New Sci-Fi Story: 999 by Frank Passani

Photo: Marek Piwnicki / Unsplash

Having read my review of his debut novel, Void, Frank Passani contacted me about a new collection of science fiction stories that he is working on, and some of them are set in Singapore.

The following is one of the stories in the collection. If you have any honest comments or feedback, do leave it in the comments section and I will relay them to the author.


999

Fiodor Haldeman flushed the loo, washed his hands, brushed his hair with his fingers in front of the mirror and went back to his aisle seat. On his way, he noticed that the Filipino billionaires were still chitchatting in Cebuano in that lively way and the Japanese lady on the left, travelling solo, kept sleeping. He wondered why someone would pay for an interstellar tour just to fall asleep. He sat on his seat and politely smiled at the Indonesian couple who occupied the seats between him and one of the panoramic windows that allowed all passengers to gape at the galaxy.

          “Will you be the first passengers in the ship to reach home after landing?” he asked them to break the ice.

          “Not sure… We live in Kalimantan, so we’ll have to take a flight from Batam Interplanetary Station,” the man explained under his wife’s approving gaze. “But if you live in Singapore, the bullet train will take you there in five minutes.”

          “I do live in Singapore, but in a new floating condo off the coast. My name is Fiodor,” he introduced himself offering his hand only to him.

          “I am Iskandar,” he replied.

          “My name is Syadah,” she smiled at a distance.

          “Excuse me, you are Chinese Singaporean but your name is… Russian?” Iskandar asked, intrigued.

          “Yes, my late father was a Literature Professor at the NUS campus in Mars and he loved Dostoevsky, the Russian novelist. So he named me after him.”

“I see. But… do you live in Mars?” he asked.

          “No, no, on Earth. I was born in Mars but I just went to Primary school there. Later I moved back to Singapore with my mother after their divorce.”

          “Oh, I am sorry,” he replied whilst she kept smiling. “So your mother is still alive in Singapore?”

          “She was as of Monday!” he joked. “She is 105 years old but still keeping all right. By the way, may I ask if the two of you have ever been to Mars?”

          “We have,” she spoke.

          “So… well, I assume you are Muslim and you pray, right?”

          “We are and we do, indeed,” he explained. “I guess you want to know how do we pray to Mecca when we actually are in another planet?”

          “Yes! If you don’t mind…”

          “Not at all. It’s a common question. We carry a portable gravitational sphere with us. I am not sure you know about it…”

          “Oh, I think I saw a picture once…”

          “Right. So let’s say that you are on Mars and in the very moment when you must pray, Earth is, so to speak, below you, like drawing a line through the core of Mars straight across the solar system. So you get into the sphere, lock it and activate it with your voice, and the sphere isolates your gravitational pull and allows you to face Earth by facing the floor. You are floating in the air but sitting on the plate inside the transparent sphere, moving the plate in any possible position. You could pray upside down, if you wished, without falling to the floor outside the sphere.”

          “This technology is unbelievable!” Fiodor acknowledged.

          “And you don’t even need to point at Mecca,” she added. “The sphere does it automatically. It carries a universal GPS.”

          “Literally universal,” Fiodor laughed.

          “Dear passengers, this is your captain speaking. Please return to your seats and fasten your seatbelts. We are about to enter the wormhole that will take us from this solar system back to the outskirts of ours in a couple of hours, and from there back to Earth in ten more hours,” he announced.

          “What a trip, huh?” Fiodor remarked whilst fastening his belt. “Mastering this technology has changed our lives. If only my grandparents could see it…”

          “Indeed,” Iskandar agreed. “The world has changed so much! At the beginning only the billionaires could afford such leisure trips. Now the millionaires too! May I ask what your profession is?”

          “I am in the financial sector. Mars investments,” Fiodor replied nonchalantly. “And you?”

          “My wife is not working right now. I am the CEO of a small company in the terraforming industry. We are in the Jupiter project.”

          “That’s extraordinary!”

          “We developed the special coating that the giant robots need to penetrate Jupiter’s atmosphere. The factory is in Bintan.”

          “Those one-hundred-meter tall robots?” he said, raising his left hand. “They are like out of a science fiction story.”

          “Take my business card,” Iskandar said pulling one out of his spacesuit pocket. It was a new model of 3D card that included videos and audios. “I can arrange a visit if you have children. Or just for you. The robots are spectacular. We assemble them in the space station orbiting Jupiter.”

          “I have no children but I’ll gladly accept your invitation,” Fiodor responded with sincere enthusiasm. “Thank you.”

          “You are welcome.”

          Out of a sudden, the spaceship began shaking violently.

