AS : Poems mentioned in analysis post from One Fierce Hour (1998)

Void Deck
By:Alfian Bin Sa'at

Where the neighbourhood wives,
After a morning at the wet market,
Sit facing the breeze
To trade snatches of gossip
About leery shopkeepers,
The local louts,
(Like that fella who's always drilling his walls –
Gives me migraine)
And that mad woman
Who throws things from her window.
With careful put-downs they
Fashion boasts, about stubborn sons,
Lazy daughters, who by some miracle or mistake
Always score well in class.
When words falter,
Gestures take over: pursed lips, rolling eyes,
Animated hands adorned by bangles of
Gold, jade, steel, string.
And children orbit around them
Laugh without diction –
Their games of tag a reassurance
That there has been no hothousing
Of who is unclean, unwashed,
Untouchable. When they break out
Into some kindergarten song,
One almost believes in a generation
Cleansed of skin-deep suspicions,
And free from the superstitions of the tongue –
And old folks sit like sages
To deploy chess pieces with ancient strategies.
In a corner, a caged bird bursts
With the song of its master's pride
And wrinkled women breathe, through
Tai-chi-tuned windpipes, the operatic melody of the air...
All a wanton fantasy.
Eyes reveal a meeting-point
For loners and loiterers:
A sense of things reduced-
Conversations that trickle through
Brief noddings at lift landings,
Teenage rhetoric scrawled, in liquid paper,
On the stone-table chessboard,
(Where the king used to sit)
The grandiose house-selling dreams of residents
Compacted in anonymous letterboxes;
As an afterthought, an old man pees
Under a public phone.
A place to be avoided, this,
How in its vastness it devours hours.
Little wonder then,
Why residents rush through void decks
Back to the cramped comforts of home
As if in fear of what such open space might do
To cosy minds.

Neighbours
by Alfian Sa'at

During Hari Raya she knocks on my conscience,
I knock on her door and I give her cakes.

She says she likes them and gives me
Sweets with gelatine inside. I throw them away.

Poor woman, dosen't know how to make cakes.
Her children eat Maggi after school everyday.

That's why the elder one is in Normal stream
And the younger one can't spell her name.

If I was her age I wouldn't be wearing shorts at home.
No shame, she dosen't know how to hide her womanhood.

When the children are naughty and I beat them
I close the door: I hear she's a gossip.

But she beatxs her children harder than I do
What to do her children are like that.

I once hear her scream she wanted to kill herself.
These people never value their own lives.

Other times I see her I smile and she smiles back
And her children smile and call me auntie.

But in our hands we hold with fists clenched tight
THe keys to our homes, each night we slam the bolt shut.

 Published in One Fierce Hour (1998)

AS : One Fierce Hour (a review)

Having borrowed a few of Alfian's works from the central library for this project, I find myself identifying most with One Fierce Hour (1998) This collection of poetry was Alfian's first published work of poetry. He was only 21 - still a student at NUS when it was published. The Straits Times hailed it as "truly a landmark for poetry [in Singapore]" Amongst the three books that I borrowed (the other two being 'Corridor' and 'History of Amnesia') I personally liked One Fierce Hour the most. Perhaps it was because as I read the poems I imagined a young Alfian - about my age writing these pieces and find myself in awe with the raw quality these poems possess. (Not that I should try, but if I ever tried to write poetry as I am now I would think they would end up looking like a bunch of big words glued together by pretentiousness.HAR HAR) As a whole collection, the poetry deals with a recurring theme of identity and Singaporean society. Alfian engages with many local spaces such as 'Void decks', 'Plaza Singapura' and HDB estates - this technique will later on become a trademark of Alfian's works as seen in his short stories and plays.

