The Asia Pacific Writers & Translators 7th International Conference

The Arts House, Singapore

The Asia Pacific Writers & Translators 7th International Conference, co-hosted by the National Book Development Council of Singapore, and the Arts House, Singapore, in association with Yale-National University of Singapore, will take the theme: creative writing & literary translation in the Asian century.  It will run in the Lion City, from 17-19 July 2014

Published authors, authors aspiring to publication, translators, literary editors, publishers, agents, festival directors, and others
wishing to join the conference are now invited to send expressions of interest.

The focus will be on short, popular and accessible presentations, readings, and workshops intended to stimulate lively conversations amongst panellists, participants, and the audience.

Panellists should be able to make informed contributions related to the general topic of creative writing and the development of new cross-border readerships in Asia. Panels will be decided depending on topic descriptions received.
  

Presentations must be of relevance to writers, and aim to provide new pathways for the development of writing careers in Asia. Panellists will be asked to take into account the changing fundamentals for our region and the publishing industry, including: the global power shift towards Asia; the region’s ever-growing middle class, with its increased spending power and leisure time; new media and related publishing and translation opportunities; literature as a means of better developing cross-cultural dialogues, fostering cross-cultural awareness, and, perhaps, easing tensions in uncertain times.

Keynote speakers will include Australian author and translator Linda Jaivin whose work addresses culture, difference, (mis)understanding and its unpredictable consequences, in the context of China and the West.  Other keynotes will be announced in due course.

Workshops will include those on editing, publishing for new media, writing fiction, and writing poetry.

The Australia Council for the Arts is supporting the conference, so there will be a strong delegation from Australia, including a senior representative from the Australian Society of Authors, an editor from a top publishing house, and at least two established authors teaching creative writing.

How to participate as a panellist

If you want to participate as a panellist, prepare an abstract of no more than 200 words on your chosen topic, together with a brief  account of your qualifications to speak about it.  Published authors will be favoured. Although AP Writers is proud to have as its academic partner the Yale-National University of Singapore, the conference's organisers are not looking for academic papers. Panellists and a draft programme will be announced in April. To apply, email your topic description to admin@apwriters.com by Friday 28 February 2014.  

Attending but not as a panellist

If you want to join this year’s conference as a member of the audience, to read from, or to launch, a new literary work, or to attend a creative writing workshop, then likewise email admin@apwriters.com, by Friday 28 February 2014, but use Attending or Reading Only in your subject line. 

For now, expressions of interest will serve only as a guideline for the organisers when assessing numbers and the likely conference registration cost. Official registration will open at after the draft programme has been announced, at apwriters.org.

Registration fees

Registration is likely to be free to the first 30 Singaporean residents who register, in recognition of NBDCS’s generosity. After the first 30 registrations, Singaporean residents may be charged at the rate for members of AP Writers - probably US$80 for the three days, or US$30 per day. For all others, the registration fee will probably be US$150 for three days or US$60 per day. Final registration fees will be confirmed once likely numbers have been ascertained. Workshops will have a separate registration fee, probably US$30 per person. Registration fees will not cover accommodation.

Sponsorship

AP Writers can write letters of support on behalf of those seeking their own funding to attend this conference. It can sometimes find third party sponsors to support writers from developing countries in Asia, and less often authors from beyond Asia whose work is of exceptional talent or relevance. It is not a funding organisation and cannot itself offer sponsorship. 

For general enquiries email admin@apwriters.com

Updates will be posted  at apwriters.org

Jane Camens / AP Writers

The Asia Pacific Writers & Translators Association (AP Writers) is a regional, Hong Kong-based network of authors, translators, editors, agents, other publishing professionals, and emerging writers. It aims to create world-wide publishing opportunities for authors who are based in, or are from, the Asia Pacific region. Its core activity is its annual conference which includes forums, creative writing workshops, author readings, and meetings.

Jane Camens, the writer who founded the network, was recently in Singapore in advance of this year's conference, which will be held in the Lion City in July. I met her to discuss the role of AP Writers in furthering the careers of authors in Asia.

Since Jane is based in Australia, I started by asking whether hers wasn’t really just another organisation for well-resourced and supported Australian authors?  Jane strongly denied this, pointing out that most of the board of directors, including the chair, Nury Vittachi, are based in Hong Kong, that their webmaster is based in Thailand, and that as well as the upcoming conference in Singapore, their 2013 and 2014 conferences were held in Bangkok. Earlier conferences were held in New Delhi, with workshops in Shimla, in Hong Kong, with workshops in Guangzhou, and in Perth.

We next discussed the way in which writing in English dominates the small amount of international attention devoted to work emanating from this region. “We're aware that in English speaking parts of the world, books written in English about Asia have been treated as shorthand for literature from the region."  Said Jane. “It's important, I believe, that the points of view of writers from different Asian cultures are heard.  So we're working with others to develop a network of quality literary translators. We seek to promote the careers of writers in our region whether they work in English or not.”

While Jane strongly supports writing in an author's mother tongue, she does not feel writers from this region should feel obliged to write in local languages. “Plenty of Asian writers are interested in writing in English. In India and Singapore for instance, a writer's education was quite possibly in English. Their parents might speak English at home. Such writers are likely to feel they write with more authenticity in English. The important thing is that Asian writers’ voices are heard, whichever language they choose to write in, so yes, we aim to promote quality literary translation as part of the development of a wider literary culture from the region. We want this culture to become known internationally.”