          “Is this normal?” Fiodor asked, grasping both armrests with undisguised fear.

          “Not with this intensity,” Iskandar responded whilst his wife looked suddenly frightened. “I’ve travelled through wormholes before and this is really…”

          “What’s going on, Isk?” she asked terrified, with her gaze glued to the front seat.

          “I am not sure, sayang. Just…”

          “Dear passengers, this is an emergency. Please stay calm and put your helmets on. We are…”

          Fiodor woke up. That headache was killing him, as if he had been enduring it for centuries. He pressed some buttons on his left forearm display and the spacesuit injected him with a painkiller dose in the neck. He looked to his right. His vision was blurred but Iskandar and Syadah seemed to have fainted like him. He heard someone vomit in a seat some meters behind him. Other passengers were already awake and complaining. A flight attendant, with her hair dishevelled, rushed down the aisle to the back of the ship.

          “Dear passengers, we are decelerating as we approach Earth. Keep your seatbelts… fastened and… and…” the captain sobbed, “and… I am sorry… I can’t explain… I am sorry…”

          Another flight attendant walked down from the front of the ship. Her eyes were puffed. She was crying and muttering something about her child in kindergarten. When she was next to Fiodor, she fell on her knees and began shuddering. He unfastened his belt, stood up and held her shoulders from behind.

          “Miss, what’s wrong? Please, stand up. You’re scaring me and everyone else! What’s wrong?” he prompted her.

          “What happened? Did the whole ship faint?” Iskandar asked, already awake.

          She wouldn’t stop trembling. Fiodor helped her stand on her feet and stared at her. Insanity was engraved in her countenance. Her gaze was lost and her jaw shook whilst she tried to articulate a few words.

          “Miss, can you explain…”

          “Nine… hundred… and… ninety-nine,” she stuttered, staring through him as if he were not there.

          “What did she say?” Iskandar asked from his seat whilst his wife rubbed her eyes.

          “Miss…”

          “Nine hundred and ninety-nine,” she repeated with a clearer voice.

          Fiodor stared at Iskandar. “She keeps repeating nine hundred and ninety-nine. I don’t know what she means.”

          Iskandar’s eyes opened wide. Fiodor thought they would roll out of their sockets. A male attendant approached Fiodor and asked him to sit down. His face couldn’t disguise that he would rather be dead than living through whatever had happened.

          “I’ll take care of my colleague,” he added, hugging her as if it were the end of the world.

          Fiodor sat down and grasped Iskandar’s left hand. “Do you have any idea of what’s going on?” he asked him out of his wits. “You have to tell me… If you understand what this is about, you must…”

          “Nine hundred and ninety-nine…” Iskandar slowly replied, spacing out the syllables as if he needed to make sure he himself understood it.

          “So…” Fiodor pressed his hand.

          “Fiodor, this is… something they said… well…”

          “Well?”

          Some passengers were screaming at the bottom of the aisle, as if insanity were taking over the ship.

          “You see…” Iskandar mumbled, “it’s in the Terms and Conditions of the ticket we purchased… of course, nobody reads so many pages and this is only a highly hypothetical event that shouldn’t happen… but it has happened…”

          “What has happened, for God’s sake?”

          “Fiodor, we took the wrong wormhole or something happened inside the wormhole, who knows… Our understanding of cosmic mechanics is not that exact as it may seem… The thing is that we travelled at the speed of light, as expected, and we have lost consciousness due to unknown reasons… for how long? Two hours? We have not aged but… we took a detour and… in Earth’s time, this detour means nine hundred and ninety-nine years.”

          Fiodor stared blankly at him. His brain couldn’t process that information.

          “What are you…” Syadah tried to ask her husband, but she swallowed saliva and broke out in tears.

          Iskandar left his seat and knelt in front of his wife, caressing her head whilst talking to her in Indonesian.

          “Do you mean that everyone we have ever known is… dead?” Fiodor asked Iskandar. “Like… we have been gone for a millennium and now we are back and the authorities… our governments…”

          “Back from the dead, from History books. We are live legends,” Iskandar concluded with a bitter smile.

          The broken voice of the captain was addressing the passengers on the speakers but Fiodor wasn’t listening. He suddenly noticed that the robotic lenses implanted in his eyes had just automatically updated the information on the display via the new signal boosters scattered through the solar system: new condo units for sale in Jupiter, heavy rains in the Far East during Chinese New year, Manchester City had lost a Champions League final for the umpteenth time, the PAP had won Singapore’s General Elections again with an android as a candidate and would stay in power for fifteen centuries in a row. His mother had passed away more than nine centuries earlier. His friends were dust. He couldn’t help but think of his brand new panoramic penthouse in The Floating Residences between Singapore and Batam, a luxury condo unit purchased the year before his interstellar leisure tour. A 999-year leasehold according to Singapore’s law. He had lost his property by one year.


