O Thiam Chin Talks to Elaine Chiew about Vampires, Teenage Girls and His Sixth Book of Short Fiction, Signs of Life.

Photo courtesy of the Author and Alan Siew

O Thiam Chin is the author of five collections of short fiction: Free Falling Man, Never Been Better, Under the Sun, The Rest of Your Life and Everything That Comes With It, and Love, Or Something like Love. He was a recipient of the National Arts Council's Young Artist Award in 2012, and has been shortlisted for the 2014 Singapore Literature Prize. His debut novel, Now That It's Over, won the inaugural Epigram Books Fiction Prize in 2015, as well as the Best Fiction title at the 2017 Singapore Books Awards. His second novel, Fox Fire Girl, was also shortlisted for the Epigram Books Fiction Prize in 2016.








About Signs of Life (from the book jacket) (Math Paper Press, 2019):

A mysterious terrorising force hounding a group of schoolgirls at a campfire. A couple trying to conceive in a post-apocalyptic world. Two gay men, the last of their kind, getting acquainted in a laboratory for the purpose of scientific observation. A Christ-like figure raising the dead in the heartlands. Strange and suspenseful, these stories offer a whole other world of voices, plot and imagery that opens up new terrain in what is possible and imaginable. With wit, sensitivity and dexterity, O's characters slip from their ever-present reality into the surreal and unknown and find in the process their hungers, desires and pains coming fully awake, thrumming with exultant life.

Eminent Historian Professor Wang Gungwu converses with Elaine Chiew on his autobiography, Home Is Not Here

Photo courtesy of NUS Press

From the book jacket:

Wang Gungwu is one of Asia’s most important public intellectuals. He is best-known for his explorations of Chinese history in the long view, and for his writings on the Chinese diaspora. With Home Is Not Here, the historian of grand themes turns to a single life history: his own.

In this volume, Wang talks about his multi-cultural upbringing and life under British rule. He was born in Surabaya, Java, but his parents’ orientation was always to China. Wang grew up in the plural, multi-ethnic town of Ipoh, Malaya (now Malaysia). He learned English in colonial schools and was taught the Confucian classics at home. After the end of WWII and the Japanese occupation, he left for the National Central University in Nanjing to study alongside some of the finest of his generation of Chinese undergraduates. The victory of Mao Zedong’s Communist Party interrupted his education, and he ends this volume with his return to Malaya. 

Wise and moving, this is a fascinating reflection on family, identity and belonging, and on the ability of the individual to find a place amid the historical currents that have shaped Asia and the world. 

Kawika Guillermo makes a bookstop at Asian Books Blog to chat about Stamped, his anti-travel novel, online personas and why he thinks Americans can't be flaneurs.

Biography

Kawika Guillermo is the author of Stamped: an anti-travel novel (Westphalia Press, 2018). His stories can be found in The Cimarron Review, Feminist Studies, The Hawai’i Pacific Review, Tayo, Smokelong Quarterly, and others. He is an Assistant Professor in the Social Justice Institute at the University of British Columbia and is the author of Transitive Cultures: Anglophone Literature of the Transpacific (Rutgers University Press, 2018). He occasionally writes on travel, politics, and video games at Anomaly Magazine (formerly Drunken Boat) and decomP Magazine, where he serves as the Prose Editor.

Melissa De Silva talks to Elaine Chiew about 'others', discovering her ancestry in Malacca, and making pineapple tarts.

Melissa De Silva at her writing residency at Hikayat, Penang's Georgetown, May 2019. Photo courtesy of William Tham.

Biography:

Melissa De Silva grew up in her grandmother's flat in Toa Payoh, which is why she thought the dragon playground in front of her grandmother's block was her exclusive playground. Besides her award-winning debut book, 'Others' is Not a Race, Melissa's fiction has been published in Best New Singaporean Short Stories Vol. 3, Wilderness Literary Review, Singapore Quarterly Literary Review and LONTAR: The Journal of Southeast Asian Speculative Fiction. She has worked as a magazine journalist and a book editor. She is currently Singapore’s Education Ambassador for American nonprofit Write the World (writetheworld.com). Melissa leads a wide variety of workshops on writing memoirs, writing for healing and catharsis, childhood and family memories, food and travel writing, cultural identity and women's identity and empowerment. 

