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Best New Singaporean Short Stories: Volume One

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Koh Choon Hwee

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“The sensation of the ocean bearing my weight was the most carefree lightness I’d ever experienced. When we were halfway across the strait, the sound of an engine approached from a distance—it was probably the police coast guard. We quickly ducked under the surface of the water, exposing only the tips of our trunks so we could breathe.”

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“There was once an abbot who had spent thirty-nine years alone in the temple with cats as his only companions. As someone who believed that faith and willpower could conquer any difficulty, the abbot began training newborn kittens, trying to turn the impossible into the possible. First he put the rattan hoop on the ground for the kittens to crawl through. Then he slowly raised the hoop little by little, day after day, month after month, and year after year. Years went by and the hoop was gradually raised until he finally succeeded in getting the cats to jump through the hoop. An unusual phenomenon occurred. When the kittens saw the older cats jump, they believed they could do it too and so, without much effort, they learned to jump easily through the hoop as well.”

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“The day the earth-moving machines arrived, it was as if aliens had invaded Earth. Overnight they appeared, diggers with huge scoops, plodding their slow and ancient ways across the landscape. By the next week they had multiplied and evolved into diverse forms—cranes with long arms, bulldozers and levellers, an assortment of lorries. All day they worked towards some unseen design, creating and removing debris, their latticework of tracks remaking and writing over the space. Untenanted and vulnerable, the attap huts offered no resistance.”

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Book:Best New Singaporean Short Stories: Volume One
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“In writing I try to pare down the descriptive bits. If I feel that I could say something in as few words as possible, then I would rather do it than to go on padding. One should describe sufficiently to give the reader a sense of what one feels, but not at the same time overwhelm the reader in any way. For example, I feel that if you use lots of adjectives they have a mutually cancelling effect. If you can describe a scene well enough, without having to use far too many words, I would rather do so.”

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“Looking back on my life, I’d say I am grateful to my two sons for having brought me up. It could not have been easy—for them or for their father. For me it was a “Poetry Workshop,” a way of doing poetry by another means (in no sense a continuation of Iowa)—as well as the sort of upbringing I never got from my mother. As luck would have it, I had a poet, a classical poet, for a mother. She didn’t write free verse; she wrote poetry until the last years of her life in the classical Chinese style. So a lot of work was done for me—when you imbibe Tang and Sung poets with a mother who chanted verses on the balcony in the moonlight.”

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“Kuala Lumpur had a certain something… There was a sense of freedom perhaps, of anarchy even, that Singapore so sorely lacked. Perhaps it was the lack of deference to authority, the physical space, the ability to take a step back and enjoy a moment of quite that lent Kuala Lumpur its atmosphere. Singaporeans were always adding to the list of reasons each one kept to hand, in case they met a Malaysian, of why it was so much better on the island than the peninsula. They ranged from law and order to cleanliness, from clean government to good schools, and always ended on the strength of the Singaporean economy. But in the end, the Malaysian would nod as if to agree to the points made – and then shrug to indicate that they probably wouldn’t trade passports, not really. And if pressed for a reason they would fall back on that old chestnut which somehow seemed to capture everything that was wrong about Singapore – but your government bans chewing gum. The nanny state and the police state all rolled into one.”

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