White Masks, Frantz Fanon

A tour de force. With an eruptive, immersive language, Fanon places the reader in an ironic situation, enacting a double role as both the offender and the offended, as the insulted and the insurgent. Think, for instance, of the the sheer shock and power of the opening enunciation of the chapter on “The Lived Experience of the Black Man.” A little white boy cries, “Look! A Negro!” This moment of encounter fixes not only Fanon but also the reader in a subject position. Reading the rest of the book is very much a phenomenological experience.

Through personal experience, historical critique, psychoanalysis, and even Hegelian dialectics, Fanon reappropriates and reassembles the racism that black bodies experience and uses the language of racism to reassemble his agency. By mimicking the voice of racism, Fanon ironizes the mode of racist discourse, instantiating the power invested into the ontology: bodies are constructed; one is not born black but becomes black. Blackness, à la Fanon, is the body schema collapsing into an epidermal-racial schema under the white gaze and use of language.

If you’re interested… read The Wretched of the Earth, also by Fanon. He turns the psychoanalytic lens towards the colonial condition and the path to decolonization.

The Fire Next Time, James Baldwin

My first taste of Baldwin. So many years later, his treatise on race relations in America still lights the way. His vision of what America must become burns all the more urgently amidst cries of making America great again. There is something quite gentle about his message (I think he is a romantic at heart), one which embraces love in the face of polarity and antagonism, emphasizes mutuality mediated through difference, and elucidates the sensuality of black people’s resilience (“To be sensual is to respect and rejoice in the force of life, of life itself, and to be present in all that one does, from the effort of loving to the breaking of bread”). His profundity is hidden amidst everyday detail.

Do I really want to be integrated into a burning house?

More than conjuring the image of the manor house set ablaze by ex-slave Clytie in Faulkner’s Absalom, Absalom!, Baldwin also attacks the assumption behind “integration,” which in 1963 meant the acceptance of blacks by existing white norms and institutions. Instead, Baldwin challenges that it is black people who must accept the whites and accept them with love. America must be freed and renewed, its long-clutched innocence of origins itself a crime and a feature of white supremacy.

Provocatively, Baldwin champions love. Blacks and whites have a duty to achieve their country together, like lovers. At the end of the day, Baldwin chooses reciprocity, engagement, and understanding, painting an affective world in the context of racism and a history of antagonism.

God gave Noah the rainbow sign. No more water, the fire next time!

If you’re interested… also read Between the World and Me by Ta-Nehisi Coates (heavily inflected with Baldwinian themes + uses the epistolary form of a letter to the younger generation) and Citizen: An American Lyric by Claudia Rankine.

Orientalism, Edward Said

A definitive work in my intellectual journey. I first came across it in Sec 2 when I was doing a literature project (with Zhao!) comparing Western and Eastern fictional portrayals of Empress Cixi. Said’s concept changed my worldview. Before coming across his theory, it had never occurred to me that literature could be demonstrative and complicit in a larger power structure that produces knowledge, fictions history, and essentializes an entire region (what Said calls the Orient is the Middle and Near East; in my own thinking, I naturally extend it to Asia as well) with discursive dominance.

Two years later, the book surfaced again in another research project (with Tianyi!) investigating how the post-9/11 Bush Doctrine legitimized the War on Terror through rhetoric. Orientalism, I realized then, is still very much alive, employed in media and demagoguery and manifesting in political realities with real-world repercussions.

Orientalism can be discussed…as a Western style for dominating, restructuring, and having authority over the Orient.

According to Said, the West, or “the occident,” defines itself and strengthens its identity by producing an oppositional and premodern “orient.” The orient, then, functions as a sort of surrogate and even underground Other, as everything “other than” what the occident is. If the occident is modern, fluid, active, and masculine, the orient is backward, static, passive, and feminine. Orientalism, in short, exists for the west’s purpose — the occident authors, projects, entrenches, and disseminates an image of the orient so as to define itself.

It has been eight years since this book came into my life. From secondary school to JC to college, in countless papers, Said’s writings have shaped my own. As I write this, I’m hard-pressed to name another theoretical work more formative in my life than Orientalism.

If you’re interested… also look up techno-orientalism, what Roh et. al.’s anthology of the same name calls the “phenomenon of imagining Asia and Asians in hypo- or hypertechnological terms in cultural productions and political discourse.” You can read my review of the Introduction to Techno-Orientalism: Imagining Asia in Speculative Fiction, History, and Media below:

Beyond the Western Gaze HL98 Secondary Source AnalysisDownload

Another entertaining, incisive read on the techno-orient is Anne Anlin Cheng’s film review, The Ghost in the Ghost, in the LA Review of Books.