Does this inclusivity extend to helping Western expats living and writing in Asia? “Yes.  AP Writers aims to help anyone who wants to write and publish – to build in the Asia Pacific a network of likeminded people, irrespective of race.”

We then discussed the extent to which we are currently witnessing a cultural shift from the West, to Asia: “As economic power shifts to Asia, people in the West are becoming more interested in this part of the world, and in writing originating here. Readers in the so-called Western world want books about the things that matter in Asia, about the lives and concerns of people living here. It’s part of the revelation of what was once called The East, with the implication of mystery, and exoticism. Publishers are of course picking up on this shift.  They want new voices, new stories, new settings that help reveal this part of the world to the readerships they serve.”

What about completely new readerships? “Yes of course, publishers - and writers – always want new readers. Everyone wants to share their own agendas with the world.”

As already mentioned, the Asia Pacific Writers and Translators 7th International Conference will be held in Singapore in July, 17-20. The Association's local hosts are the Arts House and the National book Development Council.   More details will be given in the next post.

Book Club: Nothing Gained and February's Pick

I assume you've read January’s book club pick, the financial thriller Nothing Gained, by Phillip Y. Kim, so I'm not going to give a detailed plot summary. If you need one see here to find an outline from the publisher, Penguin, China.

Since the West has nothing on Asia when it comes to naked capitalism, it is fitting to see an example of Trader Boy Lit set in Hong Kong not on Wall Street, or in London. 

I think it’s fair to say this is a novel where the most important element is the plot – which in this case can perhaps be summarised as: betrayed wife relies on her dead husband’s mistress to get her family out of a hole.  That, I thought, was an interesting idea, but I found Kim’s execution of it occasionally frustrating.

To give just one example, I failed to believe Todd would be so keen to help Cheryl – which is to say I failed to believe a thirty something, affluent, male Westerner in Hong Kong would fall in love with an expat Korean-American mother who was approaching forty and who was trailing significant baggage. Kim himself seems to have a problem with this aspect of his plot.  He surely admits his love angle is pretty unlikely when he says of Todd’s trip to the party district, Lan Kwai Fong: “The next several hours were spent hopping among the many bars frequented by young professionals, aspiring models, and Chinese girls looking to meet Westernized men to liberate themselves from cramped living quarters shared with parents, siblings, and other relatives.”  Yup, in reality, Todd would hook-up with assorted Asian female love entrepreneurs - Filipina, Chinese, Thai - not an expat mum. And is that liberate ironic?  It would be nice to think so, but I’m not sure. 

Later, Kim again reveals his nervousness about the newly widowed expat mum-expat man combo when he has Cheryl herself stress the improbability of Todd’s interest in her: “This is Asia a nice guy like you in your mid-thirties should either be married or have a harem of girls around you.”  Nice here of course means rich. Todd’s avowal that his life doesn’t have the “bandwidth” for it to me sounds contrived.

But that’s enough of what I think. What about others’ opinions? Des and JP both mentioned they work in finance, in Singapore.

Des stressed he enjoyed the novel but said:

I found the pace uneven. I thought the beginning and the end were rushed, though the middle section flowed better. I found some of the writing formulaic and stilted, and some of the locations and situations a little clichéd – karaoke bars, etc.  I though the plot was intriguing and believable up until the solution to the issues they faced, when I thought it “lost the plot.” I think there were too many loose ends or aspects not developed. For example, what were Dominique and Winston doing in Europe all the time? How did they get together again? I almost felt this was a script for a made for TV movie.

In defence of Kim, a book about shenanigans in the business world in Asia surely has to have a scene in a karaoke bar? I quite liked the description of Beatrice, the hooker-angel. I agree this novel had the feel of a script for a TV show. 

JP said:

           

It’s a sex, lies and Chateau Petrus whirlwind through high finance in the Asian boom times, mixed with a double shot of a Bernie Madoff type Ponzi scheme involving CDOs - what more could anyone want? The main characters are all well enough constructed to be believable, I would have liked a bit more detail on the life of the husband, Jason, who is central to the whole story and I found his demise a bit colourful. This novel has of course its selection of bad guys - mostly disgraced casino people and shady Indonesians, which is probably not far off the truth. Kim clearly shows his financial markets background with talk of side letters, position mismarking, CDOs, and so on, but this does not intrude on a good story for anyone who is not up on these issues. It’s a fast-paced, enjoyable read that would appeal to the banker or business man in-the-airport-crowd looking for something easy to read. 

I am certainly not up the financial issues.  Whenever I found the financial detail obtrusive, I skipped it, which would seem to prove JP’s point.  I agree this is a novel businessmen browsing in airport bookshops might consider buying.

February’s pick.

The pick is a bit late this month, because of Chinese New Year, but I suggest over the coming 3 weeks we read The Shadow of the Crescent Moon, by Fatima Bhutto. This begins and ends one rain swept Friday morning in Mir Ali, a small town in Pakistan's Tribal Areas close to the Afghan border. Three brothers meet for breakfast. Soon after, the eldest, recently returned from America, hails a taxi to the local mosque. The second, a doctor, goes to check in at his hospital. His troubled wife does not join the family that morning. No one knows where Mina goes these days. And the youngest, the idealist, leaves for town on a motorbike. Seated behind him is a beautiful, fragile girl whose life and thoughts are overwhelmed by the war that has enveloped the place of her birth. Three hours later their day will end in devastating circumstances.

The Shadow of the Crescent Moon chronicles the lives of five young people trying to live and love in a world on fire. Individuals are pushed to make terrible choices. And, as the events of this single morning unfold, one woman is at the centre of it all.

