I'm doing a 24-Hour Reading of Singapore Literature!

I've set aside my international palate for a while to concentrate on domestic affairs. I'm involved in the Lit Up Indie Arts Festival this weekend - click here for the website.

Basically, from Sat 20 Jul 7pm to Sun 21 Jul 7pm at the Aliwal Arts Centre Courtyard, I'll be doing a 24-hour reading of Singapore literature together with performance artist Lee Wen. We did a mike test yesterday (Friday):

We'll be taking loo breaks and sleeping in shifts and hydrating regularly. Don't worry, we'll pull through! But feel free to join us for a read if you like!

Lee Wen's also creating an installation made up of the 397 Singaporean books I'm bringing over from my personal collection, packed into five suitcases and a rucksack:

Below is a list of books we've decided to read from - there's stuff in English, Malay and Mandarin, as well as translations of all this stuff into English. We won't get through them all, of course, but we revel in the diversity represented!

Excerpts from the Sejarah Melayu

Shaus Frazer’s The Crocodile Dies Twice

Stella Kon’s Emily of Emerald Hill

Suratman Markasan’s Penghulu

Isa Kamari's Sumur Asia 

Singai Ma Elangkannan's Flowers at Dawn

Kuo Pao Kun's Two Plays: Descendants of the Eunuch Admiral & The Spirits Play

Haresh Sharma's Off Centre

Quah Sy Ren’s Invisibility

Russell Lee’s True Singapore Ghost Stories 2

Gopal Baratham’s Memories that Glow in the Dark

Elangovan's Talaq

Susie Lingham's Serpent Says from FOCAS 2

Lau Siew Mei’s Playing Madame Mao

Robin Loon’s Destinies of Flowers in the Mirror

Alfian Sa'at's Collected Plays I and Malay Sketches

Grace Chia’s Womango

Alfian Sa’at, Alin Mosbit and Noor Effendy Ibrahim’s Bisik

Lee Wen’s The Republic of Daydreams

Ng How Wee's 𣲙封赤道

Pooja Nansi's Stiletto Scars

Ethos Books's Our Thoughts Are Free

Cyril Wong's Satori Blues

O Thiam Chin’s Never Been Better

Muhammad Jailani Abu Talib’s Susur Pendekar

Reflecting On the Merlion

Chris Mooney-Singh's The Bearded Chameleon

Masturah Alatas’s The Girl Who Made It Snow in Singapore

Gene Sha Rudyn’s Al-Ikhlas

Tan Tarn How's Fear of Writing

Ho Rui An's Several Islands

Dave Chua's The Beating and Other Stories

Jee Leong Koh's The Pillow Book

Boey Kim Cheng’s Clear Brightness

Christine Chia's The Law of Second Marriages

Aziza Ali’s Sambal Days, Kampong Cuisine

Jerrold Yam’s Scattered Vertebrae

Tan Lixin’s Keeping Skeletons

24 Flavours: Sushi

Hope to see you there! If there's anything you'd really like to hear read, thrust it in our hands and we might indulge you!

Book 130, Greenland: "The Vinland Sagas"

Apologies to the one (1!!!) person who voted on the blog poll – I’m not doing Eskimo Poems from Canada and Greenland after all. When I surveyed my friends on Facebook, the overwhelming majority of them wanted to hear about the Vinland Sagas.

And why wouldn’t they? I remember hearing about Leif Eiriksson as a kid back in the early 1990s, watching an American edu-tainment program called Encyclopedia: a bunch of Vikings singing about how one of them had discovered America in 1001 CE; a land he’d called Vinland because of the clusters of wild grapevines he found there.

Since then I’ve seen this theme explored in science writing, genealogical studies, speculative fiction. Philip Pullman even references it in His Dark Materials: in his parallel universe, Native Americans are called skraelings, suggesting that the Viking colony succeeded in creating a lasting Euro-American connection there, whereas in actual fact the settlement lasted only 200 years, colonists driven out by worsening weather conditions and angry natives and the general impossibility of managing an overseas empire like that from the reaches of teeny little Iceland.