About the Author

Frank Passani (Barcelona, Spain, 1975) obtained his Doctorate of Philosophy from the University of Barcelona with a dissertation about the Platonic and Aristotelian influences on C. S. Lewis. He became a Modern Greek translator while working in Greece as a Spanish language teacher. He is currently based in Singapore, where he still teaches Spanish. He self-published his first novel, Void, with Notion Press in India since Singaporeans deemed it to be “polarising.”

[Book Review] A Single Man by Christopher Isherwood

A Single Man

Christopher Isherwood

University of Minnesota Press (2001) / 186 pp.

To purchase the book, click here

[Transcript]

Hello and welcome to Isaac Encounters! Today, I’ll be encountering A Single Man by Christopher Isherwood. I have to admit that I picked up the book after watching the beautiful film version by Tom Ford starring Colin Firth as George. However, as there was quite a gap between watching the film and reading the book, I will only be reviewing the book today.

A Single Man follows a day in the life of George, an English professor, after he found out that his partner, Jim, was killed in an accident. I hesitate to say “a day in the life of” because rather than giving it a full-blown naturalist treatment, Isherwood presents us with a portrait of grief in three facets. George has to deal with everyday happenings, his friend, and his student with memories of Jim looming in the background.

From the first paragraph, one understands why Ford would be compelled to make a film based on the book. Isherwood’s ability to describe a mundane activity—such as George waking up—in such a refreshing way and at a micro level is akin to a camera close-up on a part of the actor’s body. Isherwood’s dexterity in language treats us to writing that is humorous, poignant, and enlightening.

This is complemented by telling it through a third-person perspective which allows us to see the juxtaposition between his inner and outer reality. This mind-body dualism indicates the profound disconnect George has with his life and he copes by merely performing what is expected of him. The thing about grief or depression is that the most difficult thing to handle is not the surge of feelings but the mundane.

The zipping in and out between George’s thoughts and how others react to him sheds light on his sardonic interpretation of things. From feeling that he might as well be a talking head on a tray while lecturing to observing a quarrelsome couple who would die in their “beer-stained bed,” he keeps the happenings of the world at arm’s length. If they are distant, he does not need to deal with them.

This sense of melancholy is amplified by his tendency to indulge in fantasy fuelled by his misanthropy. He imagines punishing everyone in various ways for being part of the hetero-normative culture or being straight-out homophobic. In his anger for what happened, he blames them for causing Jim’s death. And the times that he is alive—the sexual or human longing that he experiences—makes him painfully aware of Jim’s absence which makes it incredibly heart-wrenching.

Of all the interactions George has, the one with his student, Kenny has to be the most interesting. The relationship is of a teacher-student, father-son, and two men in a bar all rolled into one. Kenny represents what George has just lost and a vicarious second chance in life. Isherwood balances ambiguity with tenderness and beautifully explores love, lost and everything in between.

It is easy to sum up this novel as a man grieving about the lost of a loved one. However, it is important that we see it as a gay man grieving for his partner. The openness in the treatment of George’s sexuality has led many critics to tout this novel as laying the foundations for gay liberation in literature.

However, critics like Octavio Gonzalez disagree and argue that there is an ascetic element of self-abnegation in George. By doing so, he offers an alternative to the identity politics of being a synecdoche for gay liberation. I am sympathetic to this view as there is more evidence in the text to support this stand.

Yet, one should also be careful not to read too much into it because the detachment of George could very well be part of a private grieving process. If you’re interested in reading about the debate, I’ve left a citation in the description below.

Thank you for joining me on this encounter. If you’ve read the book or have watched the movie, tell me what you thought about it. If you like what I’m doing, please subscribe and tell your friends. With that, till the next book.

References

Gonzalez, Octavio R. “Isherwood’s Impersonality: Ascetic Self-Divestiture and Queer Relationality in A Single Man.” MFS Modern Fiction Studies 59.4 (Winter 2013): 758-89. Print.

A Hypothetical Anthology

This semester, I took a module on Singapore English-Language Theatre. It made me realise how rich our local theatre history is and how one generation of playwrights builds on the previous generation. As part of our course assessment, we are required to put together a hypothetical anthology and write a critical introduction to said anthology. The following is an excerpt from the introduction which offers a brief analysis of all the plays to be included in the anthology based on the theme of invisibility.

