In 'Dance of Heartbreak', something happened to a young boy in Grade 4, at Red Flag Elementary School; but even today the whole affair remains fresh in his mind. He'd never met another girl like her; she was a little child of glass, beautiful in her sorrow when she ran to centre stage. For him, she was an archetype. In 'The Diary for August', the inspector looked at the suspect who had been brought in for the incident at the city wall. He was fourteen or fifteen, dripping wet from the swimming pool where they had found him, and both his legs were trembling. It looked like he knew he had caused a disaster. Part of the Storycuts series, these two short stories were previously published in the collection Madwoman on the Bridge.
You don't expect some guy making small talk on a train to turn into a real friend, but that was just the kind of friend Papa Qi was. And afterwards, Saturday became Papa Qi's visiting day. Every Saturday. Part of the Storycuts series, this short story was previously published in the collection Madwoman on the Bridge.`
Bao Qing was a classic example of what people in Maqiao meant when they spat out the word 'intellectual'. Coming home to his old town for the holidays was just as much trouble as not coming home, for this was a town where his old schoolmate Fatcat had every local business in his pocket. And Fatcat considered the returning 'professor' a celebrity. Bao Qing was about to get an invitation he could not refuse. Part of the Storycuts series, this short story was previously published in the collection Madwoman on the Bridge.
Disgraced Secretary Ku has been banished from the Party - it has been officially proved he does not have a fish-shaped birthmark on his bottom and is therefore not the son of a revolutionary martyr, but the issue of a river pirate and a prostitute. Mocked by the citizens of Milltown, Secretary Ku leaves the shore for a new life among the boat people on a fleet of industrial barges. Refusing to renounce his high status, he maintains a distance - with Dongliang, his teenage son - from the gossipy lowlifes who surround him. One day a feral little girl, Huixian, arrives looking for her mother, who has jumped to her death in the river. The boat people, and especially Dongliang, take her to their hearts. But Huixian sows conflict wherever she goes, and soon Dongliang is in the grip of an obsession for her. He takes on Life, Fate and the Party in the only way he knows . . .
Who would have anticipated that Petulia, stripped of her silk gowns, would be forced to denounce the Red Delight Pavilion? Or believed that Autumn Grace would cry in desperation as nuns shave off her locks? After years working side-by-side, their sudden goodbye was the first sign of a changing society. Still, the scent of rouge filling their memories keeps them close, despite the twists and turns that life throws at them. Until one day, the promise of love and stability becomes a temptation neither can deny. . .
Yemen, 1935. Jama is a "market boy," a half-feral child scavenging with his friends in the dusty streets of a great seaport. For Jama, life is a thrilling carnival, at least when he can fill his belly. When his mother—alternately raging and loving—dies young, she leaves him only an amulet stuffed with one hundred rupees. Jama decides to spend her life's meager savings on a search for his never-seen father; the rumors that travel along clan lines report that he is a driver for the British somewhere in the north. So begins Jama's extraordinary journey of more than a thousand miles north all the way to Egypt, by camel, by truck, by train, but mostly on foot. He slings himself from one perilous city to another, fiercely enjoying life on the road and relying on his vast clan network to shelter him and point the way to his father, who always seems just a day or two out of reach. In his travels, Jama will witness scenes of great humanity and brutality; he will be caught up in the indifferent, grinding machine of war; he will crisscross the Red Sea in search of working papers and a ship. Bursting with life and a rough joyfulness, Black Mamba Boy is debut novelist Nadifa Mohamed's vibrant, moving celebration of her family's own history.
The madwoman was wearing a white velvet cheongsam. Standing on the bridge, she revelled in her own faded splendour. Normal people pay no attention to madwomen, but one woman from Shaoxing stayed on the bridge that afternoon to talk to this one; what was she coveting? Part of the Storycuts series, this short story was previously published in the collection Madwoman on the Bridge.
This book is the first to examine the performance of autobiographical material as a theatrical form, a research subject, and a therapeutic method. Contextualizing personal performance within psychological and theatrical paradigms, the book identifies and explores core concepts, such as the function of the director/therapist throughout the creative process, the role of the audience, and the dramaturgy involved in constructing such performances. It thus provides insights into a range of Autobiographic Therapeutic Performance forms, including Self-Revelatory and Autoethnographic Performance. Addressing issues of identity, memory, authenticity, self-reflection, self-indulgence, and embodied self-representation, the book presents, with both breadth and depth, a look at this fascinating field, gathering contributions by notable professionals around the world. Methods and approaches are illustrated with case examples that range from clients in private practice in California, through students in drama therapy training in the UK, to inmates in Lebanese prisons.
Winner of the 2023 PEN Translation Prize Winner of the 2023 NSW Premier’s Translation Prize An eerie, alienating, yet comic and profoundly sympathetic short story collection about Americans in America by one of Indonesia’s most prominent writers, now in an English translation for its fortieth anniversary, with a foreword by Intan Paramaditha A Penguin Classic In these seven stories of People from Bloomington, our peculiar narrators find themselves in the most peculiar of circumstances and encounter the most peculiar of people. Set in Bloomington, Indiana, where the author lived as a graduate student in the 1970s, this is far from the idyllic portrait of small-town America. Rather, sectioned into apartment units and rented rooms, and gridded by long empty streets and distances traversable only by car, it’s a place where the solitary can all too easily remain solitary; where people can at once be obsessively curious about others, yet fail to form genuine connections with anyone. The characters feel their loneliness acutely and yet deliberately estrange others. Budi Darma paints a realist world portrayed through an absurdist frame, morbid and funny at the same time. For decades, Budi Darma has influenced and inspired many writers, artists, filmmakers, and readers in Indonesia, yet his stories transcend time and place. With The People from Bloomington, Budi Darma draws us to a universality recognized by readers around the world—the cruelty of life and the difficulties that people face in relating to one another while negotiating their own identities. The stories are not about “strangeness” in the sense of culture, race, and nationality. Instead, they are a statement about how everyone, regardless of nationality or race, is strange, and subject to the same tortures, suspicions, yearnings, and peculiarities of the mind.
