Photo Courtesy: Epigram Books |
His books include the poetry collections last boy (winner of the Singapore Literature Prize 2008), Loud Poems for a Very Obliging Audience, and A Book of Hims; the movie novelisation Eating Air and the non-fiction work SQ21: Singapore Queers in the 21st Century. Additionally, he translated Wong Yoon Wah’s Chinese poetry collection The New Village and he has co-edited publications such as GASPP: A Gay Anthology of Singapore Poetry and Prose, Eastern Heathens: An Anthology of Subverted Asian Folklore and SingPoWriMo 2018.
He has also been active in the professional theatre since the age of 17, collaborating with companies such as TheatreWorks, W!ld Rice, Toy Factory and Musical Theatre Ltd to create plays like Hungry, 251, Georgette, The Last Temptation of Stamford Raffles and Reservoir. He is a founding member of the spoken word troupe the Party Action People and co-organised the annual queer literary reading ContraDiction for twelve years.
Photo Courtesy: Epigram Books |
EC: Welcome
to AsianBooksBlog, Yi-Sheng. A real honour to have you.
First,
congratulations on the publication of Lion
City (Epigram Books), which will be launched at the Singapore Writers’Festival 2018. It’s a fantastic read, full of mordant humour, allegorical
fabulism, political heft, and a willingness to say the unsayable.
NYS: Thanks so much! I’m so pleased you
liked it.
EC: Praise
for the book, notably Sharlene Teo, likens your stories and voice to Etgar
Keret. Also Neil Gaiman. Are they influences?
NYS: Neil Gaiman’s been a massive influence on me:
as a teenager in the 90s I read the Sandman
and Books of Magic comics while
they were coming out, and had my mind utterly blown by the idea of this
globally (and cosmically) unified mythology and by the idea that magic’s just
lurking at the edges of the contemporary urban world. Neverwhere, Marvel 1602,
Smoke and Mirrors and The Graveyard
Book have been great favourites too.
I’m afraid
I’ve never read Etgar Keret, but I must: Lavie Tidhar also said I sounded like
him.