The Shadow of The Crescent Moon is published by Penguin, it is available in paperback and as an eBook, priced in local currencies. The Book Club discussion will be posted on Sunday March 3^rd. Please get in touch with your comments.

Both Nothing Gained and The Shadow of The Crescent Moon are eligible for the ABB book of the Lunar Year in the Year of the Horse. See the post of Jan 30 for details.  If you would like to vote for either title please do so by posting a comment, or contacting asainboskblog@gmail.com.

Asian Books Blog Lunar Year Literary Award

Gong xi fa cai! Kung hei fat choy!  Happy Chinese New Year!

Asian Books Blog  (ABB) is lunching its own literary award: The Asian Books Blog Book of the Lunar Year. The inaugural winner, for the Year of the Horse, will be announced during the festivities for the Year of the Ram, in 2015.

The Award will be for books of particular  interest in, or especially relevant to, Asia.  Authors can be of any nationality, and published anywhere. A book will be eligible if traditionally published in English by a commercial publishing house during either the Year of the Snake just finished, or during the upcoming Year of the Horse.

A book will  be eligible if, during the Year of the Horse:

• It has been selected for the monthly ABB book club
• The author has contributed to the ABB series 500 Words From...
• The author has given ABB an interview
• It has otherwise been featured in ABB, except as part of a round-up post, or as one of the monthly new and notable titles.

The blog covers so-called literary fiction, popular fiction of all genres except erotica, and narrative non-fiction. Hence books in these categories will all be eligible for the Award - it will cover both fiction and non-fiction. 

Self-published books will be eligible if they have been featured in the monthly column Alice on Self-Publishing, but only if they fit the criteria applied in the rest of the blog: they must be titles for adults, fiction except erotica, or narrative non-fiction - so no self-published poetry, children's titles, young adult titles, etc.

The shortlist will have six books. Throughout the year, if a book is eligible for the Award, I will ask you, the blog's readers, to let me know if you think it should make the shortlist. I will be responsible for drawing up the shortlist, but I will take your votes into account. The shortlist will be announced on the blog during the festivities for Western New Year, 2015.

Once there is a shortlist, I will ask you to cast votes for the title you think should win.  I will also canvass opinion from the blog's contributors, and people who have otherwise been involved with it through the year. I will take these opinions into account when choosing the winner, although I will make the final choice. In future years I hope to have a judging panel, although always to continue to ask you to vote, and to canvass opinion from contributors.

It seems unlikely there will be a cash prize in the Year of the Horse. Instead, this and every year, I will invite the winning author to write a guest post for the blog highlighting the work of any charity of his or her choice that is based in Asia, and working to promote the welfare of the people of Asia.  If he or she does not want to write such a post, this will not mean he or she forfeits the Award, instead, I'll write a post highlighting an Asia-based charity of my choice.  

Rosie Milne, Lunar New Year.

Indonesian Literature Abroad

Take a look at this, from the Jakarta Globe:
http://www.thejakartaglobe.com/opinion/editorial-a-new-chapter-for-indonesian-literature/
And at this, from the Literary Saloon:
http://www.complete-review.com/saloon/index.htm

Alice On Self-publishing: The Chronicles of Oujo: Questalon

Alice Clark-Platts writes a monthly column on self-publishing. Here she speaks to an author and an illustrator who used a pre-orders platform to great success.

Joshua Chiang (illustrator) and Jeffrey Omar Lawrence (author), both based in Singapore, collaborated on the children's title The Chronicles of Oujo: Questalon, and used Publishizer to generate SG$5000 worth of pre-order funds before launching the book.

Lawrence describes Oujo as his and Chiang’s take on the fantasy genre: “It’s a fantasy world with all the fantasy staples - knights, dragons - but it’s also a world with our own twisted views on modern life. At its heart, Oujo is about overcoming adversity. That following what you believe in is often not an easy path and that the world often easily gives you reasons to quit, and part of overcoming that is overcoming your own doubts.”

Talking of following what you believe in, I wondered whether Chiang and Lawrence had worked on Oujo full-time, or intended to go full-time? They both continued with other projects whilst working on the book, and have no plans to give up their day jobs yet - although Lawrence is constantly working on new concepts for television shows, films and books.

Why did they choose self-publishing?  Chiang said that in the case of Oujo, they wanted to produce something more interactive than might interest mainstream publishers, involving apps with narration and animation features, so choosing whether to self-publish or to do it through traditional routes was easy. Once they heard about Publishizer everything fell into place as there the interactive nature of the material could really take hold. Lawrence, however, admitted self-publishing was more work than he’d expected: “I don’t think new writers really know how much work needs to go into promoting a book. It’s a lot.”

I could imagine that it would be. So how do you get people interested in your work when you don’t have a big publishing house behind you? “Begging.” Lawrence said. “Lots of begging! A lot of it was reaching out to the social network. Daily posts, continual reminders, reaching out to bloggers, parenting sites and then lots and lots of personal selling.”

Chiang and Lawrence said the most marketing support came from those who knew about the book long before it was published, and had seen early drafts. They recommend Freakonomics Radio's How to Raise Money without Killing a Kitten podcast as a guide on how to promote a crowd-funded campaign.  

Lawrence admits that the whole self-publishing process has put him on an emotional edge: "If you’re a natural introvert, it’s hard to put yourself out there." Chiang agrees, saying it was a relief and a huge surprise when sales shot through the roof during the last few days of the pre-order campaign: “Maybe there is a deity of on-line marketing that we can worship after all?”

