Singapore Writers Festival: New Books from Ethos

On the last day here at Singapore Writers Festival local publishing house Ethos launched two new poetry titles - with a twist.  Each anthology was produced entirely by Singapore's next generation of poets, fresh new voices from the creative writing programmes at Nanyang Technological University (NTU) and The National University of Singapore (NUS).

NUS students offered Red Pulse 11: poetry to a local beat, edited by Kevin Lam and Tan Xian Yeow. Thanks to Singapore's minuscule size on the world map, its inhabitants often refer to it, affectionately, as The Little Red Dot. Kevin and Xian Yeow explained that their title turns the dot into a pulse, to reflect Singapore's dynamism, the furious pace of life here, and the constant movement.

You can't get much faster than an F1 race. Kevin presented his wonderfully zooming poem The Singapore Grand Prix - presented, not read, because this is a poem that has escaped text, and gone roaring off into the digital world.  You can experience its multimedia energy by clicking here and scrolling down 

Xiang Yeow read Definition of Long-Kang noun. A long-kang is a monsoon drain, and in the poem a man recalls the pleasure he derived, as a boy, from catching guppies in a long-kang, and his disappointment when his mother rebuffed his gift of those guppies by warning him long-kangs are dangerous.  In the present, he is disturbed to find the long-kang has been cemented over. 

NTU students offered Kepulauan, edited by Zhang Jieqiang, Hidhir Razak and Marcus Tan Yi-hern. Hidhir explained that pulau is Malay for island, whilst kepulauan is Malay for archipelago, their title thus plays with ideas about insularity and isolation, as well as making a geographical reference to the once Malay, now Indonesian, archipelago.

On Tuesday the Singapore Literature Prize for English language poetry was awarded jointly to two men,  Joshua Ip and Yong Shu Hoong, much to the disgust of Grace Chia, who was a contender for her collection Cordelia - click here for full details. Consequently, accusations of gender bias in the local poetry scene have been flying about all week.  At this evening's launch, the moderator, Ng Kah Gay, from Ethos books, alluded to the controversy when he challenged all the editors to explain why neither anthology had a single female editor. Hidhir and Xian Yeow each denied there was anything sinister going on. Hidhir said Kepulauan had initially had some women editors, but they had dropped out for various reasons. Xiang Yeow said Red Pulse 11 had plenty of female input from NUS staff.

Given this background, it was great to hear young women poets taking to the mic with confidence. Debra Khng, a contributor to Red Pulse 11, sang a poem about Robert Frost, to the accompaniment of a guitar. Shane Lim Han Jung, a contributor to Kepulauan, read a spiky challenge to unthinking acceptance of the strategies of nation building - a live subject of discussion in Singapore, which won independence only 50 years ago. The Merlion, a mixed creature, half lion, half fish, dreamed up by a marketing man, was for many years used by the Singapore Tourist Board as logo. Shane Lim Han Jung's poem Merlion addressed ideas about Singaporean identity, and explored the extent to which manufactured myths are believed.

At the close of the evening Ng Kah Gay commented that anybody wanting to get both anthologies signed by all the authors would have a long time to wait.  Likewise, it is difficult to mention all the contributors in a single blog post. But Red Pulse 11, and Kepulauan show the future of poetry in Singapore is, as they say, as bright as the tropical sun!

Singapore Writers Festival: A Packed Saturday

Today at Singapore Writers Festival was packed to say the least! 

I began the day at a panel discussion Translated Literature: A dynamic Conversation. The highlight of this, for me, was hearing Hungarian-born, British-resident, English-language poet George Szirtes reading in Hungarian, a language in which I couldn't even recognise sounds as words - it reminded me of hearing Chinese for the first time, when I was similarly clueless as to which sounds made words.

I then went to a panel Love Stories, which paired two bestselling women writers, UK novelist Adele Parks, and Indian author Ira Trivedi, whose latest book, India in Love: marriage and sexuality in the 21st century  is an examination of contemporary attitudes to love, sex and marriage in India. 

After that I caught part of a discussion Morality And Writing, which was about the role, or otherwise, of writers and literature in "teaching" values.  All the panellists, including internationally-acclaimed Karen Joy Fowler, were much taken with a metaphor suggested by Singaporean-Malay novelist Isa Kamari, who said he thought novels need not be about drawing bold lines, but could rely on dotted lines, with the interesting things happening between the dots - including discussion on morality.

Next I went to hear Geoff Dyer, a British essayist previously unknown to me, in conversation with Robin Hemley, head of a local creative writing programme linked to Yale, which has a campus in Singapore. Dyer read a very funny passage about attending a  fashion show in Paris, whilst knowing nothing about couture. I now intend to seek out his books. 

I finished my day at another event featuring Adele Parks, also Indian novelist Ashwini Devare, and Straits Chinese novelist Lee Su Kim.  The formal topic of discussion was Women At The Crossroads, and the three authors  explained how this meant different things in their three different cultures - the most impassioned advocacy on behalf of women came from Devare, who pointed out that 50% of women in rural India are still illiterate, still have few choices, or chances, and have yet to reach any of those crossroads women in other parts of the world take for granted - whether to marry, whether to have children, and so on. 

