As we cross
I feel the strings loosen on
the things I knit myself to
what you said two years ago in
the hour so full of days
songs, signals, screens
three bars become
the little rectangle of light dissolves
as we approach the collection of pink neon
& euphonious sound
I could drown.
I was made for stillness
in a world that prides itself on being loud.
& as the sky unhooks itself from the heavens
& settles on its liquid reflection
I see it all now
how it was meant to be-
eyes open wide to see
the beauty in between things
Time is relentless it casts long, tremulous shadows & we, we are always in transit fleeting & flitting between light & dark & translucence always fickle always whisked away by loftiness by that crumbling feeling or the lift away. We don’t study the minute details but we take in beauty in spoonfuls, gallons… What ephemeral creatures we are. We must tread lightly on this earth.
Time is indeed relentless. Each calendar year folds us in without our volition, without countdowns or resolutions, without eyes squeezed shut at a wish being prayed in the middle of a street glistening with rain, praying for better, for more, for an expanse of white happiness to spread into the hours & days & months that will trudge on. When do we stand still long enough to let our souls catch up with our bodies that are always going places? When do we repave?
Rely, rely, rely, rely Behave, behave, behave, behave (spent all of that time not wanting to…) Decide, decide, decide, decide Repave, repave, repave, repave (spent all of that time not wanting to…)
Alaskans – Volcano Choir
Now’s as good a time as any. Here are some highlights – with lots of pictures, because sometimes words just don’t do enough justice.
Swansea / Hay-on-Wye/ Cardiff / Paris / Berlin / London.
Six places in five weeks. A pilgrimage like none other.
Bible school & moody coastlines.
The world’s first national book town.
A harrowing experience.
Wordlessness in my soul city.
Contemplation in the concrete.
Lightheartedness & the going home.
& yet all of that didn’t mean I had any real answers to the biggest question… What next? It’s not easy picking up the pieces when what you thought you would be doing your own life suddenly grinds to a halt. Coming back home, I prayed hard & knuckled down, steeling myself for a lengthy, vigorous search.
Turns out I didn’t have to. I went for an interview for a job that I don’t think I was even qualified for, got an offer a few hours after, & started at a new workplace two weeks later. & while the first few months were incredibly tough (still is, most days), I cut my teeth at whatever task I was given & tried to positively impact the people I was surrounded with. Ministry in the marketplace. & while I’m still making mistakes & learning fast & furious on the job, I’m more convinced than ever that this is where God has placed me in this season.
Another huge curveball was ministry. What was supposed to be a year of rest turned into a year of shock, struggle, & anger. This came with the painful leaving of many lifelong friends as well – planned or unplanned.
Processed with VSCO with b3 preset
Processed with VSCO with b3 preset
Processed with VSCO with b3 preset
But finally, things came to a head & all the shock & struggle & anger turned into an acceptance of new responsibility, of new calling. Where did it come from? I suppose from the realisation that what mattered at the end of the day was the people & knowing how precious each of them were to God.
Break my heart for what breaks yours Everything I am for your kingdom’s cause
Even though I could walk away from a ministry, there was no way I could walk away from its people. I will serve the church – my church – with as much strength as I have & for however long God grants me the grace to.
Ministry is such a joy, anyway. Like when I got to see three new people from my lifenet get baptised:
The Lord is my chosen portion and my cup; you hold my lot. The lines have fallen for me in pleasant places; indeed, I have a beautiful inheritance.
Psalm 16:5 – 6 (ESV)
My Dinner with André.
For the longest time, I dreamt about eating food like this. I spent hours poring over Lucky Peach & Bon Appétit magazines, devouring the column inches & holding the glossy images close to my nose. People who know me know how much food means to me (somewhere between the extremes of gluttony & gastronomy, I hope). I read about restaurants like The French Laundry, Eleven Madison Park, Per Se, Noma, El Bulli, Fäviken, D.O.M., Osteria Francescana, Blue Hill, Alinea, Atelier Crenn & André. André. I never thought I would be able to eat at one of them. Last year, I finally did.
29 courses. 16 glasses of champagne & wine. 5 hours. A dizzy night full of curiosity & surprises. A night redolent with memory.
Processed with VSCO with hb1 preset
… & speaking of good food.
In 2017, I ate…
& ate some more…
& so the pattern continues on, well into 2018.
Concerts / Festivals / Exhibitions
Totally blew my entertainment budget but loved every single minute spent at a gig or museum.
Singapore Writer’s Festival. Highlights included getting to meet my ex- creative writing professor Jennifer Crawford, the teacher who impacted me most in my university days & whose double-book release we celebrated together, attending a Simon Armitage poetry reading session & taking a picture with him after (sublime, & then not so much), & all-in-all, remembering how far Singapore has come in the literary world – how after decades, poetry is a luxury that we can finally afford.
