Amba, a novel from Indonesia, written by award winning writer Lakshmi Pamuntjak, was a modern take on the story of Amba and Bhisma from The Mahabharata, set against the backdrop of the violence of 1965 and the Buru penal colony set up during Suharto’s regime. Published in 2012, it became a national bestseller within Indonesia.
It was first translated to German in 2015 and sold 10,000 copies within three months of its launch. Later the English translation renamed it The Question of Red (2016). The novel did win some amount of international acclaim.
Singapore has completed more than half a century of independent existence. It is now a thriving country with an intrinsic personality of its own. What went into making Singapore a distinctive island cannot be just found in history books but between the borders of fact and fantasy, where lingers fiction that tunes us to the distinct flavour of this unique metropolitan city-state.
As Lee Kuan Yew, the founding father said in one of his speeches, Singapore started with people of “many races who speak many languages, who worship different gods, who have different diet habits” and yet they all unified under the banner of a single flag. The kind of culture that evolves out of the union of these diversities is best explored in stories that are of the people, by the people and for the people.
These are some novels that showcase the culture and history of Singapore and how it evolved out of the colonial past to become what it is today. These are all books that focus on issues against the backdrop of a national landscape. The issues addressed transcend to become larger than the personal. Some of the writers are Singapore Literature Prize and S.E.A. Write Award winners and have been translated to multiple languages.
Interpreter of Winds is a collection of four stories which brings together Fairoz Ahmad’s experiences and observations while growing up as a Muslim. In a world where we are (sadly) divided by religion and united by our bitterness towards it all, these stories are an invigorating read. This short collection is a remarkable attempt to interpret faith and capture its challenges.
Ahmad is a young voice who is striving to be the change he wants to see in the world. Having co-founded an award-winning social enterprise Chapter W — which works at the intersection of women, technology and social impact, he has been awarded the Outstanding Young Alumni award by National University of Singapore for his work with the community. He believes that magic, wonder and richness of one’s history and culture, together with their quirks and eccentricities, could help narrow the gap in our understanding. His stories seem to be an amalgam to repair the breaks that whisper incompatibility through the world.
The Map of Bihar and Other Stories is Janet Swinney’s first collection of short stories. Her stories have been acknowledged in a number of competitions, including as runner-up in the London Short Story competition, 2014. She has been published in major journals and anthologies across Britain, America and India.
In this collection, Swinney provides a broad view of two cultures — British and Indian — apart from glimpses of others. These stories with their heterogeneity of social and cultural traditions range from those of the poor and the working classes to that of the monied, each with its distinctive speech and outlook, enriching the oeuvre with depth and authenticity. Swinney herself comes from a family of coal miners. She lived among coal mining families in a council housing state in the north east of England, though her father — an unschooled poet who died at the age of 52 — worked as a clerk with the local bus company.
Reena Prasad’s poems have been published in The Copperfield Review, First Literary Review-East, Angle Journal, Poetry Quarterly, York Literary Review, Lakeview International Journal, Duane’s Poe Tree, Mad Swirl etc. She is also the Destiny Poets UK’s Poet of the year for 2014 and one of the editors of The Significant Anthology released in July 2015. She was adjudged second in the ‘World Union Of Poet’s’ poetry competition, 2016 and won an award for poetry in the 2016 As ‘You Like It International Poetry Contest’, commemorating the 400th anniversary of Shakespeare. She won the Reuel International Prize for poetry, 2018.
Author of two poetry collections, Kit Fan (范進傑) was born in 1979 in Hong Kong and currently resides in the UK. His first volume Paper Scissors Stone (Hong Kong University Press, 2011) won the inaugural Hong Kong University (HKU) Poetry Prize, and his second collection As Slow As Possible (Arc, 2018) was a Poetry Book Society Recommendation for Autumn 2018 and listed in The Guardian’s 50 biggest books of Autumn 2018 and in The Irish Times Best Poetry Books of the Year. Other accolades include being shortlisted for the 2017 TLS Mick Imlah Poetry Prize and The Guardian 4th Estate BAME Short Story Prize consecutively in 2017 and 2018. His novel-in-progress Diamond Hill, about the last shanty town in Hong Kong, received a Northern Writers Award 2018. A regular reviewer for the Poetry Review, Kit’s work traverses between Hong Kong and European cultures and histories, as well as between poetry and fiction.