Impossible Subjects: Illegal Aliens and the Making of Modern America, Mae Ngai

Where does the “illegal alien” originate from? How has immigration policy changed over time alongside race? How does the nation-state evolve with the legal regime of citizenship, immigration restriction, and categories of racial difference?

Ngai looks at the U.S. In this book, she examines how national-origin, numerical quotas, expanding state authority, and changing notions of race (e.g. European versus non-European migrants) remapped not only the idea of “America” but also the nation’s territoriality and contiguous land borders. Ngai’s close reading of Supreme Court rulings such as United States v. Wong Kim Ark (1898), Ozawa v. United States (1922), and United States v. Bhagat Singh Thind (1923) traces the logic of a legislative body over time, delineating its landmark moments and changing priorities of labor, geopolitical relations, and population census.

Immigration lies at the nexus between domestic processes and international empire. Demonstrated somewhat by Trump’s recent immigration order to restrict Chinese students and scholars, ideas of desirability, of exclusion, of legality, and of “alien” versus “citizen” are constantly shifting in service of the pressing political agenda of the hour. The subtle “racial hierarchy” underpinning the broader discourse on equality and rights (including voting rights) belies the unanswered question that Ngai unsettles and probes: How can a person be illegal, after all?

***

Currently reading mostly Chinese novels as well as Ready Player One. I’m a hermit, slow at replying text messages and away from my phone most days of the week. x

Stay safe, with love,

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on my desk: the pandemic stay-home edition

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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 read, usually for class (and now also for leisure). Here are some of the books I’ve read since returning home from campus, during my hermit, 100-step count days inside the house. 

What’s in your library?

What do you read in your midnight hour?

What do you read when you’re in crisis and you’re afraid?

(questions posed by the inimitable Profé Carrasco)

outline rachel cusk

Outline, Rachel Cusk

FREAKING BRILLIANT! I started this on the plane back home and fittingly, the first chapter occurs on a flight. Following a writer who heads to Athens to teach a course on creative writing, the novel flits from a conversation with her seatmate on the plane to those she has with strangers, writers, and students in the city.

Often, I had to pause in the middle of reading just to underline the sentences that would leap off the page about anything: a piece of furniture, a waitress, the ocean, a dog, the back of a man. Cusk has a knack for spinning profound revelations about marriage, motherhood, or writing from the smallest of objects, which can hit you in the gut.

I suppose it’s a bit like marriage, he said. You build a whole structure on a period of intensity that’s never repeated. It’s the basis of your faith and sometimes you doubt it, but you never renounce it because too much of your life stands on that ground.

His aged back seemed to maroon us both in our separate and untransfigurable histories.

There is something incredibly radical and even divisive about this novel. It’ll either alienatingly subvert all your expectations about novelistic conventions or arrestingly reinvent them. A novel in ten conversations, the narrator’s own story and interiority never comes to the foreground, only emerging in contrast to the tales of those she meets. She is no longer the subject but only a vessel, a cipher, an interlocutor. Or as the novel puts it, a shape, an outline, with all the detail filled in around it while the shape itself remained blank.

Verdict: 🌓 🌔 🌕 🌖 🌗

Koolaids, Rabih Alameddine

Koolaids, Rabih Alameddine

Carnivalesque romp through time and space! A book unlike a book. There is neither a plot nor a clear sense of whose head we are in. Instead, the novel is a pastiche of genres, vignettes, quips, scenes, religious texts, dialogue, emails, and diary entries about the HIV/AIDS crisis and the Lebanese Civil War at the tail-end of the 20th century. The metaphor of war and contagion is particularly resonant right now, amidst the pandemic of our times. Critics have dismissed this novel, but I think it provides a telling glimpse into those whose lives are engaged in a perpetual war against a virus. For the characters, death — social death, and actual death — is the pathos of everyday living because intimacy gains the violence of warfare. Are the parallels not uncanny?

