{"product_id":"9780939010646","title":"Fusion Kitsch","description":"\u003cp\u003eOne of the most provocative and cosmopolitan poets writing in Chinese today.\u003c\/p\u003e\u003cp\u003eHsia Yü’s frank and innovative treatment of gender and sexuality heralds the beginning of a much-awaited Chinese \u003ci\u003eécriture féminine\u003c\/i\u003e . As critics have noted, Hsia Yü may well be the first woman poet in Taiwan to have written about love and romance in a way that breaks radically from the conventions and constraints of traditional Chinese women’s poetry. At a time when scholars in both Taiwan and North America are anxious to find a candidate to fill the long-vacant post of \"Chinese feminist poet,\" Hsia Yü’s feminism remains somewhat problematic, in that the poet herself has not only strongly resisted the label \"feminist\" but has insisted that her poetry is far more concerned with exploring the pleasures of the flesh and the pleasures of the text.\u003c\/p\u003e\u003cp\u003e\"L’Empire à la Fin de la Decadence\"\u003c\/p\u003e\u003cp\u003e \u003ci\u003eFor Qiu Jin, Qing dynasty revolutionary martyr\u003c\/i\u003e \u003c\/p\u003e\u003cp\u003e \u003ci\u003eA waltz not without its possibilities of mutual destruction\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eLike your revolution\u003c\/p\u003e\u003cp\u003eI discover I’ve appeared in the guise of a man\u003c\/p\u003e\u003cp\u003eLike you\u003c\/p\u003e\u003cp\u003eDancing toward the nadir\u003c\/p\u003e\u003cp\u003eNadir ad infinitum\u003c\/p\u003e\u003cp\u003eTo the endless verge of toppling\u003c\/p\u003e\u003cp\u003eThe empire at the end of its decadence\u003c\/p\u003e\u003cp\u003eBut I am merely an androgyne\u003c\/p\u003e\u003cp\u003eIn a gloomy salon\u003c\/p\u003e\u003cp\u003eReleasing my splendor\u003c\/p\u003e\u003cp\u003eMy loud and sonorous masculinity \u003c\/p\u003e\u003cp\u003eBorn in Taiwan but now dividing her time between Paris and Taipei, \u003cb\u003eHsia Yü\u003c\/b\u003e makes a living as a song lyricist and translator. She is the author of four volumes of poetry, of which the most recent is \u003ci\u003eSalsa\u003c\/i\u003e (1999). She first came to prominence in the mid-1980s with the appearance of \u003ci\u003eBeiwanglu,\u003c\/i\u003e or \u003ci\u003eMemoranda\u003c\/i\u003e (1983), a self-published collection of poetry whose brassy and iconoclastic tone struck a deeply sympathetic cord in Taiwan’s younger readers. Besides her popularity in Taiwan, Bei Ling devoted ten pages of an issue of his journal \u003ci\u003eTendencies\u003c\/i\u003e to her poems, and Michelle Yeh and Goeran Malmqvist's anthology of Taiwan poetry, forthcoming from Columbia, will contain translations of 27 of Hsia Yu's poems.\u003c\/p\u003e\u003cp\u003e \u003cb\u003eSteve Bradbury\u003c\/b\u003e translates Chinese literature and teaches American and Children’s Litera\u003c\/p\u003e","brand":"Zephyr Press","offers":[{"title":"Default Title","offer_id":47013213536496,"sku":"9780939010646","price":13.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0737\/7593\/9824\/files\/9780939010646_p0.jpg?v=1763869549","url":"https:\/\/shop-qa.barnesandnoble.com\/products\/9780939010646","provider":"Barnes \u0026 Noble (DEV)","version":"1.0","type":"link"}