Is it a chapbook or a map? Or both? Haunting work by Hamid Roslan.
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How does a family cope, economically and socially, with the loss of employment? In this moving story by Norie Suzuki, a daughter looks back at a precarious time in her family’s past.
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For Women’s History Month (March), Ng Yi-Sheng trains his focus on women readers. And men should read these books too.
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Why are so many powerful people such assholes? Kirsten Han reviews Corruptible: Who Gets Power and How It Changes Us by Brian Klaas for some answers from political science.
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In their review of Paul Tran’s All the Flowers Kneeling, Jack Xi shows that Tran’s project is “not to write about survival as purely triumphant or as an ending they have already reached but rather to reflect their real, ongoing journey.”
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“I have swords in my mouth,” proclaims debut poet Teddy Jericho Cheng, and in these two poems, they answer why.
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What is the sea? Nicola Sebastian, a writer, surfer, and National Geographic Explorer, asks. The answers are both terrifying and consoling.
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In response to N. K. Jemisin’s question “How Long ‘til Black Future Month?” Ng Yi-Sheng reviews five vital works of Black/African speculative fiction.
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On the Floating Home of the Lost, Mama wishes to speak to Singa and Merlion, with unexpected results. A new story by Kevin Martens Wong.
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Vice-royal-ties by Julia Wong Kcomt, translated by Jennifer Shyue, works against the annihilation and dilution of human experience, as reviewer Niccolo Rocamora Vitug discovers.
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In Ayesha Khan’s new story, “A Handful of Land,” a very strange child is born to a village.
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In her review of Ann Ang’s Burning Walls for Paper Spirits (Singapore: Pagesetters, 2021), Mia Ayumi Malhotra appraises the poetry collection and its delicate still-life sketches of construction scaffolding, potted pandans, and laundry-strung balconies.
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If we think about the light, what shapes will it assume? A new lyrical essay by Purbasha Roy.
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To start off the year right, Ng Yi-Sheng reviews five mind-expanding works of non-fiction prose.
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In this new essay, Jasmine Gui examines the myth of the successful diasporic Asian artist in her own life.
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In this new story “IDOL,” by Lisabelle Tay, the eponymous protagonist weighs the costs of fame and dreams of something better.
Read More“Curled up in bed reading this collection, I imagined that I was attending a Kitty Party and that each of these writers were speaking in a circle with each other, sharing laughter and pain and commiseration.”—Miranda Jeyaretnam on What We Inherit: Growing Up Indian (Edited by Shailey Hingorani and Varsha Sivaram; Singapore: Association of Women for Action and Research, 2022)
Read More“When one sees at a distance a coffin with the corpse in it/ he should not sing.” In these two poems, Thomas Mar Wee mourns and sings according to the Book of Rites.
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We can’t do it better than Ng Yi-Sheng, who wants you to don now with him your omnisexual apparel and troll some ancient pantheistic carols.
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Where does a man go, in his mind and in his body, after the death of his father? In the story “A Death,” Ali Hatami traces with a keen sensitivity the thoughts and actions of such a man.
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