It. Is. Not. A. Cake

Last week, I'd read a news report about a new kind of cake that's making waves in the New York food scene. A bit more reading and research later, I concluded that it was essentially a failed attempt at making jelly.

The main draw of the "raindrop cake" is a HUGE drop of water that's been reinforced with a bit of agar-agar, a gelatin-like substance extracted from seaweed. It contains only enough agar-agar to maintain its appearance as a gigantic drop of water; it dissolves into a puddle after about half an hour on the plate and it is more fragile than most jellies.

Hence, my bemusement and annoyance at New Yorkers paying US$8 for what I consider the 1MDB of jellies: something that looks good but lacks substance and is not structurally sound. And it's as if Westerners haven't heard of jelly before.

♪ Raindrops keep fallin' on that plate, like the hipsters hankerin' for a
taste; gotta Instagram it, then ooh and ahh over it, raindrops keep fallin'
on that plate, keep a-fallin' ♫ (not my photo; taken from NDTV Food)

As someone helpfully pointed out a few hours after I tweeted the recipe and origins of the dessert, the so-called "raindrop cake" - a.k.a. mizu shingen mochi (水信玄餅) - came from Japan. A company in Yamanashi Prefecture in Central Honshu made this transparent interpretation of the more conventional shingen mochi, said to have been named for Shingen Takeda, a medieval Japanese warlord. It's been around since 2014, I believe, and you can find recipes for it and its variants online.

Mochi in Japanese means "cake" or "biscuit", but there's nothing in the waterdrop thingy that suggests it is a cake in any way we are familiar with; hence, perhaps, the inclusion of the roasted soya bean powder (kinako) and brown sugar syrup.

Yes, it has no calories and is ephemeral, clean-flavoured, vegan and transparent. Much Zen. So healthy. Wow. The Japs nailed this embodiment of the Zen philosophy with aplomb.

BUT.

Whichever way you look at it, it is. Not. A. Cake. Just a blob of not-very-dense jelly with soya bean powder and sugar syrup on the side.

Yes, I made one. Or something close to it. Because I wanted to see
one for real and am too frugal to pay US$8, plus the airfare to
New York and accommodation. Used a bowl instead of a mould.

So I posted a hysterical tweet about it, throwing in a veiled and possibly racist reference to Calvin Trillin's controversial Chinese-food poem in The New Yorker. Like some, I thought Trillin was making fun of New York foodies who seem to get thrown for a loop each time something emerges from the mysterious East and start writing poetry.

Kaya toast that's "implausibly tall and as porous as coral", sealed with "celadon-hued coconut jam"? Blue glutinous rice that "spent the night with a fistful of morning glories"?

And muah chee (a local mochi-esque snack) that looks like "larval nubs of hot mochi pitched in roasted ground peanuts, sesame seeds and sugar"?

Okay, whatever. After all, it's not the first time you guys found toast trendy. And it seems this fad was also imported from the East.

(By the way, the flower that "spent the night" with the glutinous rice is more likely to be the blue pea flower (Clitoria ternatea). You're welcome.)

Water, agar-agar and heat. I didn't measure exactly how much jelly
powder to use, but it's less than what you'd need for normal agar.
I panicked at first because it didn't seem to set properly. Then,
the mixture started to gel...

I suppose it struck a nerve. Westerners have been accused of cultural appropriation (curry powder and Eastern noms de plume, anyone?), or exoticising otherwise common stuff from the East. Their antics inspire a range of emotions from amusement and bewilderment to annoyance and outrage.

Granted, it may have taken a long time to get the waterdrop illusion right and importing the ingredients from Japan can add to the cost. And maybe Americans aren't used to the idea of eating something that looks like a blob of solid water or, as some have said, a silicone breast implant.

Also, we Malaysians are almost as (if not more) kiasu when it comes to chasing food crazes - remember the salted egg yolk croissants? I'm sure they're still flocking to that little Petaling Jaya bakery. Let's not mention the verbal spats we've had with Singaporeans and maybe Indonesians over who "owns" what dish.

But still...

Not a lot of agar-agar is needed, but the jelly powder did colour this
prototype a little. And I think it's still too firm. Still, go me. I
totally geeked out when it finally came together.

