By Desmond Kon Zhicheng-Mingdé
I write because that’s how I prefer to communicate with the world. Talking doesn’t really interest me that much; and I don’t sing, dance or play a musical instrument. In a sense, I don’t really have much of a choice.
Tell us about your most recent writing project. What were you trying to say or achieve with it?
I’ve been writing this full-length play called “Optimism,” which came about because I was accepted as a member of the Emerging Writers Group at The Public Theater in New York. The play is about growing up the racially-charged sixties; it is also about Wall Street in the eighties. I’m trying to show how optimism, allied with the desire to believe in big ideas, drove baby-boomers from one socio-political paradigm to another, and in the process defined what America is today. I think the piece is relevant to Singapore too. What are we really striving for in a capitalist economy? What is the price we pay? How has it changed us as a people?
Describe your writing aesthetic.
I try to be clear and simple, but also have the tendency to be verbose (some of the answers here are evidence). I don’t try to balance them out, because by doing so I know I will only end up being bland and/or inelegant. So I give rein to both, but at different times.