Closing for Christmas

 

Asian Books Blog is now closing for Christmas.  It will reopen on January 16, 2022.  Happy Christmas to those who celebrate it, happy holidays to those who don't, and happy reading to all and sundry. 

The Whole Kahani Writers’ Collective, guest post by Reshma Ruia

The Whole Kahani Writers’ Collective provides support to writers of South Asian descent living in the UK. The Collective has just published its third anthology of short stories, Tongues and Bellies. Here, the Collective's co-founder, Reshma Ruia, talks about The Whole Kahani and its publishing programme.

A Novel Education, guest post from E.S. Alexander

E.S. (Liz) Alexander was born in Scotland but now lives in Penang, Malaysia. She has written and co-authored over 20 award-winning non-fiction titles, while maintaining a successful freelance journalism career. Asked to describe herself in three words she typically answers: thinker; writer; adventurer. The order depends on her mood.  

Penang was “founded” in the late eighteenth century by a British adventurer, Captain Francis Light. Liz’s first novel, Lies That Blind, re-imagines what happened a few years after the new trading settlement was established. Aspiring journalist Jim Lloyd risks his wealthy father’s wrath to sail from Britain to Penang, where he becomes Light’s assistant. He hopes that chronicling his employer’s achievements will propel them both to enduring fame. But he soon discovers that years of deception and double-dealing have strained relations between Light and Penang’s legal owner, Sultan Abdullah of Queda, almost to the point of war. Tensions mount: pirate activity escalates, traders complain about Light’s monopolies, and inhabitants threaten to flee, fearing a battle the fledgling settlement cannot hope to win against the Malays. Jim realises that a shared obsession with renown has brought him and Light perilously close to infamy, a fate the younger man, at least, fears more than death. Yet Jim will not leave Penang because of his dedication to Light’s young son, William, and his perplexing attraction to a mercurial Dutchman. He must stay and confront his own misguided ambitions as well as help save the legacy of a man he has come to despise.

Liz’s credo is to write about what she wants to discover. Here she discusses what she learned during the three years she worked on Lies That Blind.

So, over to Liz…

On Making Things Up: In conversation with Lila Matsumoto

Editor’s note: Lila Matsumoto’s new collection, Two Twin Pipes Sprout Water (a Winter 2021 Poetry Book Society Recommendation), is at once plainspoken and spellbinding – a sure antidote to the charged language of our times. We’re deeply grateful to Lila and her publisher for this short interview, which took place over email. 

Theophilus Kwek (TK): Congratulations, Lila – I thoroughly enjoyed reading Two Twin Pipes Sprout Water, and you must be pleased about all the positive attention the book has received! I wonder if you could start by telling us a bit about how this latest collection builds on your earlier work (either your first book and pamphlets, or your wider practice as an artist and musician)? 

Lila Matsumoto (LM): Thank you, Theo. TTPSW collects poems and poem sequences that were written over the last two years or so. Some of the poems were originally written for particular contexts, such as for a song for Food People  (a band I play in) or as a live performance with visual elements. It’s to the credit of my incredible publisher Prototype for helping me to produce a book that ‘houses’ these discrete pieces, and at the same time keeps the flavour of their original context through elements such as typography and illustrations.   

TK: Something that struck me from the very first section of your collection was how your poems deal with being a writer. Not only with the practice of writing, but the paraphernalia of the writing life – attending book launches, literary conferences, and the like. How would you describe your relationship with your own identity as a writer? 

LM: I would probably describe it as ambivalent! I have been thinking about the artifice of the ‘writer identity’, as well as the artifice involved in writing: making things up, embellishing, presenting life through uncanny lenses. When I was a student I worked for a few years at a book festival. Although I appreciated the context of coming together to have conversations around writing, I felt uneasy about the pageantry. Lauding writers is fine, but many of the events centred on the authors rather than on their writing. There also seemed to me an assumed alignment of the books’ texts with the authors’ personal lives. Books such as Rachel Cusk’s Outline series, Alice Thompson’s Burnt Island, and Lisa Robertson’s The Baudelaire Fractal guilefully and hilariously unpack and brew more trouble about the meeting points of writing and the writing life.