Singapore Writers Festival: New Books from Monsoon

Singapore publishing house Monsoon has launched four new titles at the Singapore Writers Festival coupling two debut novelists, PP Wong (The Life of a Banana) and KH Lim (Written in Black), and two seasoned novelists, Patricia Snel (The Expat) and SP Hozy (The Scarlet Macaw). Raelee Chapman reports.

London born and schooled Singaporean based author PP Wong’s first, and autobiographical, novel The Life of a Banana is about growing up as what some Chinese call a banana – yellow on the outside and white on the inside. Wong describes her novel as primarily about racial bullying and told the audience about her own experience when, at age eight, as a tall Chinese girl with a strong sense of justice, she tried to break up a fight between to two boys who then began to racially vilify her. Wong is also an actor, and after describing to a famous South East Asian film director her experiences of being bullied as a child, he replied: “Weren’t we all?” This prompted her to begin to collect other horrific examples of bullying from fellow bananas abroad, and to start thinking about a novel to encapsulate their feelings of isolation, of not being popular, and not knowing where you fit in. Wong read for the crowd two very funny passages, in one the main protagonist, Xing Li, goes shopping with her grandmother and watches mortified as her embarrassing relative causes a scene on public transport, in the other Xing Li feels uneasy in a school history lesson, when the content  fails to reflect her own ancestors' experience.

KH Lim’s debut novel, Written In Black, is a coming of age novel set in his native Brunei. Phil Tatham, Monsoon’s founder, and moderator for the evening, pointed out that so few novels are set in Brunei this one is naturally intriguing. He added that when Lim was pitching the novel he claimed all his patients loved it - Phil later found out Lim is a pathologist! Lim himself explained that after an earlier unsuccessful attempt to write a novel he worked out that for a story to be really successful it should have some basis in reality. He decided then to pillage from what he knew best – his home country. He was also aware that barely anything is written about Brunei. Lim describes the major themes in his novel as exploring self-determination versus consequentialism, however, he assured the crowd that it is not all grim and includes much humour - as an afterthought he described Written in Black as Kafka combined with Calvin and Hobbes. The novel features a dysfunctional family and Lim said that while his own family are relatively normal (they were in the crowd!) a dysfunctional family made sense because it meant the main protagonist is not too perfect, and must rise above his problems and soldier on. 

The two more established  Monsoon authors, Patricia Snel and SP Hozy have both used Singapore as the setting for their most recent books.

Snel's The Expat, originally written in Dutch, has sold over 50,000 copies in Holland. It is a story based loosely on news headlines about human trafficking. Snel said that the story is a blend of fantasy and reality which she started when she was living in Singapore and witnessed - through her bird watching binoculars - a man hitting a woman in a neighbouring condominium. In a strange twist the neighbour then in turn started spying on her! This blend of strange reality, and headlines grabbed straight from the newspapers, enabled the bones of a novel to take shape.  Snel now  aims to turn her novels and short stories into screenplays. There is already talk of a film of The Expat - Snel said it will undoubtedly be filmed in Singapore which pleased the crowd!

Canadian author SP Hozy’s literary novel The Scarlett Macaw presents two entwined mysteries that unfold over two different time periods in Singapore, one in the present day and the other in the 1920s. The contemporary mystery concerns an artist named Maris who is shattered by the death of her mentor, gallery owner Peter Stone. Stone left Maris a trunk of old letters and books by British author E. Sutcliffe Moresby (based on W. Somerset Maugham). The letters tell of  a tragic love story. Hozy read a passage about a newlywed couple caught in the Botanic Gardens during one of Singapore’s torrential downpours. Afterwards, as the couple head home in a rickshaw, they witness an elderly Chinese woman dying in the street; the earlier carefree moments they spent enjoying the splendour of the gardens have gone, and the bride realises she and all others are at the mercy of strangers.

With long signing queues and a large turnout, these four authors can feel assured their new novels will be future book club favourites.

Singapore Writers Festival: Ministry of Moral Panic Wins Prize

A quick update from the Singapore Writers Festival where it has been announced Amanda Lee Koe has won the English language section of the Singapore Literature Prize for her debut collection of short stories, Ministry of Moral Panic.

Click here for coverage in The Straits Times.
Click  here for my review in Asian Review of Books.

Singapore Writers Festival: New Books From Epigram

Singapore publishing house Epigram Books has launched two new titles at the Singapore Writers Festival: The Space Between the Raindrops by Justin Ker and Ten Things My Father Never Taught Me and Other Stories, a collection of short stories from one of Singapore’s most illustrious poets, Cyril Wong. Raelee Chapman reports.