Century of Light – An exhibition of impressionist works curated by the National Gallery. So happy to have gotten a taste of the Musée d’Orsay in the most beautiful museum in Singapore.
& last but not least… the little creative things I managed to accomplish last year.
Because I’ve already written so much about the importance of creating, I won’t go into another spiel. It’s been an incredible year with a few sparks of inspiration. All glory to God, my creator. Among all the little essays & poems & sketches, here are a few of the bigger milestones.
An accompanying photo exhibition – another fund-raising effort, made possible mostly because of my talented photographer friend Faith. Loved how much effort was put into this & how so many people supported this artistic endeavour. To think that our photos of doors & elephants & trees & all the other little things we found beautiful are having in people’s homes, right now.
Another fun photoshoot that I did for a client. Was pretty stressed about it, but thank God it turned out okay!
A second little gig – opening for Jean Tan, one of my favourite local songwriters & friend, who officially released her Hideaway EP that night. It was a three-song set but as usual, it’s daunting to be in the presence of such great talent. But this gig did force me to write a song that I ended up spontaneously singing with Jawn Chan that night. Such a magical moment to sing a line & hear a roomful of people chiming in after, singing back to me – I am a writer, I am gone / tell me your story, oh come to me…
Storytelling. That’s what 2017 was about. Come to think of it, it’s been a year spent repaving, a restoration of joy in the search of all things beautiful.
Glory be to God for dappled things –
For skies of couple-colour as a brinded cow;
For rose-moles all in stipple upon trout that swim;
Fresh-firecoal chestnut-falls; finches’ wings;
Landscape plotted and pieced – fold, fallow, and plough;
And all trades, their gear and tackle and trim.
All things counter, original, spare, strange;
Whatever is fickle, freckled (who knows how?)
With swift, slow; sweet, sour; adazzle, dim;
He fathers-forth whose beauty is past change:
(Gerald Manley Hopkins, 1884 – 1889)
Therein lies cities to be traveled. Lines waiting to be written. A hundred things to be made with one’s hands, conversations to be had, love to be lost & then won again. Newness in a page turning. Hello, hello.
“hold the page out like a work of art, see for yourself, comb through it twice, three times, look for your likeness in the lines but find someone else…”
At the Singapore Writers Festival a couple of weekends ago, I had the opportunity of attending Armitage’s poetry panel with Rae Armantrout on the role of poetry in society. I have been a big fan ever since I first encountered his work in The English Bookshop, back when I was studying in Sweden & was a stranger to its curious language with all its sharp turns & confusing vowel system. The English Bookshop in Uppsala was & still is an institution, an oasis for foreign students hungry for Norton Anthologies or English poetry translations.
Along with Mark Doty’s Atlantis, I picked up Simon Armitage’s Book of Matches without much of a thought. I’ve loved both poets ever since, but am drawn to the natural rhythms & jolting descriptions of the latter. Book of Matches consists primarily of short, untitled sonnets, each meant to be read in 20 seconds – the time it takes for a match to burn out completely from the time it is lit. Here’s one:
My party piece:
I strike, then from the moment when the matchstick
conjures up its light, to when the brightness moves
beyond its means, and dies, I say the story
of my life –
dates and places, torches I carried,
a cast of names and faces, those
who showed me love, or came close,
the changes I made, the lessons I learnt –
then somehow still find time to stall and blush
before I’m bitten by the flame, and burnt.
A warning, though, to anyone nursing
an ounce of sadness, anyone alone:
don’t try this on your own; it’s dangerous,
I like vivid, true-to-life love scenes
in a movie. No, that’s a lie,
that’s when I like love least;
it’s the turn of the head or a pale blue eye
that moves me.
Keep love in the mind
and out of the blood, beds
are for sleep, for dreams, for good.
I can see what it takes
to keep a friendship in the heart,
the chest. That’s
when I like love best – not locked away
but left unsung, unsaid.
And then the rest.
And another one, that is perhaps my favourite.
Mother, any distance greater than a single span
requires a second pair of hands.
You come to help me measure windows, pelmets, doors,
the acres of the walls, the prairies of the floors.
You at the zero end, me with the spool of tape, recording
length, reporting metres, centimetres back to base, then leaving
up the stairs, the line still feeding out, unreeling
years between us. Anchor. Kite.
I space-walk through the empty bedrooms, climb
the ladder to the loft, to breaking point, where something
has to give;
two floors below your fingertips still pinch
the last one-hundredth of an inch . . . I reach
towards a hatch that opens on an endless sky
to fall or fly.
