Love in a Fallen City

Love in a Fallen City by Eileen Chang 張愛玲

“Hong Kong’s defeat had brought Liusu victory. But in this unreasonable world, who can distinguish cause from effect? Who knows which is which? Did a great city fall so that she could be vindicated? Countless thousands of people dead, countless thousands of people suffering … Liusu didn’t feel there was anything subtle about her place in history. She stood up, smiling, and kicked the pan of mosquito-repellant incense under the table.

Those legendary beauties who felled cities and kingdoms were probably all like that.”

Love in a Fallen City, Eileen Chang

Two pages into the first novella, Aloeswood Incense, I was reminded of the Original Feminists panel at the Penguin Classics pop-up in London last spring. Paraphrasing rather poorly, but: it really is a special kind of heartache to love so fiercely books that don’t love you back. Did that make sense? Stay with me.

Moving on to the titular story (and my personal favourite), Love in a Fallen City, my heart was so full it was near bursting. Revealing my address on the Internet is perhaps not the wisest course of action; nevertheless, it was so incredibly surreal to see a Penguin Modern Classic take place just a street over from where I live, and celebrating my home city with such palpable, understated lucidity. 🇭🇰

Going back to that paraphrase, younger me was besotted with Austen, Orinda and Gaskell, but in each author was always confronted with a Single Story disconnect (see: Chimamanda Ngozi Adichie). I wish she had found this collection sooner.

Thank you, Penguin Books and Karen S. Kingsbury, for this translation. I can’t wait to see our canon continue to broaden.

Rating: 🌟🌟🌟🌟🌟

Lance

“What I am thinking of is the man of imagination and science, whose courage is infinite because his curiosity surpasses his courage. Nothing will keep him back.”

cover.jpg.rendition.460.707cover.jpg.rendition.460.707 (1)I admit, genius though he is, this is my first work by Vladimir Vladimirovich Nabokov. After reading these three exquisitely-wrought stories – all from his Dozen and Collected Stories and each depicting obsessions of very different natures – I can only remark how unfair it is that Nabokov can write so expressively in both Russian and English. I, on the other hand, can barely read my ‘mother tongue’.

The Aurelian: ⭐️⭐️⭐️

Ah yes, the grim Russian short. I’m not sure I have read a single sunny story by a modern Russian writer. Either way, in The Aurelian, Nabokov (an aurelian himself, by the way) captured perfectly the damp, dark, dusty depths of middle-aged despair, for wide is the gate and broad is the road that leads to the purgatory of unrealised youthful ambitions. A truly uplifting tale.

Signs and Symbols: ⭐️⭐️⭐️⭐️⭐️

Upon first finishing this, I confess I was confused. What even was the point? But as I fruitlessly pondered and pondered again the descriptions of this and that offhandedly mentioned detail, I realised what a dull-witted fool I was. In our visceral desire to analyse and assign meaning, are we not, like the son, caught up in mild “referential mania” ourselves? And so, Nabokov sits back and says, checkmate.

“Everything is a cipher and of everything he is the theme.”

Lance: ⭐️⭐️⭐️⭐️

Sheer, unbridled brilliance: his hallmark wordplay and wit were poured so viscously into this titular short story, it took some effort to slop through. While it did get rather pompous towards the end, this science-fiction satire of science fiction was still a dazzling display of literary dexterity.

“The clichés are, of course, disguised; essentially, they are the same throughout all cheap reading matter, whether it spans the universe or the living room. They are like those ‘assorted’ cookies that differ from one another only in shape and shade.”

My other Penguin Modern reviews:
Three Japanese Short Stories
Four Russian Short Stories
Of Dogs and Walls
The Distance of the Moon