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Book Reviews
  • The Road to Wanting
  • What Everyone Needs to Know
  • Under Running Laughter
  • Burmese Painting
  • The State in Myanmar
  • Almost Englishmen
  • Return to the Irrawaddy
  • The Pa-O: Rebels and Refugees
  • Kinwun Min-Gyi's Diary
  • Last of the Guardians
  • Great Tey to Rangoon
  • White Butterflies
  • Burma: The Forgotten War
  • Textiles from Burma
  • Kelly's Burma Campaign
  • Trilogy on Anglo-Burmese Wars
  • Curse of Independence
  • Chinthe Women
  • Economic Development
  • Epilogue in Burma, 1945-48
  • Visions from the Golden Land
  • Among Insurgents
  • The Glass Palace
  • Through the Jungle of Death
  • Whispers at the Pagoda
  • Burma '47
  • The White Umbrella
  • Burma: ... Politics of Ethnicity
  • The Art of Burma - New Studies
  • Burma 1942: Invasion
  • Campaign Memorial Library
  • Under the Dragon
  • Road to Mandalay
  • Challenge of Change
  • Burma Bride
  • Vanishing Tribes
  • The Voice of Hope
  • Letters from Burma
  • A World Overturned
  • Dark Ruby
  • Latest reviews are listed at top left.
    Reviewers include Gerry Abbott, Maureen Baird-Murray, Colleen Beresford, Professor Anne Booth, Derek Brooke-Wavell, Evelyn Broughton-Smart, Dr Michael Charney, Patricia Herbert, Noel Holmes, Wendy Law-Yone, John McEnery, Diana Millington, Martin Morland, Philip W Plumb, Lewis Shaw, Dr Thant Myint-U and John Wall.


    April 2010
    The Road to Wanting
    by Wendy Law-yone
    Published by Chatto & Windus
    208pp.

    Paper back - ISBN: 0701184087

    Amazon Price: £7.74

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    Review by Derek Brooke-Wavell:
    The poignantly-named town of Wanting lies in an ethnic melting pot in south China. Western tourists might find their way there, eventually, at the end of a road that has taken them through a string of colourful locations - Rangoon and Bangkok, perhaps, and trekking through ethnic villages in the Thai-Burma-Laos-China border areas. Many a traveller must have entertained the idea for a moment, of stopping off in one of these exotic locations and remaining there forever.

    But of course all these places look very different when seen by their inhabitants, and particularly the poorest inhabitants. The Road to Wanting offers us an epic journey through a variety of these places and cultures, including the brothels of Thailand, from an insider's point of view. The heroine is Na Ga, a village girl from a poor tribe who finds herself moving from place to place, as so many do, looking for comfort and security - but what she ends up with is always dependence on someone else, over whom she has no control.

    This is not a political book, in the simple sense. The Burmese army performs no atrocities - and actually the country that comes off looking worst is Thailand, where the police are shown as routinely arresting escaped brothel girls and sending them back to their keepers. The brothel sequences are not as harrowing as I feared - this is a viable living for many girls. And actually the skill and charm of the storyteller perfuse the pages with a fascination which keeps one's eyes glued to the text.

    It is not really the facts of the plot that make this novel, but dialogue, the local sayings and turns of speech, the amazing wealth of detail about life in ethnic villages, as well as the urban residents of Burma and China. And the multicoloured scenes follow each other, as recollections by Na Ga, in a sort of wild order that prevents any build-up of anxiety.

    The book ends where it started, in Wanting, with Na Ga on the point of returning, as she had dreaded, to her poor birth village. But in the course of her recollections she has achieved a personal epiphany - which makes it all worth while.