But the topic of my investigations here is Greenland: discovered by Eirik the Red (Leif’s father) in 981 while fleeing blood debts in Norway, then Iceland. The Icelanders – famously literary folks, both in the past and the present - were fascinated by the notion of this wild western island, which yielded exports of walrus ivory, skins and furs: a snowy frostbitten land where the very act of survival was heroic. They therefore composed several sagas about the lives of people of Greenland. The two in this volume, Grænlendinga Saga and Eirik’s Saga, are only two of them.

There isn’t actually much detail about Greenland here – Eirik’s discovery is described in an oddly perfunctory manner, and many of the scenes taking place here are honestly rather dry compared to the tales of battling the skraelings in Vinland. Still, what does come across are characters and odd anecdotes. Eirik, for instance, is invited by his son to lead the expediton for Vinland, but he protests that he’s too old, and when he gets thrown off his horse on the way to the port he decides it’s a terrible omen, and stays put. Then there’s Bjarni Herjolfsson, who gets blown off course and spies Vinland (or at least Baffin Island and its environs) but is so uncurious that he decides not to check it out, even when urged to do so by his crewmen.

And get this: this is herstory as much as history, as the most vivid and intriguing characters are the women, not the men. Viking women are portrayed as more than just daughters and mothers: there’s Aud the Deep-Minded, an early settler of Iceland and a renowned ancestress; the prophetess Thorbjorg, dressed in a blue mantle and a black lambskin hood lined with white cat’s fur, who leads a circle of women in a ritual singing warlock-songs and is rewarded when she foretells the end of a famine.

And of course Gudrid, sometimes celebrated as the most widely-travelled woman of medieval Europe, who witnesses her first husband’s corpse rise and prophesy her good fortune (Viking zombies are freaky, but relatively benevolent), then goes with her second husband to Vinland and interacts with a mysterious dark-haired shadow woman during a skraeling trading encounter that ends in bloodshed, then finally comes back to Europe and does a pilgrimage to Rome and ends her days as an esteemed anchoress.

And perhaps most infamously, Freydis Eiriksdóttir (Leif’s only sister) who leads a colonization mission to Vinland, hogging the huts and resources for her men while edging out her brothers, then pretending to have been abused at their hands and ordering her husband to have her brothers and their men slaughtered or else she’ll divorce him. When all the men have been killed, her followers won’t kill the women and children, so she does this herself. She also faces down the skraelings by ripping her dress open and smacking the face of a sword against her bare breasts, freaking them out utterly. Did I mention she happened to be pregnant at the time? Why doesn’t every schoolkid learn about this lady?

Of course, the reason why these biographies are important is because of ancestry: the descendants of these pioneers were sponsors of the sagas, both in their composition and their retranscription. The introduction notes that the Icelanders were unique because they formed a republic, not a kingdom – it was they who pioneered the idea that a saga could describe the deeds of common men, not just of gods and kings.

One final note on Greenland - ironically, the Norse colony here would die out in 1500, just after Columbus’s more southerly discovery of the Americas. Now it’s a Danish colony, but it’s trending towards independence, since global warming is allowing the Inuit-Danish native population to finally grow their own damn food. Thank god someone’s going to benefit from the devastation.


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Representative quote: Then they put to sea, and Karlsefni accompanied them as far as the island. Before they hoisted sail, Thorhall said:

‘Let us head back
To our countrymen at home;
Let our ocean-striding ship
Explore the broad tracts of the sea
While these eager swordsmen
Who laud these lands
Settle in Furudustrands
And boil up whales.’

With that they parted company. Thorhall and his crew sailed northward past Furdustrands and Kjalarness, and tried to beat westward from there. But they ran into fierce headwinds and were driven right across to Ireland. There they were brutally beaten and enslaved; and there Thorhall died.

Next book: Halldor Laxness’s Independent People, from Iceland.

Book 129, Saint Pierre and Miquelon: "Rumrunners" by J.P. Andrieux

So I decided not to do Québec as a separate country, because they're not oppressed and they probably wouldn't become a nation of their own if they had a referendum. I do feel bad about this, though, since it was a special request that my friend Jean Francois made three years ago. But I did do the Québec-based Haitian author Dany Laferrière, so there's that.

