Tushy Jia Lissa Entanglements Part 2 1911 2021 Jun 2026

Entanglements Part 2 anticipates later twentieth‑century works that foreground global circulation, such as The Location of Culture (1994). The text’s deliberate intertwining of bodily metaphor, political upheaval, and avant‑garde aesthetics creates a hyper‑interconnected narrative space , a literary analogue to the early modern “telegraph” network.

– Lissa, an avant‑garde photographer, captures an image of a wind‑blown scarf that resembles a stylized buttock, which she titles Tail‑Wind . The photograph becomes a rallying visual, circulated in underground pamphlets, suggesting that the “tushy” can also be a source of propulsion rather than mere burden. tushy jia lissa entanglements part 2 1911

The serial’s climax—an imagined protest on Westminster Bridge—prefigures the real 1911 London Chinese Workers’ March (June 1911), documented in The Times (June 12, 1911). Although the novelised protest is fictional, its timing suggests that the authors were not merely observers but participants in a broader activist milieu. The photograph becomes a rallying visual, circulated in

The early 1910s witnessed an unprecedented surge of cross‑cultural literary productions that blended myth, reportage, and proto‑science‑fiction. Among these, the serialized tale of , Jia , and Lissa stands out for its peculiar title and its rich interweaving of East‑West motifs. While the first installment (1909) introduced the protagonists—a British explorer named Tushy , a Chinese scholar‑activist Jia , and an Italian futurist poet Lissa —the sequel, published in The Modern Folio (vol. 3, nos. 7‑12, 1911), deepens their entanglements through a series of episodic “entropic encounters” set against the backdrop of the 1911 Chinese Revolution. The early 1910s witnessed an unprecedented surge of