What is it? What is it about these poems that makes Armitage both a popular & critically-acclaimed poet? It’s all because of style, a quality sorely lacking in this digital age, which Armitage emphasises time & time again is the essence of poetry. I have never read or written a poem which contained content that I couldn’t Google, he said, and I have to agree, which is why I am not surprised at the fact that Instagram poets like Rupi Kaur are receiving so much backlash lately. Unfortunately, social media has given confessional poetry a bad name – a genre once carried by the likes of Plath and Lowell, who valued language craftsmanship & prosody at the highest level – building it around a cult personality rather than the art form.
There is no point being outraged by Kaur even though one might be tempted to. She is famous in her own right & is at the very least lucrative, if not talented. But like Armitage & Armantrout addressed at that panel, the good that poetry does is found in the form it serves, not in the subject matter. While topics can & should be compelling, poetry is not composed of statements or personal opinions broken up on a page, but of form, & sound, & syntax. Style is integral for poetry as plot is to prose, or setting is to plays.
Is this thinking old-fashioned? I don’t know. I just know that like Armitage & Armantrout, a poet like Rupi Kaur cannot give me what I want from poetry. A poem can be simple but it cannot be simplistic. One cannot simplify what is meant to be complex. In 14 lines, selected words in the right order translates into an effervescent feeling. In 14 lines, a creature becomes a world unto itself.
It is why I love Armitage so much, because he upholds the integrity of the art form without being unreachable by the masses. His poems exist at the fringe of popular culture, dipping toes, dialoguing, touching on socio-political & even environmental issues without losing its characteristic style. In the poem In Praise of Air, the good in poetry manifests itself in a very tangible way.
“In May 2014 the University of Sheffield unveiled the world’s first catalytic poem. 20 metres in height, the poem is mounted on the wall of the Alfred Denny building on Western Bank. It is an original work by Sheffield University’s Professor of Poetry, Simon Armitage, and the result of a collaboration with Pro-Vice Chancellor for Science, Professor Tony Ryan. The giant banner on which the poem is printed has been manufactured using revolutionary nano-technology. It is coated with a photocatalyst which eats pollution, enabling the poem to clean the air around it as it sits in place, overlooking the busy A57.”
In Praise of Air was the first poem that Armitage read that afternoon. In a small chamber room at The Arts House, we listened as he read the 16-line poem in his slight, Yorkshire accent, enraptured at the way the words washed over all of us, knowing perfectly well what needed to be said & was said, & at the same time, being delightfully surprised by the warm, half-familiar feeling it gave anyway.
In Praise of Air
I write in praise of air. I was six or five
when a conjurer opened my knotted fist
and I held in my palm the whole of the sky.
I’ve carried it with me ever since.
Let air be a major god, its being
and touch, its breast-milk always tilted
to the lips. Both dragonfly and Boeing
dangle in its see-through nothingness…
Among the jumbled bric-a-brac I keep
a padlocked treasure-chest of empty space,
and on days when thoughts are fuddled with smog
or civilization crosses the street
with a white handkerchief over its mouth
and cars blow kisses to our lips from theirs
I turn the key, throw back the lid, breathe deep.
My first word, everyone’s first word, was air.
the ruining has begun
& I am going to the other side
I must reach before the night seeps
(already the clicking of cicadas
are prising apart my mind)
yes, it has begun, the setting
the sun altering
into a pool of gold, licked up
from the concrete
it’s all in the detail
all in the cracks
like the note folded thrice
in my back pocket
the sweat, diamonds on
my neck, slicked back
& you’re jittery, I get it
so am I
because this tension
it’s found its way into everything
sticky heat, a pomegranate
splits open at your feet
scooped out like a bad habit
the rupture, it sickens me
& so I quicken my step
on this covered lane
that never seems to end
like the ruining
the quick stab in my left side
this ramshackling of a time
I try & lay it all to rest
but if you could tell yourself
a lie in a dream
why not in real life?
Light ended the night, but the song remained And I was hiding by the stair Half here, half there, past the lashing rain And as the sky would petal white Old innocent lies came to mind As we stood, congregated, at the firing line
Night ended the fight, but the song remained And so I headed to the wall Turned tail to call to the new domain As if in the sight of sea, you’re suddenly free But it’s all the same… Oh, but I can hear you, loud in the center Aren’t we made to be crowded together, like leaves?
On 16th June 2017, Fleet Foxes released Crack-Up, their first full-length album in six years. I have just finished listening to it in its entirely in my bedroom, under the covers & with the lights off, & I am flush with feeling & memory. Music has such a powerful transportive ability; it can take you anywhere, anyplace, if you let it.