The teensy-tiny twin islands of Saint Pierre et Miquelon do get an entry, however. They're a self-governing overseas collectivity of France - a colony in North America that no-one knows about! - and there is indeed a Kindle-friendly e-book about them/it, covering the sensational period of American Prohibition from 1919 to 1933: when the islands served as a vital port for the smuggling of alcohol from Europe and the Caribbean into the USA and Canada (yes, Canada did some Prohibition too, didja know that?).

But there're two problems at hand.

First, J.P. Andrieux is a terrible writer. Stupidly dull. Lays out the facts textbook-style, with zero delight in the potential of language to entertain, barely seizing any chances to revel in how interesting the details of his topic are. No lush descriptive background given of the town of Saint Pierre - just dry anecdote after anecdote of the smuggling. Megayawns.

Second - well, the subject really isn't that sensational. True, we've got some cool little stories about sailors who hide liquor in their water barrels, confounding their captains who searched the vessel high and low for the substance that was sousing all men on deck, and the big-name smugglers themselves - James McCoy (whose high-quality rum gave birth to the term "the real McCoy", the infamous gangster Al Capone, who gave away his straw hat to a shopkeeper who admired it, and Gertrude Light, one of the few women to sail the Rum Row, armed with a pistol to defend herself against ruffians who mistook her for a lady of negotiable affections.

However, once we get past 1933, we enter dull Canadian territory - there was still plenty of smuggling of booze and cigarettes from the islands to Newfoundland (which wasn't part of Canadian Confederacy until 1948), and Andrieux narrates the gradual crackdown on this by the Royal Canadian Mounted Police with chapters focussing on 1991, 1992 and 1993 individually, dwelling on juries and ever-so-polite Mountie raids, where they'll apologise for making too much noise if they raid the wrong house (quite unlike US cops, who'll usually shoot your dog and then try to sue you if you go the press about it).

Anyway, there doesn't seem to be much smuggling anymore, not that I've been persuaded to care much one way or another. After all, I'm currently in Colombo, Sri Lanka, listening to tales of police harassment of gay people and the horrors of the 26 year-long civil war, which they're recovering from quite nicely, by the way, after it ended four years ago.

Will be reading more while on the go in Jaffna, Anuradhapura, Sigiriya, Dambulla and Kandy! Toodle-pip, my dears.

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Representative quote: On the day that Prohibition ended, the truckers who had been engaged in transporting the liquor shipments from the docks to the warehouses and vice versa organized a mock funeral parade from one of the liquor warehouses. They paraded throughout the community with a long line of trucks, with the American and French flags at half-mast in mourning, signifying that the great era was all over and tomorrow they would have no more work.

Next book: The Vinland Sagas, from Greenland.

Book 128, Canada: "The Blind Assassin" by Margaret Atwood

Boy oh boy. There's news I oughta share, but I suppose that deserves a separate post. For now, however, I'll kvetch that I've lost my copy of The Blind Assassin - left it at a bus stop or train somewhere, while I was distracted playing Angry Birds. No offence to Atwood, though - the novel itself is riveting.

I'm honestly rather surprised by how gripping it is - after all, the contents aren't as political as those of the recent books I've read. Nor is this one of Atwood's sci-fi dystopian works, e.g. The Handmaid's Tale and Oryx and Crake (I have a signed copy of the latter!).

Instead, it takes place over the bulk of the 20th century, almost wholly from the perspective of the sheltered upper-class lady Iris Chase: granddaughter, daughter and wife of industrialists, sister of a legendary author named Laura Chase who committed suicide a week after World War II.

We follow Iris over the course of her life, from her birth in 1916 to her death in 1999. The bulk of the story takes the form of her memoirs, written in the 1990s as she copes with the humiliation of old age in suburban North America - lots of poetic musing, here, turning over words and figuring out their multiple meanings the way Atwood always has her protagonists do (betrayal of her roots as a poet, I suppose).

The rest is made up of excerpted newspaper articles that mark the progress of history (plus the Chase family's role in profiteering from it) and Laura Chase's novel itself, also titled The Blind Assassin, It's made up of a series of erotic encounters between a rich young woman and an impoverished intellectual science fiction writer - biographically inspired by the young socialist Alex Thomas, we later learn - and lo and behold, there are stories within that story within a story: the man weaves the woman yarns about the imaginary city of Sakiel-Norn, where virgin slave girls with their tongues cut out are sentenced to be sacrificed by the gods, only one of them is saved by an assassin, blinded from his days of carpet-weaving, who originally meant to kill her...

