Victoria Chang – författare

This book is the first in English to consider women's movements and feminist discourses in twentieth-century Taiwan. Doris T. Chang examines the way in which Taiwanese women in the twentieth century selectively appropriated Western feminist theories to meet their needs in a modernizing Confucian culture. She illustrates the rise and fall of women's movements against the historical backdrop of the island's contested national identities, first vis-À-vis imperial Japan (1895-1945) and later with postwar China (1945-2000).  In particular, during periods of soft authoritarianism in the Japanese colonial era and late twentieth century, autonomous women's movements emerged and operated within the political perimeters set by the authoritarian regimes. Women strove to replace the "Good Wife, Wise Mother" ideal with an individualist feminism that meshed social, political, and economic gender equity with the prevailing Confucian family ideology. However, during periods of hard authoritarianism from the 1930s to the 1960s, the autonomous movements collapsed. The particular brand of Taiwanese feminism developed from numerous outside influences, including interactions among an East Asian sociopolitical milieu, various strands of Western feminism, and Marxist-Leninist women's liberation programs in Soviet Russia. Chinese communism appears not to have played a significant role, due to the Chinese Nationalists' restriction of communication with the mainland during their rule on post-World War II Taiwan. Notably, this study compares the perspectives of Madame Chiang Kai-shek, whose husband led as the president of the Republic of China on Taiwan from 1949 to 1975, and Hsiu-lien Annette Lu, Taiwan's vice president from 2000 to 2008. Delving into period sources such as the highly influential feminist monthly magazine Awakening as well as interviews with feminist leaders, Chang provides a comprehensive historical and cross-cultural analysis of the struggle for gender equality in Taiwan.

Victoria Chang's collection takes its title from what many call "the worst weed in the world," a plant so rapidly and uncontrollably invasive that it is illegal to sell or possess in the United States. Chang explores this image of vitality and evil in three thematically grouped sections focusing on corporate greed, infidelity and desire, and historical atrocities, including the excesses of the Cultural Revolution in China and the massacre of Chinese people in Nanking by Japanese troops in World War II.This edgy, fierce subject matter becomes engaging and fresh as Chang applies her powers of imagination to the extraordinary lives of Madame Mao, investment banker Frank P. Quattrone, and others living at extraordinary historical moments. In "Seven Stages of Genocide," for example, the poem's speaker is herded into a death camp along with a neighbor that he strongly dislikes: "The barbed wire around us forces me / to catch his breath that smells like goose." Chang focuses her attention to occurrences in the world that many poets find too violent or disturbing to write about, thereby making her own distinctive aesthetic from that which is, like Salvinia molesta, both creepy and beautiful.

A NEW YORKER BEST BOOK OF 2022'Impeccable, precise poems, sometimes shocking and strange, but always startling' Irish TimesA lover of strict form, best-selling poet Victoria Chang turns to compact Japanese waka, powerfully innovating on tradition while continuing her pursuit of one of life's hardest questions: how to let go.In The Trees Witness Everything, Victoria Chang reinvigorates language by way of concentration, using constraint to illuminate and free the wild interior. Largely composed in various Japanese syllabic forms called 'wakas,' each poem is shaped by pattern and count. This highly original work innovates inside the lineage of great poets including W.S. Merwin, whose poem titles are repurposed as frames and mirrors for the text, stitching past and present in complex dialogue. Chang depicts the smooth, melancholic isolation of the mind while reaching outward to name - with reverence, economy and whimsy - the ache of wanting, the hawk and its shadow, our human urge to hide the minute beneath the light.

Los Angeles Times Book PrizePEN Voelcker AwardAnisfield-Wolf Book PrizeNew York Times 100 Notable Books Time Magazine's 100 Must-Read Books NPR's Best Books National Book Award in Poetry, LonglistNational Book Critics Circle, FinalistGriffin Poetry Prize, ShortlistFrank Sanchez Book AwardAfter her mother died, poet Victoria Chang refused to write elegies. Rather, she distilled her grief during a feverish two weeks by writing scores of poetic obituaries for all she lost in the world. These poems reinvent the form of newspaper obituary to both name what has died ('civility,' 'language,' 'the future,' 'Mother's blue dress') and the cultural impact of death on the living. Loss, and the love for the dead, becomes a conduit for self-expression. In this unflinching and lyrical book, Chang meets her grief and creates a powerful testament for the living.'Chang's new collection explores her father's illness and her mother's death, treating mortality as a constantly shifting enigma. A serene acceptance of grief' New York Times, "100 Notable Books of 2020"'Exceptional... Chang's poems expand and contract to create surprising geometries of language, vividly capturing the grief they explore' Publishers Weekly

