By Jacob Edmond
Why is our global nonetheless understood via binary oppositions-East and West, neighborhood and worldwide, universal and strange-that should have crumbled with the Berlin Wall? What may possibly literary responses to the occasions that ushered in our period of globalization let us know in regards to the rhetorical and ancient 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 via 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 In those encounters, Edmond tracks a shared obstacle with strangeness during which poets contested outdated binary oppositions as they reemerged in new, post-Cold warfare varieties.
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Extra resources for A Common Strangeness: Contemporary Poetry, Cross-Cultural Encounter, Comparative Literature (Verbal Arts: Studies in Poetics)
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. 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.
I propose that the flâneur in exile addresses and offers an alternative to this endless oscillation between sameness and difference. I use the phrase “flâneur in exile” to refer to the encounter between a paradigmatic figure of European modernity, the flâneur, and Chinese poetry, especially the exilic writing of Yang Lian 杨炼, during the period of political and economic change from the 1970s to the early 1990s that gave birth to our current era. In its overlaying of places, times, languages, and cultures, this encounter embodies the bewildering complexity of the present moment.
44 “Night of the North” blurs the two so as to uncover the primal beneath the modern: “inside our brains, shining like lamps / stretch wild forests, to this day” (在我们灯一样亮着的脑子里 / 至今仍是一片野蛮的 森林). The location of the “prehistoric” (史前) within the present and the country’s wild forest among the lights of the city reflects a general trend in Chinese literature of the 1980s that parallels the “botanizing on the asphalt” in the literature of the flâneur. ”45 The xungen movement took place in the context of an ideological debate in the official media over both the relationship between tradition and modernity and the place of modernist literature.
A Common Strangeness: Contemporary Poetry, Cross-Cultural Encounter, Comparative Literature (Verbal Arts: Studies in Poetics) by Jacob Edmond