It is that time of the year again when the biennial Singapore Literary Prize invites published writers and poets to apply for this grand award of S$10,000, a plaque and the limelight.
Probably, one of the most prestigious awards in Singapore, this was founded in 1991, one of the first recipients of it being writer Suchen Christine Lim for her vibrant novel inclusive of the disparate cultures housed in this island, Fistful of Colours. The first award was handed out by diplomat Tommy Koh to Lim in 1992.
2018 saw a gala ceremony, where the award for the English novel category went to Jeremy Tiang’s State of Emergency. There were a total of nineteen awards given out in different categories and for the four different national languages: English, Chinese, Malay and Tamil. A total of 172 submissions had been made in 2018.
One of the attendees caught the excitement of the event. Upcoming writer Elaine Chiew, who just released her debut collection of short stories called The Heartsick Diaspora with Penguin, had a lot to say: “I caught Marlon James’ Festival Prologue and Roxanne Gay’s Lecture: ‘Understanding Identity Through Pop Culture’, and lots of programming in between, including catching the exhibition on Eurasian Singaporean writer Rex Shelley (which I loved, especially Brian Gothong Tan’s stunning multi-media display), ‘Literature and Pioneer Women’, ‘First Dates and So Many Feelings’, ‘What Being Brown In The World Means’, ‘Language and the Body’, ‘Writing in Dialect’, and ‘What’s the Most Versatile Singlish Word’.” Elaine Chiew has been attending the festival since 2016. This year she attended as an author and a panelist.
Aysha Baqir, writer and social activists explained: “This is my first time as a featured author in Singapore Writers Festival. My novel, Beyond the Fields, a fiction about a young village girl (in Pakistan) on a quest for justice, was published earlier this year by Marshall Cavendish. I have attended the last two Festivals and like the previous years I am delighted to listen to and meet the wide diversity of authors and panelists. This year I am particularly enjoying the relevance of the sessions to current life events and issues — migration, special needs, mental health, and diversity.”
Kitaab also launched three books during this festival: a translation of Isa Kamari’s Kiswah, Shilpa Dikshit Thapliyal’s Masala Chai, a collection of poems and the Best Asian Short Stories (2019).
Kiswah kicked off the start of the Kitaab launches with Isa Kamari explaining how he conceived the novel as a reaction to the needs of the times. Kamari said in answer to moderator Mitali Chakravarty’s query that he was getting the translations done to be read more widely. Earlier he had been translated even to Urdu by Kitaab. Zafar Anjum, the founder of Kitaab, explained: “Isa’s Intercession was translated into Urdu — the first work of Singaporean and Malay fiction to be translated into Urdu. The plan is also to get it translated into Hindi and we are working on it.”
Thapliyal’s Masala Chai came next. Thapliyal was accompanied by Singapore writer Robert Yeo on stage. Yeo had mentored her collection. Moderated by Dr Pallavi Narayan, the poetry launch was vibrant and interesting.
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.
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.
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/
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.
Singapore Book Council (SBC) Press release: Remembering our children’s literary heritage & becoming future ready at 9th Asian Festival of Children’s Content 2018
SINGAPORE, 30 May 2018 – Early bird ticket sales for the 9th edition of the Asian Festival of Children’s Content (AFCC) kicks off today. Running for three days from 6 to 8 September 2018 at the National Library, its theme is Imagine-Asia with Singapore as its Country of Focus to celebrate local children’s literature.
Over 90 Singapore and international writers, illustrators, publishers, storytellers, educators and media producers from 14 countries such as Australia, Indonesia, Japan, Philippines, the UK and US will be featured. Notable speakers include renowned Japanese picture book author and illustrator Satoshi Kitamura; UK publisher Sarah Odedina, who has worked with authors such as J.K. Rowling and Neil Gaiman, and the husband-and-wife graphic novelists and digital storytellers, Colin Goh and Yen Yen Woo of Dim Sum Warriors,.
This year’s AFCC will celebrate Singapore as the Country of Focus in conjunction with the 50th anniversary of Singapore Book Council (SBC). The festival will showcase Singapore’s literary heritage in children’s books, whilst highlighting the new means of content creation and digital platforms for storytelling.
An exhibition to honour pioneer Singapore illustrator, the late Kwan Shan Mei, will showcase some of her award-winning illustrations. Award-winning author Suchen Christine Lim will be giving the annual Children’s Literature Lecture. To enable the industry practitioners to stay abreast of digital trends that have changed the way readers consume stories, AFCC will be featuring sessions that look at digital and cross-platform storytelling, including AR (augmented reality) and VR (virtual reality) technologies.
