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.
Despite studies projecting that millennials may prefer reading paper books over e books, China Literature, a pioneer online literature company, is tying up with Singtel to bring literature to readers online.
China Literature, a unit of Tencent Holdings and China’s largest e-book and online publishing website, boasts 9.6 million e-books from 6.4 million authors and they plan to grow bigger with the merger.
“We are the biggest owner of intellectual property (IP) in China, but that’s not the end of the story,” said vice-president Luo Li of China Literature. China Literature earns its income by charging readers for their services. Last year it generated an annual profit of 30.36 million yuan. However, Mr Luo Li stated that online readers would be charged lesser once the income from the IP business rose.
He felt the ground for the reassuring grip of his cleaver. Once he had it in his hands, he crouched down and heard for sounds. The night was dead quiet. Not a good sign. It was a shade of absolute silence that was all too familiar to Lao Seng. He gripped his cleaver tightly. He peered over the barrier that marked out the activities area for the elderly to look at the field between the two blocks. The electric lamps had dimmed as well, creating a darkened no man’s land. Something metallic hit the floor violently and from the sound, Lao Seng knew where it was. One of the offering bins had been toppled and thrown against the pavement. The sleepers in the apartment upstairs would only hear it as a minor nuisance before they roll up their blankets to return to slumber. For Lao Seng, it would be a different story.
He eyed the area under the tree where the offering bin lay. It was now somewhere in the covered walkway between the two blocks. In its place, was a black figure, hunched over like an ape. Its form was indistinct, as if one could see through it. Dark smoky trails rose out of it, like it was burning from a black fire. The ape figure was rummaging through ashes of the joss paper as well as several food pieces scattered around the field. It was hunched over, totally focused on picking through the burnt heap.
Godwin Tan is a Master of Law candidate at Queens’ College, University of Cambridge, and holds a Bachelor of Laws from University College London. His poems have been published in various anthologies, including The Cambridge Pamphlet (CUPPS 2018) and Happy Birthday to Me: A Collection of Contemporary Asian Writing (Dahlia Publishing 2010).
About: India’s explosive rise has driven inequality to new extremes, with millions trapped in slums as billionaires spend lavishly and dodge taxes. Controversial prime minister Narendra Modi promised ‘to break the grip’ of the Bollygarchs, but many tycoons continue to thrive amidst the scandals, exerting huge influence over business and politics. But who are these titans of politics and industry shaping India through this period of breakneck change? And what kind of superpower are they creating? A vivid portrait of a deeply divided nation, The Billionaire Raj makes clear that India’s destiny – prosperous democratic giant or corrupt authoritarian regime – is something that should concern us all.
About: Fifteen-year-old Aiko Cassidy, a bicultural girl with cerebral palsy, grew up in Michigan with her single mother. For as long as she could remember, it was just the two of them. When a new stepfather and a baby half sister enter her life, she finds herself on the margins. Having recently come into contact with her biological father, she is invited to spend the summer with his indigo-growing family in a small Japanese farming village. Aiko thinks she just might fit in better in Japan. If nothing else, she figures the trip will inspire her manga story, Gadget Girl.
However, Aiko’s stay in Japan is not quite the easygoing vacation that she expected. Her grandmother is openly hostile toward her, and she soon learns of painful family secrets that have been buried for years. Even so, she takes pleasure in meeting new friends. She is drawn to Taiga, the figure skater who shows her the power of persistence against self-doubt. Sora is a fellow manga enthusiast who introduces Aiko to a wide circle of like-minded artists. And then there is Kotaro, a refugee from the recent devastating earthquake in northeastern Japan.
As she gets to know her biological father and the story of his break with her mother, Aiko begins to rethink the meaning of family and her own place in the world.