EC: Welcome to AsianBooksBlog, Melissa. Fantastic to have you with us to discuss your trenchant book which won the Singapore Literature Prize 2018, ‘Others’ Is Not A Race (Math Paper Press, 2017).

First, let’s start with your background. What led you to writing, and specifically, to the writing of this book?

Elaine Chiew Converses with Indonesian Feminist Gothic Writer Intan Paramaditha

Intan Paramaditha. Courtesy of the Author.

If you haven't yet heard of Indonesian writer Intan Paramaditha, I am convinced you soon will. 

Intan Paramaditha is an Indonesian fiction writer and academic based in Sydney. Her short story collection Apple and Knife, translated into English by Stephen J. Epstein was published by Brow Books (Australia) and Harvill Secker (UK) in 2018. Gentayangan (The Wandering), her debut novel on travel and displacement where readers choose their own narrative path, was selected as Tempo Best Literary Work for Prose Fiction in 2017. The novel received the PEN Translates Award from English PEN and the PEN/ Heim Translation Fund Grant from PEN America, and it will be also be published by Harvill Secker in 2020. She holds a Ph.D. from New York University and teaches Media and Film Studies at Macquarie University.

EC:   Welcome to AsianBooksBlog, Intan. A real pleasure to have you.

IP:     My pleasure! Thank you for having me, Elaine.

EC:   First, congratulations on the publication of your wonderful short story collection, Apple and Knife, full of fable-like and allegoric energy, a celebration of the transgressive and mysterious darkness of womanhood.

I’d like to start with your background. What were your favourite reads in childhood? Did you always know you’d be a writer?

IP:   As a child, I loved reading fairy tales of H.C. Andersen and Grimm. Growing up in a Muslim family, I was also familiar with stories of the prophets and I enjoyed reading them.

The story Apple and Knife which became the title of the collection, was inspired by the story of Yusuf (Joseph) in the Quran. I have always been fascinated with these tales because the moral messages tend to co-exist with violence, often in weird, uncomfortable ways. The “what if” question has always triggered me. What if we told the stories, maintaining all the elements including fantasy, darkness, and violence, but from a different perspective?

I starting writing when I was nine, and I knew that I wanted to be a writer. I sent my stories to a children’s magazine when I was in elementary school. So being a writer is quite predictable. But I did not expect that I would become an academic, which made things more complicated!

Elaine Chiew Talks to Ng Yi-Sheng, author of Lion City

Photo Courtesy: Epigram Books

 Ng Yi-Sheng is a Singaporean poet, fictionist, playwright, journalist and LGBT+ activist. He has just published Lion City, his first collection of short stories, inspired by speculative fiction, Singaporean history and myth. He’s currently working on a novel as part of a Creative Writing PhD at Nanyang Technological University (NTU), and a performance lecture for the Singapore Fringe Festival, titled Ayer Hitam: A Black History of Singapore.

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 21^st 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.

A Yellow House: Elaine Chiew Talks to Karien van Ditzhuijzen

Credit: Lina Meissen Photography

After a childhood of moving around Asia, the Middle East and Europe, Karien van Ditzhuijzen moved to Singapore in 2012. Karien has a degree in chemical engineering, but gave up her career developing ice cream recipes to become a writer. She now dedicates her life (in no particular order) to advocating migrant workers’ rights, her family, her pet chicken and being entertained by monkeys while writing at the patio of her jungle house.

As a freelance writer and blogger Karien contributes to several publications in Singapore and the Netherlands. In 2012 she published a children’s book in Dutch recounting her childhood in Borneo. Karien van Ditzhuijzen’s debut novel A Yellow House was published by Monsoon Books in 2018. This poignant coming-of-age story, told in the voice of inquisitive ten-year-old Maya, explores the plight of migrant domestic workers in Singapore and the relationships they form with the families they work for.

Karien has been working with migrant domestic workers since 2012, when she joined HOME, a charity that supports migrant workers in Singapore. In the following years Karien worked closely with domestic worker writers, documenting their stories and sharing them on the blog www.myvoiceathome.org and as editor of the anthology 'Our Homes, Our Stories'.

The strong women Karien met through her charity work were the inspiration for A Yellow House.