Verdict: 🌓 🌔 🌕 🌖

Tell Me How It Ends, Valeria Luiselli

Tell Me How It Ends, Valeria Luiselli

Short but moving, with a brilliant title that grasps the soul of the book. Centered on the U.S.-Mexico immigration ‘crisis’, the slim book is about Luiselli’s experience working as a translator for child refugees at the New York immigration court. The forty questions the novel presents are drawn up by immigration attorneys but cannot encompass the complexity of the children’s lives. Yet, their responses determine whether they will be granted legal sanctuary in the U.S. or be repatriated to their old lives of horrific violence. The novel’s answer to the conundrum of interpretation — legal, cultural, narrative — is a reminder to all of us who search for neat answers and resolutions when wrapping our minds around a harrowing, ongoing crisis:

The children’s stories are always shuffled, stuttered, always shattered beyond the repair of a narrative order. The problem with trying to tell their story is that it has no beginning, no middle, and no end.

When narrative closure must be negotiated, then perhaps undocumented migrants and refugees are in no position to negotiate an end. They can only pray to arrive and to stay:

Before coming to the United States, I knew what others know: that the cruelty of its borders was only a thin crust, and that on the other side a possible life was waiting. I understood, some time after, that once you stay here long enough, you begin to remember the place where you originally came from the way a backyard might look from a high window in the deep of winter: a skeleton of the world, a tract of abandonment, objects dead and obsolete. And once you’re here, you’r ready to give everything, or almost everything, to stay and play a part in the great theatre of belonging.

[…]

Why did you come here? I asked one little girl once.

Because I wanted to arrive.

Verdict: 🌓 🌔 🌕 🌖

If you’re interested… read Borderlands/La Frontera: The New Mestiza by Gloria E. Anzaldúa; Fronteras Americanas by Guillermo Verdecchia.

The Great Derangement- Climate Change and the Unthinkable, Amitav Ghosh

The Great Derangement: Climate Change and the Unthinkable, Amitav Ghosh

In a moment when we are encountering the crisis of our own times, in a magnitude that seems to dwarf all that had come before, Ghosh’s treatise is a reminder that the looming threat of our time is climate change, lest we forget. Compellingly, by approaching climate change from his standpoint as a novelist, Ghosh argues that the modern novel in its fundamental tenets — the ordered regularity of bourgeois life, the gradualist predictability of nature, the human-centric ideals of the European Enlightenment — is complicit in concealing climate change. The climate crisis is, for Ghosh, also a crisis of the imagination.

In a substantially altered world, when sea-level rise has swallowed the Sundarbans and made cities such as Kolkata, New York and Bangkok uninhabitable, when readers and museum-goers turn to the art and literature of our time, will they not look, first and most urgently, for traces and portents of the altered world of their inheritance? And when they fail to find them, what can they do other than to conclude that ours was a time when most forms of art and literature were drawn into the modes of concealment that prevented people from recognising the realities of their plight? Quite possibly, then, this era, which so congratulates itself on its self-awareness, will come to be known as the time of the Great Derangement.

While there are alternative modes of writing in dealing with climate change than the realist one that he presents, Ghosh is still remarkably prescient in diagnosing the representational challenges that climate change poses to our imagination. A seminal work.

Verdict: 🌓 🌔 🌕 🌖

If you’re interested… read my Hist & Lit junior essay, “Reimagining the (Post)Human in the Age of the Anthropocene: the Cyborg Figure in Frankenstein and The Windup Girl,” which I’m happy to send to you ٩◔‿◔۶

Living to Tell the Tale, Gabriel García Márquez

Living to Tell the Tale, Gabriel García Márquez

(Please recommend to me your favorite memoirs, if you have any!! A character I’m currently writing is a ghostwriter, so I’m on a memoir reading streak.)

Impossible not to fall in love with the man and his life. Gabo’s memoir contains an imagination (and a language) so rich that it creates a world of its own.

Unexpectedly, Gabo’s entire life (and his fiction) pivots on the two-day trip with his mother to sell their childhood house. The memoir opens with that trip and goes on to his childhood, his education, his struggles as an emerging writer and journalist, the Barranquilla Group, the assassination of Jorge Eliécer Gaitán, his influences, and his community. Parts of it gets heavy, especially with the exhaustive introductions of names and places, and yet, the moments of resonance between his real life and his fiction are captivating to stumble upon.

I recommend the first half of the memoir. His childhood bears a haunting, almost unbelievable resemblance to the world in One Hundred Years of Solitude. As Gabo points out in The Fragrance of Guava, a book of interviews, “All I wanted to do was to leave a literary picture of the world of my childhood which […] was spent in a large, very sad house with a sister who ate earth, a grandmother who prophesied the future, and countless relatives of the same name who never made much distinction between happiness and insanity.” How lucky we are that he found it irresistible not to put it onto the page.

