Think of Cold War communist insurgency and guerilla warfare might well spring to mind. Sometimes it worked, building from the hinterlands to capture the capital: see Cuba. Sometimes it failed: see Che in Bolivia. And sometimes the revolutionaries remained stuck in the wild, undefeated but unable to seize the state.
Malaysia
Malay folklore is peopled—if that’s the right word—with a variety of supernatural beings, ghosts, and spirits, which reflect cultural anxieties, historical beliefs, and the blending of animistic traditions with Islamic, Indian and Chinese influences. Given this tradition has been a fundamental part of local storytelling for centuries, it’s unsurprising that horror is a staple of the Malaysian film and publishing industries. Malay-language horror movies often outperform Hollywood blockbusters in the domestic market, and locally published horror fiction is popular, in both English, and Malay.
Political memoirs or, worse, philosophical treatises by political leaders, are often books best avoided. Yet Anwar Ibrahim’s recent Rethinking Ourselves is nonetheless one the most erudite collection of essays out in this or any recent year.
The recent documentary, The Sea is Our Home immerses viewers in the vibrant yet precarious world of the Bajau Laut, whose stilt houses rise above the turquoise waters of Sabah’s east coast. While this film is centered on the sea nomads of Malaysia, the Bajau Laut can also be found in aquatic settlements across coastal Philippines and Indonesia.
Zhang Guixing’s Elephant Herd is as complicated and teeming as the rain forest in which it is set. Within this rich natural environment is a family drama, a political drama, and what amounts to a coming-of-age novel in an incredibly violent, and seemingly amoral, world.
It started as a British experiment in 1933: Could the Malays form an effective modern fighting force? From an experimental company of 25 raw recruits, within 10 years the regiment created legendary heroes in their gallant last stand against the Japanese in Singapore, February 1942.
From 1976 to 1989, Hai Fan was part of the guerrilla forces of the Malayan Communist Party. These short stories are inspired by his experiences during his thirteen years in the rainforest.
A trip down south turns out to be more life-changing than a family getaway in this passionate story of sexual awakening set in late 1990s Malaysia. The novel is the first in a planned quartet which follows the Lim family and their struggles with racism, gender, sexuality and, most importantly, inter-generational conflict.
In her letter to readers at the beginning of her debut novel, The Storm We Made, Vanessa Chan writes that Malaysian “grandparents love us by not speaking” and goes on to explain that this only pertains to the four years of Japanese occupation during World War II. In every other subject, she writes, Malaysian grandparents do speak and at great lengths. But when it comes to the war, they cannot bring themselves to talk about the horrors from that time.
In 1921, Somerset Maugham and his partner Gerald Haxton traveled throughout Asia, which included a sojourn in Penang. Maugham gathered personal stories from people he met in Malaya that would inspire his fictional work, The Casuarina Tree, a collection of six stories published in 1926.
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