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 well literary responses to the occasions that ushered in our period of globalization let us know in regards to 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 reports. He starts off 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 by way of 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 hindrance with strangeness by which poets contested previous binary oppositions as they reemerged in new, post-Cold warfare varieties.
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Extra info for A Common Strangeness: Contemporary Poetry, Cross-Cultural Encounter, Comparative Literature (Verbal Arts: Studies in Poetics)
The flâneur was a product of the nineteenth-century European imperial capital; while he was acutely self-conscious of his place at what he perceived to be the center of modernity, his sense of European particularity was nevertheless also born out of his relation to nonEurope. ”1 As a “displaced native” in a city “filled with foreigners and goods from distant lands,” the latter emerges out of the experience of strangeness induced by the increasingly cosmopolitan nature of the very imperial capital (Paris) celebrated by the original flâneur.
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. His protests against the Chinese government at that time made returning to China seem ill-advised, and so he spent the subsequent three years based mainly in Auckland. 57 The writing he produced over this period develops the disenchantment and decentering impulses of menglong and xungen poetics into a confrontation with exile.
47 These poems mark the Beijing poet’s journeys to rural parts of China and Tibet in search of resources unavailable in urban centers. While neither explicitly addresses country-city relations, they implicitly conflate the conflict between tradition and modernity with the confrontation between country and city. As in “Le soleil,” these works deploy the figure of the sun to dramatize the return to the countryside and the encounter between tradition and modernity. 48 In “Banpo,” for example, the sun is associated with the superimposition of past on present and the uncertain negotiation of a path between modernity and tradition.
A Common Strangeness: Contemporary Poetry, Cross-Cultural Encounter, Comparative Literature (Verbal Arts: Studies in Poetics) by Jacob Edmond