Chiang’s favourite novels are those which end on a hopeful note and which affirm the goodness in human nature. The publishing story of Oujo seems to have such an ending. Self-publishing it would seem, could be the beginning of an adventure for us all.

Alice’s next column on self-publishing will appear on Wednesday 26^th February.  If you are involved in self-publishing in Asia, and you would like your work to be featured, please contact asianbooksblog@gmail.com.

The Second Irrawaddy Literary Festival

The second Irrawaddy Literary Festival is taking place in Mandalay from 14-16 February 2014 at the Kuthodaw pagoda, Mandalay Hill.

The Festival’s patron, Daw Aung San Suu Kyi, has confirmed to organisers that her attendance and personal participation will be on Saturday 15th February. She will spend several hours at the Festival, taking part in two of the Festival programme’s hour-long sessions.

As the Festival is a not for profit venture all sponsorship funds are directly used to produce the event. For the Mandalay Festival, generous sponsorship will enable state of the art LED screens to project the Festival’s highlights, live, to the public areas of the pagoda compound. Plans also include simultaneous interpretation of all of the headline events, as well as the vast majority of other sessions so that, whether Burmese or English speaking, audiences can enjoy the Festival to the full.

Individual readings, panel discussions, workshops, documentaries and movies will be complemented by several important exhibitions from abroad. An exhibition of early Burmese photography, depicting everyday life as well as officialdom of the day, is being brought to the Festival by a team from the British Library. The exhibition will remain permanently in Burma after the Festival. 

It is a central principle of the Festival that any Burmese writer who wants to participate is welcome to do so. There is still time to let the organisers know that you would like to take part. Please contact  Dr Thant Thaw Kaung at Myanmar Book Centre, or Nyi Sae Min at ludupress@gmail.com.

Entry to the Irrawaddy Literary Festival, Mandalay, is free, throughout the three day event. The ILF Mandalay promises to be even better than the inaugural Festival in 2013.

A Tale for the Time Being shortlisted for the Kitschies Red Tentacle 2013

Ruth Ozeki’s  Japanese-American historical family mystery, cum exploration of Buddhism, A Tale for the Time Being, is on the shortlist for the Kitschies Red Tentacle Award.

Since its simultaneous release across all formats – hardback, paperback, digital and audio  – in March 2013, A Tale for the Time Being has attracted worldwide critical acclaim, including securing a shortlisting for the 2013 Man Booker Prize. 

The Kitschies, presented in the UK, reward the year's most progressive, intelligent and entertaining works that contain elements of the speculative or fantastic. Now entering its fifth year, the prize offers the Red (novel), Golden (debut) and Inky (cover art) Tentacle awards, as well as the Black Tentacle, awarded at the discretion of the judges to a piece of work that doesn’t otherwise fit the Kitschies criteria.

The Red Tentacle is presented annually to the author whose novel containing speculative or fantastic elements best fulfils the criteria: intelligent, progressive and entertaining. This year’s finalists were selected from a record 234 submissions, coming from over fifty different publishers and imprints. The winner receives a cash prize of GPB 1,000 / approx USD 1,650, a hand-crafted tentacular trophy, and a bottle of the finest black rum, from the Kitschies' sponsor, Kraken's.

The 2013 judging panel for the Red Tentacle comprises author Kate Griffin, 2012 Red Tentacle Winner Nick Harkaway, Will Hill, author of the bestselling young adult series Department 19, designer Anab Jain, and Annabel Wright, editor and founder of publishing services provider, whitefox.

Harkaway said:"This was an awe-inspiring year. For the Red Tentacle, we could have built a shortlist composed purely of iconic names, and we had to reject at least one book which may be a work of genius because it did not entirely mesh with the Kitschies' cardinal virtues: intelligent, entertaining, and progressive. The debuts are pretty breathtaking, too: broad in scope, deft and compelling. It's been an education as well as a privilege to judge the prize, and a vast relief not to be in competition with these writers.”

The winners will be announced in a ceremony in London on 12 February.

Cyrus Mistry wins the DSC Prize for South Asian Literature 2014

The Jaipur Literature Festival, January 18. Chronicle of a Corpse Bearer emerges as the winner from a shortlist of six to take the US$50,000 DSC Prize

Cyrus Mistry has won the 2014 DSC Prize for South Asian Literature for his novel Chronicle of a Corpse Bearer. Cyrus Mistry is the second Indian to win the US $50,000 DSC Prize. His novel is a harrowing tale of star-crossed love that takes place in the little-known community of Parsi corpse-bearers in Bombay. It is a moving account of tragic love which brings to life the degradation experienced by those who inhabit the unforgiving margins of history.

The six shortlisted authors and books in contention for the DSC Prize were Anand: Book of Destruction (Translated by Chetana Sachidanandan; Penguin, India), Benyamin: Goat Days (Translated by Joseph Koyippalli; Penguin, India), Cyrus Mistry: Chronicle of a Corpse Bearer (Aleph Book Company, India), Mohsin Hamid: How to Get Filthy Rich in Rising Asia (Hamish Hamilton/Penguin, India), Nadeem Aslam: The Blind Man’s Garden (Random House, India), Nayomi Munaweera: Island of a Thousand Mirrors (Perera Hussein Publishing, Sri Lanka)

The DSC Prize Secretariat had received close to 70 entries this year with participation from publishers in South Asia, the UK, the USA, Canada and Australia amongst others. The DSC Prize for South Asian Literature, which is specifically focused on South Asian writing, is driven neither by ethnicity nor by geography: it is open to any author belonging to any part of the globe as long as the work is based on the South Asian region and its people.  The last three years have seen winners from three different countries in South Asia, reflecting the vibrancy of South Asia’s rapidly expanding book market.