If you are interested in reading the plays, click on the links to either purchase or borrow (when they are not freely available) the collections which feature the particular play.

♦♦♦

This collection starts with Elangovan’s Talaq. It is arguably the most controversial play of the collection as it was perceived to be against Islamic principles which offended the Indian Muslim community (Hamilton 1999). This resulted in the English version being banned in 2000. Talaq explores the plight of Muslim brides from India being married off to Indian Muslim husbands in Singapore. They are often ill-treated and Islamic precepts are intentionally misinterpreted as a justification for their subjugation. The use of monodrama thus empowers the wives as we only hear their perspective and anguish which is normally silenced in the public sphere. Having the wife voicing the comments made by her husband and her community gives one a vivid impression of how she is personally affected by it. Cyril Wong (2014) also notes that it evokes a sense of schizophrenia and that “[i]n a world gone insane, patriarchy is the unscalable wall that the victimised woman in the monologue rams and rails against, and predictably to no avail.” In a society that is so afraid to discuss anything pertaining to religion, Talaq boldly breaks the silence and insists we take a look at what is happening to Indian Muslim women.

Apart from its historical importance of it being used as incriminating evidence against members of Third Stage, Esperanza by Wong Souk Yee and Tay Hong Seng, presents the struggle of maids trying to earn a living in Singapore (Li 2012). It is unfortunate that, despite a rise in advocacy of their rights, some of the scenes in the play still ring true almost 30 years on. The employment of naturalism allows the playwrights to present situations that mirror the treatment of maids in some households.  This affords easy identification with the plight of the maids which is evident from the sympathetic and positive press reviews of the performance (Speeden and Sampang 1986). Yet, Esperanza is controversial in other ways. It raises the question of why there was a clamp down on this rather tame play with modest ambitions and whether the maid character is truly pitiable considering that she did certain things out of revenge. While there are no easy answers, this play should not be dismissed simply because it was mired in some political controversy.

Russell Heng’s Lest The Demons Get to Me is one of the few plays that depicts the experience of a transsexual in the face of societal pressures and expectations. While it is also a monodrama, Heng adds an additional layer by including the voices of other characters but they are only heard off-stage. This gives a sense of the public intruding on the private—familial and societal demands encroaching on the privacy of Kim Choon (KC) as she has to decide whether to capitulate and conduct her father’s funeral rites as the only son, or to secretly pay her respects as the disgraced son-turned-daughter. To make matters worse, the impending closure of Bugis Street also threatens the collective memory of her and other transsexuals. Should she hold on to the identity that she identifies with or should she conform to that which society puts on her? Unlike other plays which present issues about transsexuals within a socio-political framework as camp is used to subvert societal norms, Heng’s poignant piece is firmly grounded in a personal struggle. The title is most fitting for as a child, KC wears an earring to ward off traditional supernatural demons. But as an adult, she must decide if she wants to don her earrings to reclaim her identity and fend against demons of tradition.

While the prevalence of dementia is generally known, it is rarely talked about. Haresh Sharma’s Don’t Forget To Remember Me was commissioned by the Alzheimer’s Association of Singapore. Such a collaboration shows that organisations can tap into the potential of theatre to inform without resorting to a skit filled with clichés and awkward writing. This lyrical piece juxtaposes the reality of the dementia patient to that of the caregiver and it depicts the struggles that both face. Getting the mother and daughter to converse in different languages not only marks the generation gap but it also emphasises the difference between the two realities as both try to reach out to the other. Kenneth, the day care centre manager, delivers the medical information but without sounding as if he is reciting a medical brochure. The ability to write such a heartfelt piece while including the need of educating the audience about taking care of dementia patients is a strong testament to Sharma’s skill as a playwright. It is unfortunate that this play had a short run before touring to selected communities for it deserves more attention not only for the message, but for the writing as well.

In terms of technique, Alfian Sa’at’s Asian Boys Vol. 3: Happy Endings can be said to be the most complicated of this collection. Similar to Asian Boys Vol. 1, this play has a strong inter-textual element in which Johann S. Lee’s Peculiar Chris (1992) lies at the heart of the play. The play revolves around Joe who sets out to write a novel called Peculiar Chris. In the process of crafting his novel, his Muse and the characters in the story will question his authorial choices and the audience gets to see the storyline of the novel being enacted. Based on this simple premise which is enhanced by meta-theatrical (the actor playing Joe will play Chris) and meta-narrative (the Muse and characters asking him whether the plot should be that way) devices, Alfian Sa’at presents us with a typology of gay men and some of them will be based on stereotypes that have been perpetuated in a hetero-normative society. We are thus compelled to examine our own perceptions, especially if we are heterosexual, of the gay community. This is emphasised further by the characters discriminating among themselves or arguing over whether they should agitate for change or be content with the limited freedoms that they have. Whatever opinion one holds, Happy Endings makes you recognise that the gay community is not homogeneous and perhaps convince you to get to know the individuals better.