As part of an ongoing collaborative project entitled ‘Anglophone City Poetics and the Asian Experience’, Kit talks to Tammy Lai-Ming Ho and Jason Eng Hun Lee about his first poetic influences, his migration to the UK as a young writer, his musings on Hong Kong from afar, and his perspectives on the evolving Asian cityscape.
Tammy Ho & Jason Lee: How long have you been writing poetry? Can you list some important moments in your early experiences as a poet?
Kit: I’ve been writing for roughly 18 years. One of my first inspirations came from a commission by Hugh Haughton who challenged me to write a poem about me being brought up by and in a library. Other important moments include: reading Elizabeth Bishop’s ‘Crusoe in England’; meeting Christopher Reid who asked me to send my poems out to editors; having my poem ‘Reading Thom Gunn’s Notebooks at Bancroft Library’ published in the Poetry Review (UK).
Ted Chiang is an American born Chinese writer , a technical writer in a software company, who has never written a novel, meandered through short stories and novellas and yet won multiple awards for his works. His telling centres around science fiction.
Chiang’s parents migrated from China to Taiwan with their families during the Communist revolution and then to America.
His 1998 novella, Story of my Life, was made into a Hollywood film, Arrival, in 2002 . Both the review and the movie were given a “10 out of 10” in the Kirkus Review. It’s major themes being language and determinism, the story is spun out by a linguist called Dr Loius Banks who has an unborn child in her womb and faces aliens. The novella has won numerous awards and accolades.
(On Bimal Roy’s 110thBirth Anniversary, Ratnottama Sengupta traces his enduring affair with books.)
“Bimal Da and I – particularly I, being a writer – always looked to literature for story, the raw material of cinema. People can and do write original scripts for the silver screen, but we did not prefer that because it tends to be hurried writing. We preferred to source our films from books because a writer has already worked on an idea, on the character, on the logic of their action, and its final resolution…”
–Nabendu Ghosh(1917-2007) in And They Made Classics…
He was already a recognised name in Bengali literature when Nabendu Ghosh met Bimal Roy, his film guru. Bimal Roy was a voracious reader. The reasons for this were many.
To begin with Bimal Roy, since school days, had been friends with Sudheesh Ghatak, brother of Manish Ghatak who is better known to Bengali readers as Jubanaswa, a radical writer of the Kallol era introducing modernism, who drew litterateurs like Tarashankar Bandopadhyay (1898-1971) to his house. The entire family had the gift of story-telling — and not only the eldest brother but also his daughter Mahasweta Devi (1926-2016) and his youngest brother Ritwik Ghatak (1925-1976). Even Sudheesh Ghatak has won accolades for this art.
Eventually, Bimal Roy’s penchant for photography took him to New Theatres (NT) which had, since its inception, transcreated the major novels and stories of writers like Rabindranath Tagore, Bankim Chandra and Sarat Chandra. In fact NT produced not only Tagore’s own Natir Puja (The Dancer’s Prayer, 1932) but also the comedy, Chirakumar Sabha (Bachelor’s Conference, 1932) and Arghya (Offerings, 1937), besides Kapal Kundala (Bankim Chandra, 1933), Dena Paona (Give and Take, 1931), Palli Samaj (Rural Society, 1932), Grihadaaha (House on Fire, 1936), Devdas (1936), Bardidi (Elder Sister, 1939), Kashinath (1943), Biraj Bou (Biraj the Wife, 1946), and Ramer Sumati (The Redemption of Ram, 1947) — all from Sarat Chandra stories.
I was visiting my parents in Bombay after some years, and a friend had dropped in. When I walked her to the gate, Herbert was standing across the road. As he crossed over, he greeted me, “Utuma!”
But for that, I would not have known him, for the yellow-eyed, shabbily clad dark youth had little in common with the chubby, curly haired neighbourhood boy who had anglicised my name in our childhood.
“Seeing you after a long time!” Herbert exclaimed.
“Fifteen years at the least,” I replied.
“Where are you living now?” he wanted to know. I told him that I had moved to Delhi and asked him when he had got back from Kuwait.
“When Mummy died,” he said. “You know that we’ve sold the house?”