The fourth edition of the DSC Prize 2014 was judged by a diverse and distinguished jury comprising eminent members from the international literary fraternity: Antara Dev Sen, editor, writer, literary critic and chair of the DSC Prize jury; Arshia Sattar, translator, writer and teacher; Ameena Saiyid, the MD of Oxford University Press in Pakistan; Rosie Boycott, British journalist and editor; Paul Yamazaki, a veteran bookseller and one of the most respected names in the book trade in the US. 

On announcing the winner, Antara Dev Sen said: “Cyrus Mistry’s Chronicle of a Corpse Bearer is a deeply moving book, exquisitely drawn on a small, almost claustrophobic canvas. It takes a tiny slice of life, the life of the Khandhias or corpse bearers of the Parsi community, and weaves a powerful story about this downtrodden caste we know so little about. A fantastic storyteller, Mistry offers a beautiful novel rich in historical detail and existential angst, gently questioning the way we look at justice, custom, love, life and death.”

Jaipur Literature Festival

The 2014 Jaipur Literature Festival opens on Friday, and runs for five days. The Festival, the largest free literary festival on earth - last year it had 250,000 visitors - brings together some of the greatest thinkers and writers from India, South Asia, and the world.

Namita Gokhale, co-director of the Festival with William Dalrymple, has put together the Indian programme. She picks as one of this year's highlights a strand of readings and conversations on the survival of local minority languages. This set of discussions will examine India’s linguistic diversity, and the challenges with which endangered tongues must contend in the modern world. Jaipur is in Rajasthan. Namita Gokhale says this area: “has an incredible diversity in its linguistic range, including the tribal border areas adjoining Pakistan, the vast expanses of the Thar Desert, and the Aravalli ranges habituated by agricultural and nomadic communities.”  The Festival will see the launch of a book coming out of a survey of this great multiplicity of languages, carried out under linguist Ganesh Devy. He will lead a session examining the diversity of South Asian languages, dialects, scripts and grammars.

Namita Gokhale points out that with so many languages, India exists in a continuous and ongoing state of translation, a circumstance that will be explored at the Festival: “With twenty-four official languages, innumerable mother tongues and dialects, and a tradition of many languages, many literatures, translations are key to a conjoined literary heritage. In 2014, we are fortunate to have as speakers many eminent translators from India and around the world, including Carlos Rojas, Arshia Sattar, Rahul Soni, and Geeta Krishnankutty.”

Bollywood and popular culture are an intrinsic element of India’s national narrative. Gokhale draws attention to a series of sessions, Crime and Punishment, which will dissect detective fiction with special reference to Bollywood villains.

Of the discussions with international writers, after a quick glance down the programme, I’d be particularly interested to attend Behind the Veil: Women Writers of the Islamic World, in which Nadifa Mohamad, Bejan Matur, Sahar Delijani, Shireen el Feki and Fariba Hachtroudi, five women who have found their literary voices in different parts of the Islamic world, talk about writing about modern Muslim women. The blurb explains: “Outsiders are quick to objectify Muslim women as oppressed and silent onlookers of a conservative, patriarchal and male-dominated civilization. The reality is often very different.”  It would be interesting to learn in what ways different.  The conversation will be led by Urvashi Bhutalia,

Away from the main programme, the Festival will host the first Jaipur BookMark, an initiative to develop and promote the Indian publishing industry, including self-publishing, eBooks, digital content and distribution. In publishing in the English language sector, the industry in India ranks third behind the US and the UK.  India is also an outsourcing hub for a range of print and pre-publishing services. Namita Gokhale helped bring the event to fruition.  She said: “The Jaipur BookMart is a natural progression of the interest shown in the annual publishing sessions at Jaipur. This is a modest beginning, and I am convinced that it will provide a welcome and much needed haven for informal interactions within the publishing industry.”

As noted in the last post, the winner of the 2014 DSC Prize for South Asian Literature will be announced at Jaipur.  All in all it promises to be a challenging, stretching, wonderful festival – not to mention a lot of fun.  What a pity we can’t all be in Jaipur this weekend.

DSC Prize for South Asian Literature

The annual DSC Prize for South Asian Literature, carrying an award of US$50,000, aims to bring South Asian writing to a global audience, and to raise awareness of South Asian culture around the world.The shortlist of six books for the 2014 prize was announced in London in November. It is:

Anand: Book of Destruction (Translated from Malayalam by Chetana Sachidanandan; Penguin, India)

Benyamin: Goat Days (Translated from Malayalam by Joseph Koyippalli; Penguin, India)

Cyrus Mistry: Chronicle of a Corpse Bearer (Aleph Book Company, India)

Mohsin Hamid: How to Get Filthy Rich in Rising Asia (Hamish Hamilton/Penguin, India)

Nadeem Aslam: The Blind Man’s Garden (Random House, India)  

Nayomi Munaweera: Island of a Thousand Mirrors (Perera Hussein Publishing, Sri Lanka)

I put it to Manhad Narula, Steering Committee Member of the DSC Prize for South Asian Literature, that writers from India and Pakistan are already doing well in reaching international audiences. So did South Asian writers really need a specific prize? “Yes. We instituted the Prize in 2010 because we felt that there was a need for an international literary prize specially focused on writing about the South Asian region, its people, and its cultures. Over the last decade or so, South Asia has significantly gained importance in the global scheme of things, be it on the political, economic or cultural front, and more and more writers from all over the world are writing about the region. The DSC Prize is not limited to showcasing and rewarding Indian and Pakistani writers, or writers from other South Asian countries, but is open to any author from any part of the globe as long as the writing is about the region.”