♦♦♦

All the plays in this anthology have received previous publication. The details are as follows:

Elangovan. “Talaq.” The Good, The Bad, And The Ugly: Three Banned Plays. Singapore: Math Paper Press, 2014. 13-53. Print.

Heng, Russell. “Lest The Demons Get To Me.” Fat Virgins, Fast Cars and Asian Values. Singapore: Times International, 1993. 28-53. Print.

Sa’at, Alfian. “Asian Boys Vol. 3: Happy Endings.” Collected Plays Two: The Asian Boys Trilogy. Singapore: Ethos Books, 2010. 191-272. Print

Sharma, Haresh. “Don’t Forget To Remember Me.” Don’t Forget To Remember Me. Singapore: Necessary Stage, 2013. 124-146. Print

Wong, Souk Yee, and Tay, Hong Seng. “Esperenza.” 5 Plays from Third Stage: A Collection of  Five Singaporean Plays. Ed. Anne Lim and Suan Tze Chuan. Third Stage, 2004. 100-129. Print.

 

Works Cited

Hamilton, Andrea. “The Rights of Marriage: A One-woman Play Has Caused a Stir in       Singapore’s Little India.” Asia Week. Cable News Network, 26 Mar. 1999. Web. 12    Apr. 2015. <http://edition.cnn.com/ASIANOW/asiaweek/99/0326/feat3.html&gt;.

Lee, Johann S. Peculiar Chris. Singapore: Cannon International, 1992. Print.

Li, Lisa. “Third Stage: Theatre Company or “Marxist Network”?” Remembering 1987. 26 May 2012. Web. 12 Apr. 2015 <https://remembering1987.wordpress.com/2012/05/26/third-stage-theatre-company-or-marxist-network/&gt;

Speeden, Muriel, and Crisanta Sampang. “Play May Help Bridge A Yawning Chasm.” The Straits Times 7 June 1986. 34. Print.

Wong, Cyril. “Preface.” The Good, The Bad, And The Ugly: Three Banned Plays. Singapore: Math Paper Press, 2014. 5-9. Print.

[Book Review] Beyond The Village Gate by Tan Mei Ching

Beyond The Village Gate

Mei Ching Tan

Ethos Books (2012, 2nd ed.)/ 148 pp.

SGD 20.01 (local)/ 18.70 + shipping costs (overseas)

To purchase the book, click here

[Transcript]

Hello and welcome to Isaac Encounters! Today I’ll be encountering Beyond The Village Gate by Mei Ching Tan, published by Ethos Books.

When I was on my usual visit to the bookshop, the cover of this book caught my eye and I thought it was a new novel by a local writer. I was surprised to find out that this novel was awarded the commendation award in the 1992 Singapore Literature Prize and was first published in 1994. The copy I have is a recent reprint under the Ethos Evergreen series. Considering that it received some attention when it first came out and a publisher would take the risk of reprinting it as an evergreen title, I decided to give it a shot and was rewarded in a few ways.

The story is set in a fictional village in China and revolves around an orphan, Shi Ying (which translates as Lost Child) who was abandoned as a baby, found by a villager, and was given to a family of fisherfolk. Growing up, she has always felt distant from her adoptive family and wonders who her biological parents are. An incident with a village outcast, who was pregnant out of wedlock, led Shi Ying to form a bond with her. This interaction sparked off her journey in search of her identity.

The novel excels in dealing with the theme of escape in a nuanced manner while telling the story through the child’s perspective. To give you a sense of the effort and sensitivity that goes into developing this theme, here are a few things that really struck me.

Names play a big role in the book. We can easily understand why the protagonist is named 失婴 shī yīng (“Lost Child”). But the name is also a pun on something else that symbolises freedom and escape. As Tan chooses to disclose this intended pun towards the end, you’ll have to read the book to find out.

Another pun, which I’m unsure if Tan intended it or not, is 适应 shì yìng (getting used to something). The conflicts between these puns encapsulate the main thrust of the plot beautifully. It is because she’s not used to her situation and feels isolated that she dreams of escape. Names come into play yet again when she asks her friend to give her a new name; a new identity.

One of the key features of the story is how myths and legends make up the cultural fabric of society. Shi Ying is very taken with such stories because her own origin is a legend which keeps changing every time it’s retold. Her unknown origin gives her the possibility of rewriting it and determining how her future will unfold.