Agar-agar is cheap, especially in Malaysia, and this thing made out of it was sold in New York for the price of two Starbucks beverages. And, as you've already seen, the centrepiece can be replicated with a little time and effort.

But above all...

Sore wa kēkide wa arimasen.

It. Is. Not. A. Cake.

Chicken And Curry Sauce, With Pasta

Hallo! Apa khabar, ni hao, vanakkam, manah betemu nuan, inoe dengah, kopivosian, silamat bidapud, namaste, sat sri akal, welcome to another edition of Epicurean Editor.

Okay, boys and girls, I know it's been a long time since I talked about what I cooked, but all I've been doing are pasta dishes and you don't really want to know that.

Well, too bad, because I can't cook rice or couscous as yet

But lately, I've been toying with ideas for curries again. As a curry lover, this dish has become a preoccupation every time I have the urge for something spicy. Then a friend introduced me to a YouTube chef from India, Mr Sanjay Thumma, a.k.a. the VahChef of VahRehVah.com

Vah! This man has an online empire - Facebook, Twitter, Pinterest, Instagram, and even apps on Google Play and the Apple App Store. He films in English, Telugu and Hindi, and his wife is also involved. Okay, the grammar could use some work, but that's no impediment to his reach, apparently.

More importantly, he's changed the way I do curries by taking away some of the doubts I have about spices, certain herbs and turmeric. The latest curry thing I made is not what I'm talking about now but more on that later.

What I'm talking about is boneless chicken curry pasta.

(So sorry, boys and girls, for inflicting carbs on you again.)

First, take a pair of chicken chops - deboned drumsticks, really - and marinate with about two tablespoons of yoghurt, some curry powder and salt.

I'm nervous when buying raw meat because I worry about getting it home before it starts going bad. Back home, however, I had fun working the marinade into the chicken, sneaking some under the skin and giving it a nice rub.

Satisfied, I let the chicken sit in the marinade in a plate, which I cover with cling film and allow to marinate overnight in the fridge. Usually this means seven to eight hours, but I ended up leaving it for up to twelve. I wasn't worried, as I was the only one eating it. The drumsticks can't complain; people do pay for yoghurt rub-downs.

♪ Marinated chicken-y goodness, sitting in the fridge ♫

Meanwhile, I get the mise en place - the palette of prepared ingredients - ready. Chopped onions, curry powder, cooked pasta, chopped tamat- sorry, tomatoes ... the usual. A video featuring Gordon Ramsay teaching five basic cooking skills had me chopping onions joyously - now as therapeutic for me as mincing garlic.

From Chef Sanjay, ginger-garlic paste. Grate three good-sized cloves of garlic and a thumb-sized piece of ginger and mix into a paste; you should get about a heaped tablespoon's worth. I think the proper way is to grind the ginger and garlic, both peeled, in a pestle and mortar.

Boys and girls, prepping a mise en place is tough, especially for curries.

Against certain wisdom, I cut the marinated chicken into smaller pieces, throwing away the bony knobs left behind, and rubbed the marinade on the now-uncovered bits. I'd expected to fry the chicken in the pan with some oil, but ended up braising it instead because as soon as the meat got hot, vah! A deluge of juices!

Possible reasons: left-over water from rinsing the chicken, the juices and fat from the chook and the marinade, or maybe because the heat was low. Way too much moisture from two deboned drumsticks, in my opinion.

After wallowing in curry-tinged yoghurt for twelve
hours in the fridge, voila. Ha, ha, ha~

I tried not to overcook it, as I would be returning the meat into the pan with the curry sauce for the pasta. Once done, I set it aside, juices and all, and work on the sauce.

Fry the onions in some oil (time to whip out the rice-bran oil I was recommended) until they start taking on some colour, then throw in the ginger-garlic paste and continue frying for a bit until the aroma from the paste emerges.

Take it off the heat, stir in the curry powder and mix until it forms a dry-ish paste, then return to the heat and fry until it smells even better. Don't do this for too long, as the curry powder would burn.

By now parts of me that weren't covered were infused with the bouquet of a curry in the making. If you have this problem, shower quickly and wash your hair before you go around your house and spread the aroma. And make sure your kitchen is well ventilated.

