Tragic silence torrent

This take on Vampires was so incredibly refreshing I actually sighed with relief. We have a real scary vampire here - and not one that kills with a charming smile and sparkly eyes, this vampire isn't afraid to shed some blood to get what he wants. And what he wants now is Bianka I read Tragic Silence within a couple of days And what he wants now is Bianka or known as Bee.

I immediately fell in love with the friendship between Bianka and Lucy. I loved them together so much that I was hoping against hope that Bianka was able to change the future somehow. Even though I knew what was coming, I still gasped and thought - 'omg no way'. All I can say is WHY???

There's just something about E. C Hibbs writing style that has me trapped in her world. She could be writing about her grocery list and I'll still stick in till the end.

During the course of the book - Bianka tries to piece her life back together the best she can after the accident an accident mind you that took away her ability to walk properly and forces her onto a cane.

She leaves her home in Hungary and travels to London instead but no matter how far she runs, even if she flees to the other side of the world she would still be haunted by the mysterious man. It's more than just her nightmares, he's there always I don't want to give away too much but it's clear that Hibbs had thought through each twist and turn carefully, intertwining all of our characters into a giant web of surprises and excitement.

Can't wait to read more - fan for life! Apr 26, Chris Torretta rated it really liked it. I loved this plot but I have to say, the beginning really got me! This start out and the ratchets up so much that you almost have to come down for the second half. The plot does take a bit of a slower rate but not in a bad way. As she is finding information out, so do the reader.

But I really enjoyed how the information was given for this and how Bianka handled things. I mean this girl is strong! And speaking of characters, I have to admit Wow And speaking of characters, I have to admit I started getting worried about some of them! Maybe I'm just paranoid but when you have a murderer on the loose and people are overly friendly, is it just me or is that a total red flag?

I just don't like that! Take two steps back Mr! But, even saying that when Bianka is at her lowest of the low that is when she is rescued and it was either that or get into a LOT of trouble! This is kind of interesting because there is a bit of back and forth in this. Some memories and then some dreams and then real time. I normally dislike too much of that but E. Hibbs handled it very gracefully and made it completely understandable.

And seriously, I devoured this book! I read it during a read a thon where I was cringing at reading pages but that didn't feel like anything. With everything that is going on in this one it really needs those pages for everything to be presented and for everything to come out prior to the end. Fabulous read with some serious bits of horror. Not bloody but psychological which can sometimes be worse! But soooo awesome for horror lovers like myself! May 15, Paula Phillips rated it liked it.

Are you in the mood for some Supernatural stories? Sick of reading New Adult novels and wanting a change? Check out Tragic Silence by E. C Hibbs. While out one night, Lucy is acting strange and believes someone is following her.

The two of them are cautious until tragedy strikes and Lucy goes missing. Days turn to weeks and then weeks turn to months, until by chance Bian Are you in the mood for some Supernatural stories? Days turn to weeks and then weeks turn to months, until by chance Bianka sees Lucy. Though a lot has changed and this isn't the same girl Bianka last saw, something is terribly wrong. The story then continues and we discover that Lucy was captured by a Blood Demon - half vampire and half demon.

Lucy eventually passes away and Bianka wanting to escape heads to London where she meets Frank - a fellow Vampire who helps Bianka discover truly what she has now become. Will Bianka ever be able to outrun her creator or will when the time comes,find her no matter where she is and destroy her till there's nothing left like he did to Lucy?

Find out in Tragic Silence by E. C Hibbs which makes a nice difference to read as the trend at the moment seems to be New Adult novels. May 06, Anastasia rated it really liked it.

But everywhere she sees the same thing. A dark, mysterious and dangerous man who won't stop until he gets her. Tragic Silence is not your average vampire story where the vampire after hundreds and hundreds of years wandering the world finally meets a girl that changes his world.

No, in this book the vampire is evil and bloodthirsty. A combination that horror stories lovers like myself will fell in love with! In addition, one of the things that you can't not love about this book is that it combines the present, future, past and the dream world.

Someone would think that that maybe confuse readers but E. Hibbs did a great job. Humans are also enraged to discover thee existence of vampires in the vicinity and they are also planning to find and destroy the vampires. User Ratings: 24 ratings have been given [ details ]. Running time: 28 minutes. Number of episodes: 1. Episode titles: We have 1. Vintage: Release dates: We have 1. Official website: Girl's Game Five Ways. Original creator : Hashiba Hayase.