They also capture Shi Ying’s child-like wonderment which gives the novel hints of magical realism. Whenever she’s out in the fields working or running away, the lines between reality and fantasy are often blurred. While we may disregard it as childish hopes and fears, that is the reality of her experience. Tan did well to maintain that and not let the adults correct that or offer the “truth” as such.

Tan cleverly uses myths and legends to give Shi Ying complexity as well. It presents her desire for escape not simply as running away or waiting for her parents to take her away. Escape can also be a form of transcendence. Shi Ying often wish that the wind would take her away or she could ride on the back of a wild creature.

As with myths and legends, the supernatural and death loom in the background. Death can also be a form of transcendence as Shi Ying would even welcome it if it provided her an avenue of escape. This reveals the extent of her desire to be somewhere else and someone else. One should not paint it with a broad stroke and view it as depression or having suicidal thoughts.

I love how Xiao Ling, the outcast of the village who is pregnant out of wedlock, complements Shi Ying. Her tragic situation is a counterpoint to that of Shi Ying as she has to deal with her child while Shi Ying wonders about her biological parents and deals with her adopted ones. The strange bond that both characters form allows Tan to showcase her sensitivity of language as she develops certain metaphors throughout the whole novel to great effect. I shan’t cite any examples now for it’ll give away too much of the plot.

Speaking of other characters, I can see why most of them are less developed. This is how Shi Ying views them which explain her loneliness and isolation. The only exception was when she had to take care of her father and she bonded with him when he talked about his love for his wife. It is unfortunate that it was only a chapter long as I often wondered why the couple agreed to adopt her in the first place. Having extra help on the farm is hardly a strong incentive as compared to the large responsibility one has to shoulder to bring up a child.  I sometimes wished Tan could leave a couple of hints for the readers without Shi Ying knowing. I would definitely enjoy this novel even more if it were a couple of chapters longer.

That said, I’m surprised how Beyond The Village Gate has so little mention and I would have missed it had it not been the chanced encounter at the bookstore. To end this review, I shall read the last paragraph of the first chapter just to give you a taste of all the points I’ve mentioned thus far. This paragraph really sets the stage for the novel and it’s worth noting that this is not even the best passage.

[Book Review] This Is My Family: New Singapore Plays Volume 2

family-cover

This Is My Family: New Singapore Plays Volume 2

Lucas Ho (Ed.)

Checkpoint Theatre (2014)/ 283 pp./ SGD 24.90 + shipping costs

For more information, visit Checkpoint Theatre

Part I

[Transcript]

The Untitled Funeral Play by Luke Vijay Somasundram

This is a comedy of errors surrounding a family that consists of an Indian husband and a Chinese wife. Hilarity ensues when the undertaker is late and the husband’s uncle and the wife’s mother arrive unannounced to help with the funeral arrangement.

This play criticises bureaucracy and how inflexible it is. While one may see the influence drawn from Kuo Pao Kun’s The Coffin is Too Big for the Hole, Somasundram certainly has his own voice that makes this play absolutely hilarious. I was literally laughing out loud, as I was reading his play in my room, to the point of squawking. Yes, squawking.

Aside from criticising bureaucracy, this play stands out by exploring a diverse range of issues such as interracial marriage, negotiation between the races, and what death means to the living. These themes are well placed in the play and it doesn’t feel like that playwright is anxious to discuss everything that interests him at one go.

Finally, as a testament to the skill of his writing, the play does not merely start from being somewhat funny before escalating the humour. Instead, it actually starts on a slightly tense and poignant note before transiting to the funny bits. The transition is not rushed and it feels like a natural progression.

This play is certainly refreshing as most plays that comment on social issues are often serious and morose. One hopes that the playwright continues honing his craft and puts his stamp of comedy on the Singapore stage.

 

For Better Or For Worse by Faith Ng

For Better Or For Worse by Faith Ng was nominated for best script at the Life! Theatre Awards and it’s not difficult to see why. This play depicts the long marriage between Gerald and Swen; warts and all. It is structured with alternating scenes between the couple as they are now and when they were young. Ng’s ability to portray the differences between a young, hopeful love as compared to one with years of emotional baggage shows Ng to be a sensitive and perceptive writer.

The choice to play with absences by making all the other characters invisible allows us to hone in on the marriage of Gerald and Swen. If you remove everyone and everything that one must deal with when one is married, what does marriage; this relationship between two people mean?

Perhaps the greatest merit of the play is that it does not offer any easy resolution. Yet, the readers are taken on a journey as we experience all the joys, pains, laughter, and sorrows that comes with life. We are made to dwell in a shared humanity.