"[...] I saw her art for what it really was: not a punctilious crafting of rare materials, but a reckless haunting of obscure works, made flesh in modish lingo. It was a tricksy turn of pen, a vaporous bauble. But who am I to criticise – I, too, have a searing desire for recognition, and have committed textual crimes in the name of amour propre. I have plumbed my own life for material, dressed up its feeble outlines, and have stuffed descriptions of sensual delicacies in every chapter." 

(from 'In Order to Make Words Pleasurable') 

Guest post from Jayanthi Sankar

Though Jayanthi Sankar is a native of India, where her books are published, she lives in Singapore.  Her fiction often explores the diversity of her adopted home. She believes in ever expanding the scope of her creative world. While developing her fictional universe, she interacts with the characters she forms and shapes to create a whole new world. For her, writing a novel is process that she truly lives and she delights in experimenting with her storytelling. 

Here she discusses her two historical novels, Tabula Rasa and Misplaced Heads, and her collection of short stories, Dangling Gandhi. 

So, over to Jayanthi…

SWF: Quick Round Up Part 2

 Darling, You're Fabulous: An Hour With Tan France

A most enjoyable hour long chat moderated very smoothly by Maya Menon with Queer Eye host Tan France, who has not only written a memoir but now also runs his own fashion brand Was Him, a spin off of Tan France's middle name Washim, the back story of which was sadly from his childhood days of being bullied. Tan spoke about how he came to write his memoir and some of his most important values regarding style vs fashion, and why dress empowers and enhances self-esteem, how he loves to cook and how that came from being made to watch his mother cook, and how he loves styling women more than men. He spoke plainly about the discrimination faced by celebrities of South Indian descent in Hollywood, and how wearing a Sherwani on the red carpet was a political statement. Tan was not just entertaining and approachable and so likeable, but his political conscience and pride in his own culture was infectious. To him, styling people is to allow for self-expression, to bring out a quality that already exists in the wearer. Asked if he had any advice for stylish Singaporean men in terms of how to dress themselves, he couldn't resist making a gentle poke at the tightness of their clothes, which to him looked so uncomfortable: "save sexy time for behind closed doors, I don't need to see everything on the street." And in case you didn't know, Tan's comfort food is dhal, and he loves cake so much he eats it every day! Honestly, I so agree. There is nothing so dire in life that cannot be solved with a slice of cake.

‘Shen Yang does not legally exist.’ Nicky Harman reflects on a memoir by a victim of China’s One-Child Policy, and its unexpected impact on readers.

More Than One Child: Memoirs of an Illegal Daughter (Balestier, 2021) is Shen Yang’s story of growing up as an ‘excess-birth’ or ‘illegal’ child. She was born as a second daughter during the years of China’s one-child-per family policy (1980s to 2015). Although the policy was strictly enforced, a traditional preference for boys meant that families determined to produce a son and heir, often tried for more than one pregnancy. Baby girls were often aborted, abandoned, or adopted overseas. However, numerous second, third, and even fourth daughters survived, and grew up to suffer the consequences of their illegal status. 

 Shen Yang does not legally exist. Her official ID is still the fake document obtained so that she could attend school, by the aunt and uncle who fostered her. 

There is very little literature documenting the experiences of ‘illegals’ like Shen Yang. As a result, those who can read English (Shen Yang’s book has not yet been published in Chinese) are surprised, and often shaken, to find themselves and their lives reflected in her book. Shen Yang told me yesterday how the audience reacted at the launch of More Than One Child at the Royal Asiatic Society in Shanghai. 

13-11-2021, Shen Yang launches her memoir at the Royal Asiatic Society in Shanghai.

She writes: ‘The audience was hooked by my speech from the beginning to the very end, and some even cried. One girl in the front cried twice, which distracted me a bit and I almost forgot my lines. She was also an excess-birth child who had been adopted away from her family. I managed to give her a huge hug after the event. It was very moving. Then later another girl approached me, and told me she was also adopted. She makes documentaries now, and she wants to make a documentary with me about excess-birth children.’