For my analysis,I will be looking at two poems from One Fierce Hour that align themselves with the heartlands in Singapore :  Something, I think both Alfian and I as a reader readily identify with.After all, I have lived in one my entire life. These two poems are 'Neighbours' and 'Void Deck'. Both poems to varying degrees carry a cynical if not sinister tone. In Neighbour Alfian presents the idea of duality and hypocrisy between neighbours who merely pretend to be civil to each other but beneath the cloak of force-fed harmony lies a snarky attitude that is filled with distrust. The structure of the poem clearly symbolizes this duality as each stanza is only two lines. What I find most striking in this poem is the imagery potrayed isn't very complex. In fact, as I read the poem  I actually feel like somewhere in my subconcious of all those years I've lived in a HDB flat, I have seen these things happen or have felt the same way about my neighbours. This familiarity I think is what makes Alfian's poems particularly stirring. Similarly in 'void deck' the imagery is even more commonplace - it is LITERALLY a common place (Sorry, I could not help myself) Images of 'neighbourhood wives' who are trading snatches of gossip and children running around the void deck playing tag - these are all very much ingrained in my memories although I wasnt really a 'tag' kinda person. My group of neighbourhood friends only played Block Catching (more advanced) In this way, Alfian's poems especially in One Fierce Hour and his other earlier works depend very much on this 'familiarity' or the intangible 'sense of place' attachment Singaporeans or people who have lived in Singapore will identify with. I am not sure if a foreigner reading this will get away with the same enriched understanding as I did... but I guess that's why Alfian Sa'at is lauded to be a TRULY Singaporean writer. Unlike other writers who may choose to write away from the Singaporean context,Alfian continues to cater to Singaporean readers - which I appreciate. I mean, of course I appreciate Keats and Plath when I feel like putting on a bonnet and drinking tea but I like it when as a reader the images come almost like second nature - literally like it's in my backyard. This,  I love.

Both poems also stay true to the collection's overarching theme. Both are extremely 'fierce'. Alfian Sa'at never shies away from telling the brutal reality.  In Void Deck, the poem's easy flow is broken by one line 'All a wanton fantasy' Immediately, the illusion of nostalgia of the happy things that happen in a void deck is broken and the poem continues as a rant towards the end of the poem. Similarly, this sinister nature of reality is potrayed in Neighbours as well.

Ultimately, I feel that these two poems are pretty much representative of 'One Fierce Hour' as a whole as well as Alfian's writing style and mindset as a young writer back then. In my opinion, Alfian was most outwardly fiery as a poet at least in this collection. He has not necessarily mellowed (let's hope he never does) but in his newer books there seems to be much more latent emotion expressed (trapped in imagery, or in symbols) rather than the outright confrontations he showed in One Fierce Hour. The most obvious example is 'Singapore you are not my country' which he shows no holds barred commitment to attacking the country. I for one, find the upfront confrontations refreshing. I like my poetry raw and genuine - which is what One Fierce Hour ultimately is.

An Analysis: Recovery

I must confess that I came upon ‘Recovery’ by accident while passing the time in class (Guiltily, I might add.), while flipping through our text, “Writing Singapore: An Historical Anthology of Singapore Literature”. While people around me discussed the complexities of a play’s composition, I suddenly found myself drawn into this simple, yet absorbing poem.

Recovery

Forgetting you, in loving someone else,

Is no less painful than the pressing wounds;

When she loves someone else, the many hells

I go through seem to know no bounds.

It is part soul, part instinct after all,

To draw the utmost pain into a trap

And sterilize the wounds with alcohol.

None of this owes to mishap.

You broke my heart so badly that the only

Way I can recover is to let

Somebody else break it some more, so lonely

Fragments are bound to none in debt:

Grind it into dust and blinding grit

(And wash away the purple stains with bleach)

So I might shape a something out of it:

An apple perhaps, or a peach.

Effectiveness at delivering its message and success at maintaining a level of emotional engagement is what I look for in poetry. ‘Recovery’ by Toh Hsien Min did just that. It was simple, engaging and touching all at the same time. It drew me in enough to compel me to explore even more of Hsien Min’s works.

In light of this being merely a blog post and not a full blown essay (or is it?) I shall attempt to keep it brief. Here are the 3 main points that I liked most about Hsien Min’s ‘Recovery’:

1. Intense pain is portrayed through simplicity of poem, in language and in form.

Hsien Min’s poem is not complicated nor is it hard to comprehend. Its form is simple with 4 lines in 4 stanzas and alternate rhyme that create a rhythm that carry the reader even more smoothly through the poem.

Its language mirrors the simplicity of its form. Ingenious is Hsien Min’s use of theme in his language to make the poem even more cohesive. The metaphorical meaning of ‘wounds’ is linked to its literal meaning and which the process of healing is described in practical medical terms. For example, ‘sterilize the wounds with alcohol’ and ‘purple stains with bleach’, are images that refer to actual medicinal practices that are applied to physical wounds. Such a theme of “medical” terms intensifies the notion of pain portrayed in the poem. While the reader might find it hard to relate or identify the emotional pain described by the persona, when linked to physical pain, the reader might be able to imagine at least some level of pain that the poem is trying to convey. The use of the theme is thus effective in conveying the important notion of pain through the poem.

2. The poem is almost existential in reflecting the human’s ability to hurt and to heal.

The subject of the poem focuses on the process of healing and ‘recovery’ after going through a heartbreak or losing somebody you care about. Hurting, then healing is a natural process of life and this is reiterated in the poem in which the pain is described to be ‘part soul’ and ‘part instinct’. Such a relation suggests such a process is innate because the soul and instinct comes from within and not caused by any external factors such as circumstance or chance and ‘mishap’.