    Derek Brooke-Wavell


    Review by Bo Bo:
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    2010
    Burma/Myanmar: What Everyone Needs to Know
    by David I. Steinberg
    £9.99
    paper back
    256 pages
    from Oxford University Press
    ISBN-13: 978-0195390681
    I am often asked by people with an interest in Burmese affairs for a concise yet comprehensive introduction to Burmese politics and history. Readable authoritative works on Burma, which are aimed at the general reader and not the scholar, are not common. Recently, we got Michael Charney's History of Modern Burma, which remedies this deficiency somewhat, but up-to-date general reference works on Burma's complicated and controversial political history are still quite scarce. Coming out in time for the elections of 2010, David Steinberg's Burma/Myanmar serves as a handy guide to Burma and her troubles for anyone whose seeks to understand the trials and tribulations of this suffering nation.

    As the work of a distinguished political scientist and Burma specialist, Steinberg's Burma/Myanmar is admirably comprehensive on modern Burmese history and politics, but perhaps, a little deficient in its coverage of the arts and culture. The evolution of issues that confront the modern Burmese nation like economic chaos, clashes between the militant state and the religious orders (Sangha) and ethnic power struggles is traced through colonial times and the tumultuous post-war years prior to the Saffron Revolution of 2007 (vividly documented by Burmese video journalists in the film Burma VJ). The causes, symptoms and resolution (or non-resolution!) of Burma's numerous social and political conflicts are documented in an accessible and easy-to-read Q&A format. For example:- Was Burma communist or socialist, and what were the ideological influences on society?"; "How was citizenship defined?"; "What is the status and role of the military in Myanmar?; What happened in the referendum on the constitution in 2008 and what are its provisions?; How will the minorities deal with the new government?

    Steinberg's description of these conflicts is even-handed and well-researched. I wish his book could be translated into Burmese for wider distribution among Burmese activists, many of whom view Steinberg as a scholar who supports the anti-sanctions approach and advocates cooperation with the Burma army in democratization. It is regrettable that the political analytical culture of the Burmese (in exile or in Rangoon) has not developed much since independence. The Burmese intelligentsia and professional classes will be key players in any future change within Burma and their political maturity should be encouraged.

    For me, the most catching point in this book is the observation that the Burmese generals' conception of political power closely resembles that of the pre-colonial Burmese court. For both, power is finite and its sharing is seen as a diminishment. ASSK and most opposition groups thought the 1990 election would entail the drawing up of a new constitution by those elected and a transfer of power, while in the event the military retained power and took some 18 years to stage-manage a new constitution guaranteeing their dominance. I myself, like many others at the time, still remember the promise made by the then SLORC leader, Saw Maung, that the army would return to their barracks after transferring power to the winner in the election.

    Numerous trenchant observations and remarks appear in this book, and they testify to Steinberg's many years of close study of Burmese affairs. The enumeration of crises facing Burma (p.10-14) should be useful to humanitarian and public policy people. The crises of fear permeating Burmese society and youths stifled through lack of opportunity is particularly worrisome. More attention should be paid to these crises by analysts within Burma and abroad. The negative consequences of these crises will reverberate long after military power has ceased.

    There are some small factual errors. For example, the birth year of Aung San is given as 1911 instead of 1915. It is stated (p.97) that civilian doctors need to serve in the army for three years before obtaining a license to practice medicine. As the son of an ex-medical professor, I have never heard of this rule in Burma, and think Steinberg might have meant the requirement that newly qualified doctors should do 3 years' government service before being allowed to practice privately. More recently, the junta cannot offer job opportunities for new medical graduates (some 2,000 a year) and has introduced a short medical license course and permitted private practice. Apart from these minor issues, Steinberg's work should be recommended as a prescribed text to help understand Burma's complicated multi-dimensional chaos. Current events in Burma have their roots back in King Bodawpaya's power mania, as well as in the dominance of Buddhist nationalism, anti-Indian sentiments from the pre-war days, also in classic 'Divide and Rule' policy and of course, international power politics from the Cold War and beyond. In conclusion, more literature on Burma is welcome and should be published and translated into Burmese, and more Burmese and indigenous sources used.

