Written by Gabrielle Killick. This article examines the poetry of Yen Ai Lin and Hsia Yü through the concept of “phenomenological ecofeminism”. It argues that their representations of bodily and natural fluids challenge patriarchal ideas of femininity, expose the social abjection of women’s bodies, and foreground connections between embodiment, nature, and non-human life in post-Martial Law Taiwanese poetry.
Written by Phoenix, Fung Lam Chan. This article examines Pai Hsien-yung’s Crystal Boys through the relationship between fatherhood, masculinity, and queer identity. It argues that the novel exposes how patriarchal family structures and heterosexual norms marginalise homosexual men, while New Park provides an alternative space of queer kinship and belonging. Yet the novel also highlights the continuing limits of this resistance.
Written by Anne Sokolsky. This article examines Taiwan no shōjo (1944), a collection of essays by Taiwanese writer Huang Fengzi, arguing that its emotional language reveals the complexities of colonial identity under Japanese rule. Through an analysis of competing voices and affective expressions, it explores how emotions, power, and cultural belonging shaped both the text and its colonial context.
Written by Ming-yeh T. Rawnsley. This article explores how food functions as a cultural language in Taiwan through three works: Eat Drink Man Woman, Zone Pro Site, and Taiwan Travelogue. It argues that food expresses family ties, community traditions, colonial encounters, and cultural hybridity, offering a compelling lens for understanding Taiwanese identity and memory.
Written by Sheng-mei Ma. This essay mobilises Cao Zhi’s seven-step poem as an allegorical lens on cross-Strait tensions, tracing how fraternal violence, de-personalised poetics, and classical Chinese cosmology illuminate Taiwan’s precarious geopolitics. Interweaving “Romance of the Three Kingdoms” and “Journey to the West”, it critiques power, survival, and moral contamination, arguing that domination ultimately inscribes both victim and victor within enduring cycles of violence.
Written by Meng-Hao Li. The author describes the controversy surrounding the Taiwanese film The Century Bloodshed, inspired by the unresolved 1980 Lin family massacre. Responding to Wim Wenders’ claim that cinema should remain separate from politics, he argues that film inevitably engages with power and memory. Through debates over the film’s genre, his remarks, and the director’s background, the essay explores the ethical limits of representing historical trauma and Taiwan’s ongoing struggle to confront the legacy of the White Terror.