RightStuf - Anime, Manga and More. Compare Credits Compare this anime with others. The Winter Preview Guide Jan 13, comments. Declaration Washing Away Me in the Tides Master of Puppets Metallica cover Dying in Your Arms video mix. Ignition 2. Detonation 3. Entrance of the Conflagration 4. Anthem We Are the Fire 5. Unrepentant 6. And Sadness Will Sear 7. Becoming the Dragon 8. To the Rats 9. Tread the Floods Contempt Breeds Contamination The Rising The Crusade Broken One.

Kirisute Gomen 2. Torn Between Scylla and Charybdis 3. Down from the Sky 4. Into the Mouth of Hell We March 5.

Throes of Perdition 6. Insurrection 7. The Calamity 8. He Who Spawned the Furies 9. Of Prometheus and the Crucifix Like Callisto to a Star in Heaven Shogun Poison, the Knife or the Noose Upon the Shores A significant number of these have also been published in French, and are now beginning to appear in English.

Some of his recent plays were first written in French and then Chinese. The notion of Third Space, even with its gaps and ambiguous interactions can be helpful in understanding the transformative nature of transnational intersections of ideas and subjectivities. In opposition to these categories, Bhabha defined the Third Space primarily as a place of enunciation and signification, emphasizing the present creation of meaning and construction of subjectivities rather than merely the historicization of the past.

Parry further suggests that Bhabha ignores actual material conditions, the exploitation of workers and other disenfranchised classes, and the divisions—one could say the inequalities—they foster, favoring cultural theory instead.

Naipaul and Frantz Fanon. Soja, Julia Lossau, Karin Ikas, Gerhard Wagner, and Frank Schultze-Engler among them— that his ideas may gain more traction and specificity, become usefully and productively situated in sites from Los Angeles to Mexico and Poland, and acquire greater value in relation to the non- postcolonial Francophone-Chinese writers studied here. Cheng, Le Dialogue In , the journal Philosophy and Literature awarded Bhabha second place in its bad-writing contest, which highlighted particular passages by famous scholars, including Bhabha and Judith Butler Dutton.

You run around senselessly. What will become of you? Rwandan tales where those locked in brutal conflict due to their ethnic identification meet on a grass mat to discuss matters are further cited as examples of border poetics, as tales that involve the metaphorical border—that one could even call a Third Space—of the meeting on a grass mat.

In the latter, individuals are at once at odds with others across the river and with themselves e. Border poetics has thus embraced the subjective mediation of borders and cultures and my study will show how notions such as containment begin to break down in the symbolic and geographic borderlands of transnational literary production.

As for him, he becomes at times a lost creature without family or identity, at times he is immersed in conviviality and culture, or finds points of connection, both human and geographical, as when he sees the Loire as he once saw the lower Yanzi between Jiangsu and Zhejiang.

Cheng became a French citizen in Cette langue, comment dire tout ce que je lui dois? While acknowledging the unique qualities of each individual journey and each subject, Cheng sees value in the collective aspects of culture and language, while favoring the fluidity of exchanges and circulation Similarly, Cheng himself appears to surmount the sensation of missing his homeland through his connection to China, explored through his fiction and his studies and translations of Tang dynasty poetry.

Gao Xingjian, on the other hand, has been honored even more widely and stirred far more controversies, both in and out of China. After leaving China in and seeking political asylum in France, he elicited further criticism by penning La Fuite, which, albeit not a work of social realism, concerns itself with the Tiananmen Square massacre. Gao became a French citizen in However, he later continued to move further into the area of experimental drama and film, as well as displaying his paintings.

Dai Sijie also endured re-education from to during the Cultural Revolution, and those experiences became the more nostalgic source for his semiautobiographical novel Balzac et la petite tailleuse chinoise The international bestseller status of that novel, and the subsequent film of the same name, drew on the disparate literary discourses of China and France.

He spent time in a re-education camp in Sichuan due to his middle-class background and moved to France in , although he did not seek political asylum. Dai maintained his Chinese citizenship and passport, remaining free to travel to and film in China; however, he was denied permission to film three of his Chinese-language movies in China, and they were shot in France and in Vietnam.

Balzac et la petite tailleuse chinoise was written in French, translated into twenty-five languages, and published in over thirty-five countries, but it was banned in China along with the film version that he had shot in China. Dai said that he wrote in French initially to attract an audience, but as of , he said that his dreams of returning to China and writing in Chinese would remain unfulfilled.