Given The Prize’s commitment to South Asia, it seemed to me oddly lacking in confidence that the shortlist was announced in London.  Why so cautious? “Of the three key events of the DSC Prize, two are held in South Asian cities and one in London. We announced the longlist in New Delhi, then announced the shortlist in London, and we will be announcing the final winner in Jaipur later this month. In addition we have the DSC Prize Winner’s Tour where the winner is taken to South Asian cities for readings and interactions. So there are a lot of Prize-related initiatives and activities happening in South Asia. We do the shortlist announcement in London as there is a significant interest in South Asian literature in the UK and also as an international prize we get close to 30% of our entries from publishers based in the UK, US, Canada and Australia.”

South Asia is defined in the eligibility criteria as India, Pakistan, Sri Lanka, Bangladesh, Nepal, Bhutan, Maldives, Burma and Afghanistan.  But bar one from Sri Lanka, and one set in rising Asia, all the books on the shortlist are from India. Were there no worthy entries from elsewhere? If so: was it a language issue? Are books from beyond India, Pakistan, and Sri Lanka, simply not translated into English? “We do receive entries from Nepal, Bhutan, Afghanistan and Burma, but the larger share at present comes from India, Pakistan and Sri Lanka. It would be incorrect to say that there is any dearth of talented authors in the other South Asian countries - we have had authors from Nepal and Bangladesh on both the Prize’s longlist and its shortlist in the past. The literary landscape and the publishing infrastructure is now evolving quite well in these countries, where the Prize is encouraging more writing, both in English and translation, so that writers from all over South Asia should become increasingly visible.”

Four of the six books on the shortlist were originally written in English. So is writing in English an advantage when it comes to winning the Prize? “Encouraging writing in regional languages, and encouraging translations, are key objectives of the DSC Prize. I do not think that there is any distinct advantage if the book is originally written in English; the essence and nuances of the narrative can be brought to life to the reader through a good translation as well. We really give a lot of importance to the role of the translator; if a translated entry wins, the prize money is equally shared between the author and the translator.” 

Last year's winner, Jeet Thayil’s Narcopolis, was already heralded in the West. Is being so heralded an advantage?  Or to put it another way, is Mohsin Hamid odds-on to win this year? “There is no such advantage. We have a five-member esteemed international jury panel which cannot be swayed by an author’s fame. Being well known in the West is no criteria at all for judging an entry, no advantage in the adjudicating process. The shortlist over the years has had a healthy mix of established writers as well as newer writers – in fact the three winners so far have coincidentally all been debut writers.”

The winner of the DSC Prize 2014 will be announced at the Jaipur Literature Festival, which is also sponsored by DSC. The announcement will be made on 18^th January – look out for a post giving the result. 

Book Club: The Valley Of Amazement and January's Pick

Happy Western New Year, here's to 2014.

I assume you've read December's book club pick, the historical novel The Valley of Amazement, by Amy Tan, so I'm not going to give a plot summary. If you need one see here for details from the publisher, HarperCollins.

Since much of The Valley Of Amazement is set in Shanghainese courtesan houses it is often concerned with sex - you might be tempted to flip through for the clean bits - but it's not a sad, wish-fulfilment fantasy, such as Fifty Shades of Grey, and nor is it titillating. Rather, to me, in our age of Internet porn where every teenager with access to a computer and a modem can be assumed to have seen stuff that only 5 or 10 years ago would have been considered shockingly transgressive, it all seemed sweetly innocent, and old-fashioned. It made me feel nostalgic for the days when what Tan’s courtesans tweely call Two Scholars of the Night was considered outrageously decadent, whereas now I bet One Scholar of the Night is regularly demanded by porn-addled boyfriends of girls who think they must ape porn stars to have any hope of keeping a man - although perhaps two scholars must still be purchased from professionals?    

Again since it is about the world of courtesans, the novel is deeply concerned with money.  In Asia, the no money no honey continent of assorted male and female love entrepreneurs, we are of course familiar with the notion that men are meal tickets, women have no value unless they are young and pretty nymphs, romantic love is a luxury only the lucky few can afford, and so on and so forth.  Accordingly, Tan’s strong emphasis on the courtesans’ attitudes to love and money struck me as old hat - although I suppose they might be an eye-opener to some readers in the West? As to whether treating yourself as a commodity is a good idea, Tan of course pays lip service to the important pieties - and they are important - but try persuading a Thai tart, or a Hong Kong tai tai sincerity is more important than a healthy bank balance, and surely you deserve the mirthful scorn she's likely to heap upon you?

Once this novel moves away from sex and money, what’s left? Eve from Hong Kong thinks not much:

This is overly familiar Tan territory: a tale of difficult mother-daughter relationships.  I found I have grown bored of this plot.

I have not grown bored of the plot, but I have to say I thought it ploddingly handled in this particular novel. Nor do I mind predictability, but I thought Tan laboured so hard to an obvious dénouement of her Lucia / Violet / Flora tangle that it felt sometimes as if she were delaying the inevitable just for the sake of filling a few more pages. Along the way, I found many of the incidents incredible, in particular the manner in which Violet and Lucia became separated.  

Devika from Singapore was not happy either:

I didn't like or respect the characters. They never seemed to grow or mature.