The Space Between the Raindrops is a collection of forty-two pieces of flash fiction. Justin Ker said he likes the form as it condenses difficult ideas into something tight and concisely written. He added it is a great form for writers who have only an hour here or there to write – and he works full time as a doctor, so he should know!  He gathers ideas for stories on early morning runs, then returns home and jots them down; he said that not having much time is exactly what you need to distill your ideas. His flash fiction focuses on stolen moments - the space between the raindrops of his title - and he shared with the crowd his recollection of one such stolen moment, the seed of the story Open Reduction Internal Fixation. Justin was assisting in surgery to mend the hipbone of a 100-year-old woman and his colleague asked him to reach out and touch the bone. Justin asked the crowd: “Have you ever felt a 100-year-old bone? Bones are a record of all the experiences and weights we have ever borne throughout life, whether it be carrying a child or a sack of rice.”  

Cyril Wong explained the stories in Ten Things My Father Never Taught Me concern that which may lie beyond a closed door, or a shut window. He read from the title story, a moving, semi-autobiographical account of the God-awful relationship he had with his father.  The passage described the teenage protagonist being driven home from catechism class by his father; the teenager begins singing along to the radio in a loud falsetto; a boiling point is reached as the father can no longer ignore his son’s burgeoning homosexuality.

Cyril recently announced he was considering stopping writing. Thankfully, he seems to have changed his mind.  He said he will always write poetry - he likes to text himself lines throughout the day, as they come to him. He said he is always writing, always has a blank word document open  - even if it stays blank for some time the cursor sitting there blinking at him prompts him to write. However, he said he no longer feels the desire to publish, or the need to support a culture that does not support him. 

This week in the Asian Review of Books

Asian Books Blog is not a review site.  If you want reviews, see the Asian Review of Books.  Here is a list of its newest reviews, plus links to original short fiction on-line, and its latest commentary on the current situation:

Picnics Prohibited: Diplomacy in a Chaotic China During the First World War by Frances Wood reviewed by Peter Gordon
Chronicles of Majnun Layla and Selected Poems by Qassim Haddad, translated from the Arabic by Ferial Ghazoul and John Verlenden reviewed by Marcia Lynx Qualey
Links to original Asian short fiction on-line 
Letters from Hong Kong: Democracy and the economy by Peter Gordon
Ministry of Moral Panic by Amanda Lee Koe reviewed by Rosie Milne
The Legend of Ramulamma by Vithal Rajan reviewed by Anu Kumar
Letters from Hong Kong: Developments "in quotes" 
The Snow Kimono by Mark Henshaw reviewed by Peter Gordon
Letters from Hong Kong: Characters under the Cantonese umbrella by Tammy Ho Lai-Ming

Singapore Writers Festival: China, Literary Powerhouse

Day three of the Singapore Writers Festival included an English-language panel discussion: China - a new super (literary) powerhouse?  Moderator Phil Tatham, publisher at Monsoon Books, didn’t mention the strange use of brackets, but he did point out that the question mark was not necessary; there is no doubt China is a literary powerhouse.  That established, the panellists, who both write in Chinese, were free to explore the ways in which, through translation, Chinese literature can act as a bridge between cultures, and can engage and interact with readerships globally.

The panellists were Dorothy Tse, who is Hong Kong Chinese, and Zhang Ling, who was born in Zhejiang Province, but who now lives in Canada – she was the first overseas Chinese to be awarded China’s People’s Literature Award. Oddly, there was no Mainland Chinese writer on the panel.

Tse’s third book, Snow and Shadow, a collection of surreal stories set in a fantastical version of her hometown, is available in English through Hong Kong University Press.  Tse read an extract from the story Blessed Bodies, set in Y-land, a place famous for its sex industry, where men who otherwise couldn’t afford the prostitutes can barter their own limbs for sex – the amputated limbs are sold on.  Tse then discussed differences between Hong Kong writers, and Mainland writers.  She said she thought Mainland writers knew they had a large home market, and so they worried about meeting the demands of that market, whereas Hong Kong is so small, that its writers do not think of it as a market at all, and thus they take risks and experiment, free of commercial pressures.

Zhang read from her novel Gold Mountain Blues, which is available in English through Penguin Canada.  It is an historical novel chronicling the lives of five generations of a Chinese family originally from Guangdong Province, but soon transplanted to Gold Mountain, the Chinese name for Canada’s West Coast. Zhang explained that she cannot pin down her own identity:  in China they call her Canadian-Chinese; in Canada they call her Chinese-Canadian; she speaks English in her daily life outside the home, but Mandarin within the home; she dreams in Mandarin, but tells her Canadian friends her dreams in English.

Co-incidentally, both authors share a translator, Nicky Harman, who also contributed an introduction to Snow and Shadow.  They discussed the pleasures and perils of working with a translator, with Zhang telling how her French translator insisted on disambiguating the ambiguities of Chinese – ambiguities both she and Tse said they relished. 

Tse said she was relaxed about mistranslations. She made the point that readers often misread texts in their own language – misreadings, she said, are part of reading, and can have interesting, fruitful results, and she felt the same about mistranslation.  That’s a positive attitude that could surely serve writers well, throughout Asia?