It's a celebration of the oft-unacknowledged roots of literary sci-fi in early 20th century trashy boys' own adventures: misogynistic dime-store paperback tales of lizard men and astronauts rescuing or slaughtering beautiful damsels with melon-breasted racks. A weird way the world of testoserone, of war (the World Wars are happening in the background) leaks into the world of women.

At first this looks like a good-sister bad-sister story, or perhaps docile-sister rebel-sister: Ismene versus Antigone, Chrystothemis versus Electra. The crazy, wild, gifted girl must always be contrasted with an boring homebody, and in the end it's these uninteresting girls who are left alive to tell the story.

But... SPOILERS ALERT!!!

It's a bluff. As the story/stories unfold/unfolds, we gradually realise that the events of Laura's novel are in fact a description of Iris's trysts with Alex, and that it was Iris, the good sister, who wrote the whole thing, attributing it to her sister after her death. This is revealed slowly enough that it's not an out-of-the-blue mindfuck; you're left guessing for quite some time whether you're being led down the wrong road by the crafty narrator.

And this means that Iris - living in her sister's shadow for half a century - has in fact willingly foregone the cult of fame, leaving her sister with a horde of followers who leave flowers on her grave and quote her in bathroom graffiti, inspired by her brilliance and the tragedy of her early death - such common tropes in the lives of great women authors: Plath, Woolf, Sanmao, Sarah Kane.

SPOILERS END.

In a way, the story's a testament to the way literature can transform lives, not always for the better - it's a misreading of a novel that turns Iris's daughter permanently against her, as she believes she's really Laura's daughter. But it's also a feminist work - attesting that the lives of wealthy women have often been those of muted, sacrificial slave girls.

I'm still trying to figure out what the blind assassin - the literal one, in the sci-fi story - can be meant to represent. Death? Love? Oh, there are multitudes of essays to be written about this work.

And I might as well tell you the news: I've been accepted in the MFA program at the University of East Anglia. One of the interview questions I got was if there were any authors I wished to emulate, and the best I could come up with was Palahniuk and Atwood herself. Poetic voices, both of them - but Atwood, I suspect, has rather more depth.

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Representative quote: I've looked over what I've set down so far, and it seems inadequate. Perhaps there is too much frivolity in it, or too many things that might be taken for frivolity. A lot of clothes, the styles and colours outmoded now, shed butterflies' wings. A lot of dinners, not always very good ones. Breakfasts, picnics, ocean voyages, costume balls, newspapers, bating on the river. Such items do not assort very well with tragedy. But in life, a tragedy is not one long scream. It includes everything that led up to it. Hour after trivial hour, day after day, year after year, and then the sudden moment: the knife stab, the shell-burst, the plummet of the car from the bridge.

 Next book: J.P. Andrieux's Rumrunners: The Smugglers from St. Pierre and Miquelon and the Burin Peninsula from Prohibition to Present Day, from St. Pierre and Miquelon.

Dilemmas

OK guys. I’m in a quandary. I’m nearing Europe, the source of the literary tradition that I’ve been raised in. This means that I’ve got lots of options for books I’ve got to choose from. Can I get your advice on what I should read for…

GREENLAND?

a) The Vinland Sagas (Viking records of their discovery of North America) OR

b) Eskimo Poems from Canada and Greenland (collected by Knud Rasmussen, translated by Tom Lowenstein)?

ICELAND?

a) The Poetic Edda (source for many Viking myths and legends) OR

b) Independent People by Halldor Laxness (winner of the Nobel Prize for Literature)?

THE UNITED KINGDOM?

a) Shakespeare’s Henry IV Parts One and Two (featuring the unforgettable character Falstaff) OR

b) Oliver Twist by Charles Dickens OR

c) Middlemarch by George Eliot (because it’s hard to imagine I’ll get round to reading it otherwise)?

Also, should I do the different countries of the UK (England, Scotland, Wales, Northern Ireland) separately, or as a whole? Leave comments, please!

