10 books that stayed with me in some way

Posted this on Facebook a few days ago.

Post by Edmund Yeo.

(So I will post it here too, but with amendments. And links to previous blog posts related to these books. To help me remember.)

On Borges, Eco, Calvino, Marquez... and McDull

I never forgave my secondary school for banning us from bringing novels to school. That is why I constantly speak about it.

Back then, unable to accept such a rule, I occasionally brought a book to school for some reading pleasure. Alas, the school prefects deemed me, a guy who was just sitting at the corner, quietly reading a book, a threat to school safety, thus my books were sometimes confiscated.

I had to write eloquent letters to the prefects just so I could get them back.

That is why, in some of my angry rants over the years, I couldn't stop blaming the local education system for not emphasizing the importance of literature and culture to its students, that we lived merely to score well academically, that our education was more on learning how to deal with exams, instead of preparing us properly to contribute to society. That our country is full of highly-educated folks who don't give a crap about literature.

Many years ago, back in Perth, Justin (who used to contribute to this blog but had since became a published novelist himself) once said this:

"I cannot imagine anyone not picking up a novel in their entire life. What sort of existence is that?"

I shrugged. "A typical Malaysian."

Being in love with literature is just as lonely as being passionate about films. Or maybe a little more so. At least most Joe Blows do go to cinemas for films as some social exercise. Any attempt to have a meaningful or deep discussion about the film will be futile. People will look at me as if I had farted loudly in a funeral.

Because they rarely happen, being able to go into in-depth discussions about films, filmmakers, or literary works, authors, can be a very pleasurable experience. Perhaps that is why I am often on Facebook and Twitter. Or why I often surf film websites and go through the comments section. Just to find and read about discussions that I can never seem to have in real life.

(Perhaps if I were a banker, I wouldn't have to deal with such a dilemma, no?)

Yesterday, Maggie Lee, film critic of Variety, tweeted this link to a book review:

Films I saw at Dubai International Film Festival 2011 (Part 2)

Came back from Dubai last night, slept through most of the entire flight. It's a fun feeling.

I'm now going to continue from my previous post, Films I saw at Dubai International Film Festival 2011 (Part 1), by listing out the rest of the films I caught in the Dubai Film Fest, along with some anecdotes if I have any.

The death of a great American bookstore

I read this CNN article, 'The death and life of a great American bookstore' two weeks ago (it's a eulogy for Borders). These few paragraphs summed up best how I feel about a bookstore.

The last day of the Tokyo International Film Festival 2010

31st of October.

I headed to Roppongi to wait for the Green Carpet event prior to the closing ceremony. I was at the TIFF Movie Cafe with Prof. Ando.

Last days in Brignogan

25th of June. Everyone were leaving Brignogan. Before that they were waiting at the hotel lobby, it was the only place where the Wi-Fi signal was decent.




By evening, almost everyone was gone.

I made my way through the beach...

In LIMBO!

That was how I felt when I had to stay in Brest for another day.

The initial plan was simple. After writing my last post, I was supposed to go to the Brest station, catch a train to Paris, enjoy the beautiful countryside scenery during the 4-hour train ride, and then after reaching the Charles De Gaulle, sleep at the airport, and take the plane back to Tokyo.

Alas, things didn't work out, I was shell-shocked when there wasn't a train to be caught, and ended up being forced to reschedule my flight. Thus I ended up in Brest for an extra day. It's a frustrating feeling, when all your mind is prepared to go home, and BOOM! Some unforeseeable crap happened, and I ended up being stuck.

"Merry Christmas, Mr. Lawrence" in Wakeijuku

A few things had happened. I completed my new short film, THE WHITE FLOWER, I saw a few films at TOKYO FILMeX too (will try to write about them), parents + sister had also arrived in Tokyo for a visit (and also to attend the Eibunren Awards Ceremony on the 2nd of December).

I also intend to throw myself into my 7th short film of the year. I just need to conjure myself a script. More about that later, I hope.

I live in Wakeijuku dorm, that's the dorm Haruki Murakami lived in. The place had prided itself as the place where Norwegian Woods was based on. My feelings towards the place is a stormy one. But then, it IS situated at a pretty good location, and food and electricity are included in my not-too-unreasonable monthly rental fees.

Two nights ago, at the lounge of my building, there was this performance.



Too bad I don't get that everyday.

An Interview with Justin Isis

Justin Isis lacks abdominal definition

For me, literature should be as exciting and energising as pop music. I am now 37 years of age, and of a generation for whom pop music was both a personal journey of discovery and something that has always been there. I suppose that for those younger than me, at least the 'has always been there' part of this description must hold, if not all of it. It has been a source of puzzlement to me, therefore, that the sensibility of pop music – all that is best about it in spontaneity, daring and role-play – somehow has not managed to permeate the world of literature. I don't mean this in any superficial sense, that authors should all start wearing shades and writing in American hipster slang (by golly!). No, literature need not relinquish any intellectual depth by learning from pop music – it can even gain some.

