I've just received the galleys for my new essay at Southeast Review! This piece is one that's close to my heart. It's about the time when I came back home on the last day of my A-levels, and used a bunch of money that I'd secretly been saving to buy a plane ticket to Israel... to live in a convent with some nuns that I'd met on the internet. Teenaged me, as you can tell, was going through A LOT. I'm glad that she didn't fall apart, while ping-ponging through her life. And that she managed to pull this one off.

The rest of my feelings about my time in Israel reside in this essay. I'll put up a link to it, whenever the issue drops... the Southeast Review is an amazing publication and, honestly, one of my favourite literary journals ever. I'm happy that I'm going to be in it! If you're curious, you can read their last issue - with pieces by Victoria Chang, Taylor Byas, Brandon Taylor - here... I personally think it's wonderful.

The last few weeks have been mad, exhausting writing weeks for me. So I'm walking through life a little more dishevelled and unfocused than usual, with that supercharged feeling of something more interesting happening in another room, just out of sight. Right now, it feels like all my creative energy and focus is going into one place - i.e. into my memoir, and into regenerating the thought processes/emotions that powered me through its constitutive experiences. This is kind of a new feeling for me - and I don't want to scare it away by trying to over-explain its mechanics. Let's just see where it leads.

I've recently become a creative non-fiction & fiction reader for Exposition Review, a journal based out of LA. We had our first reading meeting for the upcoming issue, Flux, last week - and I loved it. We sat quietly on Zoom and read through the slush pile together. And then we talked about our favourite books. I feel lucky to be a part of this team. 

There was a time (not too long ago) when seeing other people's creative work made me feel fearful and anxious. But nowadays, it mostly fills me with joy. I suspect that this change has something to do with me realising, deep down inside, what kind of art I want to make, and why. Knowing who I am - and feeling secure in the shape of the work that will, naturally, result from my own life experiences and personality - means that I don't have to feel threatened by other people's expressiveness anymore. Nowadays, I feel energised when I can witness the things that other people are writing, drawing, building, and making. And for the first time in my life, I've also started seeking out friends & groups who can give me this feeling - of power and connection. I'm trying to work around my pride, and ask people who I admire out for coffee. I ask, What are you making? and genuinely want to know the answer. I try to find out if there are things that I can learn from their journeys, and their relationships with creativity. I've also (and this is far harder for me, for personal reasons) started saying no when I can sense that the dynamic of a relationship is twisted in some way, and actively inhibits my access to the thing I want most - i.e. to receive what I need and want for my own life and practice, not only provide implicit psychological service to others.

It took me a lot to get here! And it feels good to be in this space - as both a writer and, more generally, as a human being who feels empowered enough to choose their own community.

*

Beyond all that - if you write at all, then I encourage you: consider submitting to Exposition Review! I applied to be a reader for them because I read this essay ('How to Survive a Genocide', by Lori Yeghiayan Friedman) from one of their previous issues, and felt an immediate pull. The work that comes into this journal gets treated with so much respect and care - and I feel that it shows. I'm excited to be helping to put the new issue together.

... is an extremely important part of my creative process. A long time ago - before the defining events of my childhood transpired - music was my truest, and best-loved, medium of expression. And even though I have a tenuous relationship with it today, I still often turn to it in my most vulnerable moments - using it to process sub- or unconscious thoughts, which might feel too strange or complex or fleeting for language.

Recently, I've been listening to this song by Samantha Crain on loop, while writing. Or, to be more precise: I've been watching a video recording that I took of myself, singing and playing this song on the guitar. Watching this video, over and over again, is slowly helping me to feel something new: a desire to look for beauty, and not potential for correction, at the forefront of my past creative actions. It's helping me to feel strengthened for the task that lies ahead - of re-looking at old work (and the old selves who produced it) again, without my inner voice of self-criticism firing up.

I could say more about this, but I don't feel like it. Here are the lyrics for the song instead - the song is in Choctaw, so these lyrics are a translation:

When we remain, we will not be like the beautiful bones of a forgotten city. When we remain, we will be the flowers and the trees and the vines that overcome the forgotten city. We have woven ourselves into the cloth of the earth. We have mixed our breath into the expanding sky.