My dream of writing in my own language has not been fulfilled. The youngest of the four authors treated here, Shan Sa, began to make her mark on the French literary scene shortly after her arrival in France.

Sa, born Yan Ni, arrived still a teenager in Paris to study, having left China after peripheral involvement in the student protests and the denunciation of her father for providing shelter to protesters. Less controversial in her subsequent novels, Sa said she returns to China regularly to visit family, although her work in France and Switzerland as a writer and artist has consumed her. Her works, while popular and sometimes geared toward young adult readers, have been published in thirty languages, and she has had exhibitions of her paintings around the world, including in Shanghai from to This study is unique in the way it considers them together, with their counternarratives, ex-centric spaces, experimentalism, and border-crossing narratives, finding sites where their narratives intersect thematically.

Silvester approaches Francophone-Chinese writers in France and Quebec by exploring themes of identity, migration, and minority literature. Far more scholarship has focused specifically on Gao Xingjian, tackling his complicated history in China and France from multiple perspectives. However, perhaps because of their more popular and les academic appeal, her novels have received little scholarly attention on their own.

The first chapter of this study will look at the ways all four authors engage with crossing borders, producing texts that explore narratives and symbolic representation of liminal and border spaces.

The authors and their critics explore the tension between actual bordered spaces and imagined borderless spaces, as described for instance by Gayatri Spivak and through the notion of the Third Space, used by Bhabha and others, as described above. Borderlessness in the narratives of Cheng, Gao, Dai, and Sa can then be viewed productively through the social imaginary of Walter Mignolo, the Third Space of Homi Bhabha and others, the cultural translingualism of Lydia Liu, and Buddhist notions of Middle Way and nonduality.

The second chapter of this study turns to the author Dai Sijie and the use of intertextuality in two of his novels, Balzac et la petite tailleuse chinoise and Le Complexe de Di Intertextuality—the notion that every utterance exists in relation to other utterances, eliciting a polyvocal intersection of voices—produces counternarratives in the works of Dai, specifically referencing Western works in these two novels.

These French authors play a part in the process of freeing the young female protagonist from her restricted life in a village high on Phoenix Mountain where she has met Ma and Luo, two youths sent to be re-educated during the Cultural Revolution, and whose friend has brought with him a valise filled with banned works.

Dai then turns his attention in his novel toward intertextual references to Western psychoanalysis through the humor-laden story of a protagonist named Monsieur Muo, whose doctoral studies in psychoanalysis in France, where he has immersed himself in the works of Sigmund Freud and Jacques Lacan, cause problems when shared with the Chinese populace in the open market upon his return. The authors Gao and Sa narrate events in the various unstable peripheral spaces in which protesters hid in the aftermath of the massacre—the warehouse and forest where characters portrayed as protesters must hide.

As Gao and Sa portray the subjectivities of these characters, they explore themes of hope and despair, desire, childhood dreams, and flight. The work of such critics as Linda Hutcheon who writes of ex-centricity and Rosi Braidotti who explores nomadic subjectivities add to the critical terms through which such narratives of flight may be viewed.

Wong He may return to China to shoot a film, only to have that film only shown abroad. Indeed, national or geographical labels often fall short in categorizing contemporary literary works whose cultural consciousness has been transformed throughout history by writers who cross multiple borders.

It is receiving renewed attention in the era of globalization, an era marked by constant intercontinental movement, exile, and mass displacement in the face of the wars, systemic oppression of minorities, human rights abuses, and natural disasters of the late twentieth and early twenty-first centuries Kellman ix. Such works also expand the realm of literary interpretation beyond postcolonial paradigms, which critics such as Gayatri Spivak have questioned.

Rather, they create new literary and cultural spaces through their geographical, linguistic, and narrative border crossings.

Their writing is structured instead by an alternation of silence and dialogue that yields at times a sense of reductive contraction and at others an expansion of meaning, all taking place in a non-dialectical Third Space. The earth came unmarked except by natural boundaries. These include the sites where French language and culture intersect with the Chinese language and culture as in the works of writers such as Gao, Dai, Cheng, and Sa.

Wang, Running Wild This redrawing then creates a new global valorization of the formerly marginal such as literature by Chinese authors writing in French. That contact zone has become quantitatively significant. About 14, individuals with Chinese citizenship reside in France.