He wears a tattoo of a typewriter on his right arm as a mark of his trade, as his “stigma”. He wrote a poem about his tattoo. He writes what he believes, no longer with a typewriter (as he did when he started to write in the 1980s). This is a writer, who, despite staying rooted to his surroundings, sees no boundaries in literature. He reads what comes his way and does not specifically think of literature in terms of regions, like ASEAN. That writing is universal and remains borderless is well borne out in his interview as in his writing and the influences they have had…
The author of 13 books across multiple genres, including five volumes of poetry, two children’s detective novels and a trilogy of humour stories, Felix Cheong has been invited to perform his works at international festivals all over the world, including Edinburgh, West Cork, Austin, Christchurch, Sydney, Bangalore, Hong Kong and Ubud. Cheong is the winner of Singapore’s National Arts Council’s Young Artist Award in 2000, and holds a Master’s in Creative Writing from the University of Queensland. In 2010, he was named by Readers Digest as the 29th Most Trusted Singaporean. He is currently an adjunct lecturer with the University of Newcastle, Murdoch University, Singapore University of Social Sciences and LASALLE College of the Arts. Felix Cheong’s latest collection of poetry is B-Sides and Backslides: 1986-2018.
Felix Cheong
Mitali: You have been writing poetry for more than two decades now. What made you start writing poetry?
Felix: Like sex, you always remember the first time. It began innocuously enough when I was in junior college (high school in Singapore). As a geeky teen blessed with all the social skills of a wallflower, I could only impress a classmate, on whom I had a crush, by writing her a Valentine’s Day poem. It was handwritten on a card I had made; such was the entrepreneurial spirit I had back then. But as Auden famously says, ‘poetry makes nothing happen’; so nothing happened. In any case, it was bad poetry at its finest hour, which I would have cheerfully disowned now!
Mitali: In your latest book, B-Sides and Backslides, you have spoken of how both T. S. Eliot and Beatles fascinated you. What is it in T. S. Eliot’s poetry or in the Beatles’ compositions that had this effect on you? Do they still draw you as much or do you feel that you have got over your fascination? In “We are the Salary Men”, you say that while ‘We may be the hollow men but the least we own is our honesty to know…’
Felix: Beatles’ music was instrumental in making me pay close attention to words and by extension, poetry. I remember spending hours – talk about the devil finding work for idle hands to do! – trying to write down what they were singing (thank goodness there was no Google back then). Through the sheer act of transcription, I had my first lesson in poetic rhythm. I loved – and still do – the musicality of their lyrics, such as “A Day in the Life”, “Eleanor Rigby” and “She’s Leaving Home”.
Eliot’s poetry, particularly “The Love Song of J. Alfred Prufrock’, affected me in a different way when I read it at the still-impressionable age of 22. It sprung me into a modern diction that spoke to my sense of alienation. It was also Catholic in the way it articulated spiritual emptiness. I recall memorising parts of the poem while preparing for my first-year university exams. His cadences and imagery would imprint themselves on my early poetry.
Title: B-Sides and Backslides: 1986-2018 Author: Felix Cheong Publisher: Math Paper Press by Books Actually Pages: 95 ISBN 978-981-11-7304-2
B-Sides and Backslides is the award-winning Singaporean poet Felix Cheong’s collection panning the development of his poetry from 1986 to 2018. In the foreword, the poet writes, ‘These are pieces which… could not find their place in my published volumes.’ The title alludes to ‘the flipsides’ of his poetry. He compares them to the B-Sides of Beatles’ albums, which often had songs that were really interesting but not top of the charts. They remain an interesting part of a creative process. However, he claims that he has not ‘blackslid even if it might appear so,’ and in that spirit, his poetry touches our lives with its humour and variety.
