It brings together (but is not limited to) estranged lovers, despairing mothers and the avenging spirits of murdered women, in an assortment of words that celebrate queer desire, obsessive longing and a general disregard for "proper" subject matter. Comprising selected work written over the course of a decade, the largely confessional collection has been described as dark and hysterical ... but in a good way.

    The poet wonders at his own existence and struggles between actual living and the desire to die."Cyril Wong continues to explore the nuances of relationships, in language that is lyrical, beautifully crafted, and erotically charged. There are several fine love poems that reach out to embrace a common humanity. Wong swims into the undercurrents of family tensions, hidden desires, and the meaning of a self... as well as questioning our understanding of both life and death."- Rebecca Edwards, author of Scar Country and Holiday Coast Medusa"Reading Cyril Wong is always to encounter risk, the painful suturing of art and life, trials of faith and baptisms of fire. I have only the deepest respect for someone who has razed the walls between the private and the public, and in doing so, carved more space for all of us."- Alfian Sa'at, author of One Fierce Hour and A History of Amnesia

    The poems deal with the impossibility of such an endeavor and celebrate our persistence in striving anyway.At its core, the collection is built around a very wise line from a Beatles song: I want to hold your hand. I want to hold your hand with no further expectations. I want to hold your hand instead of telling you I understand when I don’t. I want to hold your hand although we don’t always get along. I want to hold your hand despite the calluses, scratches, and scars that get in the way. I want to hold your hand knowing I’ll have to let it go one day.I just want to hold your hand.

    A band of swordsmen on a failed mission. The forbidden love of Zheng He, the great Chinese Admiral. A young daughter forming a strange bond with her deceased father’s cat. Presenting ten stories in his fifth collection, O Thiam Chin plumbs the joy and despair, hopes and fears of men and women caught up by their past and confounded by lost loves. Taut, dark and visceral, these stories reveal, once again, the mysteries that lie in the heart of man.

    I do what is necessary to get what I want.”Born on the night of the nation’s independence, Gimme Lao is cheated of the honour of being Singapore’s firstborn son by a vindictive nurse. This forms the first of three things Gimme never knows about himself, the second being the circumstances surrounding his parents’ marriage, and the third being the profound (but often unintentional) impact he has on other people’s lives.Talented, determined and focused, young Gimme is confident he can sail the seven seas, but he does not anticipate his vessel would have to carry his mother’s ambition, his wife’s guilt and his son’s secret. Tracing social, economic and political issues over the past 50 years, this humorous novel uses Gimme as a hapless centre to expose all of Singapore’s ambitions, dirty linen and secret moments of tender humanity.

    Accompanied by Alphonsus Lee's photography, SQ21 shows an unabashed straightforward honesty and celebrates the lives of these ordinary Singaporeans. Written in a light, readable style, these insprirational stories will touch the hearts of readers gay and straight, Singaporean and otherwise.

    Test on a small area first – especially if you are in possession of a broken (or breaking) heart and see your bartender immediately if side effects persist.

    Rehash national icons: the truth about racial riot fodder-girl Maria Hertogh living out her days as a chambermaid in Lake Tahoe, a mirage of the Merlion as a ladyboy working Orchard Towers, and a high-stakes fantasy starring the still-suave lead of the 1990s TV hit serial The Unbeatables.Heartfelt and sexy, the stories of Amanda Lee Koe encompass a skewed world fraught with prestige anxiety, moral relativism, sexual frankness, and the improbable necessity of human connection. Told in strikingly original prose, these are fictions that plough, relentlessly, the possibilities of understanding Singapore and her denizens discursively, off-centre. Ministry of Moral Panic is an extraordinary debut collection and the introduction of a revelatory new voice.

    Boom tells the story of an elderly woman and her property agent son in Singapore, who are struggling over the potential en bloc sale of their home. Their destinies become interwoven with that of an idealistic civil servant, Jeremiah, who is facing the greatest challenge of his career—persuading a reluctant corpse to yield its memories. Boom is a quirky yet poignant tale about the relocation of both dead and living, and how personal stories get left behind in the inexorable march of progress.Written by economist-turned-playwright Jean Tay, Boom was conceptualised at the Royal Court Theatre in London in 2007, and developed and staged by the Singapore Repertory Theatre in September 2008. It was nominated for Best Original Script for The Straits Times’ Life! Theatre Awards in 2009 and is now an O- and N-Level Literature text in Singapore schools.“Jean Tay is one of the most gifted playwrights I have come across in years.” —Gaurav Kripalani, Artistic Director, Singapore Repertory Theatre

    Travelling to the past, parallel planets, and the future, it tells a story of stories that explores the universal themes of love and loss, time and transience, and travel and wanderlust.Enchanting and evocative, the tales of Agnes Chew transport you to places that run on lost time, missed opportunities, and deep-rooted aspirations. These are voyages fuelled by a sense of nostalgia, possibility, and hope. Ultimately, this debut collection raises fundamental questions on the ways in which we live our lives.

    Throughout are interwoven the themes of memory, loss, language, identity and cultural reclamation.Similarly, it is a reflective and provocative journey of self-discovery; a journey the reader may also take to explore what it means to exist at the confluence of being Singaporean and being Eurasian, and to interrogate the liminal space between two cultures, Asian and European, occupied by this community.

    This is the man who picks his nose on the bus, who will fight for his country and fight you to do it his way. He will shout you into submission while astounding you with his tenderness towards his wife. His standard answer to all you questions is "nothing." Singaporean to the core, this volume of short stories narrated in a mixture of colloquial Singlish and standard English reinvents classic prose forms from the ghost story to the university admissions essay through the figure of Uncle.

    Although her absence is brief, she returns as a different person.Over two decades, as Singapore’s political, social and cultural landscapes change, the family’s attempts to cope with the shifts—those coming from outside and from within—lead to some disastrous consequences. With the traditional expectations of their country on the one hand, and their own volition on the other, Amrit’s family must avoid imploding. How do we confront our legacies, and, when necessary, how do we accept change? Inheritance is a universal story of family, identity and belonging.

    None of these he allows to overwhelm his spirit or his poems, which demonstrate, through breath and cadence and unrepentant enthrallment, that a gentle palm on a chest can calm the fiercest hungers.

    It is best remembered for bringing mental illness and its patients’ plight to the attention of the media and the public.The play uses effective techniques of flashbacks; moving the characters in and out of their schizophrenic and normal selves to elicit the rational and emotional experiences of two schizophrenics, Vinod and Saloma.Off Centre was first staged in September 1993 at The Drama Centre.