Over 40, Chinese students reside in Europe while pursuing higher education. In France, only The international literary world has responded to this redrawing of the Sinophone-transnational literary map in numerous ways. One example of expansion was the renaming of a prominent conference of Chinese writers from outside of Mainland China Holden and Ng Originally called Tai-Gang wenxue guoji yantao hui International Conference on Taiwan and Hong Kong Literature at its inception in , it was renamed Tai-Gang ji haiwai huawen wenxue guoji yantao hui International Conference on Taiwan, Hong Kong, and Overseas Chinese Literature in , and in its fifth year it changed again to Shijie huawen wenxue guoji yantao hui International Conference on Global Chinese-Language Literature.

The move from the center to the margins and the emphasis within international publishing on voices from the Sinophone diaspora has given these border crossers a prominent literary voice, and indirectly, a social and political one. Contemporary theorists conceptualize the Third Space, so named by Homi Bhabha, in different ways and with varying emphases. All support the idea of in-betweenness that marks the work of Cheng, Gao, Dai, and Sa, as the discursive sphere in which Bhabha builds on concepts 23 A number of Francophone writers from the Communist Second World found themselves writing works in their native language, only to be unable to publish there, finding publishers and an audience abroad.

This was true of some Central and Eastern European Francophone writers as well. This kind of work on borders sets the tone for the growing area of studies called border poetics, focusing on texts that explore the narratives and symbolic representation of bordered spaces, border-crossing experiences, and their cultural lineages.

Expanding on this idea, Gayatri Chakravorty Spivak emphasizes the conceptualization of borderlessness—a notion that entails experiencing borders through their inherent permeability—and the ways it still relies on the very presence of borders to allow the notion to exist. Gao, Cheng, Dai, and Sa meet both the broader and more focused definitions as translingual writers.

Liu As a result, to talk about the works of diasporic Chinese writers, a new critical apparatus must be forged and critical tools must be rethought. While questioning the stability of borders with an emphasis on their dynamic nature, geopolitical scholar Heather Nichol and international legal expert Ian Townsend-Gault in their volume Holding the Line: Borders in a Global World also speak of a type of retrenchment, of efforts to reinscribe the importance of borders, and of an emphasis by policy makers and states to highlight and prioritize the local over the global in the early twenty-first century.

Now residing in Europe, the writers I discuss represent the lived experience of those who cross borders as expatriates, or in the case of Gao, as a political asylum-seeker. France and Germany are two of eight countries in the twenty-six nation Schengen zone—which has guaranteed free movement to more than million EU citizens since its establishment in , abolishing passports and other systematic border controls—that instituted emergency border controls in in response to the Syrian refugee crisis in Europe.

The critical shifts that occurred during the twentieth century in relation to Chinese literature have resulted in a new paradigm of cultural translingualism which supposes the translation of one culture into the language of another. This cultural translation is based not on a secure set of cultural and linguistic practices but on an ever-shifting basis and thus takes place in a Third Space. Suresh Canagarajah. Taylor Spivak, one of the foremost thinkers in postcolonial theory, nonetheless began to challenge this approach in the s with the publication of A Critique of Postcolonial Reason and Death of a Discipline, both directed toward earlier thinkers, such as Marx and Kant, and toward the notion of globalism.

She considers the ways in which, in other circumstances, particularly in postcolonial studies, where much earlier analysis was situated, many individuals with fewer resources than the writers studied here reside in a state of struggle, deprived of resources, access to institutional power structures, and systems of support Spivak, Aesthetic Such situations continue to exist, of course.

Such a movement may be able to at once recognize the voices of these privileged expatriate writers as well as embrace work for social justice to address the fundamental inequalities and oppression present in both Eastern and Western nations. The reasons for governmental and corporate hegemony are political, or, when transnational corporations are involved, they stem from the desire to maximize profit that ignores the welfare of people Thus, while literary and cultural theories of increased borderlessness abound, they do not fully account for the harshness of reality.

Border crossings may involve the exportation of one idea, often from a European culture, to another local history and culture, establishing the perspective of subalterity Delgado, Romero, and Mignolo This reconfiguration, Mignolo hopes, will allow discourse to move away from the outdated dependency theory that long viewed poorer or less-developed nations only as sources of resources and cheap labor for wealthier nations, regardless of the ways in which individuals in these nations viewed themselves Mignolo Border thinking is an essential consequence of these types of dislocations.

