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Country in Focus: Singapore Literature Prize 2018

By Mitali Chakravarty

 

 

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Past and present SLP winners, judges and organisers of the 2018 gala
(Photo credit: SBC)

The Singapore Literature Prize (SLP) gave out 19 awards for works in English, Malay, Tamil and Chinese across three categories – fiction, creative non-fiction and poetry at a gala organised by the Singapore Book Council (SBC) on August 6th, 2018.

The event included performances by the Nadi Singapura ensemble and the trio of Eunice & Friends. The well-known theatre actress, Karen Tan, compered the event peppering it with bits of humour and anecdotes.

 

 

The Nadi Singapura drummers give festive start to the ceremony

The Nadi Singapura Drummers

The Nadi Singapura band gave a ceremonial and colourful start to the event with their drumming. This was followed by a speech by Claire Chiang, chairperson of SBC and co-founder of Banyan Tree Hotels and Resorts. As she has pointed out in her message, the SLP is ‘arguably the only literary award in the world that recognises such multilingual achievements’.

The awards were presented by former SLP winners, including Suchen Christine Lim.

Farihan Bahron, co-founder of a publishing agency and a much-awarded Malay writer, received two prizes this year, one for his poetry collection and a commendation for Malay fiction.

Farihan Bahron, the Malay writer who won awards for poetry and fiction together

Farihan Bahron

A.K. Vardharajan, one of the award winners for poetry in Tamil said that his book, Lee Kuan Yew’s Imaginary Childhood, had won the award because the book was about a very famous man, the founder of Singapore. However, he is an established writer himself and this book had won an award from the Singapore Tamil Writer’s Association in 2017.

Jeremy Tiang received the award for English fiction for his book State of Emergency, his debut novel mapping the leftist movements and political detentions in Singapore and Malaysia through a family saga spanning a large swathe of time, from the 1940s to the current day.

Lively performances by both the musical groups and video clips of the past winners discussing their reaction to the awards and its outcome punctuated the event.

Eunice and friends

Eunice & Friends

The concluding speech by the executive director William Phuan reflected the history and future of both the awards and of the outreach events organised by them through the year, which include the launch of a Chinese translation of Isa Kamari’s Malay novel Duka Tuan Bertakhta, in September 2018, the launch of a Singapore Literature Prize commemorative book featuring extracts from past SLP winning works in November and the fiftieth birthday celebration of the SBC this December.

The awards this year spanned the diaspora of cultures that thrive in Singapore. From when it started in 1992, the award has evolved to create a platform to recognise excellence in the variety that is iconic of this island. In 1992, the first Singapore Literature Prize went to Suchen Christine Lim and a commendation was given to Tan Mei Ching. Both the works were in the English fiction category. Now the awards span nine different categories in four different languages!

This award is regarded as the top literary award in Singapore. When asked what this award has done for the literary scene in Singapore, Suchen Christine Lim, regarded as a doyen of Singapore Literature, reflected, ‘The Singapore Literature Prize has brought some of Singapore’s best literary works to the attention of readers in Singapore and overseas.’ She added that it has also ‘helped to draw the public’s attention to new writers and new works like Jeremy Tiang’s State of Emergency.’ Suchen Christine Lim’s award winning book, Fistful of Colours was unpublished when she was given the first Singapore Literary Prize in 1992. Now both traditionally published and self-published books by Singaporeans and permanent residents are eligible for the award.

Nominated writers Charmaine Chan and Balli Kaur Jaswal

Nominated writers Charmaine Chan and Shubigi Rao

The evening was a paean to the literary efforts from diverse cultures. It ended with an interesting joint performance by the Malay drummers and the classical trio… a fitting end to a celebration of the evolving potpourri of Singapore literature.

(Photo credits: Mitali Chakravarty)

 

 

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The 2018 Man Booker Prize for Fiction longlist is announced in London

(From Publishing Perspectives. Link to the complete article given below)

‘Slavery, ecology, missing persons, inner-city violence, young love, prisons, trauma, and race’ all are said to figure into the Man Booker Prize for Fiction longlist, as the award starts its second 50 years of competition.