I don't mind spending time with characters I don't like, but Tan's failed to get under my skin. I agree Violet seemed to retain an adolescent attitude to Lucia well into adulthood, even after she had herself become a mother, but I felt this was an aspect of keeping the plot going to fill the pages, as mentioned above.

Cathy from Denpasar was more enthusiastic:

Tan provides a wonderful insight into the world of the courtesan, her descriptions are vivid, rich and detailed.  The pace is leisurely, slowly familiarising the reader with the courtesan houses, rather than rushing her. Those who enjoyed Arthur Golden's Memoirs of a Geisha will probably enjoy this story too.

The courtesans’ costumes, the luxurious interiors of their houses, and their habits, customs and jealousies are certainly rendered in meticulous and interesting detail. I enjoyed Tan’s lingering accounts of these things, and I never felt her evidently careful historical research overwhelmed other aspects of the novel.      

January’s Pick

Next month I suggest we read Phillip Y. Kim’s Nothing Gained, another novel much concerned with money. Phillip Y. Kim, a banker who lives and works in Hong Kong, has twenty-five years’ experience of the international financial industry, and Nothing Gained draws on his insider knowledge.

Nothing Gained zooms in on the global financial crisis. A thriller, it is set in Hong Kong’s glitzy business restaurants and boardrooms, it offers an insight into the human cost of life in the fast lane, and shows how easily wealth and excess can slip away. 

After a prominent Hong Kong expat banker drowns in what appears to be a fluke accident, his wife, Cheryl, must confront the harsh reality that the man she loved was leading a double life, and that the rarefied world she moved in was a sham.

Forced to protect her family from unscrupulous business associates, Cheryl begins both to unravel the mystery of her husband’s death, and to unpick his complicated business affairs. Her friends prove to be as volatile as the stock market, their promises worthless now the money has dried up, but even as they desert her she doggedly pursues the truth. She discovers fraud on a scale that threatens to topple a prominent player in the financial industry.  This brings her into danger.  Will she be able to track down the one person who can save her?

Nothing Gained is published by Penguin China, in paperback, priced in local currencies.  Discussion of Nothing Gained will be posted after Chinese New Year, on Sunday February 9.  Please do get in touch to share your thoughts.

Season's Readings

Season's Readings is not exactly an original variation on Season's Greetings, but  it's been put to good use this year by Kinokuniya, Singapore, as the title for its Christmas calendar-cum-promotional-catalogue. 

Kinokuniya is a Japanese book chain, operating throughout Asia, Australia, and across the U.S., and selling Japanese language books, as well as local language and English language books in each store. It  has a pleasing commitment to books from Asia, and, if the Singapore calendar-catalogue is anything to go by, a commitment too to local publishing.  

The calendar-catalogue is organised by month, and book category. If you celebrate Christmas, you've left your shopping late, and you're short of gift ideas, it's a good place to start.  For those of you not in Singapore, I now offer my pick of their picks.

January / Fiction: Crazy Rich Asians /  Kevin Kwan.   Asian Book Blog's September book club pick.  A wild romp that dazzles with the excesses of Singapore's super-rich.  Perfect for free-spending teenage girls.

February / Fiction: Strange Weather in Tokyo /  Hiromi Kawakami. An old fashioned romance set in modern Tokyo.  Perfect for secretly-sloppy outwardly cool dudes who, rather than being caught reading romantic fiction, would wrap it in brown paper covers.

March / Children's: Jet Black and the Ninja Wind / Leza Lowitz and Shogo Oketani.  The story of a teenage girl descended from ninjas. Perfect for pre-teen ninjas.

April / Children's: My Awesome Japan Adventure: a diary about the best 4 months ever! / Rebecca Otowa. The title says it all. Perfect for under 10s relocating to Japan.

May / Lifestyle:  I'm skipping this one, on the grounds that any book a person of normal intelligence could possibly categorise as Lifestyle can't be worth the paper it's printed on.

June / Food & Drink: Baking With Tropical Fruits /  Melinda Lim. Great bakes using mango, pineapple, lychees, and so on.  Perfect for woodworkers. (Only joking - perfect for cooks.)

July / Business: In Line Behind a Billion People / Damien Ma and William Adams. How scarcity will define China's ascent in the next decade.  Perfect for students you dislike - spoil their Christmas by reminding them of the competition they're up against in our globalised world.   

August / Business:  Another one I'm skipping, this time because all the books look deadly dull. 

September / Science and Humanities: Countdown: our last, best hope for a future on earth? / Alan Weisman.  An investigation into humanity's future. Perfect for the loons otherwise known as climate change sceptics, although if they haven't had what passes for their minds changed by now, then they probably never will. 

October / Humanities: The Straits Chinese House: Domestic Life and Traditions / Peter Lee. A  lavishly illustrated guide to Peranakan culture through their homes.  Perfect for expat wives who've set up shop as interior designers. 

November / Biography: I Am Malala: The Girl Who Stood Up for Education and Was Shot by the Taliban / Malala Yousafzai and Christina Lamb. What can you say? This is surely a book that everybody ought to read, especially those least likely to - so if you do happen to know any English-speaking fundamentalists, try slipping them a copy, although perhaps it would be best not to mention Christmas. 

December / Comics: Super Graphic / Tim Leong. The geek's infographic guide to the comic book universe. Perfect for pale boys who are so in love with their screens they never leave their bedrooms.

If you do celebrate Christmas, I hope you give some great books, and, in return, get some equally great books in your stocking.  