Because, for me, interests in literature and pop music were equivalent and intertwined, when I first started having work published, I thought about the entire project through a pop music sensibility. My first collection, The Nightmare Exhibition, was a 'concept album', in which the title story provided a meta-narrative for the other stories. This, for me, was only the start, or so I thought, until I found that my 'concept albums' were being broken up by publishers who would reject and accept stories with no regard for the song-cycles to which they belonged, who did not care for my pretentious collection titles and who gave me little or no control over artistic presentation.

I had thought that any artistic path should resemble that described by David Bowie in the song Star:

I could play a wild mutation as a rock'n'roll star.

However, some years of the oblivious plodding attitudes prevalent in the world of publishing made me despair of such a thing. There was no David Bowie of literature.

This could be a long story, but I'll cut it short. Justin Isis got in touch with me over the Internet, after reading an online interview of mine, and my faith in literature has become invigorated, precisely because he is a writer who understands the lack of vision in literature as it currently exists. He is also a writer quite capable of the wild mutations that make pop music, at its best, so vital and exciting.

Not long ago, an e-mail from Justin Isis to myself contained the following:

I feel like writing is at least twenty or thirty years behind music... Music seems to have reached a total point of convergence, where genre doesn't really matter anymore. Writing still seems very genre stratified. I also feel like writing is really lagging behind in using technology. I don't mean stupid shit like the Kindle or e-books or whatever, but I mean actual programs for generating text or producing fiction, or database-programs that could be used for combining or mashing up texts based on common words or phrases. If you Google literary mashups, there is like nothing serious that comes up. I really can't believe that I may be the only person that gives a
shit about this.

I really feel like writing now has the potential to be a thousand times better than writing has been in the past. It should be, but no one seems to be doing anything about it. I feel like Susuki is properly "of its time" in that it feels to me like where writing should realistically be now, rather than everyone who is writing like it was still fifty years ago.

It was after reading this that I decided that I must interview Justin Isis, and put that interview out there (on here). And that is what I have done. I hope you find the results exciting and arousing.

-Quentin S. Crisp

I stumbled into a role as an extra in a new film with Love Exposure's Mitsushima Hikari

More incidents of stunning coincidence. More insane synchronicity.

On Monday, during a lab meeting (held every two weeks between film students in uni), my professor announced that two events will be happening in Waseda University on Wednesday (today):

My Last Day in Malaysia. My First Day in Japan.

I tried to compare the day I left for Perth in 2004 with the day I left for Japan and both days couldn't be any more different.

I'm Going To Japan (For 2 Years)

Guess it's time to make the announcement now.

An Interview With Quentin S. Crisp

I've talked about Quentin S. Crisp before - he's one of my favorite living writers. His 'demented fiction' is unrivalled for its poetic quality and general, um, dementedness, and I suspect it won't be long before he has a major mainstream breakthrough - not that there's anything particularly 'mainstream' about him, but his stories and novels are certainly of world-class quality. Anyway, I sat down with him recently to discuss his writing, his favorite films, pop music, the meaning of Mishima's death, the real reason why most people study Japanese, and other relevant topics. Suffice it to say that this is probably the most important thing I have yet posted to this site, and it certainly touches on more or less everything Swifty and I have put up here at some point. It is thus mandatory reading. Apart from that, it's probably the last substantial thing I'll post for a while, time constraints being what they are. Read on and learn more...

JAPAN SINKS 日本沉没

Also known as The Sinking of Japan, Japan Sinks 日本沉没, the most expensive Japanese movie ever (I heard), is Japan's answer to Korean and Hollywood movies that usually appeal to international audiences. It is a soulless, propagandistic blockbuster that sang praises of Japanese culture (and the country), displaying the sheer Samurai-like courage of Japanese people and their subtle and ridiculously honourable approaches in romance for the not-too-intelligent audiences. The opening credits were played over various famous landscapes and sceneries of Japan, all my years of watching Japanese films and never have I ever seen that many Japanese landmarks crammed in one film, let alone one montage.

20th Century Japanese Literature in Grade School Terms

20th Century Japanese Literature is often considered an impenetrable morass of nature poetry, vague description, and suicidal authors. In order to improve on this reputation and open these works up to a wider audience, we undertook an intensive program - and after months of study, we discovered that the most prominent authors (including two Nobel Prize winners) could best be understood in terms of a grade school class. This intensive research has infallibly determined that all of the writers mentioned below pretty much conform to the simplistic stereotypes I’ve reduced them to, both physically and in terms of their writing.