​

When I was a teenager and not playing competitive piano anymore, I spent almost all my waking hours either:

a) Running around with a smile on my face, desperately trying to please everyone and preserve my own psyche in the process.

or

b) Crying in my bedroom alone while reading many, many poems about sex and death.

I discovered the poet Alison Townsend while doing b). A poetry Livejournal site that I followed would periodically reblog her work - probably not realising that halfway across the world, a Singaporean teenager was growing increasingly emotionally dependent on each new update. I read Alison Townsend poems about divorce, and bodies, and depression, and the many things that a person might be capable of living through, in order to later write about. Her writing gave me hope that there was another side to whatever this thing was - this thing that I was still in the midst of, and didn't yet have the words for. I remember looking her up on the internet one time, and learning that she was a professional poet, and thinking: How do you get to be like that? The distance between where I was and where she stood seemed truly staggering - especially for someone like me, who felt pretty much denuded of a story to tell.

Yesterday night, I found out that because of our adjacent surnames, Alison Townsend and I are sitting next to each other on the Notables list for this year's Best American Essays:

​Even though the placement is a total coincidence, this feels like such a huge moment for me! I'm so happy, and teenaged me is totally flipping out. This essay isn't one that I feel a ton of resonance with, at this particular point. In fact, I think I may want to revise it somewhat in the coming months - or at least write around it - because so much has changed in my feelings around race, and my husband Thomas, and myself, over the last two years. But I never thought that I'd someday be on a list of writers with this person - and also, it makes me happy to know that the essay in its current form continues to bring people something valuable. It's been a wild fucking ride to get here, from my days crying and reading Livejournals in my bedroom, to knowing my life story well enough to write about it - just like the artists I admired from afar. I hope that this path will go on. :-) 

"The Story of Body", an essay that I wrote about my ex-life as a child concert pianist, has just been accepted for publication! Because of the speed at which these things operate, it's coming out in the Spring 2022 issue of Colorado Review - which feels way too slow for me, since this is an essay that I can't wait to share.

Because this is a piece that deals with childhood trauma (and the ways that it recurs in adult life), it was really difficult to write. But putting it out in the world has massively changed things for me, both personally, and as a writer. When I shared it with people and observed their responses, I started to gain a clear sense of who was, and wasn't, invested in my journey towards self-recovery. Articulating the parts of myself contained in this essay helped me to pause some relationships that were hurting me, resuscitate once-dead ones, and restructure the dynamics of others that had been around for a long time, but without actually serving me. I got new tattoos; I made new friends (or got to see new sides of my existing ones surface in response to a more forthcoming me); I bought my dream wardrobe; I danced to folk-pop bands from my teenage years while making dinner in my flat. I began to feel that every version of my past self - terrified child me, religious teenaged me, messy young-adult me - were all part of the same person, and all on my side, spurring me on to tell the story of how things came to be. With this essay, my life has slowly begun to look a lot more on the outside like what it has always felt like on the inside - time in its totality rising to the surface of my body, and staying there to make a home.

On the writing front, this essay has made me reconsider what I'm doing with my whole book project. Once "The Story of Body" arrived on the page, I knew with 100% certainty that this was what I wanted to be writing about - this topic, this part of myself. Which made me wonder if the other essays - which I had previously thought might be coming together to make a book - were really nothing more than practice pieces... rote exercises in shoring up history in language. This isn't a question that I've fully resolved yet! I wonder if there isn't some value, after all, in sharing practice pieces with the world - something in it that has to do with being real and vulnerable and human. When I was a child in the piano conservatory, I was often forced to play practice Czerny pieces at public recitals and masterclasses, as a form of intentional humiliation - to show that I wasn't ready for the "real thing" yet. But now that I'm an adult trying for authenticity, and not impressiveness, I'm beginning to think that these metrics of shame don't apply to me in the same way anymore. I don't have to be ashamed of my behind-the-scenes learning, since all that I've ever done, and all that I've ever been, can matter to the journey. Can be worthy of being seen.

