Wednesday 19 January 2022

Mesándel Virtusio Arguelles, an introduction to his Filipino poetry in translation

 


Kristine Ong Muslim recently translated Hollow (original title, Guwang), a collection of some of Arguelles's early poems written in Filipino. Mesándel Virtusio Arguelles’s works and interests encompass books, conceptual writing, translation, film and video, installation, found objects, and text-based experimentation and the poems in Hollow range from ekphrasis to Philippine history. One sample poem, "Deep Well" can be read in Asymptote [https://www.asymptotejournal.com/poetry/mesandel-virtusio-arguelles-deep-well/] and another, "Curse", in Circumference Magazine [http://circumferencemag.org/?p=3073]

Here, in a guest post for the Translation blog, she offers the Introduction to Hollow, written by Amado Anthony G. Mendoza III and translated by herself.

Monday 17 January 2022

A great year of reading ahead

Asian Books Blog is now reopen after the recent holidays, and we're looking forward to Chinese New Year.  Look out for a post from Nicky Harman on Wednesday, and whichever calendar you follow, here's to a great year of reading ahead!

Sunday 12 December 2021

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. 

Saturday 11 December 2021

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.

Sunday 5 December 2021

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…

Friday 26 November 2021

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 writingbut 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') 

Saturday 20 November 2021

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…