I find it an existential concept because here, we examine the natural process of man’s existence, in which he is required to experience pain and healing. Through this poem we see the process in which one copes with the pain that comes with existence. The topics of ‘soul’ and chance that can take the form of ‘mishap(s)’ are existential concepts on their own. The ‘soul’ brings into question man’s sense of being, whereas the concept of chance questions man’s sense of being as well as the question of fate.

I say “almost” because while the persona touches on such philosophical ideas, the focus of the poem still focuses on the process of healing on the more superficial level.

3. The image of the heart, represented by apropos imagery that reflect the heart as it goes through the recovery process.

In the final stanza, I found truly beautiful, the change in imagery representing the broken heart that was going through the ‘recovery’ process. After the hurt, the ‘fragments’ of the broken heart is symbolized by ‘dust’ and ‘grit’. These images are dirty and reflect the negativity and pain of a heart broken. Out of the pain and darkness though, the image turn into ones of hope when the heart is represented by the images of an ‘apple’ and a ‘peach’. These fruits represent new life and hope as if the persona wanted to ‘shape’ his future into something sweeter and happier like the fruits.

I admire Hsien Min’s ability to seamlessly convey such intense emotions through the use of simple and uncomplicated means in his art form. I hope other readers can also enjoy his writing, as I was able to. While this poem found me by chance, it led me to discover even more of Hsien Min’s works which I also hope other readers will try to read because I have found his work thoroughly enjoyable.

Min, T. H. (2009). Recovery. In P. H.-l. Angelia Poon, Writing Singapore: An Historical Anthology of Singapore Literature (p. 590). NUS Press.

http://luscious-apartofherworld.blogspot.com/

Writer's Profile : Su Chen Christine Lim

Su Chen Christine Lim is probably one of the most prominent female writers alongside Catherine Lim in the Singapore writing scene.

Born in Malaysia in 1968, Lim came to Singapore at the age of 14 and studied here. She completed her studies at the National University of Singapore, studying literature. She taught at a junior college and worked for the Ministry of Education as a curriculum specialist before finally resigning in 2003 to pursue her passion in full-time writing.

To date, she has written numerous novels, plays and children books that still remain a favourite among readers. Her works have also won her literature prizes and accolade, with Fistful of Colours being the most prominent of her novels.

Her notable works:

Ricebowl (1984)

Gift from the Gods (1990)

Fistful of Colours (1992)

- Awarded the inaugural Singapore Literature Prize (1992)

A Bit of Earth (2000)

Lies that Build a Marriage (2007)

Robert Yeo: A Profile

When author, Robert Yeo, came in to talk to our class he quickly caught my attention. He has so far lived through the entirety of Singapore's history as an independent state as well as some pivotal events in Southeast Asia's history. His poem "Out of Changi" that we read proved that his work reflected a personal passion and interest for the times he experienced, and his lecture showed that he wasn't afraid to be a little political.
Having never been to Asia before, and knowing very little about Singapore's history, I figured that Yeo's work would be a good place for me to start. So I picked up his memoir to read over Spring break and ended up engrossed in his view of what it means to be Singaporean.

The Man:

-Born 1940 in Singapore

-Has worked as a teacher, reporter, and lecturer

-Travels through Europe and Asia

-Received Singapore public Service Medal in 1991

His Works:

Poetry Collections:

Coming Home Baby (1971)

And Napalm Does Not Help (1977)

A Part of Three (1989)

Leaving Home, Mother (1999)

Drama:

Singapore Trilogy

Are You There, Singapore? (1974)

One Year Back Home (1980)

Changi (1996)

Second Chance (1988)

The Eye of History (1991)

Other:

The Adventures of Holden Heng (Novel, 1986)
Routes (Memoir, 2011)

Writer's profile : Alfian Sa'at

Alfian Sa'at's tangible presence in the Singapore Literary scene cannot be denied. As the resident playwright for the prominent theatre group W!LD RICE, his plays are a staple in the Singaporean play scene. As a writer, his contributions are even more impressive. With two short story collections under his name as well as two poetry anthologies, all published before he turns 35 - it is safe to say that Alfian is one of the frontrunners of Singapore literature in this millennium.In his works, he indulges in the stories of the minority races in Singapore (particularly Malays) as well as the maligned parts of Singaporean society. Despite dealing with severe issues, his works never fail to exude his wit and humour that never fails to make his work a joy to watch and read.