Stir-fry the chopped tomatoes in this paste for a bit, then add a bit of water. I'm partial to drier curries, so I kept the water at a minimum. The tomatoes have to cook or it'll take longer for them to dissolve into the sauce.

Masala in the making, on the way to becoming super-tasty,
super-awesome curry. Woo hoo hoo~ ♪

Then, I let the whole thing simmer until the tomatoes and onions disintegrate, stirring to keep the sauce from burning.

Thick sauces tend to have air pockets that lift the liquid off the bottom of the pan, creating patches of heated metal that will burn the sauce when the air goes out. They can be hard to spot, so watch the pot and stir every couple of minutes or so. At least, that's my theory.

Taste the sauce and adjust the level of salt in it. Rescuing an oversalted dish can be troublesome, so always start with a little bit.

Once the tomatoes and onions start to disappear into a gooey mass, I threw in the chicken, juices and all, stirred and allowed the sauce to simmer under low heat. I learnt later the chicken wasn't sufficiently salted, but the sauce helped.

By now I couldn't resist the urge to dig in. But, time and
place, boys and girls. Time and place.

When the sauce is almost ready, about one tablespoon of butter went in. I'd put more butter, but I'd have to have a really bad day to make my curry sauce that much richer. No additional yoghurt, since the marinade already has it.

Our on top of the pasta, toss thoroughly and serve.

Vah!

As expected, the yoghurt made the sauce sourish, but the level of spice was just fine. And the butter gives richness and a tiny bit of a milky sweetness ... I am so adding butter in all my curry dishes from now on. The ginger-garlic paste adds more taste as well as warmth and aroma. So worth the peeling and grating.

Mm, mm, MM! Best curry chicken (with pasta) yet. Better with butter.

Days later, I tried pasta with an "empty" (meatless) curry sauce. Instead of onion, I used shallots (too much, I think) and added an inch of grated turmeric root. What I got was something reminiscent of the Nyonya-style curries, or the sambal Mom used to stuff fish with before frying.

It's the shallots and turmeric but, my goodness, the work involved.

Peeling shallots can be tough, and one is tempted to remove the first succulent layer as well when peeling. But don't - all that adds up to a lot of wastage, if you're using a lot. So I adopted a tip from the Internet: soak the unpeeled shallots in water to soften the "paper".

Peel the turmeric with a spoon; like ginger, you don't want any of the skin on when you grate it. For one obvious reason, it's preferable to wash the grater and anything else that comes into contact with turmeric immediately after you're done with them. Five days later, the stains, albeit reduced, are still on my thumbs and forefingers.

But all the effort and turmeric stains were worth it. The shallot-based curry sauce was awesome. Shallots are Awesomesauce™.

Mutton curry pasta and home-made bottled curry sauces, here I come.

Attention, Book People: Page to Pitch (P2P) Media 360

I received a media invitation several weeks ago to an event on 4 April announcing a pitching competition for a publishing opportunity with Karangkraf and a chance for authors to adapt their works for a plethora of other media.

Since I couldn't personally attend, here's what I learnt about it from the organisers:

Perbadanan Kota Buku, Malaysia’s leading hub for publishers, authors and readers - in collaboration with Kumpulan Media Karangkraf and the National Film Development Corporation Malaysia (FINAS) - are organising "Page to Pitch (P2P) Media 360".

This publishing-to-media pitching competition will be held in conjunction with the 9th edition of the Kuala Lumpur Trade and Copyright Centre (KLTCC), concurrent with the annual KL International Book Fair from 29 April to 9 May.

The competition is divided into two categories.

The first category, Idea to Publishing, promises the winner an opportunity to publish his or her book idea with Karangkraf that's worth up to RM50,000, a RM5,000 grand prize from Kota Buku and an international marketing opportunity after publication. This category is open to entrants from all ASEAN countries.

The second category, Book to Development, aims to adapt existing publications into different digital media content such as a feature film, TV series, animation, digital comics, games, apps and more. The winner of this category will receive a green lane for their application in the FINAS development grant worth up to RM500,000, a RM5,000 grand prize from Kota Buku, and an international marketing opportunity. This category is exclusively for Malaysians.