So right now, the question of whether there will be a book or not remains an open one for me. I want to see where the work takes me, and what it wants to become... I'm proud of "The Story of Body", and of all the changes that it's brought into my life! And I feel excited for when I'll be able to put a link to it up on my website.

For the first two years of my writing life, I spent an inordinate amount of time trying to pretend that I had it all together. On the surface, anyway, it looked liked I was doing all the right things: coming out with new pieces fairly regularly, sending them off to journals with an almost fiendish drive, and padding out my rota of publications. But behind the scenes, I knew the truth: which is that creative writing often felt bitter and painful to me. I knew that I was not, in fact, the thriving creative creature that people thought I was, when they looked at my website. Instead, I was goading and scolding and, more generally, punishing myself into writing these immaculate pieces - so much so that I felt quite deeply stressed, and steeped in self-loathing even when I did receive praise, or get published.

In the time that it took me to admit this to myself, I came to a realisation that felt both spot-on, and extremely upsetting to me. What I realised was: no amount of external validation would ever give me the thing that I had come to the writing desk in search of, in the first place. The thing that I was looking for, in my writing, was an authentically rich, joyful, and playful creative life. I wanted a ritual for making beauty that I actually enjoyed, and looked forward to practising each day. And this, unfortunately, had to come from inside me. It was simply not something that could be gotten from other people's praise, or from the ratification of any number of prestigious institutions. No award or gatekeeper would ever be able to give me what I most truly wanted - and had, in fact, shaped much of my adult life around procuring.

The joyful creative process that I wanted - I had to give it to myself.

Realising this prompted some slow changes in my attitude towards writing. Not all at once, but bit by bit. For one thing, I have come to accept that my creative process is different from most other people's, as far as I can tell. Maybe this has to do with the coping mechanisms that I developed around self-criticism, back when I was an underaged conservatory kid. But when it comes to writing, I can't produce drafts, and I can't do the usual thing of revising an unfinished work piecemeal. Instead, I go for six to eight months working at my day-job as a marketing researcher, not writing a single word. And then, one morning or afternoon or evening, I basically sit down with a gigantic flash of insight, and spill the finished piece out wholesale from my fingertips. 

In the past, before I accepted the mechanics of this process, I used to hate myself so much for writing this way. I would force myself to eke out regular drafts, as everyone else seemed to do - mostly to falsify a feeling of control, and reassure myself that I was still on track. As a result of this, I would end up with all these beautifully-turned phrases that could be forcibly coagulated into essays - but that I knew were lacking in authentic insight, while skirting the true emotions and stories of my life. No matter how much I revised these drafts, I knew that they would never yield that through-line of authenticity that makes a piece of nonfiction writing pop. The ingredient that they were lacking - genuine selfhood - was something that I, personally, would only be able to access if I pulled myself away from the page, and sat quietly for a while without any expectations.

This year, I'm trying to relax into the knowledge that my process is what it is, and is beyond my control. Instead of spending those six to eight months chained to my desk, internally yelling at myself, and labouring away on Thesaurus.com, I try to spend them on littler creative gestures: doing paint-throughs on Youtube, cooking, painting my nails, and flavouring soaps. Cycling. Going to the beach to watch the sea. And now, perhaps, blogging. All this stuff might seem trivial, but it's part of a working process that I'm slowly learning to trust: one where beauty can materialise without emotional pain, and without the mechanics of self-flagellation and toil. It's not always easy, though! Right now, for instance, I'm processing an essay about my family that has been bubbling away in my thoughts since March - with not a single word to show for it. A part of me still feels uneasy, obviously - what if the tender yet sharp, complicated essay that I want to write never shows up? But increasingly, there is a counterbalancing voice inside me that says, also: Maybe it will and maybe it won't. It's okay. Let's wait and see.

I wanted to end this post with a picture of my writing desk - which I have turned into the most beautiful part of my flat, so that happiness might pool around it. But it's late, and I've just stayed up all night for the Tin House summer workshop (which I'll probably blog about at a later date!). I'll put the desk in a future post, and end this one off for now.