By Jacob Edmond
Why is our global nonetheless understood via binary oppositions-East and West, neighborhood and international, universal and strange-that should have crumbled with the Berlin Wall? What could literary responses to the occasions that ushered in our period of globalization let us know concerning 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 experiences. He starts 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 lines a chain of encounters formed by means of financial 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 problem 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)
Negotiating a flickering path between country darkness and city lights, the walker occupies the city imaginatively, through its lonely lights and the ambiguously located “side lane,” even as he is barred from it physically. His “unfamiliar turn” (becoming a poet) allows him to undercut the official opposition of country to city. 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).
61 This depiction combines characteristics of the flâneur with a contrasting sense of the exile’s alienation from the city, its language, and people. 67 Like the flâneur, he occupies an urban environment both modern and decaying, containing towers and skyscrapers, a hospital, a museum, a prison, a motorway, streetlamps, shops and shop windows, public toilets, rumbling traffic, a tumbledown house, a dilapidated graveyard, and indifferent and impoverished inhabitants. 70 Yang expands this sense of alienation by referring to his exiled protagonist in the second person.
51 Because the poem’s “reply to the sun” (nuo ri lang 诺日郎) inheres in the literal meaning of the Chinese transliteration of the Tibetan name of the waterfall, Norlang, the cross-cultural encounter between a Tibetan word and its Chinese rendition suggests the flickering double movement that the poem performs. 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.