"We are aware that there are many undiscovered talented writers out there," says Sayed Munawar Sayed Mustar, CEO of Kota Buku. "Therefore, P2P is the golden opportunity for them to shine and get the recognition for their talent. We hope the competition will encourage not just our nation’s creative writers, but ASEAN writers as well to boost their talent and strive to enrich the publishing industry as a whole."

Submission for both categories is open until 22 April 2016. Applicants can download the entry form here or find more details here.

Shortlisted entries will be invited to pitch their ideas in front of a panel of local and international industry experts from 7 to 8 May 2016 during KLTCC 2016 at Hall D, MAEPS, Serdang, Selangor.

That means you have two weeks to send in your applications. All the best.

---

The Kuala Lumpur Trade Copyright Centre (KLTCC) is a rights fair held annually in Southeast Asia. It's the biggest trade and copyright fair in the region, drawing top publishers and rights agents to to network, buy, sell and research the latest trends in the market.

Perbadanan Kota Buku was established in 2011 as a part of Malaysia’s Book Policy, with a mandate to promote book development in the country. It gathers readers, writers and publishers for various book-related activities and offers various services to accomplish its mission.

I believe Kota Buku will be doing other stuff at the book fair as well on 7 and 8 May, introducing themselves to visitors and showcasing the services they offer. Might as well have a look when you're there.

Book Marks: Peninsula, BookShots, And Mystery Book Stacks

"...I loved writing A Malaysian Journey, it was like euphoria, and I'm happy to say it felt like that again now. Except that people had to die," Rehman [Rashid] said [to The Star]. "It's not a happy story. I'm sorry, I wish I could give you a fairy tale with a happy ending, I can't. It's a sad, reflective book of failure."

Here's more about Peninsula, Rehman Rashid's new book. I think a paperback edition will be launched sometime this month.

---

James Patterson thinks shorter books will get more people reading. From the report:

"The idea of individually-packaged novellas is either really new, or the return of something not new at all. As the Times notes, many of the 'most beloved American literary classics are novella-length works — John Steinbeck's "Of Mice and Men," F. Scott Fitzgerald's "The Great Gatsby" and Truman Capote's "Breakfast at Tiffany’s," ' to name but a few. It isn't a format that publishers have been willing to embrace for decades, though, largely because it's less profitable than hardcovers."

Here's hoping that it will, to some degree, take off.


Also:

• So it seems the government's BB1M book vouchers are being used for stuff other than books. For some, the money was more important - and not for entirely good reasons. One student used the vouchers to feed his cigarette habit; another said the scheme "should be safe" since "everyone is doing it".
• The Afghan conflict still burns, and its people's stomachs aren't the only things that are starving. Some Afghans are working to address that.
• From author Mary Roach's keynote address at Boston University's 2016 "The Power of Narrative" conference, seven bad habits towards highly effective narrative, according to Sharmilla Ganesan. I think I've blundered through all of these and, yes, it was stressful.
• Putrajaya's Cybersecurity Malaysia has published a book on cyber crime - which probably underscores Malaysians' poor awareness of online security and whatnot. A sequel is being planned.
• Someone is leaving stacks of books from his personal library around places in new York City and is apparently planning "to leave stacks outside of NYC and mentions Malaysia and Brazil as two places he has in mind".
• "Nobel prize winners and stocking fillers": The Guardian looks at Souvenir Press's 65 years in London publishing. The company was "founded in 1951 by 21-year-old Ernest Hecht in his bedroom in Bayswater, London; still run in 2016 by 86-year-old Ernest Hecht OBE from his charmingly dotty HQ opposite the British Museum, where it has been for the past 42 years."
• A dissident Hong Kong book publisher has returned home, after being allegedly abducted by Chinese agents. Lee Bo has also pledged he "will no longer publish or sell books that are 'sheer fabrication' ", which might refer to books containing "tabloid-style tales about political intrigue and love affairs within the Communist leadership." Naturally, critics of China think the Middle Kingdom got to Lee.
• You'd think that the models on the covers of romance novels would be killing it, considering how popular the genre is. But according to The New York Times, "Few romance models, if any, make enough money to eke out a living."
• Some writers and scientists think creatures deserve better than the pronoun "it". Some editors feel different. Sounds like Animal Pronouns: Civil War.
• Self-published e-books, according to one source, made up 22 per cent Of e-book sales in 2015. But I wonder: is it really because of rapidly growing e-book popularity, or a surge in new digitally published titles?