The only bone to pick with this play is that the level of colloquialism in the dialogue seems to be overdone. Given that Gerald has a diploma and Swen studied at a very good school, they are generally better than average in terms of education for their generation. That said, I am open to the fact that it might not sound so jarring when spoken considering that the theatre reviews did not raise this issue.

 

Maggie And Milly And Molly And May by Leonard Augustine Choo

Three gay men in their 30s and one gay teenager, for their own individual reasons, decide to throw themselves off a cliff. Interestingly, all of them chose the same cliff as they each arrive at different times only to find that someone is already there. They bicker, taunt, challenge, and justify why they should commit suicide. In this morbid situation, they form an unlikely bond.

What makes this play a good read is the subtlety in exploring issues about homosexuality. Gay stereotypes and tropes are weapons used by the characters to annoy and confront each other which make for great comedy. Yet underneath the comic exterior, the conflicts among the characters disclose personal difficulties they face as gay men in society.

The choice for the slow reveal captured my attention as I was eager to find out what drove them to suicide. Choo certainly struck a right balance between entertainment and mystery which makes for an intriguing and thought-provoking piece.

While the gay men are not related by blood, the bond that they form is just like one regardless of whether they would like to admit it or not.

Part 2

[Transcript]

#UnicornMoment by Oon Shu An

I had immense pleasure reading #UnicornMoment by Oon Shu An because it brought back happy memories of watching the stage production earlier this year. It reminded me why I liked the play so much. To top it off, I was pleasantly surprised to find that my review of the production was quoted to promote the play! For those who are interested to read the whole review, I’ve placed the link in the description below.

#UnicornMoment is sort of a partial auto-biography of Oon, except that it is much more daunting for her. Rather than just recollecting various episodes of her life, she went back and asked the questions she has always carried with her. Based on a series of interviews with family, friends, and teachers, what emerged is an honest and witty script that captures the various facets of life. It is impossible not to identify with at least one of the scenes.

It is rare for one to say this but I am impressed by the stage directions of the last movement sequence. When I was watching the show a few months ago, I was wondering what would the stage directions say and guessed it would just say “final movement sequence.” But what was written in the script did capture the essence of what I saw.

I don’t see this play being restaged at all because it is inextricably tied to a point in Oon’s life. But it is worth publishing based on the writing and how it captures a deeply personal experience. After revisiting this play, the title of my theatre review still rings true: #UnicornMoment #Heartfelt #Compelling.

Family Outing by Joel Tan

Before reading this play, I thought Family Outing would probably be about everyone being too busy with life and they finally realise the importance of spending time with each other. After reading it, I can’t get over how clever the title actually is as you’ll soon find out.

Due to an absurd accident, Joseph is electrocuted while trying to fix the TV. One year later, Joseph’s boyfriend, Daniel—in accordance with Joseph’s wishes—appears at Joseph’s family dinner commemoration to tell them that their son is gay. This does not bode well for them, especially Joseph’s mother who is a staunch Christian. Family Outing thus explores what happens when a son posthumously comes out to his family. Get the cleverness of the title now?

One thing that stood out to me is how Joel Tan deals with memory by weaving the past and present into the same scene. While this is nothing new, I like how he uses the same device to show the family reminiscing or re-constructing the past. The revelation of Joseph’s sexuality then forces the family to deal with how to carry on their lives while holding the memory of Joseph dear to their hearts.

While it is possible to criticise the ending for being too easy and too neat, I think it captures the wonderful thing about familial bonds. It is this indescribable instinct we have of our family members, and they of us; a sort of inherent knowing. We love and hate this instinct at the same time, that’s what makes being part of a family so intriguing.

While the play explores the conflict between religion and sexuality among other issues, Family Outing is more about love than anything else.

Recalling Mother by Claire Wong & Noorlinah Mohamed

As the title suggests, Recalling Mother is a play in which Claire Wong and Noorlinah Mohamed play as themselves and they recall what their mothers are like at various stages of their lives.

Parallels and contrasts are at the heart of this play. We are made aware of the different backgrounds and cultures of both women, yet certain struggles or concerns are very similar in any parent-child relationship.

One element that fleshes out these parallels and contrasts is language. From the get-go Cantonese and Malay are used whenever they converse with their mothers. In certain situations, the mother tongue represents a generational and language gap. In others, it is comforting as it allows both ladies to access their childhood memories. It is, at the same time, a tool of isolation and reconciliation.

