Eternal Summer of the Homeland: Agnes Chew talks about writing a story collection and being the Asia Winner of the CSSP

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Book Synopsis

The stories in Agnes Chew’s first fiction collection illuminate the complexity of choice when duty and desire collide, and what a person is willing to sacrifice. A daughter grapples with an unexpected discovery in the aftermath of her mother’s death. A husband struggles to understand his wife’s reaction to her pregnancy. An adolescent and a domestic worker exchange secrets whose weight they find they cannot bear. And in a corner of Changi Airport, a nondescript office cubicle, a patch of open forest, others strive to find meaning and home.

Courtesy of Author

Author Bio:

Agnes Chew is the author of Eternal Summer of My Homeland (2023) and The Desire For Elsewhere (2016). Her work has appeared in Granta, Necessary Fiction and Litbreak Magazine, among others, and her story, ‘Oceans Away from my Homeland’, won the 2023 Commonwealth Short Story Prize (Asia Region). She holds a Master’s degree in international development from LSE; her prize-winning dissertation, which examines inequality and societal well-being in Singapore, was featured in Singapore Policy Journal. Born and raised in Singapore, she is currently based in Germany. 

 

 

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EC: Agnes, welcome to Asian Books Blog, and congratulations on being the Asia Winner for the Commonwealth Short Story Prize as well as the publication of Eternal Summer of My Homeland. Let’s start with this: what draws you to the short story? 

 

AC: Thank you so much, Elaine, for your kind words and for this opportunity! I actually started out writing creative nonfiction, and when I ventured into the realm of fiction writing, the short story form felt like a natural (and conceivable) choice. The more short stories I wrote, the more I found myself drawn to the form. I appreciate its requisite focus on purity and intensity—the way it compels you to distil meaning within a compact space. It’s also a thrill to be able to write a short story within a feverish span of hours or days, especially when I compare it to the far longer process of writing a novel, which I’m now working on.

 

Ghost Girl, Banana: Elaine Chiew Chats With Acclaimed Debut Novelist Wiz Wharton

About the Book:

Set between the last years of the “Chinese Windrush” in 1966 and Hong Kong’s Handover to China in 1997, a mysterious inheritance sees a young woman from London uncovering buried secrets in her late mother’s homeland in this captivating, wry debut about family, identity, and the price of belonging.

Hong Kong, 1966. Sook-Yin is exiled from Kowloon to London with orders to restore honor to her family. As she strives to fit into a world that does not understand her, she realises that survival will mean carving out a destiny of her own.Thirty years later in London, having lost her mother as a small child, biracial misfit Lily can only remember what Maya, her preternaturally perfect older sister, has told her about Sook-Yin. Unexpectedly named in the will of a powerful Chinese stranger, Lily embarks on a secret pilgrimage across the world to discover the lost side of her identity and claim the reward. But just as change is coming to Hong Kong, so Lily learns Maya’s secrecy about their past has deep roots, and that good fortune comes at a price.

 Heartfelt, wry and achingly real, Ghost Girl, Banana marks the stunning debut of a writer-to-watch.  

About the Author:

Wiz Wharton, Courtesy of Author

Wiz Wharton was born in London of Chinese-European heritage. She is a prize-winning graduate of the National Film and Television school, where she studied screenwriting under the filmmakers Mike Leigh, Stephen Frears and Kenith Trodd. Ghost Girl, Banana is her debut novel. Adaptation rights have also been optioned by a leading UK production company. She lives in the Scottish Highlands. Her twitter handle is @Chomsky1and Instagram is @wizwharton 

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EC: Congratulations on your debut novel, Ghost Girl, Banana, which has just launched to much critical acclaim in the UK. In your acknowledgement, you mentioned the story’s inception as ‘the discovery of some old-fashioned floppy discs in a box’. Can you tell us about how a whole novel was borne out of this discovery? 

WW: Yes, so this happened back in 2020 when I was moving house and discovered the discs in a box of my late mum’s possessions. Initially, I had no idea what they were, and it was only later that I discovered they were transcriptions of her diaries, kept since she arrived in the UK in the early sixties as an immigrant from Hong Kong. Although painful to read in parts, they were also transformative in revealing so many of her experiences which she had never really spoken about during her lifetime. That stoicism is germane to many women of that generation, I think, as much as it’s also a cultural thing, but I remember wondering how many other hidden stories there were out there, and what a tragedy it was that they weren’t more represented in the British fiction space. As much as a novel is always an ambitious creative project to embark upon, I had a whole wealth of information in front of me to draw upon, so I was very fortunate in that respect.