Kedai Fixi's First Birthday, Jepun and PJ Confidential

Last Saturday afternoon, Fixi launched two books as part of a celebration of Kedai Fixi's first year in business. According to Fixi boss Amir Muhammad, the do couldn't be held on the actual date, 11 April, because he'll be in London for this year's London Book Fair.

Fixi boss Amir Muhammad emceed the event

There was cake, curry puffs, doughnuts and seri muka. Some of the contributing writers were asked questions about the book by Amir and walked off with a goodie bag. Two absent contributors even got their representatives to read their very brief "acceptance speeches".

The two books were PJ Confidential, an anthology of shorts set in the city of Petaling Jaya in Selangor; and Jepun ("Japan"), a novel by Lokman Hakim based on his travels there.

Terence Toh, the editor of the anthology, noted how interesting the submissions were. Fixi's collection includes some of the most mind-bending, disturbing stories, many involving elements criminal, supernatural and surreal, and I guess many contributors went with that.

Terence Toh, editor of PJ Confidential

Probably why I don't feel like contributing, apart from my laziness and inability to tell stories.

Here were the contributors who made it to the event. Strangely, I remember almost nothing of the first half, and online searches yielded almost nothing (15/04/2016: fixed most of it and, boy, was my memory SHIT that day). Apologies for this bunch of poor photos.

The first contributor to step up was Heidi Shamsuddin. I think she's already an author with several books out. In her own words, her story, "Neighbourhood Watch", is "a disturbing tale of domestic devilry".

Heidi Shamsuddin

Leon Wing wrote his contribution ("The Outing") in a way that didn't state what race the characters were. Amir congratulated Leon on finding the building, because people still mistake Jaya Shopping Centre for Jaya One.

Leon Wing

Next was Catalina Rembuyan, who'd just been traumatised (not in a bad way) in acting class with Joe Hasham and had completed her first acting role. "So if anybody wants to be a thespian, regardless of gender" Amir cracked, "maybe she can hook you up with Joe." Or something like that. Hers is called "The Sick Man and the Satellite" - or something similar.

Catalina Rembuyan

Catalina could only sign a few copies before she had to leave. As she'd expected, she fell sick later that day. Get well soon, Cat.

Tan Jee Yee - at least, I think it was Tan Jee Yee. My memory
was spectacularly rubbish during the first half.

Maybe he was Tan Jee Yee, I don't know. His story, "A Desire is a House in Bukit Gasing", is the closest thing to erotica, Amir divulged, "so if that's your thing you can skip to his story." Tan denies it is in any way autobiographical; he decided to write something about Bukit Gasing, which he said was among the least visited parts of Petaling Jaya.

Lee Ee Leen - I think her story was about rats- no, sorry, that's
Angeline Woon's, which is titled "The Rats of SS2".

Lee's story is called "City As a Mammary", and odd play on the word "memory". I think it was about milk. Probably not of the squeamish - or lactose-intolerant.

Linges - I think he wrote about dogs in PJ Confidential ("Stray") and how
the dog in his household would stare at passers-by

Chris Quah's story, "Snatch Me If You Can", is about a snatch theft victim's desire for revenge, I believe.

Chris Quah

May Chong's story, "Flush", revolved around a school that sounds like a PJ-based missionary school (AHEM) but is not related to said school (AHEM). I think it's about a toilet ghost, and, according to Chong, any school of repute (AHEM) will have a toilet ghost. What, like Hogwarts and Moaning Myrtle?

May Chong

Then there was something about how she'd gone to a primary school for six years without realising that its toilet was said to be haunted. It sounded like she was dismayed over missing out on something cool.

Tilon Sagulu came from East Malaysia for the launch, joked Amir. But turns out the guy studies at nearby Universiti Malaya and lives in Section 17.

Tilon Sagulu

Amir noted the characters in his story are so vivid, as if part of something bigger. Tilon confirmed it, adding that the story could become part of a novel, perhaps.

Amir also pointed out how he liked the way one story segued into another. So it's not just editing but also the curating, Terence. Good job.

Masami Mustaza's story - involving panties and a cockroach - inspired the cover for the anthology. After mulling several concepts, Amir put out a call for photos he could use for the cover. In the end, Julya Oui's submission made the cut.