Just two weeks after being handed the “Golden Man Booker” award for The English Patient, Canadian Michael Ondaatje is on the Man Booker Prize for Fiction 2018 longlist, announced today (July 24) in London. Ondaatje’s Warlight is in contention with 12 other longlisted titles by American, British, Irish, and Canadian authors.

The best-recognized and most-honored literary fiction prize in the English language, the Man Booker Prize for Fiction—not to be confused with the translation-focused Man Booker International Award—is entering its 51st year with this “Man Booker dozen” longlist of 13 titles.

The prize confers a purse of £50,000 (US$65,606). The shortlist of six titles is to be announced on September 20, with the winners’ announcement scheduled for a ceremony at Guildhall on October 16.

This year’s list has several distinctive elements, many involving the number four:

  • Four titles are debut novels: The Long Take, The Water Cure, In Our Mad and Furious City, and Everything Under
  • Four authors are younger than 30: Sally Rooney and Daisy Johnson are the youngest, both of them 27
  • Four independent publishers are on the list: Faber & Faber has two titles, while Granta and Serpent’s Tale have one each
  • Four nations are represented, with six writers from the UK, three from the USA, two from Ireland, and two from Canada
  • One work, that of American author Nick Drnaso, is the prize program’s first nominated grahpic novel

And of key interest in the industry, the effect of a Man Booker win can be lucrative, organizers say, using last year’s winner as the example.

Read more at this Publishing Perspectives link


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The trouble with prizes and translation

(From Asymptote Journal. Link to the complete article given below)

If you love reading fiction by writers from around the globe, you are used to hearing about the big prizes that put international literature in the spotlight: the Nobel Prize for Literature, the Neustadt International Prize for Literature, the Man Booker International, the Caine Prize, the Prix Goncourt, the German Book Prize, the Cervantes Prize, the Tanazaki Prize, and many others.

In fact, you might even have trouble keeping up with the variety of United States–based awards just for literature in translation, from the Best Translated Book Award (now eleven years old) to the National Book Award’s new Translated Literature category. It’s getting to be like following the Olympics, without all the fuss over new stadium construction. For one thing, winning books, like medal-bedecked Olympians, don’t get to the podium all by themselves. Winners need a team (and a coach and money) behind them. For another, we know that lots of great contenders don’t make it to the final round.

So what should we know about book prizes as we are reading the shortlisted candidates or hoping for a win for one of our favorite writers?

First of all, many of the biggest prizes aren’t simply a competition among books. With the exception of those giving awards for lifetime achievement, prize committees aren’t out scouring the shelves for great literature, they’re reviewing submitted books. Publishers, usually from the country where the prize is awarded, submit those books. The publishers actually do the first round of selection simply by choosing the prizes they will submit for, and then selecting books they think have a chance of winning.

If that sounds easy, think of the small presses weighing the cost of their time for the submission process, maybe even paying a submission fee, and shipping off multiple free copies (often presses have to supply a bound copy for each member of the prize committee) year after year. They may even have to commit to attend the award ceremony at their own expense, just to watch another publisher’s submission win the prize. A look at the 2017 finalists for the National Book Award shows, for example, a book by the small independent Graywolf Press alongside those from much larger Scribner, an imprint of Simon & Schuster, Grand Central, a Hachette imprint, and Knopf Doubleday, itself a division of the international behemoth Penguin Random House. When you compare the financial and marketing resources these big publishers have behind them, it seems like a daunting David vs. Goliath competition for smaller presses to enter. Of course, it is worth all the trouble when you win.

Read more at this Asymptote Journal link


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Singapore Literature Prize 2018: Shortlist announced

By Mitali Chakravarty

Singapore Literature Prize 2018

Singapore Literature Prize 2018

On 19th June, 2018, the Singapore Book Council (SBC) announced 50 shortlisted titles for the Singapore Literary Prize (SLP) 2018.

