By Mitali Chakravarty The Singapore Literature Prize (SLP) gave out 19 awards for works in English, […]
By Mitali Chakravarty
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.
Reviewed by Mitali Chakravarty
Title: A Bit of Earth
Author: Suchen Christine Lim
Publisher: Times Marshall-Cavendish, Singapore, 2001
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.’
By Mitali Chakravarty
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.’
Reviewed by Mitali Chakravarty
Title: The River’s Song
Author: Suchen Christine Lim
Publisher: Aurora Metro Books
Total number of Pages: 306
Price: Pounds 9.99
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.
By Mitali Chakravarty
The first ever ASEAN INDIA Pravasi Bharatiya Divas Writers Festival was held in Singapore with great success.
More than 30 writers from Singapore, Malaysia and India participated in the first ever ASEAN Indian Pravasi Bharatiya Divas (PBD) Writer’s Festival on 6-7 January in Singapore.
Many leading literary figures of ASEAN such as Edwin Thumboo, Suchen Christine Lim and Isa Kamari participated in the two-day event held at the posh Marina Bay Sands.
The ASEAN India Writers Festival, an initiative of the Ministry of External Affairs, Government of India, was organized by Kitaab International, Singapore, on behalf of the High Commission of India in Singapore, with the support of many partner organisations such as The Arts House, and La Salle College of the Arts. De Ideaz, Singapore, were the main event managers for the festival, which had more than 5,000 registered visitors.
Exploring ASEAN and India connections though literary and cultural roots
Zafar Anjum, the Programme Director and Founder of literary and publishing platform Kitaab, gave the welcome address. He welcomed the participants and reflected on the attempt to bring together writers from diverse cultures and language backgrounds to create an environment of learning and growth.
Edwin Thumboo, a celebrated poet and academic of Singapore, traced how Sanskrit and Indian culture, religion and customs spread through South-east Asia from the start of history. He touched upon Hindu and Buddhist influences in Burma, Cambodia, Thailand, Malaysia, Vietnam and Indonesia with graphic maps and slides in his talk, ‘A Sense of India in ASEAN’.
The panel discussions were broad-ranging in topic and included all kinds of voices and literary genres – from mythology to novels, and from short stories to children’s literature. There were sessions featuring literary performances too. Four new titles by ASEAN and Indian writers were launched at the festival: The Best Asian Short Stories 2017 edited by Monideepa Sahu and Zafar Anjum; Senserly, Amakoby Anita Thomas; The Sacred Sorrows of Sparrows by Siddharth Dasgupta, and Tawassul by award-winning Singaporean writer Isa Kamari, the first Urdu translation of a work of Singaporean literature.
India in the Imagination of ASEAN
The first panel discussion with prominent award winning ASEAN writers, Suchen Christine Lim and Isa Kamari, focused on “India in the Imagination of ASEAN”.
The moderator, Nilanjana Sengupta, traced how Nalanda University played a non-confrontational role in spreading the ideas in the region and asked the panelists to talk of Indian influences in their writings. Suchen Christine Lim talked of how her Indian characters grew out of her experience of Indians that she met or read about and how Buddhism, which was born in India, influenced the Chinese and Asian characters she portrays in her books.
Isa Kamari said he realised that both Hinduism and Islam were monotheistic after visiting Bali, where Hinduism had travelled from India around 1st century. He added that Hinduism existed before Islam and spoke of his positive experience of traveling in India. All these experiences are to be found in his novels.
Singapore-based independent publishing company Kitaab launched two of its latest titles at the Singapore Writers Festival on Saturday, […]
‘The River’s Song’ takes on many themes and it would be worth the reader’s while to step into this absorbing, engaging story, says Anuradha Kumar in this review of The River’s Song by Suchen Christine Lim (Aurora Metro Press, 2014, pp 363).
In Singapore’s Asian Civilizations Museum, there is an entire section of photographs and wall displays that show how the Singapore River was transformed in the 1970s. The river was once famous for the hawker stalls along its banks that drew people from all over the city, the shanties that ran along, the vegetable plots sustained by those who lived by it and the fishing and other bumboats that plied at all hours. Yet all this was to change in the 1970s, soon after Singapore came into being as an independent republic. Now besides the museum, there is the lovely much sought after Clarke Quay area, where people hang around at riverside cafes, the only boats that ply are those that take tourists around, and down the many bridges that cross the river, while glass-fronted tall buildings stare down at all this. But the river changed around the 1970s and Suchen Lim’s book writes of this as a time crucial to Ping and Weng, the two characters whose intertwined story drives much of her book.
Ping’s story begins a decade or so before this. As a young girl she is subjected to routine humiliations by people who refer to her derogatorily; she also realizes that she must refer to her mother as Ah-ku and never acknowledge their relationship, neither openly nor to herself. Yet she also sees a fiery side to Ah-ku, who marches to the house of wealthy state official when he has chosen to insult her despite seeking her favours. Ah-ku, meaning aunt in Cantonese, is a popular songstress who performs in the city’s clubs, and has wealthy clients who she has to please. Ping, though, also knows the terrifying insecurity that haunts her, should her little success vanish.
The other important work of fiction that is also vying for the same award is Singapore Noir, a collection of stories edited by Cheryl Tan (read the Kitaab interview with Tan).
Popular is Singapore’s largest bookstore chain, the Barnes & Noble of Singapore, if you will.