This review would be incomplete without discussing the words in the script itself. The simple conversational style makes it very accessible. In fact, the shortest sentences tug at one’s heart strings the hardest. It is no wonder The Straits Times review of the stage production states that the play will “make you go home and hug your mother much harder.” I couldn’t agree more.

Conclusion

If I were to sum up my experience of reading this anthology in a sentence, it is this: reading these plays makes me regret not catching these productions when they were staged. So if you are free and have some cash to spare, go catch a local play. You never know, you might be the first to encounter a gem.

Mini Reviews

Last year, I applied to be a social media intern  with Asymptote, which is a literary journal that focuses on world literature and its translations. As part of the application process, I was asked to pick a few pieces and explain my choices. Having read through them, I found it a waste to leave it in the recesses of my sent mail. As such, here are some of my thoughts about some of the works featured.

Ermanno’s Breath by Fabio Pusteria (translated by Damiano Abeni & Moira Egan), Jan 2011

I am struck by the exploration of breath as a metaphor to describe a poet’s voice, presence and legacy. This simple tribute to a poet who died too young, with an inter-textual reference to another poem, is really clever. Just as the father’s breath gave life to the mattress in the other poem, Ermanno’s work thus brings to life certain things for Pusteria. I love the economy of the last line – “a breath and some lines” – which points to a variety of things but it most centrally suggests the lingering presence of the poet and his work.

Views and Testimony of a Sheep by Tan Chee Lay (translated by Teng Qian Xi), Jan 2011

Being a Singaporean, it is understandable that any work of local literature being featured will immediately catch my attention. This work was simply refreshing for me. There is a certain gentleness to the poem despite containing some biting criticism and fierce images such as war drums, annunciation and drawn-out screams. Portraying the voters as sheep is a very interesting choice for me as it contains a lot of connotations – from meekness and gentleness as marks of a civilised person to passiveness and helplessness as one is being shepherded around. Tan displays an acute awareness of this as evident from the direct juxtaposition in the line. “little lambs/must rule their homes”.

A lingering thought after reading the poems was how will Singapore solve the various problems of our politics? Do we need a sort of a Messiah figure to shepherd us? While there are no biblical allusions in the poems, it is to be expected that some readers would immediately connect it in such a way. But a further thought came to mind, if we need a shepherd, what are our roles as citizens and voters? This brings me back full circle to the complexity of the image of the sheep. If a poem could inspire such afterthoughts on first reading, what fruitful conversations are there to be had with closer readings and more in depth discussion? Of course, the accompanying essay by Teng made me appreciate the craftsmanship on part of the poet as well as the translator which further deepens by impression and admiration for the set of poems.

Only in New York by Jonas Hassen Khemiri (translated by Rachel Wilson-Broyles), July 2011

The sheer creativity of this piece caught my attention from the first few sentences. The structure of this fiction is a manifestation of what happens when we travel to another country or attempt to write about it; we engage in constant conversation with it. I love how through New York’s voice messages, one can see a variety of experiences one can have in the city. On the other hand it can remain impenetrable as evident from the persona’s failure to have a direct conversation with New York and a great deal of what the city says are stereotypes or idealised. After reading the piece, I found myself forgetting that this is a translation from Swedish. This leads me to wonder if Khemiri was spot on with the Americanisms or was this a voice of Wilson-Broyles coming through which reminds me of Susan Bassnett’s comments (in her interview from the previous issue) that “translation is effectively rewriting”. Whether it is the former or the latter, the co-authorship of two writers has provided me with a wonderful reading experience.

Mulberries by Massimo Gezzi (translated by Damiano Abeni & Moira Egan), July 2011

For some reason, this poem took me on a road trip. What spoke to me in this poem was that the reader was made to go through the exact same experience as the persona. I thought the first four lines were referring to the mulberries stretching out its branches to touch the car window as it drove past. This seemed to be further established by how the persona looked and counted 8 mulberries. It is only in the last lines that the hands and gestures refer to the passenger in the car. Just as the passenger is able to create an “illusion of redemption” for the persona, the carefully crafted words of the poet and translators gave us an illusion of the seeming personification of the mulberries. Really cleverly written.

HOTEL by Lin Yaode (translated by Lee Yew Leong), July 2011

Speaking of personification, I imagine the hotel heaving and breathing while reading this piece. I love how it casts a brilliant new light upon a venue that we are relatively familiar with. It also possesses a sensitivity in addressing the politics of space – from how the buildings around it are affected by its presence to the interaction between people and the hotel. It also compels us to think about how we conduct ourselves in different spaces as well especially in Singapore when the landscape is constantly changing and important buildings and social spaces can be demolished for the most banal of reasons.


If you’re wondering, I didn’t get the job.