Twelve judges, including prominent writers like Isa Kamari and Alfian Sa’at were part of the panel of judges who whetted English, Chinese, Malay and Tamil entries by Singaporean or Permanent Resident authors before shortlisting the books. Awards will be given out in twelve categories in a ceremony on 6th  August 2018. The categories span the four official languages of Singapore and three genres — fiction, creative non-fiction and poetry.

shortlisted authors 2018

Singapore Literature Prize 2018 – shortlisted writers

As the SBC turns fifty this year, Mr William Phuan, the Executive Director, announced that the event would be opened to the public for the first time. Admission will be free by registration at http://slp2018ceremony.peatix.com/

William Phuan

Singapore Literature Prize 2018 – William Phuan

A number of outreach events have been planned to create awareness among the public, including talks by shortlisted authors in bookshops, schools and National Libraries. From July 16th to September 8th , former SLP winning titles will be displayed at the Bras Basah National Library on level 9 in an exhibition titled “Celebrating Our Writers: The Journey of Singapore Literature Prize”. Besides reaching out to people on social media, readers will also be encouraged to guess the winners of the awards as well as choose the best cover designs, added Mr Phuan. Continue reading


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Kamila Shamsie wins Women’s Prize for Fiction for ‘story of our times’

(From The Guardian. Link to the complete article given below.)
Kamila Shamsie’s Home Fire, which reworks Sophocles’ tragedy Antigone to tell the story of a British Muslim family’s connection to Islamic State, has won the Women’s prize for fiction, acclaimed by judges as “the story of our times”.

The British Pakistani author’s seventh novel riffs on the ancient Greek play in which Antigone is forbidden to bury her brother Polynices after he is declared a traitor. The novel follows three orphaned siblings, elder sister Isma and twins Aneeka and Parvaiz, the latter of whom has left London to work for the media arm of Isis. When Eamonn, son of the British Muslim home secretary, enters their lives, Aneeka hopes to use him to save her missing brother.

Announcing Home Fire as winner of the £30,000 award, chair of judges Sarah Sands said the panel “chose the book which we felt spoke for our times … Home Fire is about identity, conflicting loyalties, love and politics. And it sustains mastery of its themes and its form. It is a remarkable book which we passionately recommend.”

Shamsie, who grew up in Karachi and now lives in London, beat a shortlist that included US author Jesmyn Ward’s novel Sing, Unburied, Sing, for which she won the National Book Award, and Imogen Hermes Gowar’s debut, The Mermaid and Mrs Hancock.

To read more, go to this link.


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Book review: The Bamboo Stalk by Saud Alsanousi (translated by Jonathan Wright)

Reviewed by Krishnasruthi Srivalsan

The Bamboo Stalk

Title: The Bamboo Stalk
Author: Saud Alsanousi, translated by Jonathan Wright
Publisher: Bloomsbury Qatar Foundation Publishing
Pages: 384
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The protagonist of Saud Alsanousi’s The Bamboo Stalk is a deeply conflicted man. Jose Mendoza is raised in his mother’s country as a god fearing Catholic who was baptised in the church at the age of ten. Yet, his mother prepares him for a life in the promised ‘paradise’, his father’s country, Kuwait. Jose has a Kuwaiti passport, a Kuwaiti name – Isa al Tarouf – but as the son of his father’s Filipino maid, he’ll never be accepted by his father’s family, despite being the only male heir to carry forward the family name.

Expertly translated from the Arabic by Jonathan Wright, this is an immensely moving novel, weighing heavily on metaphors, that explores multiple themes like race and religion, identity and class, and highlights the often humiliating immigrant experience overseas, especially in the Gulf.

Alsanousi, a Kuwaiti journalist and novelist whose earlier work includes the novel The Prisoner of Mirrors, explores the concept of ‘the other’ in this book. Often the underdog, the ‘other’ is viewed negatively by the majority. Not being able to fit into clear boxes, the ‘other’ find themselves in a murky marshland of mixed up identities, rootless and unwanted. Blinded by one’s own prejudices, society fails to acknowledge and empathise with the ‘other’ and it is precisely for this reason that al Sanousi modelled Jose as his protagonist.