Elaine Chiew Chats With Catherine Menon about her startling debut Fragile Monsters

Photo Credit: Paul Emberson

Bio:  Catherine Menon is Australian-British, has Malaysian heritage and lives in London. Her debut short story collection, Subjunctive Moods, was published by Dahlia Publishing in 2018. She is a University lecturer in robotics and has both a PhD in pure mathematics and an MA in Creative Writing. Fragile Monsters, published by Viking in April 2021, is her debut novel.

Synopsis: Mary is a difficult grandmother for Durga to love. She is sharp-tongued and ferocious, with more demons than there are lines on her palms. When Durga visits her in rural Malaysia, she only wants to endure Mary, and the dark memories home brings, for as long as it takes to escape. But a reckoning is coming. Stuck together in the rising heat, both women must untangle the truth from the myth of their family's past. In her stunning debut novel Catherine Menon traces one family's story from 1920 to the present, unravelling a thrilling tale of love, betrayal and redemption against the backdrop of natural disasters and fallen empires. Written in vivid technicolour, with an electric daughter-grandmother relationship at its heart, Fragile Monsters explores what happens when secrets fester through the generations. 

EC: Welcome to Asian Books Blog, Catherine. Congratulations on your startling debut, Fragile Monsters (Viking, 2021).  It literally begins with a bang, one revelation following another like a series of explosions through the book, keeping this reader on her toes. Every character has an incredible secret, even Karthika, the grandmother’s domestic helper. Tell us about the making of this book: was there a clear starting point and what was the process of writing it like?

 

CM: Thank you so much for having me, Elaine. The inspiration for Fragile Monsters came from the bedtime stories my father used to tell me about his own childhood in Pahang. It was only as an adult that I began to understand the context of these stories. Kuala Lipis, where he grew up, was the headquarters of the Japanese army in Pahang during the Occupation. 

 

I began to read memoirs and interviews with other people who’d lived through that time, and I was struck by the extent to which all of these speakers were taking ownership of their own narratives. They were describing what had happened to them, but with a focus on the emotional truth rather than the specific events. This was an amazing thing to realise: the sheer resilience that they had had to show in order to take back control of the past. 

 

I very much wanted to reflect this imperative – this need to own your own past – in the character of Mary. Mary understands the importance of stories and the power that they have over our memories. Durga, of course, is the exact opposite. She values logic, certainty, a kind of rigorous and exacting thought process that doesn’t allow for something to be “right, instead of true”, as Mary tells her. In writing the book I tried to keep their characters and perspectives distinct, even when they were, in effect, telling the same story. These two women are opposite sides of a mathematical equation – as Durga would put it! 

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

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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.

Sandeep Ray talks about his cinematic and deeply resonant historical novel, A Flutter in the Colony

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Bio:

Sandeep Ray was born off the Straits of Malacca and spent his childhood next to a remote rubber plantation. He has lived in Kolkata, Massachusetts, and Jakarta. His first career was in filmmaking, working for various documentary companies based in the United States, often traveling to and in Asia. His last feature-length film, The Sound of Old Rooms (2011), was screened at many international forums and won the Grand Prize at the Taiwan International Documentary Film Festival. In recent years, after completing a doctoral degree in history, he has taught at the University of Wisconsin and at Rice University, researching and teaching about the late-colonial period in Southeast Asia. He currently lives in Singapore and is a Senior Lecturer at the Singapore University of Technology and Design. His next book, forthcoming from NUS Press in 2021 is titled, Celluloid Colony: How the Dutch Framed the Indonesian Archipelago.

Synopsis:

In 1956, the Senguptas travel from Calcutta to rural Malaya to start afresh. In their new hamlet of anonymity, the couple gradually forget past troubles and form new ties. But this second home is not entirely free and gentle. A complex, racially charged society, it is on the brink of independence even as communist insurgents hover on the periphery. How much should a newcomer meddle before it starts to destroy him? Shuttling in time and temper across the Indian Ocean, A Flutter in the Colony is a tender, resonant chronicle of a family struggling to remain together in the twilight of Empire in Asia.

500 words from Noelle Q De Jesus

Noelle Q De Jesus is a Filipino American short story writer who explores issues of identity, belonging, and attachment. Her stories are intimately shaped around individuals, yet simultaneously address broader questions relevant to worldwide communities. Today we hear from her about her latest collection, Cursed and Other Stories.

The truth is, initially, Cursed and Other Stories became a book because I had too many short stories for one volume. Its genesis took place in late 2014, when I looked up from my messy life of being wife, mother and freelance writer, and realised I was not another writer that had written nothing. I was a woman of 48 who had written over 30 stories, a number of them published, and I could put together a book if I wanted to. That process meant, sorting stories and grouping them. My second realisation was I had actually written enough to make one and a half books. I did not even know it.