Asian Book Blog will now close until January 5, when the first post of the New Year will be a discussion of December's book club pick, The Valley of Amazement / Amy Tan, which would itself make an excellent Christmas gift - add it to your wish list if you haven't already read it. Happy Christmas, and happy reading, now and all through 2014.   

500 Words From Barbara Ismail

500 Words From...is a series of guest posts from authors, in which they talk about their newly-published books.  Here, Barbara Ismail talks about Princess Play, the second in her Kain Songket Mysteries, which she intends to be a 6 or 7 book series. The mysteries  feature Malaysia’s first female detective, Kelantanese Mak Cik Maryam, a no-nonsense kain songket trader in the Kota Bahru Central Market - kain songket are gorgeously woven silks, patterned with gold or silver threads, found all over the Malay world.   

Barbara Ismail now lives in her home city, New York, but she studied the wayang siam puppetry tradition in Kelantan in the 1970s, when she was doing fieldwork for a PhD in anthropology. 

So: 500 Words From Barbara Ismail...  

The Kain Songket Mysteries were originally conceived as a story about Kelantan and its culture. I never thought of myself as a novelist, since the writing I had done in the past was academic for the most part.   However, I wanted to write something easier to read than a general ethnography, and in the bargain, way more fun to write.  Writing fiction allows enormous leeway in the story and the characters, and of course, reality doesn’t limit what you can do.

Having said that, I think the background of the novels—Kelantan and its people—are quite realistic, and I have tried to stick to the Kelantan I know and the culture I love.  Of course, murder doesn’t happen in Kelantan with the regularity of a mystery series, and I fear that as the stories follow each other I may be decimating the population!  And while the plots are, of course, fiction, the society in which they are placed is certainly not.

I enjoy reading mystery novels and therefore thought to write in a genre I liked and could be comfortable with.  Mysteries in general are quite stylized, with a strong story structure: the question is never what will happen, I think, but rather how. I find, therefore, that within the ritual, the specific sleuth and environment can be explored at length with a story line to carry it along.

When writing the stories, I usually begin with the victim, and try to imagine the full person, filling in his or her family, friends and work.  The characters take shape, and then basically do what they want: I don’t begin the story with an outline or a detailed plot: the characters themselves take over the story, and in both the books I have written, I was surprised at the end to find out who did it:  the murder seemed to present him or herself without my "permission".

Many of the characters are based, at least to some extent, upon real people.  Mak Cik Maryam is based upon one of my neighbors in Kota Bahru, who owned a cloth stall in the main market, and also upon my Polish mother, who shares her name.  The bomoh (spiritual healer or shaman) in Princess Play is also based upon a bomoh I knew in Kelantan.  Mak Cik Maryam’s husband Mamat is based upon a neighbor with whose family I lived in Pengkalan Cepa, and also owes a great deal to my sister-in-law, who first commented that Mamat was so nice, it didn’t seem real:  in homage to her, I have worked to make him the ideal husband, perhaps bordering on fantasy.  Maryam’s daughters are my daughters; they provide a great deal of inspiration.

It is important to me that my books open a window on Kelantan, and that readers will either learn about the area by reading my books, or recognize it if they are from there.  

The Kain Songket Mysteries are published by Monsoon, in paperback and ebook, priced in local currencies.   

Curtain of Rain / Tew Bunnag

The Asia Literary Agency has sold World English and Italian language rights to Curtain of Rain, a soulful, intricately linked series of stories set in Thailand and London, by Thai author Tew Bunnag. World English rights were bought by Narisa Chakrabongse at River Books. Italian language rights were bought by Andrea Berrini at Metropoli d'Asia.

Bunnag comes from a prominent Thai family, graduated from Oxford with a degree in Chinese and Economics, works to ameliorate conditions in the Bangkok slums, and divides his time between Thailand and Spain. He is a Buddhist, and a t’ai chi and meditation master, who counsels families with terminally ill children. Bunnag enjoyed publishing success with his previous works, including Time of the Lotus, a bestseller in Spain, and After the Wave, a collection of short stories to commemorate the Boxing Day tsunami. 

Geographically, Curtain of Rain takes readers from Bangkok to London, via the Vietnam War; it moves in time from the troubled past to the uneasy present.  It is told from the perspective of two characters whose lives and fates become entangled after a chance encounter during the Vietnam War. Bunnag evokes place brilliantly, especially Bangkok and the Thai countryside. His explorations of the tension between history and the present, and of the unreliability of memory, allow him to introduce issues of politics, power and greed, without losing sight of his characters’ searches for meaning, and redemption. 

Kelly Falconer, founder of the Asia Literary Agency, said: “This timely account of contemporary Thailand, a country still struggling to come to terms with an unstable past, is evocatively told by Tew Bunnag. The feeling of being an insider and simultaneously an outsider, caught between the past and the present, permeates this book, which is international in setting and in appeal.”

Bangkok-based River Books was founded 20 years ago with the aim of publishing high quality, illustrated books on the art, archaeology, history, and culture of mainland Southeast Asia. Their guidebooks to the ancient cities of the region are perennially popular, although Ancient Angkor has the dubious distinction of being the most widely available pirated guidebook at Angkor Wat. Recently River Books has started publishing cookery titles and novels. Narisa Chakrabongse said: “River Books are very excited to be publishing the English edition of Curtain of Rain by Tew Bunnag.”

Metropoli d'Asia is an Italian publishing house owned and run by Andrea Berrini, a writer himself, who spends most of his time in India, China, Singapore and the rest of the South East Asian countries, directly scouting for emerging writers.

Curtain of Rain should be available in English and Italian next year.