The vivacious author of the Mahabharat– based Aryavarta Chronicles, a Singapore-based writer and an academic, Krishna Udayasankar, talks to Zafar  Anjum about her journey as a writer and the future she sees for herself…

 

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Title:  The Heartsick Diaspora and Other Stories

Author:  Elaine Chiew

Publisher:  Penguin Random House SEA

Year of publication: 2019

Pages: 256

Price: SGD$22.90 (before GST)

Links : https://www.penguin.sg/book/fiction/heartsick-diaspora-stories/

About: Set in different cities around the world, Elaine Chiew’s award-winning stories travel into the heart of the Singaporean and Malaysian Chinese diasporas to explore the lives of those torn between cultures and juggling divided selves. In the title story, four writers find their cultural bonds of friendship tested when a handsome young Asian writer joins their group. In other stories, a brother searches for his sister forced to serve as a comfort woman during World War Two; three Singaporean sisters run a French gourmet restaurant in New York; a woman raps about being a Tiger Mother in Belgravia; and a filmmaker struggles to document the lives of samsui women—Singapore’s thrifty, hardworking construction workers.

 

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Title: An English Writer

Author: San Lin Tun

Publisher: Duwon Books

Year of publication: 2019

Pages: 216 pages

Price: 7, 500 MMK (local price), 10 USD (foreign price)

Links: Bookstores at Yangon

About: An English Writer is a story about a forgotten English poet/writer, C.J Richards (retired I.C.S) who lived and worked in Burma for over 35 years as an Indian Civil Servant. He retired in 1947 and settled in Swarraton, Hampshire in UK. Although he wrote seven books and many articles on Burma and UK, not many people know much of him and his life. The novel “An English Writer” explores the life of the English writer and defines his connection with both communities, Burma (Myanmar) and Britain as a poet and writer. The story, set in present Yangon, transports people back into the times of the English writer, C. J Richards, from 1920 to 1947 and then to 1976.

The Best Asian Speculative Fiction

The traffic on the Amity Causeway linking Singapore and Malaysia was especially heavy for a Thursday, which put Dennis Quek even more on edge. He took a deep breath as he approached the first entry point station, hoping that he could swallow any obvious distress signs that the inspection machine might detect.

Finally, Dennis reached the front of a long queue. His car was pulled automatically into the right spot before the inspection machine. The hazy blue light filled the whole car, followed by the voice of the machine. “One person in vehicle. A driver, no passengers.”

Dennis nodded. He then turned his head to the right, ready for the facial identification. This time it was the warm, lemony light that filled the front of the inspection machine. Dennis squeezed out an awkward smile, thinking this was best for the situation. The smile was starting to get uncomfortable when the machine finally announced the identification.

Media personnel in Singapore have new openings. The Story Lab Apprenticeship has launched courses  to provide young professionals structured training and opportunities. They can then get jobs in producing, writing, digital marketing and content creation after going through the courses. The applications for the programme ends on 29 th September.

These initiatives were announced by the Minister for Communications and Information, Mr S Iswaran, at the LASALLE College of the Arts 33rd Convocation Ceremony in Singapore. 

By Desmond Kon Zhicheng-Mingdé

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Elaine Chiew is a writer and a visual arts researcher, editor of Cooked Up: Food Fiction From Around the World (New Internationalist, 2015) and her short story collection The Heartsick Diaspora is forthcoming from Penguin Random House SEA (Oct 2019) and Myriad Editions UK (Jan 2020). Twice winner of the Bridport Short Story Competition, she has published numerous stories in anthologies in the UK, US and Singapore. Originally from Malaysia, Chiew graduated from Stanford Law School and worked as a corporate securities lawyer in New York and Hong Kong before studying for an MA in Asian Art History at Lasalle College of the Arts Singapore, a degree conferred by Goldsmiths, University of London. Elaine lives in Singapore and blogs about art at www.invisibleflaneuse.blogspot.com. In this interview, she reveals more about her new book and her ideas.

Why do you write?

Very simply, I can’t not write, call it word-constipation or what Danish short story writer Naja Marie Aidt calls ‘an urge that cannot be overlooked’ or a ‘point of desire’. A character or voice arrives out of the blue, takes hold of you as in a waking dream, make me real, it says, and you do.

With the literary festivals season blossoming around Asia, Singapore will host its 22 nd writers’ festival from 1st to 10th November  with big names dropping in, including Pico Iyer. Pico Iyer, who has spent the last three decades in Japan will be talking on ‘Beyond Borders, Beyond Words’. Iyer will reflect on human connection and belonging. After his talk, he will be in dialogue with acclaimed novelist who has spent a large part of her life in Japan too and now lives in Singapore, Meira Chand.

This year Pico Iyer has been the writer in residence for the newly renovated Raffles Hotel in Singapore. He penned down a book on the Hotel called This could be Home. the novel was launched on 5th august. Long ago in history, this heritage hotel had housed the likes of great writers like Rudyard Kipling and Somerset Maugham.

Pico Iyer was born Siddharth Pico Raghavan Iyer in 1957. His great-great-great-grand father was a Gujarati writer-reformer in the late nineteenth century, Mahipatram Nilkanth . His parents were Indian academics who moved to England to study. Iyer’s unusual name is a combination of the Buddha’s name, Siddhartha, with that of the fifteenth century Florentine neo-Platonist Pico della Mirandola and the last name is that of his father. Schooled in Oxford and Harvard, Pico Iyer is known for his brilliant essays and travel writing. He has written a few novels too.