Book 127, United States: "Invisible Man" by Ralph Ellison

You know what I've missed? Honest-to-goodness classics. Rich, crazy, multi-layered texts; timeless texts; immortal texts; texts that've been chattered about by scholars and hipsters for years, but go untouched on my library shelves (yes, our house has so many books that we call the shelves a library) just because I haven't gotten my arse around to reading them.

There are a lot of Great American Novels. According to the lists, I ought to be reading The Great Gatsby, but that's a brief little thing I might actually persuade myself to read casually. I've read Moby Dick and Lolita and Catcher in the Rye and To Kill a Mockingbird and Beloved already... but what about this 581-page tome, that I used to get confused with HG Wells's sci fi novella of a nearly identical name?

And honestly, this was just the ticket. A real shock to the senses after Triptych - a reminder of how recently in history black Americans were oppressed beyond hope. Published in 1952, it tells the story of a young black man from the South, unnamed, but smart enough to win a scholarship to a black university, where he has dreams of becoming a respected, upstanding member of the black community - only to get thrown out under ludicrous circumstances by the college president Dr Bledsoe (also black) and being forced to seek employment in New York City.

We've got an element of the picaresque novel going on here - he gets rejected from all the white-collar jobs he applies for, he gets into an accident in a paint factory after fighting with an old-timer black employee who mixes the paint, he gets lobotomised by the company's doctors, squats a lady's house in Harlem and then ends up as a community organiser for the Communist Party.

But unlike the innocent protagonist of a picaresque, this guy's character develops - he gets disillusioned more and more deeply with every institution he turns to, including the Communist Party (which was in fact one of the few groups that advocated for equal rights for blacks and whites in the 1950s - shades of Burgher's Daughter, here). And it's the struggle of "the Brotherhood", as he calls it, that dominates the novel - this strange place where there's equality but there isn't equality, where jungle-fever-obsessed white ladies pursue him at talks on "the Woman Question" (there's a lot to say about gender relations in here) and fellow black activists have to stand against the Africanist racism of Ras the Exhorter, who wants them lynched for working with the white man. White-dominated institutions using black people to push down black people - same strategy of divide and rule that's been used and is still used by various forces throughout history.

The writing's brilliant, of course. They talk about the jazz and the Ebonics that got transcribed in this text, but there's also honest-to-goodness textual modernism, weird dream sequences and chaotic passages that turn off more wary readers during the prologue. Ellison abandoned the old-school black lit genre of naturalism for the purposes of this work: he quotes Melville and Eliot in his opening, but his tale of an outsider, who's abandoned civilisation because of his awareness of its utter hopelessness, who must resort to new ways of speaking to record his ideas, reminds me of Lu Xun's Diary of a Madman, although it's more likely that he was influenced by Nikolai Gogol's tale of the same name. (There really are a limited number of cool titles to go around, eh?)


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Representative quote:  "So I'd accept it, I'd explore it, rine and heart. I'd plunge into it with both feet and they'd gag. Oh, but wouldn't they gag. I didn't know what my grandfather had meant, but I was ready to test his advice. I'd overcome them with yeses, undermine them with grins, I'd agree them to death and destruction. Yes, and I'd let them swallow me until they vomited or burst wide open. Let them gag on what they refused to see. Let them choke on it. That was one risk they hadn't calculated. That was a risk they had never dreamt of in their philosophy. Nor did they know that they could discipline themselves to destruction, that saying "yes" could destroy them. Oh, I'd yes them, but wouldn't I yes them! I'd yes them till they puked and rolled in it. All they wanted of me was one belch of affirmation and I'd bellow it out loud. Yes! Yes! YES! That was all anyone wanted of us, that we should be heard and not seen, and then heard only in one big optimistic chorus of yassuh, yassuh, yassuh! All right, I'd yea, yea and oui, oui and si, si and see, see them too; and I'd walk around in their guts with hobnailed boots. Even those super-big shots whom I'd never seen at committee meetings. They wanted a machine? Very well, I'd become a supersensitive confirmer of their misconceptions, and just to hold their confidence I'd try to be right part of the time. Oh, I'd serve them well and I'd make invisibility felt if not seen, and they'd learn that it could be as polluting as a decaying body, or a piece of bad meat in a stew. And if I got hurt? Very well again. Besides, didn't they believe in sacrifice? They were the subtle thinkers -- would this be treachery? Did the word apply to an invisible man? Could they recognize choice in that which wasn't seen . . . ?"

