Transpatial Modernity: Chinese Cultural Encounters with Russia Via Japan (1880-1930) (Harvard Asia Center, 2024) offers the first detailed account of the complex cultural, literary and intellectual relationships between Russia, Japan and China in the modern era. In this wide-ranging interview, author Xiaolu Ma reflects on the remarkable process of Russian culture reaching China through the prism of Japan and Japanese. What happens when translation takes place through an intermediary language? How did Russian literature and ideas get reimagined in the two-step exchange to Japanese and Chinese?

This interview begins with the Professor Ma’s personal reflections on the experience of studying Russian literature in China, before turning to a broad overview of China’s encounter with Russia via Japan. The interview then zooms in on a few of the examples explored in Transpatial Modernity, bringing to life a network of cultural exchange, including such celebrated names as Pushkin, Lu Xun, and the Russian nihilists.

Transpatial Modernity is recommended for anyone interested in processes of cultural exchange and translation, as well as for those with interest in China, Japan and Russia during the extraordinary half-century between the 1880s and 1930s.

Mark Baker is lecturer (assistant professor) in East Asian history at the University of Manchester, UK.

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African Literature and US Empire Postcolonial Optimism in Nigerian and South African Writing (Edinburgh UP, 2024) demonstrates how African literature grapples with the enforced optimism of US empire that circulates in postcolonial nations:

Postcolonialism has long been associated with post-nationalism. Yet, the persistence of nation-oriented literatures from within the African postcolony and its diasporas registers how dreams of national becoming endure. In this fascinating new study, Hallemeier brings together African literary studies, affect studies and US empire studies, to challenge chronologies that chart a growing disillusionment with the postcolonial nation and national development across the twentieth and twenty-first centuries. The Nigerian and South African writings in African Literature and US Empire, while often attuned to the trans- and extra- national, repeatedly scrutinize why visions of national exceptionalism, signified by a ‘pan-African’ Nigeria and ‘new’ South Africa, remain stubbornly affecting, despite decades of disillusionment with national governments beholden to a neocolonial global order. In these fictions, optimistic forms of nationalism cannot be reduced to easily critiqued state-sanctioned discourses of renewal and development. They are also circulated through experiences of embodied need, quotidian aspiration and transnational, pan-African relationship.

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Louise Lowe is a theatre and performance director, writer, choreographer, dramaturge, and, more recently, a television director and short film writer/director, working in Ireland and internationally. She is the Co-Artistic Director of ANU Productions, established with Owen Boss in Dublin in 2009. Lowe is known for facilitating and creating moments of interior reckoning for audiences through immersive performance techniques. These techniques engage spectators in affectively realised moments of understanding that the stories unfolding through performance reflect living histories in need of greater socio-political engagement and intervention. 

The Theatre of Louise Lowe (Cambridge UP, 2025) assesses Lowe's creative practice and production history since her days as a drama facilitator in women's prisons and resource centres in Dublin, paying particular attention to the economic struggle of Dublin's north inner-city, the markings of which are potently visible in the work she makes, and how she makes it. This title is also available as Open Access on Cambridge Core.

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Poems by and biographies of inmates of the Dachau Concentration Camp, testimonies to the persistence of the humanity and creativity of the individual in the face of extreme suffering.

The concentration camp at Dachau was the first established by the Nazis, opened shortly after Hitler came to power in 1933. It first held political prisoners, but later also forced laborers, Soviet POWs, Jews, and other "undesirables." More than 30,000 deaths were documented there, with many more unrecorded. In the midst of the horror, some inmates turned to poetry to provide comfort, to preserve their sense of humanity, or to document their experiences. Some were or would later become established poets; others were prominent politicians or theologians; still others were ordinary men and women.