WINNER OF THE FORWARD PRIZE FOR BEST POETRY COLLECTION 2024'Chang has liberated the Ekphrastic form to new lyric heights and depths. Inventive, meditative, audacious, strange and soulful. A marvel of a collection that engages the eye and mind as much as the ear and heart' Raymond AntrobusYesterday I slung my depression on my back and went to the museum. I only asked four attendants where the Agnes painting was and the fifth one knew. I walked into the room and saw it right away. From afar, it was a large white square.WITH MY BACK TO THE WORLD engages with the paintings and writings of Agnes Martin, the celebrated abstract modern artist, in ways that open up new modes of expression, expanding the scope of what art, poetry, and the human mind can do. Filled with surprise and insight, wit and profundity, the book explores the nature of the self, of existence, life and death, grief and depression, time and space. Strikingly original, fluidly strange, Victoria Chang's new collection is a book that speaks to how we see and are seen.With My Back to the World won the Forward Prize for Best Poetry Collection on the 10th October 2024

A poet watches the limbs of a eucalyptus tree get sawed off: the image persists, recurring across poems of art, language, selfhood, memory, and loss.Joan Mitchell said, When I talk about love, I mean loving a tree. When I talk about love, I mean loving where a tree used to be.Men assess the eucalyptus tree growing on the poet's street; a crane arrives. The sound of a chainsaw rings in the air and branches begin to fall. This tree-cutting haunts the poet, and refracts across the remarkable work collected in Tree of Knowledge as Chang turns her thoughts to artists such as Pablo Picasso, Joan Mitchell and Hilma af Klint.Roving, evocative, and intricate, Tree of Knowledge is rooted in Victoria Chang's crystalline voice and generous, probing gaze, and by certain images ― trees, a hanging figure, a branch, fingertips, a briefcase ― that resurface like apparitions.

"Groundbreaking . . . Chang's lyrical experiment memorably evokes an individual family's time capsule and an artist's timeless yearning to shape carbon dust into incandescent gem." —NPRNow in paperback, from the poet who “resurrects mediums” (The Millions), a collection of literary letters and mementos on the art of remembering across generations. For Victoria Chang, memory “isn’t something that blooms, but something that bleeds internally.” It is willed, summoned, and dragged to the surface. The remembrances in this collection of letters are founded in the fragments of stories her mother shared reluctantly and in the silences of her father. They are whittled and sculpted from an archive of family relics: a marriage license, a letter, a visa petition, a photograph. And, just as often, they are built on questions that can no longer be answered.Dear Memory is not a transcription but a process of shaping and being shaped, knowing that when a writer dips their pen into history, what emerges is poetry. In letters to family, past teachers, fellow poets, and to the imagination itself, Victoria Chang offers a model for what it looks like to find ourselves in our histories.

A Firecracker Award Finalist in Creative NonfictionAn Electric Literature Favorite Nonfiction Book of the YearA Kirkus Best Book of the MonthFrom poet Victoria Chang, a collection of literary letters and mementos on the art of remembering across generations.For Victoria Chang, memory “isn’t something that blooms, but something that bleeds internally.” It is willed, summoned, and dragged to the surface. The remembrances in this collection of letters are founded in the fragments of stories her mother shared reluctantly, and the silences of her father, who first would not and then could not share more. They are whittled and sculpted from an archive of family relics: a marriage license, a letter, a visa petition, a photograph. And, just as often, they are built on the questions that can no longer be answered.Dear Memory is not a transcription but a process of simultaneously shaping and being shaped, knowing that when a writer dips their pen into history, what emerges is poetry. In carefully crafted collages and missives on trauma, loss, and Americanness, Victoria Chang grasps on to a sense of self that grief threatens to dissipate.In letters to family, past teachers, and fellow poets, as the imagination, Dear Memory offers a model for what it looks like to find ourselves in our histories.

"Groundbreaking . . . Chang's lyrical experiment memorably evokes an individual family's time capsule and an artist's timeless yearning to shape carbon dust into incandescent gem." —NPRNow in paperback, from the poet who “resurrects mediums” (The Millions), a collection of literary letters and mementos on the art of remembering across generations.  For poet Victoria Chang, memory “isn’t something that blooms, but something that bleeds internally.” It is willed, summoned, and dragged to the surface. The remembrances in this collection of letters are founded in the fragments of stories her mother shared reluctantly, and the silences of her father, who first would not and then could not share more. They are whittled and sculpted from an archive of family relics: a marriage license, a letter, a visa petition, a photograph. And, just as often, they are built on the questions that can no longer be answered. Dear Memory is not a transcription but a process of shaping and being shaped, knowing that when a writer dips their pen into history, what emerges is poetry. In carefully crafted missives on trauma and loss, on being American and Chinese, Victoria Chang shows how grief can ignite a longing to know yourself.In letters to family, past teachers, and fellow poets, as the imagination, Dear Memory offers a model for what it looks like to find ourselves in our histories.