Next book: Margaret Atwood's The Blind Assassin, from Canada.

Book 126, Bahamas: "Triptych" by Wendy Coakley-Thompson

Didja know that one of Hemingway's posthumous novels (he was working on it when he died) is partially set on the island of Bimini in the Bahamas? Alas, Islands in the Stream is only available in the National Library's reference section, so I ended up going with full-on chick lit.

Wendy Coakley-Thompson was born in the US and works in the US, but she's ancestrally Bahamian, and spent a bunch of her childhood there. In her foreword, she talks about reading Robert Wilder's The Wind from the Carolinas, and yearning to read more fiction set in the Bahamas. "Little did I know that I would have to write that book myself!" she giggles.

And let's be frank - this isn't great literature. It's escapist writing. All the characters are Mary Sues: the Cuban hospital financier Jonathan Cruz, his gorgeous Bahamian surgeon wife Alexandra and his Afro-Cuban-Canadian psychology professor cousin Timothy Lamb. All wealthy professionals in their 40s or early 50s; Tyler-Perry-esque people of colour. All religious and (trying hard to be) virtuous. All living the life in the tropical paradise of Nassau. All of them ridiculously good looking, more so in middle age than in their youth, with crazy sex drives to boot.

So no, I'm not getting much of an insiders' view of the Bahamas (although people do seem to be pretty well off there: it's the second-highest Caribbean nation on the Human Development Index, after Barbados). A few mentions of Conchy Joes and fish stew and seagrapes and androsia and Camp Discovery. Not great prose, either - very transparent, needy, black and white. 

Was actually tempted to stop reading and head over the library's reference section, but then the story started to grip me a little. It's a sappy business, about Jonathan getting a brain tumour, and not being able to get it up anymore, and then letting his cousin sexually satisfy his long-suffering wife because he can't anymore. It's all described with lush urgency, and Tim actually deflowered Ally when they were in their teens, and they're longing for each other anyway, and there's a huge pot-fueled threesome (one realises that Coakley-Thompson chose "triptych" because it was a classier way of saying "threesome"), and then people start dying and crying, et cetera, and then Tim and Ally shack up in the end. That kind of story, but with the characters feeling bad about all the moves they make, beating themselves up religiously, but doing them anyway, because hey, they're red-blooded Caribbean middle-aged people, and they gotta bone.

Chick lit, like I said. But there's nothing wrong with a book like this existing. My only big problems are with the fact that Ally, a fully qualified surgeon, believes in homeopathy, and that there's no real justification for Jonathan never straight up *telling* her that he's fine with her bonking on the side. Oh, and maybe there's a little too much drama in the characters' background (rape! kidnapping! baby murder! a perfect wife killed by a car crash!).

And that's it for the Caribbean! Unless anyone can recommend a good book about Bonaire, Sint Eustatius or Saba. Now we're on to the rich developed world: North America... and, not long afterwards, Europe!

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Representative quote: Before her mind could catch up, Tim leaned in and brushed his lips against hers. Every synapse in her body cried out for him. He kissed her repeatedly, and her pussy flooded. She felt her blouse opening and falling away. She felt her bra hooks opening, saw Jonathan toss her bra across the room out of the corner of her eye. Tim cupped her breasts, and she cried out. From behind hr, she felt Jonathan's hands pulling down her Capris and panties. She felt a draft of air across her bare buttocks. Instinctively, she raised her ass in the air. In her fog, she felt the tip of Jonathan's tongue invading her pussy, licking her vibrating clit with just the right pressure to make her lose it. Above her, she realized that Tim was stroking her head, her shoulders, her back, parting her ass cheeks to improve her husband's view. Tim's hands massaged her breasts, gently tweaking her sensitive nipples. The double onslaught was too much for her to handle. The orgasm snuck up on her, surprising her, shocking her raw. She collapsed face down onto the pillows, her breathing ragged into the soft cloth.

Next book: Ralph Ellison's Invisible Man, from the USA.