Jose’s story begins with his mother, Josephine, who leaves the squalor of poverty back home in the Philippines and goes to Kuwait in search of a better paying job. She lands at the house of the illustrious al Tarouf family whose matriarch, Ghanima, is as superstitious as she is stubborn. Joza, as Ghanima refers to the Filipino servant girl, arrives on the day a bomb explodes near the Kuwaiti Emir’s motorcade, narrowly missing him. Ever since, Ghanima has viewed Joza’s arrival as a sign of bad luck. Rashid, Ghanima’s only son, an aspiring idealistic writer, is taken by Joza’s good looks, and she agrees to a ‘temporary marriage’ which ends the day Jose is born. Josephine returns home and her son is raised with the promise that he will one day go back to Kuwait.

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Book Review: Ladders Against the Sky by Murli Melwani

Reviewed by Kusum Chopra

Ladders Against the Sky

Title: Ladders Against the Sky
Author: Murli Melwani
Publisher: Kaziranga Books (2017)
Pages: 453
Price: INR 500

Ladders Against the Sky is a collection of 16 stories, written between 2011 and 2017, which were first published in literary journals and anthologies. One of the stories, “Water on a Hot Plate,” was included in The Best Asian Short Stories 2017, published by Kitaab. Two stories were nominated for the Pushcart Prize in 2012 and 2013.

Murli Melwani is a short story writer, a literary activist who runs two websites, and a critic, whose book, Themes in the Indian Short Story in English: A Historical and a Critical Study, tracks the growth of this genre from 1835 to 1980.

The short stories in the collection can be divided into two broad categories. About half the stories, set in India, reflect social concern, the conflict between tradition and modernity, science and superstition and the pressures on national unity. The other half, set in foreign countries, focuses on a unique Indian community, the Sindhis, whose culture – a blend of Hinduism, Islam and Sikhism, and their language, written in the Arabic script with linguistic elements of Sanskrit and Persian – are in danger of gradually fading away.

The writer’s approach is determined by the subject of each story. Thus, “Water on a Hot Plate”, with Toronto as the background, a story of cultural displacement and change, captures the interaction of an Indian tourist and a restaurateur, a Chinese lady born in India. They are two enterprising expatriates who carry diminishing bits of home, as well as of the countries they have lived in, to their newest place of sojourn.

Similarly, in “A Bar Girl,” the lifestyles that Amar Badlani and Rak have chosen prevent them from stopping and evaluating their lives or asking where they are headed. Amar Badlani’s visit with Rak to her village brings home to him the fact that his estrangement from his family has its roots in his working life. His damage control efforts lead him to finance the nursing education of Rak on the one hand, and to make overtures to his kids and grandkids on the other.

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The Royal Society of Literature announces the nineteenth V.S. Pritchett Short Story Prize

The Royal Society of Literature is delighted to announce the nineteenth V.S. Pritchett Short Story Prize. This prize for the best unpublished short story of the year was founded by the RSL at the beginning of the new millennium to commemorate the centenary of an author widely regarded as the finest English short-story writer of the 20th century, and to preserve a tradition encompassing Pritchett’s warmth of feeling and mastery of narrative.

The author of the winning entry will be awarded a prize of £1,000 and have their story published in Prospect online and in the RSL Review. The V.S. Pritchett Short Story Prize is administered by the Royal Society of Literature. We are grateful to Jennie Bland for sponsoring the prize, to ALCS for making the prize-giving event possible, and to Prospect magazine for publishing the winning entry online.

The judges for 2018 are Tibor Fischer, Irenosen Okojie and Leone Ross.

 

Deadline

The closing date for entries to the V.S. Pritchett Memorial Prize is 29 June 2018 at midnight (BST).

Submission Guidelines

Eligibility

  • Entrants must be resident in the UK, Republic of Ireland or Commonwealth (see list of countries here) and likely to be available for a prizegiving event in Autumn 2018.
  • Stories entered for the competition must not have been published previously, or broadcast in any other medium.
  • Multiple entries to this competition are permitted but must be submitted and paid for individually.
  • Entrants must be over 18 at the time of submission.

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New translation funding for Arabic Literature from the Sheikh Zayed Book Award

This year, the Sheikh Zayed Book Award is offering translation funding for literary and children’s titles that have won the award, with the goal of increasing the readership for Arabic books.