His critical work Le Dialogue focuses on his work in two languages, cultures, and countries, China and France. He contemplates ways in which the best of the West—in his eyes, humanism, the emphasis on individual agency, and the idea of the thinker—meet those of the East—alluding to Taoist notions, including those of Yin, Yang, and the Middle Path, which promote ideas of balance, where all is organically linked Cheng, Le Dialogue 79; Mayaux Other individuals have immigrated or sought political exile.

Most recently, Chinese dissident artist Ai Weiwei had his passport returned in July , four years after being banned from leaving China where he was arrested in He is now in Germany and has a visa for a three-year stay there where his six-year-old son has been living Phillips. The field concerns itself with the presence of real borders in texts as well as with their metaphysical cousins. Homi Bhabha has thus written of one such transnational writer, V. The development of this split, this loss of connection and home, links the physical and metaphysical border crossings that mark this domain of literature.

Furthermore, Lossau takes exception to the use of spatial language and terminology—involving a type of determinism and fixity that recalls positioning oneself with a Geographic Information System GIS —for such symbolic endeavors, and shows their pitfalls if misconstrued.

In both works, however, the protagonist deals with dislocation, in one case, being held offshore by currents and in the other, wandering, often lost, through the Sichuan mountains. Such narratives of travel and unstable siting permit new spaces to open. For Wang, while marginal literatures from outside and throughout Mainland China need to be taken seriously as a critical component of the Sinophone diaspora, dialectical ideas have been replaced by a new paradigm which captures the new multiplicity of the works being produced by Chinese natives outside of China, such as those who have resettled in France.

The boundary crossings in the lives and literature of these four exemplary Francophone-Chinese writers have thus become a part of such a negotiation and create a third way, whether one refers to it as a Third Space or not, at the very least an in-betweenness that constitutes the spaces and exchanges in this ongoing dialogue between individuals and cultures.

Spaces of Silence: Expansion and Constriction The Third Space of cultural translingualism through which I am reading the works of these four writers is at once one of silences, both isolating and freeing, and one where meaning is at times constricted and at times expanded.

For some, it is a welcomed space, for others a place of painful exile. For some it is a place of multiplicity and for others of emptiness. For some, it is a place of solace, for others, of fear. What it entails cannot, at any rate, be universalized. The polarities that are denoted by the terms Yin and Yang are often taken in binary fashion in Western culture, with Yin representing qualities such as the feminine, passivity, coldness, and darkness along with the moon and negative spaces, and Yang representing qualities that can be described as masculine, active, hot, and bright along with the sun and positive space.

The heavenly domain throws the Yin into relief, whereas, the earth is exemplified by the Yang. The Buddhist Middle Way reveals an unbinding and dissolution of binaries, which result in an absence. From this perspective, emptiness and nothingness are not empty of reality but full.

Thus, the empty space is one of production and a rich expansiveness. For translingual writers, such as Cheng, eliminating this limiting duality is freeing, both from Western paradigms and from contemporary Chinese political oppression.

John Welwood says the following about the harm that these fixed boundaries and borders bring about: The dualistic mind is essentially a survival mechanism on a par with fangs, claws, stingers, scales, shells, and quills that other animals use to protect themselves.

By maintaining a separate self-defense, it attempts to provide a haven of security in an impermanent world marked by continual change, unpredictability, and loss. Yet the very boundaries that create a sense of safety leave us feeling cut off and disconnected.

Shan Sa, a much younger writer, has also published both originally in Chinese, and then predominantly in her adopted language, French. China, My Sorrow , and Xiao cai feng trans. Balzac et la petite tailleuse chinoise were primarily in Chinese with Chinese actors, subtitled into languages including French, English, and Japanese. An unintended and paradoxical effect of juggling multiple languages may be to create the sense of a sort of bottleneck in which many ideas and multiple versions of words try to force themselves through a constricted space of thought and speech.

The silence comes not out of a lack—a lack of ideas to communicate, a lack of words, a lack of languages—but Kristeva suggests, from having to enter into only the most banal of conversations using approximation, leaving an empty cavern of what one intended to say.