Review: Labyrinth of the Past by Zhang Yiwei

While I was in Shanghai, I stumbled across a series oftranslated Chinese fiction, headlined as Stories by Contemporary Writers from Shanghai and published jointly by Better Link Press (New York) and Shanghai Press and Publishing Development Company.  The editor of the series is Wang Jiren. His Foreword stated that the series comprises writers who are immigrants to Shanghai, but most were born in the city from a period encompassing the late 1940s to the 1980s, and includes well-known writers such as Wang Anyi, Xiao Bai and Sun Ganlu, but also features young emerging writers such as Zhang Yiwei, whose short story collection, Labyrinth of the Past (2015) is reviewed here.

From age 5 to 22, Zhang Yiwei grew up in Tianlin, a neighbourhood in Xuhui District, southwest Shanghai. The seven bittersweet nostalgic stories in this collection describe a childhood in Tianlin and the bordering town of Xiaozha that were undergoing rapid transformation and industrialisation in the '80s, from farmlands to organised apartment complexes for factory workers. This changing landscape evokes the lives of Chinese workers, tinged sometimes with desolation, anonymity, and a deep sense of loss. Zhang Yiwei’s collection is particularly noteworthy for its observation of details both past and current, and for its angle of approach – these are stories about young women of the ‘80s and ‘90s growing up raised by single mothers. The broken family connections echo the breaking up of landscape, all in the name of progress, but the stories seem to whisper: at what cost?

In Celebration of Books: The Singapore Literature Prize 2018

Nominee Books on Display

The Singapore Literature Prize, which carries a cash award of S$10,000 for each winner in each language category (Chinese, English, Tamil, Malay), held tonight at the NTUC Center, 1 Marina Boulevard, is in its 12th rendition (a biennial award), celebrating the best in Singapore poetry, fiction and creative nonfiction. Organised by the Singapore Book Council (formerly National Book Development Council), it's certainly had its share of controversy (no rehashing here, you can read about it on Wikipedia).  The evening kicks off with video footage of Suchen Christine Lim (who needs no introduction really) exhorting the winners not to let winning halt them in their tracks: the sort of a "okay, what now?" moment that freezes a writer after a big win. 

Romance and Intrigue on the Bund: Shanghai Grand by Taras Grescoe

Delve into the history of Shanghai in the interregnum between two World Wars and you will find an assortment of characters involving taipans, buccaneers, fortune-seekers, soldiers-of-fortune, intrepid newsmen, shady underworld triad bosses, spies, Communist insurgents, political emigres and colourful Western adventurers taking residence in Shanghai. These names will crop up again and again: industrialist and magnate Sir Victor Sassoon and his son E.D. Sassoon (who constructed the famous Cathay Hotel); triad bosses Du Yue Sheng, Curio Chang and Pockmarked Huang; Morris ‘Two-Gun’ Cohen (bodyguard to Dr. Sun Yat-Sen); Trebitsch Lincoln (the spy called ‘abbott of Shanghai’); revolutionary fighters like Chang Hsueh Liang, newsmen like John B. Powell, Victor Sheean and Edgar Snow; writers and intrepid China chroniclers like Emily Hahn and John Gunther; literati poets and writers like Lu Xun and Zau Sinmay, just to name a few.  All these moseying around the centre-stage action -- the seismic political and corrupt chicanery of Generalissimo Chiang Kai Shek and the Soong family in battling the early beginnings of Communism, Mao Tse-tung and the Japanese invasion.  

Asian Contemporary Voices: Interview with Kirstin Chen, author of Bury What We Cannot Take

Courtesy of Susan Deragon

Kirstin Chen's new novel, Bury What We Cannot Take (Little A, March 2018), has been named a Most Anticipated Upcoming Book by Electric Literature, The Millions, The Rumpus, Harper’s Bazaar, and InStyle, among others. She is also the author of Soy Sauce for Beginners. She was the fall 2017 NTU-NAC National Writer in Residence in Singapore, and has received awards from the Steinbeck Fellows Program, Sewanee, Hedgebrook, and the Napa Valley Writers’ Conference. Born and raised in Singapore, she currently resides in San Francisco. Visit her at kirstinchen.com

Lover, photographer, gun-runner, spy: Xiao Bai's literary spy thriller French Concession

