Building a House in a Moving World, guest post from Theophilus Kwek

Theophilus Kwek has published five volumes of poetry, two of which were shortlisted for the Singapore Literature Prize. His pamphlet, The First Five Storms, won the New Poets’ Prize in 2016 and was also shortlisted for the Michael Marks Award in 2017. His poems, essays, and translations have appeared in The Guardian, Times Literary Supplement, The London Magazine and elsewhere; he has also written on issues of migration and citizenship for The Straits Times, South China Morning Post, and Singapore Policy Journal. He has edited several books of Singapore writing, and serves as editor of Oxford Poetry.

Moving House is a collection of border-crossing poems that make their way from episodes in Southeast Asia’s colonial history, to scenes of displacement and difference in contemporary Britain and Singapore. Drawing on the author’s personal and family histories, it lands on the bigger question of what it means to feel at home in a mobile and deeply unsettled world.

Short story writer Janet H Swinney Chats With Elaine Chiew

Credit: Janet H Swinney; Design: Kay Green

Bio:  Janet H Swinney is a former education inspector who grew up in the North East of England, got her political education in Scotland and now lives in London. She has longstanding connections with India that have deeply influenced her writing. Her work has appeared in print anthologies and online journals across the UK, India and America, and has been listed in many competitions. Her story ‘The Map of Bihar’ was nominated for the Eric Hoffer prize for prose 2012. She was a runner-up for the London Short Story Prize 2014. She has written features articles for the UK press including the Guardian and the Times. 

Synopsis: The Map of Bihar is a collection of stories about yearning; about aspiration thwarted and fulfilled. Faced with the constraints of culture, caste, class, poverty and the complexities of modern-day life, individuals from opposite sides of the globe strive for something better. Their ambition takes many forms. While some reach out towards a distant vision of fulfilment, the best that others can hope for is simply to survive. And while some turn out to be adept at grabbing opportunities, others are not so fortunate. Between them, they display resourcefulness, resilience, vulnerability and, sometimes, a pungent sense of humour. 

EC: Welcome to Asian Books Blog, Janet. Congratulations on The Map of Bihar, which I thoroughly enjoyed reading. The short stories take place primarily in India and the northeast of England.  Why these two locations?

JHS: Thanks for inviting me, Elaine. I was born and grew up in a village in the North East of England. I couldn’t wait to get away from the place. It was a very close-knit community, where everybody knew what you were up to, and was very keen to tell you not to do it. It wasn’t until I had to go back many years later that I realised the strengths of that community, even though much had happened politically and economically in the intervening years to undermine them.   I was brought up as a Christian, but I thought the teachings were flawed. When I was a teenager, I started casting around for something else. I became interested in Indian philosophy, and I started practising yoga. I wanted to go to India to find a guru. But for a young woman with no money and no worldly wisdom, that was a complete impossibility.

Then, in 1973, I was at Leeds University ostensibly studying for a teaching qualification, but in reality doing everything to avoid it, and met the composer, Naresh Sohal. Our interests in yoga philosophy and music drew us together and that was the start of a relationship that lasted until he died in 2018, forty-five years later. Naresh gave me an extensive drubbing about the shortcomings of the British Raj, which I had to concede was justified. Over the time we were together, we visited India frequently, staying with his family in Punjab and exploring many other parts of the country.

How Paper Republic ended up leading what is possibly the world’s biggest collaborative translation

Nicky Harman writes about translating Chinese authors' reflections on Covid19, post-lockdown.

At the risk of blowing my (or at least, our Paper Republic's) trumpet a little, I’m going to start with the back-story: Brigitte Duzan, of Chinese-shortstories.com pointed out to me that a very well-known Chinese writer, Yan Geling, had written a piece blasting the authorities for mishandling the Covid19 crisis, which Duzan herself had translated into French. Why didn’t I do the same and post it on Paper-Republic? I did both, and a single post grew into the Read Paper Republic: Epidemic mini-series of essays and poems, exploring how some impressive Chinese writers (Yan Geling, Han Dong, A Yi, Lin Bai, and Wu Ang) have been personally affected by the COVID-19 outbreak.