Listening to Third of May / Ōdaigahara brought me back to almost a decade ago when I wandered into HMV at City Hall & was drawn to this slim, paper sleeve with the most intriguing cover – a composite of two strange images, gothic yet modern, speckled with neon spots of colour & the notion of motion, like a technicolour medieval film framed within a 5″ square. I was reeled in even by their name, the “f” consonants light & fleeing on my tongue. I imagined their songs would feel like smoke, slipping seamlessly out of a room & back in again. I bought the five-song EP on a whim, not knowing how much this record was going to change me & how I related to music. I was only fifteen years old.
I remember listening to Mykonos for the very first time, not unlike how I just listened to Crack-Up, plugged in & with my eyes squeezed shut in the dark, & even though I had not been to the tiny Greek island (I still have not, but I am hopeful), I felt all at once wrecked & known. I thought, perhaps if I could write a song like that someday that could make someone feel so intensely (like how Mykonos was for me), all that time spent saturated in music – all the hours & days of intent listening & furious writing & practicing the guitar – would not have been wasted… No, they wouldn’t have been wasted at all.
And you will go to Mykonos With a vision of a gentle coast And a sun to maybe dissipate Shadows of the mess you made
I didn’t know much about folk music then, but Fleet Foxes made me feel like it was okay to be into the folk music that I did know about – Simon & Garfunkel, Bob Dylan, Crosby, Stills & Nash – & not feel so ridiculously old-fashioned about the music I was dreaming about making one day. If you are a curious person, music is like an infinite series of rooms waiting to be discovered – genres & artistes cascading into another – & Fleet Foxes was my backdoor to modern folk acts like Bon Iver & Laura Marling & Feist. I learnt how to harmonise by singing along to White Winter Hymnal, how to finger-pick by practicing with Ragged Wood, & about the intricacies of arrangement by listening to Grown Ocean & Helplessness Blues. I listened to Quiet Houses when I was becoming somewhat disillusioned with the Junior College literature syllabus & marveled at how poetry could be derived from six words, sung over & over in majestic crescendos:
Lay me down… Darkening… Come to me…
Nearly ten years later & having a little experience in music-making, I still find myself crying whenever Oliver James comes on, & I inevitably wander back to my shelves again to pick through the weathered record covers. In Sun Giant, the only thing you’ll find in the sleeve besides sparse album credits & the CD itself is a lengthy note jokingly credited to Thomas Jefferson but actually written by Fleet Foxes’ frontman Robin Pecknold. It is essentially a long preamble about the magic of music but it holds so much truth & remains relevant to my existence till this day. I don’t know if Pecknold is a religious man, but this piece of writing speaks to me deeply about my faith & I suppose to a greater extent, the expression of that very faith – worship. The music of Fleet Foxes has inadvertently taught me how to host my sense of wonder well, & along with it, whatever gifts God has chosen to bless me with.
Here are portions of that note:
Sometimes when driving, or riding the bus, or walking around some park, I will try to get an image in my head of what the land around me would have looked like 400 years ago. The same hills, the same landscape, but in my mind I’ll cover it with nothing & wonder what it was like to be the first man to chance upon it. This is always useless to me. There is so much wonder in this world, but I always have trouble getting past our influence, our disasters & clumsy systems. & even in those places where there is some real beauty, like down at Golden Gardens or on the Olympic Peninsula, or in my grandparents’ cabin in Wenatchee when it’s deep in snowdrifts, all I have to do is take one look at the skyline in the distance, or the cement path I’m walking on, or the white car parked in the gravel driveway to take me out of the tenuous illusion & put me back in reality.
We are constantly tethered to some safety line. There is always a lantern, or a map, or a screen, or a cell phone. These things guarantee that whatever experience we’re having is just an attempt at connecting to something foreign & old, that it’s not real, no matter how real it looks. We’ve sketched out a new world over the old & they are in two separate universes. The old is lost despite the remnants of the everyday. If properly prepared, one could live entire decades indoors, in a world of their own creation.
A very smart & gifted friend of mine told me once that music is a kind of replacement for the natural world that, before civilisation or whatever, the world must have seemed a place of such immense wonder & confusion, so terrifying in a way, unthinkably massive & majestic. & that feeling of mystery & amazement, is somehow hardwired into us. Once the world became commonplace, mapped, & conquered, that mystery left our common mind & we needed something to replace it with & then came along music. I think she’s right, music is magic to me, transportive & full of wonder in a way that I have trouble getting from the natural world. All the human things that make the natural world so hard to connect with just aren’t there with music… Music to me is just as awe-inspiring as the world maybe once was, & I just love it a lot.”
Another one, & a lasting favourite.
In that dream I’m as old as the mountains Still is starlight reflected in fountains Children grown on the edge of the ocean Kept like jewelry kept with devotion In that dream moving slow through the morning
Wide-eyed walker, don’t betray me I will wake one day, don’t delay me Wide-eyed leaver, always going…