The silence is thus at times a space of navigation and negotiation in which obstacles and hurdles present themselves and are to be surmounted or avoided. The perspective is always indirect, referential to the native tongue, Kristeva seems to claim. While meaning is both constricted and expanded in physical and geographic border crossings, this kind of silence, be it self-imposed or thrust upon the speaker, plays a crucial role in creating multiplicities of meaning for polyglossic writers.

At times, silence is associated with the achievement of a state of nirvana Gao, Montagne Quand le son est perdu, le langage aussi. Unable to suppress desire, that is, unable to attain the place of nirvana in which a silence and stillness of the mind is achieved, the writer finds that forced silence brings suffering.

At other times, it is not nature but humankind that makes the silence oppressive, something particularly true for Gao whose plays were banned and whose voice was silenced in Mainland China.

The cultural and geographical border-crossing from civilization to nature has thus left the narrator in a confused state, even when he has found what he was seeking. Having looked for old-growth forest, the narrator has only found heavily logged Sichuan tracts, before being oriented toward the pure forest he seeks, filled with spruce, fir, hemlock, azaleas, and birdsong.

This narrative style is explored further in Chapter Three. This world is at once one of discoveries and, at times, terror, one in which he is separated from his guide, literally lost in a 3,meter expanse of ancient forest at high altitude.

He tells the reader that he has neither map nor compass nor the name of the guide who accompanied him, futilely scouring his memory for signs, as his knowledge lacks a foundation and offers only chaos. The narrator states that his memory is failing him and the more he tries to order the images, the more the images blend together, and he then gives in to fatigue and falls on the damp earth When he does cry out for help, hoping for rescue or a miracle, he is met with an echo that fills the space and underscores its isolation.

The protagonist states: Je crie. The book ends with him lost. Tout est calme alentour. La neige tombe en silence. Je suis surpris par ce calme. Un calme de paradis. Montagne The narrator acknowledges his own lack of comprehension in this silence that follows his winter exploration after a visit with a friend who has come to talk about his experiences during the Cultural Revolution of being re-educated through hard work on a prison farm.

All of these conversations lead the narrator away from certainty toward the struggle against the cold, toward silence—or at least away from public communication toward intrapersonal and limited or secure forms of interpersonal communication. The narrator wanders through towns, recounting encounters with many individuals, seeking knowledge that ranges from the scientific in the reserve for pandas , cultural through the collection of folksongs, folktales, and folklore , and historic exploring ruins and historic sites to religious seeking knowledge from elders and hermits and personal looking inward as much as outward , but he seeks freedom in an organic manner without overarching plans and is open to immersion in the present.

Critics have designated this stylistic choice as constituting a text that defies traditional genres. It contains dialogues and stream-of-consciousness monologues, as we may expect from a novel, but also pieces, which look like journalistic reportage, anthropological reports, philosophical essays, and historical treatises.

Condemning the binary format of debate, and even the grammatical binaries of you and me, singular and plural, him and her, Gao dismisses these questions, both in form and content, and engrosses himself in the journey, the process, the exploration, and the Third Space of the route itself, which separates or joins two, or an infinite number, of disparate locations. The narrator immediately follows this exposition on the journey that is human life with the sense of wandering and hybridity that these disparate elements entail.

One can feel the constant tug between the individual and society in the interplay of pronouns and the struggles of the narrator, which remain unresolved. Yet, forgoing the elements of realism as well as satire, so often part of picaresque works, Gao produces a work where there is something of both Thomas Mann resisting the social ascent and instead opting for a journey to restore life in the wake of an erroneous death sentence of lung cancer, and something of Hunter S.

Gao rejects this type of totalitarian voice and multiplicity, embracing always the individual and the individual voice. And, as such, he has often rejected the role, in the wake of international news of censorship, arrests of artists, and imprisonments in China, bowed out gracefully from being a spokesperson for Chinese expatriates or against the Chinese Communist Party CCP.

Once opened, that expanding box of pronouns, misfortunes and perceptions can no longer be closed. One wonders if hope even remains inside the box, as in the myth. Can what is done not be undone? Essentialism or singularity is impossible, much like univocality in the face of the Tower of Babel as seen by this Francophone, Sinophone, transnational writer.

The you, a threshold of perspectives, perhaps comes closest to articulating the site and context of the Third Space. It is the place where the two cups collide and make noise, the space of intermingling and creation. He finds the matter of his childhood elsewhere, where he was not raised, in the glimpse of another door, another courtyard, clothes drying on bamboo poles, in simulacra.