My Shadow in Dachau: Poems (Camden House, 2014) contains 68 poems by 32 inmates of Dachau, in 10 different original languages and facing-page English translation, along with short biographies. A foreword by Walter Jens and an introduction by Dorothea Heiser from the original German edition are joined here by a foreword by Stuart Taberner of theUniversity of Leeds. All the poems, having arisen in the experience or memory of extreme human suffering, are testimonies to the persistence of the humanity and creativity of the individual. They are also a warning not to forget the darkest chapter of history and a challenge to the future not to allow it to be repeated.

Dorothea Heiser holds an MA from the University of Freiburg. Stuart Taberner is Professor of Contemporary German Literature, Culture, and Society at the University of Leeds.

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Asian/Other: Life, Poems, and the Problem of Memoir was published in January 2025 by Icon Books. The book considers the political and psychological dimensions of diasporic identity as Ravinthiran leaps imaginatively between memoir and criticism—understanding his life through poetry, and vice versa. Ranging from Andrew Marvell to Divya Victor, Ravinthiran writes both about and through poems, discussing Sri Lanka, experiences of racism and resilience, and pandemic parenting to name a few.

Vidyan Ravinthiran is the Gardner Cowles Associate Professor of the Humanities at Harvard University and teaches in the Department of English there. Born in Leeds to Sri Lankan Tamils, Ravinthiran completed his education at the Universities of Oxford and Cambridge, before moving to the US five years ago. His publications include Elizabeth Bishop’s Prosaic (2015), Worlds Woven Together: Essays on Poetry and Poetics (2022) and Spontaneity and Form in Modern Prose (2022). Aside from his literary criticism, which has been published in numerous journals, he is also well known as a poet. His collections explore the tensions that arise between being and becoming in diasporic imaginaries. The Million-Petalled Flower of Being Here published by Bloodaxe in 2019 was the winner of the Northern Writers Award, awarded Poetry Book Society Recommendation and was shortlisted for the Forward Prize. An earlier collection, Gru-Tu-Molani published in 2014 was shortlisted for the Forward Prize for Best First Collection, the Seamus Heaney Centre Poetry Prizeand the 2015 Michael Murphy Memorial Prize.

This interview was hosted by Zana Mody, an English DPhil student at the University of Oxford, who works on postcolonial Indian literature and art.

X: @mody_zana

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Abu Bakr al-Suli was an Abbasid polymath and table companion, as well as a legendary chess player. He was perhaps best known for his work on poetry and chancery, which would have a long-lasting influence on Arabic literature. His decades of service at the court of at least three caliphs give him a unique perspective as an historian of his own time, although he is often valued as an observer rather than an interpreter of events for posterity.

In History and Memory in the Abbasid Caliphate: Writing the Past in Medieval Arabic Literature (I. B. Tauris, 2024), Letizia Osti provides the first full-length English-language study devoted to al-Suli, illustrating how investigating the life, times and works of such a complex individual can serve as a fil rouge for tackling broader, contested concepts, such as biography, autobiography, court culture, and written culture. The result is an exploration of the ways in which the Abbasid court made sense of the past and, in general, of what 'historiography' means in a medieval Arabic context.

Letizia Osti is Professor of Arabic Literature and Language at the University of Milan, where she has taught since 2007. She earned her PhD in Arabic Studies from the University of St. Andrews, and is a member of the School of Abbasid Studies and other scholarly societies. Her research has been published widely in journals such as the Journal of Abbasid Studies, the Journal of Arabic and Islamic Studies and Middle Eastern Literatures, and she is the co-author of the 2013 study Crisis and Continuity at the Abbasid Court.

Samuel Thrope is Curator of the Islam and Middle East Collection at the National Library of Israel. He earned his PhD at the University of California, Berkeley in 2012. He is the translator of Iranian author Jalal Al-e Ahmad’s 1963 Israel travelogue The Israeli Republic (Restless Books, 2017) and, with Dr. Domenico Agostini, of the ancient Iranian Bundahišn: The Zoroastrian Book of Creation (Oxford University Press, 2021).