Masami Mustaza

No offence, but I'd be nervous with this in my house. I imagine swatting or spraying my bookshelf every time I glance at it. How do you spell it ... katsaridaphobia?

Masami-san stayed - or tried to stay - hidden until after Lokman Hakim's spot on stage, when someone pointed her out to Amir. Of course she deserves her time in the limelight.

Jepun was the second work by Fixi where a writer is sent to a destination to write about it - that's how it works, right? For Lokman, it was a music festival in Japan. It sounds normal compared to the first, Brazil by Ridhwan Saidi, where several threads were going on and I couldn't tell which one I was reading at times, so I stopped.

Lokman Hakim, author of the Malay-language novel, Jepun

Lokman wrote it as a novel because he felt more at home with the format; Jepun is his eighth. He claimed he wrote frequently because of his wild imagination.

Among the absentees were Foo Sek Han and Angeline Woon, who got their reps to read their speeches for them.

Selamat harijadi pertama, Kedai Fixi

Here's to more birthdays for Kedai Fixi.

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Get your copy of PJ Confidential from Amazon, Kinokuniya, MPHOnline.com, or direct from Fixi. Kedai Fixi at Jaya Shopping Centre has the books in stock.

The Young 'Uns Are Doing Fine

Recently, Dewan Bahasa dan Pustaka (DBP, or the National Institute of Language and Literature) announced its concerns about the influence of indie works on young writers.

From the short report, I'm guessing the organisation is frowning - again - on street Malay and envelope-pushing stuff that often appear in such works. The statements were made during a literary event, so it looks like another appeal to nostalgia.

In a Facebook post, Silverfish Books wondered what took DBP so long to wake up to the reality. Not of the "dangers" of indie works, but that its role as trendsetter and promoter of Malaysian literature has seemingly been usurped by these rebel upstart outfits.

Nature (and literature) abhors a vacuum. Yes, many have complained about the (often crude) language and poor editing in the indie publications.

Well, that didn't stop the current surge of popularity of indie material. And the coarseness of one's tongue (or pen) may not reflect one's character.

Like some, I feel that, as a defender and developer of language and literature, DBP dropped the ball years ago. Its presence in bookstores seems to have ebbed as well. "Where are the DBP books in Malaysian bookshops (apart from the dictionary)?" asked Silverfish.

Also interesting is Silverfish's statement that DBP publishes books "to fulfil KPIs; not sell them." If that's the reason books are being published, it's not even a business. Assuming there's useful content in these publications, how is it going to reach the public without efforts in marketing? Books don't sell themselves.

Indie lit is growing, and its purveyors are making strides across the publishing industry and connecting with their readership like I've never seen before. It's all peer-to-peer and so, so warm and energetic, unlike how the elders at some institutions talk down to others at the foot of their ivory towers.

The nimble young 'uns are getting around limitations imposed by governments, institutions and firms. With a bit of luck, it'll be the millennials and their street Malay that will make the national language more global.

The latest and perhaps the loudest shot from across the bow is the news that several indie outfits have helped set up a country booth for Malaysia at this year's London Book Fair. And these were among those tarred by the National Civics Bureau as masterminds of an anti-establishment movement.

According to the report, "the Malaysian booth is entirely self-funded: Buku Fixi, DuBook Press, the Yusof Gajah Lingard Literary Agency and Clarity Publishing are doing this without any help from the public or private sector." The set-up and other related costs is over RM100,000 - a fraction of the allocations for some government projects. I found the possible reasons for the official bodies' "lukewarm" response to collaborate in the LBF quite telling.

(Here's what some of the indie publishers have to say about the establishment. Still an interesting read.)

I was tickled by Silverfish's challenge to DBP; I thought it had Dewan's back to the wall. "...are you going to compete with them (you are a big organisation with almost infinite funds), or sit around and whine? Or use your muscle and 'ban' them? The last would be easy. After all, it is quickly becoming the Malaysian way.

"Or, God forbid, work with the indies?"

Rather than waste energy on "Malaysian ways" or wheezing "not our culture" (as if culture never evolved), the old fogeys might as well try to keep up, or just watch the kids do their thing from the sidelines if they don't want to help out.

