Asians may identify more closely with success stories akin to the American Dream than with the colonial values left by Europeans in the last centuries, writes Duncan Jepson.
The West, argues Duncan Jepson, will continue to fail to understand China, its people, and its literature so long as it projects its own values onto the nation.
Duncan Jepson’s new novel ‘All the Flowers in Shanghai’ gives western readers a glimpse into China’s psyche, where tradition can take precedence over reason.
Patterns of book piracy can tell you a lot about the aspirations of a culture and what people really want to read. And it might direct you toward the next bestseller.
It’s rare in the West for graphic novels to win mainstream accolades and readership, but in Asia, it is the norm. In the US, isn’t it time for that to change?
Printed graphic storytelling is an extension of all that has been performed for centuries across Asia, where often the word and the graphic symbol are one.
Cultural differences aside, China’s book market is itself largely a self-contained entity—politically, socially and, more importantly, economically.
Chinese bestselling author/race car driver/youth phenomenon Han Han has been accused of using ghost writers. A convoluted mess of counter accusations ensued.
Whether through book prizes or literary review publications, more avenues are available for Western readers to discover authors and writing from Asia.
Race car-driving author Han Han is seen as the voice of China’s young generation and read by 300 million people, but will what he represents be lost in translation?
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