By Gargi Vachaknavi

The Asian Festival of Children’s content organised by Singapore Book Council from 5 th to 8 th September, 2019, celebrated its tenth year with the country of focus being Myanmar. There were talks and discussions on the need for book reviews, the need for diversity in children’s literature, translations and how to proliferate books from different cultures all over the globe.

Panel discussions and lectures dotted the event with delegates from USA, England, different parts of Asia and more. Some of the discussions were thought provoking. For instance, at the end of discussion on diversity with panellists from North American background ( academic Philip Nel, writer editor Emily Pan and Lisa Charlieboy) with moderator Avery Fischer Udagawa, the relevance of their experience to the Asian experience was put under scrutiny by a member of the audience as even Emily Pan grew up in USA identifying as an American. 

During a discussion on ‘Portrayal of Special Needs in YA (Young Adult Fiction)’, while award winning writer Suzanne Kamata focussed on the need to assimilate children with disabilities into the mainstream, Hannah Alkaff from Malaysia totted off statistics that proved more children would suffer from obsessive-compulsive disorder( OCD ) over the years and therefore the need to create fiction like hers where children could identify with such issues. One wonders though why schools and caregivers would allow this rise in OCD to occur. Sarinajit Kaur from National Institute of Education, talked of how teachers could create not just better readers but generate hope in children by giving them books that are empathetic. 

Mahmood Farooqui in conversation with Gargi Vachaknavi

 Dastangoi is the art of Urdu storytelling that was popular all across India and could regale commoners and elites alike. That was in times of Mughal splendour. The performers were artists and writers rolled into one who left behind over 46,000 pages of published fantasies. The Dastans were the stories told by these storytellers, the gois. Unfortunately this art form completely vanished, leaving behind few memories.

Inspired by the scholarship of one of Urdu’s greatest living writer S. R. Faruqi, Mahmood Farooqui began its revival in 2005 and has since then trained dozens of other storytellers or Dastangos, staged over a thousand shows all around the world and has composed over a dozen modern Dastans for the genre. With all the innovations that he and his team have spearheaded, a virtually new genre of performance and a new kind of writing for the stage has emerged in our times.

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Mahmood Farooqui performing

Farooqui is an award winning writer and performer. He was awarded the Bismillah Khan Yuva Puraskar by the Sangeet Natak Akademi of the Union Government for his efforts in reviving Dastangoi. His book on the 1857 uprising Besieged: Voices from Delhi, 1857, was awarded the Ram Nath Goenka Award for the best non-fiction book of the year by the Indian Express Group. He has been a visiting fellow at the Universities of Michigan, US and Berkeley, California and was a Rhodes scholar at the Universities of Oxford and Cambridge. His latest book is A Requiem for Pakistan: The World of Intizar Husain. He has written over 15 modern Dastans for the stage and has trained nearly 50 people besides performing close to 500 shows himself. His wife, film maker Anusha Rizvi, is not only the producer of the Dastangois but also the award winning writer-Director of Peepli Live, a 2010 satirical comedy with the involvement of greats like Aamir Khan and Raghuvir Yadav.

Mahmood Farooqui and his troupe will be performing in Singapore on the 14thof September. In this exclusive, he talks to Gargi Vachaknavi of his work, of how a Dastangoi performance varies from normal theatre and what he is going to perform in Singapore.

 

Gargi: Why did you think of reviving Dastangoi, an art of 13 th century storytelling in Urdu? What is the potential you see that makes you feel it is necessary to contextualise it for the present day?

Farooqui: I was a student of history and had been active in theatre for many years when I came across the great S. R. Faruqi’s study of the world of Dastans. I had been reading Urdu literature all my life but had never really heard of this incredibly enchanting world. When I dug deeper, I was totally bowled over by the genius of the writers and the of the performers. Here was theatre in its purest form, one or two narrators, sitting still and holding an audience captive, just like our ancient rishis (sages) narrated epics and Shastras to rapt listeners. I felt that this was the most essential art form of the Indian subcontinent. From the word go, it was an instant success perhaps because in India everything, including religion is a story.

The innovation I made was to have not one but two narrators and our designer, Anusha Rizvi, kept the basics very simple so we brought it into the ambit of modern theatre by using techniques of lighting, stage decorum and presentation.

By Gargi Vachaknavi

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Eric Khoo at the Bishwaratna Dr Bhupen Hazarika International Solidarity Award ceremony in Singapore

Eric Khoo, the acclaimed filmmaker from Singapore, has another feather in his cap. His films have been acknowledged for contributing to ‘international solidarity’ with the Bishwaratna Dr Bhupen Hazarika award this year.

Said Eric Khoo, the fourth recipient of this biannual award: “I believe that every person has intrinsic value beyond his or her race, religion, nationality or social class.  This belief I understand was also shared by the late Bhupen Hazarika in whose honour the Award for International Solidarity was named. In this spirit, my films seek to bring people together, despite their apparent differences and thus, I am truly privileged to receive this award and to be associated with the late Bhupen Hazarika and his philosophy of International Solidarity.”

The Bhupen Hazarika award  was instituted in 2011 by the Assam Sahitya Sabha ( Assam Literary Society).  Given to artistes who exhibit international solidarity through their works, the awards represent the best in bridging borders drawn by mankind as did the lyrics and writings of artiste after who the award is named.