By Jacob Edmond
Why is our international nonetheless understood via binary oppositions-East and West, neighborhood and worldwide, 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 historic underpinnings of those dichotomies? In a typical Strangeness, Jacob Edmond exemplifies a brand new, multilingual and multilateral method of literary and cultural reviews. 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 sequence of encounters formed through monetary 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 In those encounters, Edmond tracks a shared quandary with strangeness in which poets contested outdated binary oppositions as they reemerged in new, post-Cold warfare varieties.
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Additional resources for A Common Strangeness: Contemporary Poetry, Cross-Cultural Encounter, Comparative Literature (Verbal Arts: Studies in Poetics)
Example text
Signaled in the title “Norlang” and the subtitle “Suntide,” the interplay between sun and water embodies the poem’s opposing forces. 52 Like these titles, the poem’s address to the sun and Tibetan tradition is open to multiple interpretations. 53 The poem both connects and opposes the sun to the poet, recalling the simultaneous opposition and conflation of the two in “Le soleil” and in Duoduo’s encounter with Baudelaire’s poem. In addressing the sun, it also recalls and responds to Mao and the heroic rhetoric of the Cultural Revolution.
88 In prose pieces such as “Weishenme yiding shi sanwen” 为什么一 定是散文 (“Why There Has to Be Prose”), Yang addresses one of the nemeses with which the flâneur does battle—perpetual recurrence beneath the illusion of novelty: 同样的姿势、脚步，走进这一天，又走出这一天。岁月，压抑在字里行间，是 不是总共只有一天？一天中就发生了五年（道路的日子）、五千年（陶罐上 粗陋符号的日子）？言辞，狂暴地展示着一个被无数街道、城市和国度折 磨的经历，高达彻底的沉寂。 Walk into this day with the same stride and posture as you walk out of it. All in all, isn’t time, shut up in lines of words, just one day? Don’t five years (days on the road) or five thousand years (days in the crude symbols on an earthenware jar) all take place in just one day?
While recognizing the elision of difference that occurs through the superimposition of any text, language, culture, time, or place upon another, the figure also produces moments of particularity that emerge out of these superimpositions: moments of touch that presage the possibility of commonality in singularity, of common strangeness. flâneur Far from being the creation of an isolated European modernity, the figure of the flâneur was from the very beginning intertwined with Europe’s others and inseparable from a global context of imperialism.
