Tia’s eyes fluttered open. She looked about herself— blinking at the bright blue sky. Where was she?
A town square of some sort. The landscaped roundabout at the centre had a marble fountain that spouted water energetically in the air, and wrought iron benches arranged just out of spraying range, but there was nobody around. There were shops all around, their awnings fluttering gently. An ice-cream shop, a café, a tattoo studio, a garments shop, a salon and spa, a gym … all empty and shuttered.
Even as she took it all in, she felt a growing sense of familiarity. The other question in her mind—where had she been all this time?—began to fade. She had a vague sense of a long incarceration, but where, by whom, and for what, evinced no ready recall in her consciousness. She looked down at herself. Did she imagine it, or had the pale grey of her incarceration changed before her very eyes to the red top and embroidered denim cut-offs that were familiar and comforting so that she knew immediately that they had always been hers? Had that bracelet on her wrist with those particular charms, the red polish on her nails, the auburn highlights in her hair and the sequined heels on her feet appeared just now, or had they always been there? With every passing moment it was getting harder to know. Or to care.
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.’
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.’