The book is divided into different periods of his development as a poet. In “Juvenalia”, the section tracing his development as a poet for the first nine years, he says, ‘In various voices and versions, I have been trying to rewrite Prufrock the past thirty years…’ However, through the course of his poetry we can see how he transcends the torpor of the procrastinating Prufrock (“Love Song of J. Alfred Prufrock”, T. S. Eliot, 1910) and the angst generated by Hollow Men (T. S. Eliot, 1925) to become a caricaturist of Singapore life, politics and culture. In “We are the Salarymen”, with an epigraph of the first two lines of Hollow Men, he concludes,
We maybe the hollow men,
but the least we own
is our honesty to know
we have the means to fill
and fulfil this emptiness,
unlike you,
stuffed fool and full of yourself,
little more than moans and bones
on a high horse galloping
with the weight of a lost world.
(from left) Kitaab’s publisher and Series Editor Zafar Anjum. Mithran Somasundrum, Rohan Menteiro, Kaiyi Tan, Timothy Yam and Chris Mooney Singh
Kitaab, Singapore, has just published an anthology—The Best Asian Speculative Fiction 2018, which was launched at the Singapore Writers Festival on 9 November 2018.
This unique anthology is being seen by industry pundits as the most comprehensive speculative fiction collection from the continent. Comparisons are already being made with time honoured works like Dark Matter, the turn of the century anthology of speculative fiction from the African diaspora. However, as the editor of the volume Rajat Chaudhuri tells us, ‘We are just making a beginning with fresh-from-the-oven stories. Between stardust and dystopias, we are offering a sampling of flavours from the infinite breadth of the Asian imagination.’
According to series editor Zafar Anjum, ‘Richness of imagination is key to this collection; we plan to make it a series.’ Tales that take off on a tangent from the real have a special appeal to readers of all ages, he says.
Chaudhuri, who is a novelist and short story writer tells us how fulfilling it was for him to put together this volume of two and half dozen stories and some more, covering countries all the way from Kazakhstan to Korea and China to Indonesia. ‘The authors of this volume are either of Asian origin and Asian descent or have been residing in Asian countries for long. Twenty countries have been covered, sixteen (counting Hong Kong, SAR) of which are in Asia, the rest accounted for by diasporas and mixed ethnicities. Also, most of the stories have Asian settings and characters. But we are neither cartographers nor accountants,’ he adds, ‘though we love variety, we don’t want to mark each page of our book with flags and numbers.’
(from left) Timothy Yam, Chris Mooney Singh, Zafar Anjum and Mithran Somasundrum
Quoting acclaimed novelist Amitav Ghosh, Chaudhuri says, “The great, irreplaceable potentiality of fiction is that it makes possible the imagining of possibilities.” Explaining the selection process and some personal favourites, the editor says, ‘From the mountain load of submissions, I had begun by looking for stories that imagined possible worlds. Lopa Ghosh’s powerful story Crow depicting singularity ruling as a totalitarian dictatorship and Shweta Taneja’s darkly funny The Daughter that Bleeds about a post-apocalyptic India are from that tradition. We have of course included a ton of so-called genre stories from the stables of science fiction, fantasy and horror and then those with some of this and some of that, and things further still. Xu Xi’s engaging tale about a time-travelling ghost, Joseph F. Nacino’s spine-chilling story about AI on a singing asteroid, Eliza Victoria’s thought-provoking sci-fi Web, and Priya Sarukkai Chabria’s mesmerizing Slo-Glo are those that immediately come to mind. The spook-o-metre goes crazy as you enter the horror stable to read stories by Kiran Manral and Rohan Monteiro while Tunku Halim leads you into poetic darkness. Each story that got included here had something unique to offer while the focus on geographical diversity was also one of my considerations. It has been quite difficult for me to choose the winners.’
Title: The Billionaire Raj
Title: Indigo Girl
This unique anthology is being seen by industry pundits as the most comprehensive speculative fiction collection from the continent. Comparisons are already being made with time honoured works like Dark Matter, the turn of the century anthology of speculative fiction from the African diaspora. However, as the editor of the volume Rajat Chaudhuri tells us, ‘We are just making a beginning with fresh-from-the-oven stories. Between stardust and dystopias, we are offering a sampling of flavours from the infinite breadth of the Asian imagination.’