The Asian literary spy genre isn’t a defined genre as such, but perhaps it should be.  Xiao Bai’s French Concession stands in a solid pantheon (if one may call it pantheon within such an amorphously-bordered genre that encompasses such disparate geographies and time periods) that includes Mai JIa’s recent thriller Decoded, compared to Eileen Chang’s Lust, Caution (per one review) and poses as a counterpoint to a host of other Asian literary spy thrillers written as far back as Francis Van Wyck Mason’s 1933 Shanghai Bund Murders.  One key difference with Xiao Bai’s offering is that it’s a literary spy novel written by an Asian writer in his native language, and subsequently translated for a Western audience, thus the translation itself (by translator Chengxin Jiang) stands as a conduit that needs to be considered.

On what shall the eye rests; John Spurling's The Ten Thousand Things, a novel.

To usher in the Year of the Dog 2018, to dovetail also with Asianbooksblog columnist Lucy Day Hobor’s article on Dream of the Red Chamber and to augur reviews and essays to come, my column on contemporary voices will spotlight Chinese literature with an interdisciplinary approach.  What better book to kick us off than John Spurling’s hidden gem-of-a-novel The Ten Thousand Things.  Although it came out three years ago, I thought it worth a second look as a piece of historical fiction on the life of renowned Chinese ink painter Wang Meng who lived during the Yuan Dynasty (early 13th century to 1368; also known as the Mongol Dynasty).  

Elaine Chiew converses with multi-talented Bernice Chauly, author of Once We Were There

Photo courtesy of Daniel Adams

Bernice Chauly may be no stranger to readers in Asia but here AsianBooksBlog has the pleasure of talking to her about her first foray into the novel form and the challenges she found in writing her book Once We Were There.

Bernice Chauly is a Malaysian writer, poet, educator and festival director. Born in George Town to Chinese and Punjabi teachers, she read education and English literature in Canada as a government scholar. She is the author of six books of poetry and prose: going there and coming back (1997), The Book of Sins (2008), Lost in KL (2008), Growing Up with Ghosts (2011), which won the Readers’ Choice Awards 2012 in the non-fiction category, and a third collection of poems, Onkalo (2013), described by J.M. Coetzee as ‘direct, honest and powerful’. 

For 20 years she worked as a multidisciplinary artist and is recognised as one of the most significant voices of her generation. Since 2011 she has served the director of the George Town Literary Festival, shortlisted at the International Excellence Awards at the London Book Fair 2017, and is an Honorary Fellow in Writing from the University of Iowa’s International Writing Program (2014). She currently teaches creative writing at the University of Nottingham Malaysia Campus. She is also the founder and director of the KL Writers Workshop. Her critically acclaimed debut novel, Once We Were There, was published in 2017 by Epigram Books (Singapore-London) and won the inaugural Penang Monthly Book Prize.

Final SWF Roundup: Imagining Asia, The Absurdity in Everyday Life; Hope and Resistance in the Age of Dystopia. Reflections by Elaine Chiew

Imagining Asia

Panel on Imagining Asia, featuring (L to R) Tash Aw, Madeleine Thien, Boey Kim Cheng and
University of London Professor of Humanities Roger Kain, courtesy of Elaine Chiew

Rabindranath Tagore had a construct for Asia; he called it “a continental mind of Asia.” Asia thus was conceived as more than geographical landmass and the surrounding oceans, but even mapping it geographically can prove tricky as its Western borders are conjoined with Europe.  Asia as a continent also encompasses a multitude of languages, cultures, ethnicities, religious practices, economic pursuits and livelihoods. Keep in mind also the strategic configuration of powers and militarism which accompanied the formation of ASEAN, APEC and various other regional affiliations, as well that the turn-of-the-century ideological conception of Asia as envisioned by Okakura Kakuzõ in Ideals of the East was as a foil of the East against the encroachments of the West, already forecasting Japan’s military ambitions at that time.  Thus, returning to the question of “imagining Asia” and specifically how Asian writers like Tash Aw, Madeleine Thien and Boey Kim Cheng imagine Asia, already implicate deeper framing issues of how long we will remain locked within this semantical conception of Asia as a singular, cohesive entity, Asians who are immigrants to the West as writers with fragmented identities, and all of this understood with reference to the West. 