Then the Leeds Centre for New Chinese Writing, with whom Paper Republic has partnered on many projects, had a new idea. I quote, ‘What better way to spend lockdown than having a shot at literary translation? You know you always wanted to try it, so why not have a go now?’ The deal was that anyone, anywhere in the world, could have a go at translating a blog post by Deng Anqing (邓安庆) on how he got shut in with his parents as the surrounding cities locked down, and how it affected his relationship with them. We were offering this opportunity to first-time or emerging translators, so after they had all submitted their work, there would be online feedback sessions by members of the Paper Republic team, including myself and Eric Abrahamsen. The final revised and agreed-on translation was to be published as the grand finale to the Read Paper Republic: Epidemic series. We called the project Give-it-a-Go Translation. We put out the call, and we waited.

Nicky Harman interviews Avery Fischer Udagawa translator extraordinaire of children's and young adult fiction, and much more besides

NH: I'm delighted to be interviewing Avery Fischer Udagawa, because I have a huge admiration for translators who focus on young readers. I started by asking her about her latest translation piece in Words Without Borders, and why she wanted to translate it.


AFU: “Firstclaw” at Words Without Borders is my rendering of 「イチノツメと呼ばれた魔女」 by Sachiko Kashiwaba, a fairy tale from her collection of linked tales, 王様に恋した魔女』 (Kodansha, 2016). I encountered this story on precisely the morning of October 24, 2018, in the large Maruzen Marunouchi bookstore in Tokyo, where I had gone to spend time before a meeting with the author. Since we are all stuck at home these days needing vicarious outings, I’ll share that I savored this book over chiffon cake in Maruzen’s third floor café, glancing out as JR local trains and bullet trains pulled in and out of Tokyo Station. I even exchanged bows with a window washer who floated by in his rigging.

Hours later, Kashiwaba herself signed my book. That was a story scouting day for the ages!
“Firstclaw” struck me as a skillfully wrought, surprising tale of a reclusive witch, a resourceful princess, and a brave king. I found the ending (which I won’t spoil here) curiously joyful, and I chose to translate it out of readerly pleasure.

Inconvenient Daughter

Lauren J. Sharkey is a writer, teacher, and transracial adoptee. After her birth in South Korea, she was adopted by Irish Catholic parents and raised on Long Island. Sharkey holds an MFA in Creative Writing & Literature, and her creative nonfiction has appeared in the Asian American Feminist Collective’s digital storytelling project, First Times, as well as several anthologies including I Am Strength! and Women under Scrutiny.

Inconvenient Daughter, Lauren's debut novel, explores the questions surrounding transracial adoption, the ties that bind, and what it means to belong.

Novelist and Award-Winning Poet Reshma Ruia Chats With Elaine Chiew about her poetry collection A Dinner Party In The Home Counties

Courtesy of Author

Bio:

Reshma Ruia is an award winning writer and poet based in Manchester. She was born in India and brought up in Rome and did her undergraduate and postgraduate degrees at the London School of Economics. She worked as an economist with the United Nations in Rome and with the OECD in Paris.  Following her move to Manchester, she did a further Masters Degree and a PhD in Creative Writing and Critical Thought at Manchester University. She is a fiction editor at the Jaggery Literary Magazine and book reviewer at Words of Colour. She is also the co-founder of The Whole Kahani, a writers’ collective. Her first novel, ‘Something Black in the Lentil Soup’, was described in the Sunday Times as ‘a gem of straight-faced comedy.’ Her second novel manuscript, ‘A Mouthful of Silence’ was shortlisted for the SI Leeds literary award. Her writing has appeared in The Mechanics’ Institute Review, The Nottingham Review, Asia Literary Review, Confluence, Funny Pearls, Fictive Dream, The Good Journal, and various anthologies. They have also been commissioned and broadcast on BBC Radio. Her debut collection of poetry, ‘A Dinner Party in the Home Counties,’ winner is of the 2019 Word Masala Award is out now.

Synopsis:

‘A Dinner Party in the Home Counties’ explores the themes of belonging and identity against a backdrop of social mores and conventions. The poems explore the diasporic experience of leading a translated life, yearning to belong to a past that one no longer owns and a future that is murky and unclear. There is a sense of melancholic nostalgia in these poems but also a fierce kind of determination to embark on a new beginning and make the best of one’s circumstances. The poems are particularly relevant to our times when there is a growing sense of parochialism and hostility towards ‘the outsider.’ They will resonate with all those who have portable roots and are at home everywhere and nowhere. 