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Hasidism, Haskalah, Zionism (U Pennsylvania Press, 2023) reveals how political and literary dialogues and conflicts between the Hebrew literature of the Hasidism, the Jewish Enlightenment, and Zionism interacted with each other in the nineteenth century. Hannan Hever uses postcolonial theories and theories of nationality to analyze how Jews used literature to make sense of hostility directed toward Jews from their European “host” countries and to set forth their own ideas and preferences regarding their status, control, and treatment. In doing so, Hever theorizes the Enlightenment’s intellectual aims and cultural influences, tracking how the models of integration crucial to Haskalah gave way to Jewish nationalism in the twentieth century.

The readings in this book are theoretically informed, setting forward novel claims based on detailed textual analyses of hasidic tales, Haskalah satires, and Zionist narratives. Thus, this book tackles a major interpretative problem visible at the core of modern Hebrew literature—its radical difficulty in distinguishing between the theological components of modern Jewish discourse and its national identity.

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In Throw Yourself Away: Writing and Masochism (Cambridge University Press, 2024), Julia Jarcho proposes that the desire to write is inextricably bound up with masochistic desires. In a series of readings that engage American and European works of fiction, drama, and theory from the late nineteenth through the early twenty-first centuries, Jarcho tests the limits of masochism as a pleasure-making economy. Reading Henry James, Henrik Ibsen, Mary Gaitskill, and Adrienne Kennedy alongside Sigmund Freud, Gilles Deleuze, Eve Kosofsky Sedgwick, Leo Bersani and others, Jarcho investigates the ways in which masochism rewrites and reinvigorates failures of desire, which critics have otherwise thought of as dead-ending masochism. Jarcho asks particularly difficult questions of masochism as a response to injurious social structures, which yield less uniformly white, searching, and uneasy views of both masochism and authorship. Throw Yourself Away reconsiders how writing and subjects are undone by the excesses and recesses of masochistic desire, which keeps the prospect of pleasure so painfully, so deliciously at bay.

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It’s a bit surprising to hear a writer known for building worlds that incorporate deep historical research and elaborate technological details extol the virtues of play, but Ken Liu tells critic Rose Casey and host Sarah Wasserman that if “your idea of heaven doesn’t include play, then I’m not sure it’s a heaven people want to go to.” It turns out that Ken—acclaimed translator and author of the “silkpunk” epic fantasy series Dandelion Dynasty and the award-winning short story collection The Paper Menagerie—is deeply serious about play. Speaking about play as the key to technological progress, Ken and Rose discuss the importance of whimsy and the inextricable relationship between imagination and usefulness. For Ken, whose Dandelion Dynasty makes heroes of engineers instead of wizards or knights, precise machinery and innovative gadgets are born, like novels, of imagination. Ken himself might be best described as a meticulous, dedicated tinkerer—a writer playing with the materials and stories of the past to help us encounter new worlds in the present. So even if trying to explain his craft is “like asking fish how they swim,” Ken jumps in and discusses how he writes at such different lengths (hint: the longer the book, the more elephantine) and what he makes of different genre labels, from fantasy to historical fiction. We also learn why Ken is a fan of Brat Summer and still thinking about the Roman Empire.

Mentioned in this episode:

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Monsters are central to how we think about the human condition. Join award-winning historian of science in Humans: A Monstrous History (University of California Press, 2025) by Dr. Surekha Davies as she reveals how people have defined the human in relation to everything from apes to zombies, and how they invented race, gender, and nations along the way. With rich, evocative storytelling that braids together ancient gods and generative AI, Frankenstein's monster and E.T., Humans: A Monstrous History shows how monster-making is about control: it defines who gets to count as normal.

In an age when corporations increasingly see people as obstacles to profits, this book traces the long, volatile history of monster-making and charts a better path for the future. The result is a profound, effervescent, empowering retelling of the history of the world for anyone who wants to reverse rising inequality and polarization. This is not a history of monsters, but a history through monsters.

This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s episodes on New Books with Miranda Melcher, wherever you get your podcasts.

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