SWF WRITER FOCUS: Elaine Chiew interviews Singapore-based Filipino writer Victor Fernando Ocampo

For every writer, once in a rare while, a book comes along and really shakes you up, where (instead of that height/ceiling metaphor) I’d like to say instead, the floor drops on which you thought the legs of fiction stood.   Victor Fernando Ocampo’s The Infinite Library and Other Stories did that for me.  The ideas that power this collection are not just incredibly imaginative, they also weave a hybrid crossing through magical realism, allegory and science fiction, that ‘synchronicity’ Ocampo mentions in one of his stories.  Rendered in prose that bears a unique voice, and also dark subtle humour in surprising turns of phrases, this collection is an invitation to a labyrinth for thought.

First an introduction to Victor:

Victor Fernando R. Ocampo is a Singapore-based Filipino writer. He is the author of The Infinite Library and Other Stories (Math Paper Press, 2017) and Here be Dragons (Canvas Press, 2015), which won the Romeo Forbes Children’s Story Award in 2012.  

Singapore Writers Festival Day 3. Aram and World Conflicts/Sci-Fi and the Fate of Humanity by Elaine Chiew

Aram in the Age of Cultural and Cross-Border Conflicts, courtesy Elaine Chiew

The panel entitled Aram in the Age of Cultural and Cross-Border Conflicts, moderated by TV presenter Greta Georges, opened to a room so packed, it was standing three-deep in the back.  But the panel appeared to have gotten mired in the thicket of translation of the meaning of 'Aram'.  Using the English translation of Aram as 'the good life', the panelists Héctor Abad, Koh Buck Song, and Suki Kim, whose credentials range from human rights memoirist (Abad), literary editor, non-fiction writer of 30 books and poet (Koh) to undercover investigative journalism (Kim) tackled it from three countries’ perspectives – Colombia, Singapore and North Korea, respectively. 

Singapore Writers Festival: Day 2 Highlights by Elaine Chiew

Between Brexit and the Deep Blue Sea Panel, courtesy Elaine Chiew

Okay, Brexit.  Day Two. This time from the Irish perspective, entitled Between Brexit and the Deep Blue Sea: The Irish Perspective on a Divided Europe.  The panel of Cat Brogan, Claire Keegan and Paul McVeigh, as moderated by avuncular host, Neil Murphy, raised many interesting points to consider.  Brogan and McVeigh are from Northern Ireland, whereas Keegan is from the Republic of Ireland and Brexit impacts them differently.  

Singapore Writers Festival: Opening Night with Irish focus by Elaine Chiew

Opening Ceremony, Yeow Kai Chai. Courtesy of Elaine Chiew

With every year that it’s held, the Singapore Writers Festival (SWF) gets bigger, more ambitious, and more prominent – this year featuring close to 500 writers (of all stripes – from poets to playwrights, non-fiction writers to musicians of the written word) and from around the world, with Ireland being the country of special focus.  

The theme of Aram (which means “to do good”) is the first ever Tamil theme for the festival and takes its inspiration from the widely revered literary work in Tamil – Thirukkurai; aptly, this year SWF aims to focus on ethical quandaries and moral conundrums. Lo, how “particularly pertinent in a world [of]…increasing…fragmentation and polarisation, where it gets harder for people to agree to disagree,” as guest of honour, Ms Sim Ann, the Senior Minister of State, Ministry of Culture, Community and Youth and Ministry of Trade and Industry says.

Contemporary voices: State of Emergency by Jeremy Tiang

In her regular column Contemporary voices Elaine Chiew explores books and authors making waves around Asia, and beyond. Here she discusses State of Emergency, by Jeremy Tiang, from Singapore.

Henry James apparently said, “It takes a lot of history to produce a little literature.”  One might find this proven true in Jeremy Tiang’s debut novel, State of Emergency, which cuts across swaths of history starting from the Batang Kali massacre in Malaya by Scots Guards in 1948, wending through key episodes of Communist suppression in Singapore, such as the Hock Lee Bus Riots (1955), Operation Coldstore (1967) and Operation Spectrum (1983), the detention of a Catholic priest and various church members in 1987, fetching up to current day Singapore (the MRT system that’s like “something out of science fiction” and Tiong Bahru likened to Hoxton, London.)