Disclaimers:
- I mentioned on Twitter that I'd rather not review locally-published English books anymore because of small-minded reaction by small-time author(s). However. This book has that much strength, leave that deep an impression, that I shall write a review anyway.
- You may notice my name as one of the contributors, so if you think this is a biased review...eh. Read this review and I'll let you decide.
I have not been kind to books (especially novels) published by Fixi Novo. I expected...more, despite the clearly stated manifesto that Fixi Novo publishes pulp fiction. I still buy every title published, but my level of expection has significantly dropped.
Then Love in Penang comes along.
Where KL Noir series revel in the corrupt, the depraved and the less than savory facets of Kuala Lumpur, Love in Penang is, as its title implies, about love. The anthology isn't about bodice-rippers--come to think of it, why aren't there bodice-rippers? It's less about romance than it is about the romantic. Best of all, the romantic element is (mostly) Malaysian-style. I think this is what I love most about this book. Though written in the American language, not a single story in this anthology attempts to to emulate American sensibilities.
First, you'll notice how varied the "American language" is employed, from half the story (and most of the dialogs) unapologetically written in Penang-Malay (Nadia Khan's "Yana"), to Manglish with its lahs and hors and fragmented sentences (Zen Cho's "Double-Blind") to formal English with Malaysian sensibilities (my story "Name" is among them), and to prose that touches the literary (Leroy Luar's "Happiness" and Marc de Faoite's "Majestic Heights").
Perhaps stories like "Yana" will alienate readers who do not understand Malay, much less Penang-Malay, but will tickle the fancy of local readers who will read the story with much familiarity and vocalize the dialogs with a pseudo-Penang twang. Perhaps stories like "Double-Blind" will have actual American readers go, "Oh, how quaint. These third-worlders can speak and write a semblance of understandable English, and not live in trees as we've expected." Perhaps they are the most at risk to be set into a certain niche labeled "Malaysian English". Perhaps local readers will have difficulty accepting stories written in proper English, saying, "Konon Mat Salleh sangat la tu. Perasan." Let me tell you that it doesn't matter, because almost the entire spectrum of Malaysian English can be found within this anthology.
Then you'll notice the recurring locations. Eastern & Oriental Hotel is mentioned in 3 stories, the Esplanade in 2, Chowrasta Market in 2, Hard Rock Cafe in 2, Penang Bridge in...hmm...it's featured in 1 story (Agnes Ong's "At the Bridge") but mentioned in passing in several other stories. Funnily enough, Komtar is only mentioned in 1 story, and Bukit Bendera is not used as a setting. I wish there were a more defined sense of setting instead of simply mentioning these places. Take the E&O for example. I'm sure it is used because of its fame & history, but these stories don't describe the actual building. Kris Williamson's "A Swift Tour" does, actually, but if only there were..more.
A lot of the characters are also Hokkien Chinese (plus a Nepalese & an Indonesian protagonists in Marc de Faoite's "Majestic Heights"), and a recurring name is Hui Lin, Hui Ling, and Ling. Purely coincidental, mind.
And then there's the food. We're in Malaysia, and food is a major part of our culture. Perhaps this element could have been employed more, as certain foods are aphrodisiac, and a person's love for food will surely fit the general theme of the book, but this is just me being anal.
Because honest to God, this book is awesome. I am most concerned about a complete story arc (beginning, middle and end, though not necessarily in that particular order), and what's frustrating about Malaysian writing is that writers like to act "smart" and meander the whole length of the story, then abruptly end using totally new and unrelated elements in an open-ended conclusion that concludes nothing. Often, deus ex machina is used, and I hate that the most. Except for 1 or 2 stories (that shall remain nameless), stories in this anthology respect readers, and for that, I wholeheartedly respect the editor, Ms Anna Tan.
If you only have time to read one story, I highly recommend that you read Leroy Luar's "Happiness". The prose is brilliant, and every sentence moves the story forward. The story is quietly beautiful. It's a wonder I've never read his work(s) before. It's also a wonder why this story wasn't made the opener for the anthology. It's that strong.
There are also stories that touch on corrupt politicians and equally dubious political parties, namely Mamu Vies's "Oh, Snap!", but I'd be surprised if there are no stories at all that do this. Literature, and Art in general, reflect the time if its conception, and our political scene, with its toddler-tamper-tantrums, is a part of our culture, our life. I'm just thankful it doesn't overpower the theme of the anthology, as it does in other anthologies & long-forms.
This book is not perfect. I never claimed it was. One novelist keeps repeating "Penang" in his story, taking up the most "Penang" word count. Because, you know, if Penang is not mentioned enough for a story based in Penang, people won't know it's in Penang, because it is in Penang, you know? Because the anthology is Love in Penang, you readers have to know the story's in Penang. Again. It's in Penang.
Yeah. When an author is not familiar with a setting, generalize it enough, sprinkle the name of the location enough times that readers will get distracted & don't realize you don't actually know what you're talking about. However, I do give him props for subtly (or not so subtly) promoting the title of his novel. Brilliant.
Another novelist's short story in here is as equally messy as the novel. Poor characterization, immature plotline & measures to move the story forward, and overall it's just...messy. Bleugh.
1 story I couldn't not finish because it meandered too much that it got boring.
Others? They give this anthology strength and dignity. They give me a sense of excitement that Malaysian-English literature is leaping out of its sandbox & into international playing fields. They make me say, "this book should seriously be considered for serious awards." They are beautiful, they are tragic, they are well-written and well-chosen.
And then there is my story that closes the book. Well, that's for you to decide if you like it or not.
Technical-wise, the anthology is well-edited & well-formatted. I have qualms about the improper use of colons and semi-colons, but that's also me being anal.
All in all, I salute Anna Tan for compiling an excellent book, and I believe my hope in Fixi Novo is restored. May more volumes of this caliber be published and read worldwide. This book deserves 4.5 stars out of 5.
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