Verdict: 🌓 🌔 🌕 🌖

Chronicle of A Death Foretold, Gabriel Garcia Marquez

Chronicle of a Death Foretold, Gabriel García Márquez

Compact, stunning novella on murder, complicity, and premonition in a town that’s like an open wound. Based on a true story that happened in Colombia, the novella gives us the ending in its title and on its opening pages: Santiago Nasar is murdered. In a reportage style (no doubt reminiscent of Gabo’s own training as a journalist), the narrator unravels a baffling murder that the whole town knew about and yet no one intervened in. The inevitable conclusion is secondary to the question of collective guilt and human intentions. No single person is guilty because everyone is. The real suspense is not the whodunnit but why those who could have saved him and wanted to simply did not.

I recall Marquez’s observation in his 1982 Nobel lecture, The solitude of Latin America:

A new and sweeping utopia of life, where no one will be able to decide for others how they die, where love will prove true and happiness be possible, and where the races condemned to one hundred years of solitude will have, at last and forever, a second opportunity on earth.

Storytelling is always a second opportunity. To engage in the creation of opposite utopias when reality is disillusioning and truth constantly eludes. In interrogating our darkest sides, a master storyteller like Gabo saves all of our souls.

Verdict: 🌓 🌔 🌕 🌖 🌗

***

What I’m currently (re)reading — links go to Goodreads: One Hundred Years of Solitude, The Hungry Tide, Lost Children Archive, and Coin Locker Babies.

Stay safe, with love,

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

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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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A day ft. Jeff Zucker, Fareed Zakaria & Amanda Lee Koe

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🌟 07/10/2019 🦄

Just want to mark this date on the blog: July 10, 2019 (even as the minutes slowly tumble into July 11, 2019).

If there’s one day I want to carve into my memory from this entire summer thus far, it’s July 10. It’s the most exhilarating and stimulating day I’ve had in a long, long while.

In the morning, all the CNN interns (around fifty or so) met Jeff Zucker, the President of CNN. It was really cool to see him in person. (He’s a Harvard alum!)

A few hours later, rather spontaneously, Fareed (the host of the show I’m working for — Fareed Zakaria GPS) asked the other intern and me to join him for lunch. Like WOW. Seriously one of the most thought-provoking conversations I’ve ever had. You might not feel it that keenly watching him on TV, but hearing him respond unscripted to your questions in person is clarity personified. The astute insight and the brilliance in the way he articulates how he thinks about the world really do inspire. He even mentioned the time he interviewed Lee Kuan Yew (😭😍*) for Foreign Affairs and LKY’s brutal frankness.

(*which really makes me wish that I could have had the chance to talk to LKY in person before he became buried in time and referred to in past tense. Because he had one of the greatest, brightest minds, but now he lives on in history books, the institutions he built, and conversations like this.)

Straight after work, I took the subway to SoHo for the book launch of Amanda Lee Koe‘s Delayed Rays of a Star. Her Instagram account is so witty and personable, with little nuggets of stories and flashing snippets of life. Since reading The Ministry of Moral Panic in one afternoon (standing for hours in Kinokuniya), I’ve been following her life on Instagram.

And now I’ve met her in person!!!

THERE IS NOTHING LIKE SEEING A YOUNG SINGAPOREAN AUTHOR ACTUALLY PUBLISH A BOOK (with a creative, glorious, cosmopolitan premise) TO PUSH YOU TO WRITE YOUR OWN NOVEL.

It took me around four years to write this novel. For the first year, I was just paralyzed by the archive, she said.

Also, there’s something special about observing the author in her process (at least from the fragments on Instagram) / knowing about the author before something gets published. You somehow realized that a book isn’t conjured but born through the minutiae of research, drowning, actually sitting down and typing away (quote Amanda, When I work, I’m like a crazy nun. All I have before me is a comb of bananas and black coffee and the only time I leave is when I need to pee.), and that it takes time time time time time. But it somehow happens. And a book is born.

Selina Xu Amanda Lee Koe

Amanda Lee Koe and me at the book launch!!!

Oops it’s 1:33AM. GOOD NIGHT.

Lots of love,

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

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

team

♪(๑ᴖ◡ᴖ๑)♪

🌏 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.

 

Welcoming 4/12
Opening 4/13
Closing 4/14

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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