Song of a Reformed Headhunter

 Column written for the weekly Singapore Unbound newsletter. Sign up here . To oppose the Russian invasion of Ukraine from the patriotic motive is foolish, because the same motive may heed the drumbeat of our invasion of others. To oppose the death penalty out of pity for the victim is insufficient, because the soft person is unstable and easily becomes a bully in a mob of bullies. War and legal execution of criminals are acts of violence on different orders, but they share the same element of cruelty, and so must be hated by the genuine liberal. This is just one lesson I took away from reading Judith N. Shklar's 1984 book  Ordinary Vices , recommended to me by a dear friend. Born in Riga, Latvia, of Jewish parents, she fled persecution during World War II with her family to Canada. Later, she became the first woman to receive tenure in Harvard's Government Department.  Ordinary Vices  is written with an eye not on fellow academics but on the ordinary reader. To our current pre

Very pleased to be one of the 21 poets in this zuihitsu portfolio , edited by Dana Isokawa and published in the Asian American Writers' Workshop's magazine The Margins. Asked for a note to accompany my three zuihitsu, I wrote this: "I was introduced to the zuihitsu in a workshop on Japanese poetic forms taught by Kimiko Hahn and immediately fell in love with it. How fresh Sei Shōnagon sounds across the centuries! What is the secret to such eternal freshness? Trained in traditional Western forms, I was looking to expand my repertoire by looking again to the East, and what I found was not so much a form as a voice. Sure, Sei Shōnagon is a privileged snob, as a literary friend pointed out with a sniff, but I love to put on her beautiful robe, rub some precious rouge on my cheeks, burn a fine incense stick, and wait for my lover to arrive in the night."

 Weekly column written for the Singapore Unbound newsletter. Sign up here . At a dinner party that I moved from Singapore to New York for—with guests by turns intensely and merrily passionate about books and the arts—my hostess, an art historian and curator, spoke about a Black immigrant artist who was receiving a great deal of attention right then and the difficulty of getting in touch with her because of the phalanx of gallerists and publicists monitoring everything that she said and did. It's a danger of being an immigrant artist, I replied in a non sequitur, the temptation to produce work that would please, even flatter, your host country.  Oh, my hostess said, I don't hold it against the artist. It's so hard out there, you do everything you can to survive and thrive.  Her words came back to me yesterday while I was viewing the show  "Hung Liu: Portraits of Promised Lands"  at the National Portrait Gallery in DC. The show is billed as the first solo exhibition

 Weekly column written for the Singapore Unbound newsletter. Sign up here . The SUSPECT editorial team has heard that a reader of our journal was horrified by the depiction of child rape and marriage in the story  "Beauty and the Jinn"  by Rahad Abir. The reaction was not unexpected, but nevertheless we're glad to have this opportunity to explain our editorial stance and share some of our internal discussions, which are still evolving.  Rahad Abir's story "The Beauty and the Jinn" is very realistic in depicting child rape and marriage for the purpose of exposing what is prevalent in his native Bangladesh, as Rahad's audio recording at the end of the story explains. The story's realism is intended to provoke moral disgust and outrage over what is often normalized or silenced in the country, and, as one editor reminded us, elsewhere in South and Southeast Asia. Another editor added, "As it stands, the story makes clear two things—the devastating i