Carnage And Calamity: Inspector Singh In Beijing

I'd read this novel during the Chinese New Year break. Months ago, I'd gone into the A Curious Indian Cadaver, which was published earlier, but I got this one out instead, veering dangerously close to China-bashing. Though China could, I suppose, be held responsible for some of the outrageous things it has been linked with, from disappearing booksellers to prawn-pillaging tourists, and the goings-on at the South China Sea.

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Carnage and calamity: Inspector Singh in Beijing

first published in The Malay Mail Online, 29 March 2016


Shamini Flint does not like China.

That's what I could gather from Inspector Singh Investigates: A Calamitous Chinese Killing. This instalment in Flint's Inspector Singh series sees the character looking into the death of a young Singaporean, seemingly from a botched robbery, in the Middle Kingdom.

Through the dead youth — Justin Tan, the son of the First Secretary of the Singapore Embassy there — we are introduced to modern-day China, and the emptying of the famed hutongs of Beijing, driven by development and greed, and enabled by corruption and class disparities. It is soon clear that the victim's end is tied to the land grab.

The good inspector's circumstances haven't changed much, six books into this series and counting. Despite his successes as Singapore's globetrotting gumshoe and growing reputation, he still gets no respect at home. His wife still nags him, and his superior can't stand him. One suspects that Singh was shipped to China with the hope that it'll be a one-way trip.

In keeping with the novel's vibe, Mrs Singh raves about the expendability of anything "Made in China" and the influx of Mainlanders into the island republic.

"Up to no good until proven otherwise!" she says, echoing the sentiments of a neighbour about the gold-digging China dolls said to be infiltrating the Lion City. Which is also what some governments might feel about non-conformists.

Maybe it's not just China that Flint dislikes.

This novel isn't short of villains: corrupt businessmen, corrupt cops, heavy-handed members of the security forces, and even one of China's spoiled-rotten princelings. But the identity of the actual big bad — the country itself, one is led to believe — is always in sight.

Other victims abound as well. Dreaming of a better life, a factory girl plots a get-rich scheme with what she witnesses at a crime scene, potentially dicing with death. Professor Luo, Justin's mentor, is arrested for practising falun gong in public and incarcerated. The professor's daughter (and Justin's girlfriend) fends off the unwanted advances of the aforementioned princeling, who can't seem to tell the difference between loving and owning someone.

But all that is nothing compared to how a prisoner's organs are harvested and for whom — spine-chillingly horrid and infuriatingly unjust.

The perfect backdrop for a calamitous killing.

Though I find it odd that a Singaporean policeman can be sent off, seemingly at a moment's notice, to solve a crime involving Singaporean citizens abroad, even if certain strings were pulled.

It's been a while since I last caught up with Inspector Singh; the other one I read was about "a curious Indian cadaver." By now, I've come to accept that Flint's are a different kind of detective story, where the pieces of the puzzle come together slowly towards the end, with few clues as to the identity of the culprit. You don't get the sense that Singh is driving the story, but I suppose it works here.

Singh tends to think his way through a case (not hoping for action-hero acrobatics with his size), letting other able-bodied sidekicks and allies pick up the slack. In this case, it's a former police officer assigned to him, probably in a dual role as cultural attache to keep the portly Singh from stepping on too many toes.

One gets just enough of everything: detective work, scenery, socio-political commentary and the occasional quote and flash of wit that convinces one that this is a crime novel and not a laundry list of things in China that need fixing.

Still, I couldn't help picking up on the disdain for the unsavoury aspects of modern China sprinkled throughout the book. Maybe it's because I share some of those sentiments.

Or, in Flint's case, maybe it's a case of "we hate the things we love." One can't help but wonder whether, deep down, she is railing against the injustices depicted in her books with the nanoscopic hope that she might in some way get people thinking, and then moving, to start changing things for the better.

Just as her obese, unloved crime-solver tries to do the right thing, despite his own doubts and the odds stacked against him.


Inspector Singh Investigates: A Frightfully English Execution, the newest in Shamini Flint's Inspector Singh series, will be released in April 2016.

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A Calamitous Chinese Killing

Shamini Flint
Piatkus (2013)
309 pages
Fiction
ISBN: 978-0-7499-5779-7