Title: A Bit of Earth Author: Suchen Christine Lim Publisher: Times Marshall-Cavendish, Singapore, 2001 Pages: 420 Price: S$21.40 ISBN: 9812321233
A Bit of Earth is a multi-layered novel by Suchen Christine Lim that explores the history of Malaya under the British regime. The saga stretches from the late nineteenth to the early twentieth century. The protagonist, Wong Tuck Heng, journeys from being a poor, hounded immigrant to a rich towkay, a big boss in local parlance, guided by the principle that helped him achieve his dream of growing into a rich and honoured man. He states his viewpoint, ‘Land and properties, you can lose. But if you lose your spirit, then you lose the very thing that makes us human. Courage and loyalty. That’s part of our spirit as human beings…’
We first see Wong in 1874, a teenager on the run with a price on his head, chased out of his homeland Sum Hor in Canton Prefecture, by the Manchu rulers. He considers the Manchus as invaders and intruders into China; the Manchus had wiped out his entire family, loyalists of the preceding Ming dynasty, as rebels. The saga starts with Wong landing in Malaya after a perilous journey, saved by loyalists and brave supporters from the clan of White Cranes. He finds work in the tin mines of Malaya and struggles to become rich. He acquires two wives, a Nyonya (Straits-born Chinese) wife and a Chinese one from the mainland, chosen by his foster mother Wong-soh. His Nyonya wife is thrust upon him by the wealthy Wee family that his foster father married into to upscale himself in wealth and power, after disowning his earlier wife, Wong-soh.
There is a splattering of colourful Chinese, Malay, Indian and British characters in the story with a close look at the Baba culture, an intrinsic part of Singaporean and Malaysian heritage. Wong gives a description of this culture to his son as he talks of his first wife’s family: ‘Your mother’s family is Baba. They’re like the Monkey King. Their ancestors left China and settled in this country a hundred, maybe two hundred years ago. Maybe longer. Married local women and adapted to the life here. They can change themselves seven times seven like the Monkey King. When the Malays were powerful, the Babas spoke Malay, wore Malay clothes and hungered for Malay titles. Then the English barbarians came. The English were more powerful than the Malay kings. So, your mother’s family changed again. They learned to speak English and do things the English way.’
What is homeland
In which we planted
Our hopes, lives,
dreams and memories?
A bit of earth.
— Suchen Christine Lim, Second Fragment, A Bit of Earth
She wanted to run a chicken porridge stall in Singapore. Instead, she wrote about the coolies, the illiterate and the chicken porridge stall owners. Meet Suchen Christine Lim, an established voice in ASEAN literature with multiple awards and fellowships to her credit.
The first thing I notice when we meet is her humility. I remember listening to her during a panel discussion on ASEAN literature where Suchen said that she picked up bits of garbage and put them together to make a story. To me, her stories are anything but a bit of garbage. They record the history of Malaya and then, Singapore and Malaysia. Her works have been lauded by The Straits Times as ‘worthy literary landmarks that capture a slice of South-east Asian history’. Mohammad A. Quayum, Professor and Head of the Department of English Language and Literature, International Islamic University, Malaysia, sees her works as ‘brilliant stimulating and a compelling read’; Lily Rose Tope, PhD, Professor, Department of English and Comparative Literature, University of Phillipines, says, Suchen makes ‘history personal… a joy to teach and a riveting read’. Martin Marroni, a Scottish poet wrote to Suchen: ‘Astonishing tour de force. You have created a physical and social landscape and peopled it with characters with real human feelings on issues of political import as well as on the strains of personal and social survival.’ Yet, when I ask her where she sees herself in the ASEAN literary context, her response is that it is for the critics to decide. ‘I don’t see myself as anything except being able to write.’
Her passion for writing developed in the course of her teaching career. The characters she wrote about in her novels and short stories came to life for her as she went about her daily chores. She became the weaver of tales for these imaginary personas who led her through their adventures. She talks of her works in terms of the wayang kulit (shadow puppet theatre in parts of Indonesia and Malaysia) based on the belief that puppets have a life of their own and their needs must be respected. She sees herself as the dalang, the puppet master, not a puppeteer, she emphasises. ‘And to me, the relationship between a novelist and a character is that of the dalang and the puppet, which eventually evolves a life of its own.’
Title: The River’s Song Author: Suchen Christine Lim Publisher: Aurora Metro Books Total number of Pages: 306 Price: Pounds 9.99 ISBN: 978-1-906582-98-2
The River’s Song is an epic novel by the ASEAN award-winning writer Suchen Christine Lim about people living in and around the Singapore River, from the mid-twentieth to the start of the twenty first century. Published in 2013, it spans an era of change and development in Singapore, which could be compared with the passing of an age as in Margaret Mitchell’s epic novel, Gone with the Wind. The story begins with the portrayal of people who lived by and around the water body for generations prior to the 1977 Singapore River cleanup. The cleanup changed the way of life irreversibly for immigrants who lived by the river, as did the American Civil War for the American settlers.
Most of the river dwellers prior to 1977 are shown to be immigrants from China or Malaya. Among them are the protagonist, Ping, and her mother, the pipa songstress, Yoke Lan. Yoke Lan insists that her daughter address her as Ah-ku, aunt in Cantonese, because she does not want to divulge her maternal status to her fans and customers. Ah-ku’s attempt to rise above poverty and move to respectability defines many of her actions. Ah-ku is more passionate, more like Scarlett O’ Hara, a colourful persona vis-à-vis her timid daughter, who is befriended by Weng, a dizi player. The story revolves around Ping and Weng till Ah-ku, who disappears from Ping’s life for some years, reclaims her daughter as a poor relative. Ah-ku returns to visibility as the wife of a rich and powerful towkay (a rich businessman), moving around in more educated circles. The ascent to a better life removes both Ah-ku and her daughter from the proximity of the river. Ultimately, Ping goes to university in USA, where she spends the next thirty years of her life away from family and friends. She flits in and out of a marriage with an Indian who wears pink pants and calls himself Jeev. She befriends braless feminists and learns to call their country her home.