Along with the recent announcement of its 2018 winners, the Sheikh Zayed Book Award (SZBA) is also launching a new translation funding initiative to encourage more publishers to translate Arabic literature.

Organized by the Department of Culture and Tourism- Abu Dhabi, the Sheikh Zayed Book Award recognizes writers and academics writing in Arabic and those promoting Arab culture in other languages.

Literary and children’s titles that have won the Sheikh Zayed Book Award are eligible for translation grants of up to approximately US$19,000. (See a list of eligible titles.) Additional grants for certain types of production and promotion are also available. Priority will be given to publishers translating into English, German, and French, though other languages will also be considered.

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Writing Matters: In conversation with Sudeep Chakravarti

By Shikhandin

Sudeep by Ushinor Majumdar Colour

Photo Courtesy: Ushinor Majumdar

Sudeep Chakravarti is the author of several groundbreaking and bestselling works of narrative non-fiction – Red Sun, finalist for the Crossword Award in 2009; Highway 39; Clear. Hold. Build, winner of the Award for Excellence at the Asian Publishing Awards, 2014, and most recently, The Bengalis. He has written two novels (Tin Fish, The Avenue of Kings) and his essays and short fiction have appeared in collections in India and overseas; like his books, these have been translated into several languages.
He is among India’s leading independent commentators on matters of conflict and conflict resolution, democracy and development, political economy, and the convergence of business and human rights. An extensively published columnist at Mint and elsewhere, he has over three decades of experience in media, and has worked with major global and Indian media organizations including the Asian Wall Street Journal, where he began his career, and held leadership positions at Sunday, the India Today Group and HT Media.
An avid scuba diver, Sudeep’s key interest away from writing and travelling remains marine conservation. He lives in Goa and in the Velliangiri Hills, Tamil Nadu.

Shikhandin: In the acknowledgements page of The Bengalis, you have touched upon how the book came about. Could you let us know a bit more here?

Sudeep Chakravarti: I have for long wanted to write a book on the social and political aspects of Greater Bengal — by that I mean West Bengal and East Bengal, now Bangladesh — with a personalized touch. My personal history is rooted in both Bengals, as it were, and such an approach lends a great degree of reality and immediacy to seemingly dry history. I had even proposed it to a major publisher, but I put it on ice for a couple of years on account of a few issues with that particular publisher. I subsequently brought the project to David Davidar of Aleph. The Bengalis assumed a more rounded avatar after my discussion with David, whose idea was a fuller portrait of the Bengalis, almost a biography.

I was keen to translate research, interviews, experiences and observations into an engaging son et lumière storytelling. I apply that approach to all my books, fiction as well as narrative non-fiction. The difference with The Bengalis is that I am occasionally involved in the story as a participant. But I was determined to maintain a distance, and address thorny issues of history and ethnicity alongside all that is justly celebrated about the Bengalis. It’s not so much about a different eye as a necessary eye: The Bengalis is not a brochure, it’s an attempt at a portrait of a people painted with what I hope is honesty, honour, some horror and a lot of humour. David liked that approach right from the first draft. A second draft and a couple of proofs later, we were done. He and Aleph’s managing editor, Aienla Ozukum, really got into The Bengalis.

Then there is the cover, a work of great care and aesthetics by Aleph’s art director, Bena Sareen (who also designed the cover of my book Red Sun when she was at Penguin). The cover image of The Bengalis, besides being elegant and arresting, conveys several layers of the Bengali – the people as well as the book: a hankering for history, a faded grand past, the playful and yet focused child a symbol of a possibly energized future, the Bengali obsession with football and politics, the slightly rural tone even in an undeniably urban setting. The image by Plabon Das works wonderfully. As to the content, the book of course attempts to deal comprehensively with all this and much, much more.

There was a process to the selection of this image. We were very concerned that the image should not crudely reflect a stereotype, or alienate a vast number of Bengalis. There were other images in the initial design line-up; for instance, a beautiful image of a rickshaw puller in front of a grand North Kolkata mansion. I felt that was too ‘guidebook’ or ‘coffee-table’, like a couple of other options. In any case we didn’t want something to be too Kolkata, as it were, as if other places in what I like to call Banglasphere don’t exist.
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