Name : Alfian Sa'at

D.O.B : July 18, 1977

Blibiography:

Plays

English

• Fighting (1994)
• Black Boards, White Walls (1997)
• Yesterday My Classmate Died (1997)
• sex.violence.blood.gore (co-written with Chong Tze Chien) (1999)
• Asian Boys Vol. 1 (2000)
• What's The Difference? (2001)
• Don't Say I Say (2001)
• poppy dot dream (2001)
• The Corrected Poems of Minah Jambu (2001)
• The Optic Trilogy (2001)
• 7 Ten: Seven Original 10-minute Plays: Not In (2003)
• Landmarks: Asian Boys Vol. 2 (2004)
• Tekka Voices (2004)
• Mengapa Isa? (2004)
• The Importance of Being Kaypoh (2005)
• Harmony Daze (2005)
• Confessions of 300 Unmarried Men: Blush (2006)
• Homesick (2006)
• Happy Endings: Asian Boys Vol 3 (2007)
• Snow White and the Seven Dwarfs (2008)
• Beauty And The Beast (2009)
• Cooling Off Day (2011)

Malay

• Deklamasi Malas (Declamation of Indolence) (1997)
• Dongeng (Myth) (1997)
• Anak Bulan di Kampung Wa' Hassan (The New Moon at Kampung Wa' Hassan) (1998)
• Madu II (Polygamy) (1998)
• Causeway (1998)
• Peti Kayu Ibuku (My Mother's Wooden Chest) (translated into Malay from Kuo Pao Kun's translation of Ng Xin Yue's original Mandarin text) (1999)
• The Miseducation of Minah Bukit (2001)
• Tapak 7 (Seven Steps) (2001)
• Selamat Malam Ibu (adapted from 'night Mother by Marsha Norman) (2003)
• Keturunan Laksmana Tak Ada Anu (adapted from Descendants of the Eunuch Admiral by Kuo Pao Kun) (2003)
• Minah & Monyet (Minah & Monkey) (2003)
• Nadirah (2009)
• Pariah (alternatively staged as Parah) (2011)

Mandarin

• Fugitives (失控)(co-written with Ng How Wee) (2002)

Short Stories

English

• Corridor (SNP, 1999) 

Malay

• Bisik: Antologi Drama Melayu Singapura (Whisper: Anthology of Malay Singaporean Drama) (Pustaka Cipta, 2003)

Poetry

• One Fierce Hour (Landmark Books, 1998) 
• A History of Amnesia (Ethos Books, 2001)  

My take on Alfian Sa'at 
From his works featured in the anthology we are learning for SSA120, Alfian's voice as a writer is clear and resounding. His poem 'Singapore you are not my country' especially is my personal favourite. His harsh criticisms contrast with the poignant reminiscing of Singapore in a better time makes for a really satisfying read. Alfian in many ways likes his work to confront readers just like how 'Singapore you are not my country' managed to do with its confrontation of Singapore personified. This connection with the readers whether through his poetry or prose as well as with the audience in his plays is what in my opinion makes Alfian a truly gifted writer and a gem in our artistic community.

Profile: Toh Hsien Min

Toh Hsien Min is a Singaporean poet who has published notable collections of poetry such as The Enclosure of Love (Singapore, 2001) and Means To An End (Singapore, 2008). His work has been published in various periodicals such as London Magazine, Poetry Salzburg Review and Staple, as well as anthologies internationally.

He received the Young Artist Award by the National Arts Council of Singapore in 2010. Means to an End was also shortlisted for the Singapore Literature Prize in the same year. Hsien Min has also been a recipient of the Shell-National Arts Council Scholarship for the Arts.

Hsien Min founded the Quarterly Literary Review Singapore in 2001, the leading online literary journal in Singapore. It is a non-profit organization that aims to “promote the literary arts in Singapore, to stimulate the feedback mechanisms in the literary scene, and to develop Singaporean writers to international standards.” Such an endeavor seems to testify this poet’s dedication and commitment to the arts. The magazine also works with other notable Singaporean writers such as Heng Siok Tian, Cyril Wong, Yong Shu Hoong and Yeow Kai Chai.

Hsien Min read English at Keble College, Oxford, where he was also President of the Oxford University Poetry Society.

Hsien Min’s current professional occupation is in risk analytics in an international bank.

Credits:

http://www.qlrs.com/about.asp

http://pachome1.pacific.net.sg/~hsienmin/index.html

http://en.wikipedia.org/wiki/Quarterly_Literary_Review_Singapore

http://en.wikipedia.org/wiki/Toh_Hsien_Min

http://www.arsint.com/T_H_M_sm.jpg