    Review in 2010 by Bo Bo (aka) Bo Bo Lansin, MA (History) (SOAS), has a background in the Burmese media and political world, and is the grandson of the late eminent writer and publisher, Ludu Daw Amar. He is known to the Burmese reading public as a biographer and essayist on modern Burmese history and literature, and currently edits a Burmese online magazine from London http://www.kaungkin.com/ and contributes profiles on famous Burmese intellectuals to http://www.irrawaddy.org/bur/.


    2009
    Under Running Laughter -
    Burma - the Hidden Heart
    by Liz Anderson
    Published (May 2009) by Matador
    Paper back - 292 pp.
    £12.99
    ISBN: 1848760671
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    Review by Joanna Smith:
    The subject of this biography, Charles Garrad, was someone whose name I knew; and I knew too of his particular distinction. He was the elder of two brothers, both of whom became Anglican priests and served in the Winchester Mission to Mandalay in the early 20th century. He was responsible for the building of Mandalay Cathedral in 1928, which replaced the decayed wooden church built on land given by King Mindon in 1873; but is probably better known for his part in the translation of the Bible into Burmese.

    This book, as the Introduction reveals, is biography amplified into fiction. The style, therefore, means it isn't dry documentary reporting but a fast moving tale with the pace of a novel, enlivened by dialogue and imagined inner thought, and with a really absorbing story to tell of two families whose lives eventually entwine.

    Growing up separately in England in the 1880s, we follow their fortunes until they overlap in 1920, on a boat going out to India. I was captivated by the account of lives lived day to day; a period piece of Victorian England, moving on through experiences of childhood, school, university and eventually the church. Garrad's school days were not entirely happy ones: he was a gentle, studious boy, preferring the library to the sports field, choosing rather to withdraw into anonymity than be noticed, though on occasion could be provoked to a fierce response. But he was immensely hardworking and this did bring its rewards and the university at Cambridge. In parallel we hear of the upbringing of the members of the Rawson family, until they finally travel together.

    The stories of these two families whose lives merge are far from ordinary. They show unexpected sadnesses and suffering, endured with considerable tenacity and bravery; sometimes they are faced with agonising decisions, as was a young clergy widow with several children who found herself suddenly without means of support.

    I did keep in mind the sub-title of the book - 'Burma - the hidden heart' - but was so entirely absorbed in what was happening in all the lives until that was revealed that I didn't notice how many pages had gone by. In fact Burma scarcely features until more than halfway through the book. But then it all slipped into place, and was indeed the heart.

    I found the very short hints of Burma (Bootalet) dropped in throughout the book a little confusing, though this was probably a considered device to link it all; and perhaps these and the Burmese voices in the epilogue were slightly uneasy in style. But the conclusion they reveal after the devastating 'Postscript' on 1958 must remain a secret for you to discover for yourself. It is a very worthwhile read.

    For an informative article on the Winchester Mission and the Garrad family, I also recommend: http://www.scribd.com/doc/23708085/The-Garrad-Brothers-of-Burma

    Joanna Smith

    Joanna Smith has been a member of the Britain-Burma Society since her return to UK in 1966 after a 3-year period working in Burma, where she was a member of the (reversely-named) Burma-Britain Society in Rangoon! She has been back to Burma several times since then; and is a member of an Anglican church in London (St Stephen's, Rochester Row) which has had links with the Anglican church in Burma since 1989.

    2009
    Burmese Painting: A Linear and Lateral History
    by Andrew Ranard hard cover - 378 pages
    A4 size; 175 painters and 300 colour plates.
    £59.00 from Amazon - or available to Britain-Burma Society members at the discounted price of only £44.00 + £3 p&p, from Nick Esson of Combined Academic Publishers, 15A Lewin's Yard, East Street, Chesham HP5 1HQ, Tel (0)1494 581 601

