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Brown is Redacted: Reflecting on Race in Singapore responds to, expands on and questions what we think we know about the lived experiences of minority-raced people in Singapore. Inspired by Brown Is Haram, a performance-lecture on minority-race narratives staged at The Substation in 2021, this anthology reflects on how brownness is constructed, sidelined, but also celebrated in this nation-state. Through a combination of essays, academic works, poems, and stories by brown individuals, Brown is Redacted both attempts to and fails to create a singular brown experience. What this anthology does produce instead, is a moving and expressive work of solidarity and vulnerability. "Brown is Redacted is an incredible and much-needed collection of work that challenges preconceived notions about state- and socially created categories. The works here interrogate the nature of identity, using the lenses of art, academia and personal experience and capturing the dreary pain of being othered as well as the powerful joy of being seen. The writers hold nothing back, offering their hurt, tenderly showcasing the beauty in the under-represented, and triumphantly celebrating individuality." —Akshita Nanda, co-winner of the Singapore Literature Prize in English Fiction “Brown is Redacted, through its ambition and lyricism, liberates us from the multicultural straitjacket stitched in the 1960s. On every page is a voice that has risen from the interstices of overlapping traditions and generations. Together they lay bare the complexities of the brown experience: the rawness of the struggle, the absurdity of the ignorance, the radical agency of choice, the ecstasy of solidarity. We can transcend. To be brown in Singapore is to dance between anguish and joy.” —Sudhir Thomas Vadaketh, Editor-in-Chief, Jom
This fascinating book is the first volume in a projected cultural history of the United States, from the earliest English settlements to our own time. It is a history of American folkways as they have changed through time, and it argues a thesis about the importance for the United States of having been British in its cultural origins. While most people in the United States today have no British ancestors, they have assimilated regional cultures which were created by British colonists, even while preserving ethnic identities at the same time. In this sense, nearly all Americans are "Albion's Seed," no matter what their ethnicity may be. The concluding section of this remarkable book explores the ways that regional cultures have continued to dominate national politics from 1789 to 1988, and still help to shape attitudes toward education, government, gender, and violence, on which differences between American regions are greater than between European nations.
Mummy, why do you always have to leave for 17A… 17A Keong Saik Road recounts Charmaine Leung’s growing-up years on Keong Saik Road in the 1970s when it was a prominent red-light precinct in Chinatown in Singapore. An interweaving of past and present narratives, 17A Keong Saik Road tells of her mother’s journey as a young child put up for sale to becoming the madame of a brothel in Keong Saik. Unfolding her story as the daughter of a brothel operator and witnessing these changes to her family, Charmaine traces the transformation of the Keong Saik area from the 1930s to the present, and through writing, finds reconciliation. A beautiful dedication to the past, to memory, and to the people who have gone before us, 17A Keong Saik Road tells the rich stories of the Ma Je, the Pei Pa Zai, and the Dai Gu Liong—marginalised, forgotten women of the past, who despite their difficulties, persevered in working towards the hope of a better future.
Why did independent Singapore celebrate two hundred years of its founding as a British colony in 2019? What does Merdeka mean for Singaporeans? And what are the possibilities of doing decolonial history in Singapore? Raffles Renounced: Towards a Merdeka History presents essays by historians, literary scholars and artists which grapple with these questions. The volume also reproduces some of the source material used in the play Merdeka / 獨立 / சுதந்திரம் (Wild Rice, 2019). Taken together, the book shows how the contradictions of independent nationhood haunt Singaporeans' collective and personal stories about Merdeka. It points to the need for a Merdeka history: an open and fearless culture of historical reckoning that not only untangles us from colonial narratives, but proposes emancipatory possibilities.
'Blown to Bits' is about how the digital explosion is changing everything. The text explains the technology, why it creates so many surprises and why things often don't work the way we expect them to. It is also about things the information explosion is destroying: old assumptions about who is really in control of our lives.
From a future of electronic doas and AI psychotherapists, sense-activated communion with forests and a portal to realms undersea, to a reimagined origin and afterlife—editor and translator Nazry Bahrawi brings together an exciting selection of never-before translated and new Malay spec-fic stories by established and emerging writers from Singapore. Especially in an anglophone-dominated genre, very little of Malay speculative fiction from Singapore is known to readers here and beyond. Yet contemporary Bahasa literature here is steeped in spec-fic writing that can account as a literary movement (aliran)—and unmistakably draws from the minority Malay experience in a city obsessed with progress.
The groundbreaking debut by the award-winning author of Wayward Lives, Beautiful Experiments, revised and updated. Saidiya Hartman has been praised as “one of our most brilliant contemporary thinkers” (Claudia Rankine, New York Times Book Review) and “a lodestar for a generation of students and, increasingly, for politically engaged people outside the academy” (Alexis Okeowo, The New Yorker). In Scenes of Subjection—Hartman’s first book, now revised and expanded—her singular talents and analytical framework turn away from the “terrible spectacle” and toward the forms of routine terror and quotidian violence characteristic of slavery, illuminating the intertwining of injury, subjugation, and selfhood even in abolitionist depictions of enslavement. By attending to the withheld and overlooked at the margins of the historical archive, Hartman radically reshapes our understanding of history, in a work as resonant today as it was on first publication, now for a new generation of readers. This 25th anniversary edition features a new preface by the author, a foreword by Keeanga-Yamahtta Taylor, an afterword by Marisa J. Fuentes and Sarah Haley, notations with Cameron Rowland, and compositions by Torkwase Dyson.
“When you take an orchid out of its pot, you must first loosen the roots’ hold on the soil. Late last evening as I unravelled the braids of the shattered phalaenopsis, I saw how the ends were white and shrivelled from neglect. You have to do it gently—it’s like combing hair. I remember Mum’s fingers running through mine, and mine through hers, until the final months when all of it started to fall.” A pot shatters. An arrangement falls apart. A florist finds herself amidst the scattered leaves of history. At once a poetry collection and a documentary novella, The Orchid Folios reimagines the orchid as a living, breathing document of history: a history that enmeshes the personal, colonial, linguistic, and biotechnological with the Vanda Miss Joaquim, the symbol of Singapore’s postcolonial hybridity. While the Orchid has shaped the fantastical narratives that govern our multiracial City in a Garden, it continues to shape-shift and bloom on its own terms, challenging us to imagine a decolonised Singapore. This is the organism at the heart of The Orchid Folios—by turns stark and unruly, documenting and challenging the narratives that are the roots of our national consciousness.