The poems also portray the emotive minefield of relationships, questioning the ambiguity behind maternal or filial love. Society conditions us to love our parent or child or partner but the poems challenge this by describing the tug of war between a woman’s sense of self and the roles she is expected to play.

There is an undercurrent of mortality running through some of the poems. A sense of an ending and a reflection on what the passage of time can do to one’s dreams and aspirations.

Talented Writer & Translator Tiffany Tsao Chats With Elaine Chiew About The Majesties

Book cover design by James Iacobelli
and artwork by Joseph Lee

Bio: 

Tiffany Tsao is a writer and literary translator. She is the author of The Majesties, as well as the Oddfits fantasy series (to date: The Oddfits and The More Known World). Her translations of Indonesian authors include Sergius Seeks Bacchus by Norman Erikson Pasaribu, Paper Boats by Dee Lestari, and The Birdwoman’s Palate by Laksmi Pamuntjak. 

Synopsis:

 Gwendolyn and Estella have always been as close as sisters can be. Growing up in a wealthy, eminent, and sometimes deceitful family, they’ve relied on each other for support and confidence. But now Gwendolyn is lying in a coma, the sole survivor of Estella’s poisoning of their whole clan.

As Gwendolyn struggles to regain consciousness, she desperately retraces her memories, trying to uncover the moment that led to this shocking and brutal act. Was it their aunt’s mysterious death at sea? Estella’s unhappy marriage to a dangerously brutish man? Or were the shifting loyalties and unspoken resentments at the heart of their opulent world too much to bear? Can Gwendolyn, at last, confront the carefully buried mysteries in their family’s past and the truth about who she and her sister really are?

Traveling from the luxurious world of the rich and powerful in Indonesia to the most spectacular shows at Paris Fashion Week, from the sunny coasts of California to the melting pot of Melbourne’s university scene, The Majesties is a haunting and deeply evocative novel about the dark secrets that can build a family empire—and also bring it crashing down.

Tsundoku #9 - May 2020

It's out second Tsundoku of lockdown and maybe we have a problem - fewer books than normal are being published but maybe, if you're lucky, you're getting through your tsundoku pile? So this May is a little light, but some good stuff all the same...

First Three Way Translation Interview: Elaine Chiew Chats With Kulleh Grasi and Pauline Fan about Tell Me, Kenyalang

Courtesy of Circumference Books

Synopsis:

TELL ME, KENYALANG is a collection of poems by Kulleh Grasi, a writer and musician from Sarawak, a Malaysian state on the island of Borneo. This groundbreaking book is one of a handful of contemporary works of poetry written in Malay to be translated into English and the first in decades to include Malaysian indigenous languages. Translator Pauline Fan brings the work into a thrilling, living English. Kulleh Grasi's poems are entirely new and yet intimate. They are entwined with myth and nature and yet are fully post-modern. They are outside the context of American poetry and also deeply inside the questions and experiences American poets are grappling with today: questions of identity in relation to nation and language and sexuality. 

Grasi, both a known poet and rock star in Malaysia, writes new rivers and islands into the landscape of identity. Grasi says: "I was reading all kinds of Malay literature. None of it spoke from the experience of Borneo's indigenous people, so I started keeping journals, writing about the lives of indigenous communities that I observed with my own eyes. This was the true beginning of my poetry." 

TELL ME, KENYALANG will change the way people think of contemporary poetry throughout the world and about the role of indigenous languages in global literature and in translation. The book is a powerhouse.

Japan's Greatest Victory, Britain's Worst Defeat - A Memoir of the Battle of Singapore

It’s often said “history is written by the victors,” and this only half true. While the narrative of World War II is definitely constructed from the Allied lens, this does not mean that the vanquished were unable to tell their stories. German officers and soldiers pumped out volumes of memoirs during the postwar years, many of which were consumed voraciously by readers in America and Britain. Japanese memoirs were more sparse, at least regarding translations that made it to the West. One notable exception was Masanobu Tsuji’s memoir Japan’s Greatest Victory, Britain’s Worst Defeat.