    ISBN: 974951176X

    Index

    Review by Wendy Law-Yone
    There are many artistic traditions for which Burma is renowned, but painting is not among them. To all but a handful of practitioners, collectors and scholars, the subject of painting in Burma has remained for the most part irrelevant or arcane.
    'Elephant Catching at Amarapura' - watercolour by Saya Chone
    Yet Burmese painters have long been prime documenters of their country's spiritual, cultural, and social history, with an artistic pedigree that dates back at least 800 years, to the early muralists and fresco painters of Pagan. Why, then, has the painting tradition in Burma been so little explored as one continuous, encompassing whole?
    A convincing answer to this and other puzzles surrounding the history and historiography of Burmese art can be found in Andrew Ranard's Burmese Painting: A Linear and Lateral History. Drawing on a wealth of scholarly and journalistic sources, Ranard has produced an impressive survey of Burmese painters through the ages - from the anonymous muralists of Pagan to the folding-manuscript (parabeik) illustrators of the 19th century; from the court painters and royal portrait artists of the pre-colonial period to the post-war experimenters in Traditional-Western forms; from the exponents of the Mandalay school and the Rangoon school, to the most recent crop of arrivals on the international art scene.
    'Tondo with Dancers' in the Myinkaba Kubyauk-gyi, at Pagan.
    'Rangoon Harbour' c. 1930s. Oil on canvas by U Ba Nyan.
    It's worth noting, as the author discloses in his introduction, that roughly a quarter of the paintings featured in this book belong to him - a collection grown from a few Burmese paintings bequeathed to him by his parents (his father, Donald L. Ranard, was a senior American Embassy official in Rangoon in the mid-1960s). For all the questions of self-interest this might raise, the countervailing advantages can't be denied. How many art historians are allowed such unhindered access to the original works under discussion? Talk about 'owning' one's material! And if at first we wonder whether this ownership might also account for the inclusion of some rather poor and/or banal paintings, we soon come round, under the author's persuasive guidance, to his view that 'it is impossible to estimate the skill of Burmese painters with snap judgments.'
    Once we see, in the frescos of Pagan, the roots of caricature and whimsy still evident in the works of today's artists, we also understand why, for example, students of the prestigious Burma Art Club of the 1920's took so readily to British cartoon art as taught by its founding members. Or why the great U Ba Nyan, sent as a young man to study at the Royal College of Art in London, might fall under the spell of Frank Brangwyn. (Possibly, as Ranard suggests, because Brangwyn, by then at the peak of his career, was at work on his murals for the House of Lords panels - and mural painting was a tradition that Ba Nyan, like all Burmese painters, was steeped in.)

    Little by little, image by image, we are made aware of the 'lateral' agency in Burmese art - the multiplicity of influences absorbed into the mainstream that perhaps also explains its lack of linear progression (such as can be traced in Western art.) And by the time Ranard stands a few Burmese artists side by side with the likes of Monet, Rembrandt and Van Gogh, the comparisons are not as far-fetched as they might at first seem.

    'Self-Portrait' by U Ba Nyan. 1937. Oil on canvas. Myanmar National Museum.
    'Three Blind Men' by Paw Oo Thet.
    Burma, says Ranard, is a 'Galapagos Islands of Art' - a territory rich in mutated forms and idiosyncratic styles born of its unique evolutionary history. In that case, he himself seems well-placed, as a dedicated collector, student, and promoter of Burmese painting, to be its Darwin. But whereas the original Darwin, upon landing on the Galapagos, found the rocks too hot, the plants too smelly, and the iguanas dirty-looking, sluggish and stupid, Ranard's response to his terra incognita is one of deep affection and appreciation. And it is this - more than its striking coffee-table attributes, more than the copious images reproduced in its glossy pages - that makes Burmese Painting not just a handsome catalogue of a little-known oeuvre, but a sensitive tribute to a long line of Burmese artists - major and minor - whose efforts embody the struggles and aspirations of their countrymen.
    Wendy Law-Yone is a Burmese novelist living in London.
    Her new novel, The Road to Wanting, will be published by Chatto & Windus in the spring of 2010.