It can’t get any blunter than this.
It’s pretty much agreed among Singapore’s creative arts industry that the world of local literature (or music, or arts, for that matter) just can’t break into the mainstream. Most Singaporeans and the powers that be are too linear minded, with a “business and money first” attitude, while our way of education adheres too rigidly to the guidelines of the Ministry of Education so our creative processes aren’t as well-developed compared to the rest of the world.
Even without that limit, there’s the matter of conveying said creative processes into words that can resonate with readers.
With the current #BuySingLit movement going strong, Hugo-nominated sci-fi & fantasy writer Cheah Kai Wai (also known as Benjamin Cheah) provided a personal in-depth deconstruction of Singapore’s literary scene — a negative outlook focusing on why it disappoints him.
We’ll highlight some key points below, but really, just have a full read if you’re another aspiring professional writer. It’s a real eye opener if you have yet to share this similar feeling — but of course, you’re free to disagree wholeheartedly.
On the alleged shallowness of local literature
“(When) compared to all that (with every other writers overseas), every Singaporean writer produces thin mist of pale shades. Some are white, some are yellow, some are brown. Occasionally the mist parts to reveal black-on-white shapes as shallow as the ink that produce them. Other writers make the mist so thick and sticky and dry it feels like wading through a hail of glue drops frozen in the air. These stories are plain, staid, prosaic, illogical, shallow, boring, unreadable — and nearly interchangeable.”
On the flaws of Singapore’s writing scene
“The chief problem as I see it is that the Singapore writing scene is about everything but writing.”
“Every writers’ group I have joined were for hobbyists. They brought together like-minded people to talk about their own writing, encourage them to write and participate in writing activities. This isn’t wrong per se, but I am not a hobbyist. I aim to be a professional. Professionals delve deep into craft and examine the state of the industry. These groups did not.
“Programmes at writers’ events do not build up writers. #BuySingLit’s events have art displays, treasure hunts and book tours. Only a handful of workshops are geared towards writing — and even those workshops are foundation-level courses. The same holds true for Singapore’s premier writing event, the Singapore Writers Festival. SWF has film screenings, music, history, panel discussions — anything and everything about the writers’ craft, or, indeed, writing. Contrast this to events like Dragoncon or Thrillfest, which teach more about the art, craft and business of writing in three days than SWF does in a month. The instructors at Dragoncon and Thrillfest go into the kind of detail that is sorely lacking in Singapore. I don’t have anything against the non-writing oriented events in local writing events, but one would think that the events, being about writing, would at least focus on the core audience and try to do more than teach beginner-level writing craft.”
On the specific type of literature supported
“Singaporean publishers are only interested in a specific type of literature: stories about Singapore culture set in Singapore aimed at a Singaporean audience and foreigners who enjoy reading about Singapore. Writers who do not fit the mold will not find much support from the industry. While publishers are free to pursue whatever business model they like, people like me, a Hugo Award nominated science fiction and fantasy writer who will not limit his stories to Singapore, will have to look elsewhere. Likewise, Singapore’s mainstream media tends to focus on Singaporean writers who have either published through the usual publishing houses, or who are too big and controversial to ignore.”
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