On Literary Heroes

This week has seen the passing of two of my literary heroes: Cormac McCarthy and Robert Gottlieb. This essay will serve as an inadequate eulogy to two people who have, in different ways, shaped my recent literary tastes and sensibilities.

Cormac McCarthy is today celebrated in the public mind mainly for his Pulitzer Prize-winning novel, The Road, which depicts a father-son relationship in a harrowing dystopian world.

But the core of his oeuvre, and I think what will make his legacy truly lasting, is what I think of as his “cowboy” novels – the Border trilogy (which is made up of All The Pretty Horses, The Crossing and Cities of the Plain), No Country for Old Men, and what many consider to be his masterpiece, Blood Meridian.

All these novels have a shared style and mood: taciturn protagonists, terse dialogue, stark depictions of nature and beauty, and an almost tyrannical approach to punctuation (no quotation marks, no semicolons!)

The distinct style of Cormac McCarthy’s novels have often been described as “cinematic”, which probably explains the profusion of Hollywood productions that have been based on his novels: the Coen Brothers’ No Country for Old Men, The Road featuring Vigo Mortensen, All The Pretty Horses featuring Matt Damon.

Sometime late last year, his final two novels were published, a twinned publication of Stella Maris and The Passenger. I was not impressed by the novels on the whole, sadly: the digressions on mathematics and physics were fascinatingly geekcore, but the fantastical elements felt like a warmed-up version of Blood Meridian’s Judge Holden, and the supposedly-unspeakable love at the core of the story did not feel entirely fleshed out or believable. This does not, of course, detract from Cormac McCarthy’s legacy – I still believe he is one of the most important novelists in the English language of the late 20th and early 21st century.

Robert Gottlieb, in contrast, lived a life mostly in relative obscurity, even though, in the literary world, he is a veritable rockstar. The list of those who have benefited from his wise editing is littered with household names and acclaimed authors: Joseph Heller, Toni Morrison, John le Carré, Michael Crichton, Robert Caro, Doris Lessing. He was editor of the New Yorker. And he had an unexpected side gig as a longtime member of the board at the New York City Ballet.

I encountered Robert Gottlieb for the first time some years ago, when copies of his memoirs, Avid Reader, hit the shelves of my local bookstore. It still remains emblazoned in my mind that he had finished all seven volumes of Proust over the course of one week while in university!

Both of these men, in their lifetimes and in their own way, changed the ways in which people see the world. The community of readers across the world, of whom I consider myself to be an enthusiastic member, will mourn these men and cherish their legacies.

On Literature and Being Human

A few months ago, in a short essay on reading that I had written in reflection of the recent turns in my evolution as a reader, I wrote briefly on how, starting off as someone who was focused mostly on reading histories, biographies and other pieces on nonfiction, I have slowly gotten around to adding more literary and fictional works into my reading diet.

In recent weeks, I have come to the belief that my reading experience and pleasure would be best served by focusing even more on literature, and to reduce even further the mix of nonfiction works in my reading queue.

Let me explain.

Like many, I spent most of my youth believing that “nonfiction” means what it says on the cover: that by reading works of history and biography and science, one would get a better appreciation for the reality of the world that surrounds us. What better way to prepare oneself for the world, than to gain deeper knowledge and appreciation of how that world works: its grand design, the outsized historical figures that direct the currents of politics and nations, the workings of human societies and the vast natural endowments that surround and support those human civilisations, the animals and the trees, and the physics of pebbles as well as planets.

By contrast, the very term “fiction” conveys a certain sense of fakery – why should I spend my time being immersed in the doings and goings of made-up characters in some random person’s imagination? And “literature” added another sheen of (what I then perceived as) stuffiness and pomposity around works of fiction; as if there was a certain class of nonfiction that ought to be elevated above others, by the simple device of approbation from peer writers and the reading public. “Apa yang bagus sangat?” as one would say.

As I mentioned, it was only after marrying a committed lover of literature, that my attitude towards this dichotomy was finally broken. And in more recent weeks, I find myself feeling even more committed to the value and pleasure of reading good literature.

One could ask: what do you think of as “good literature”?

The answer to this, I think, rests in what I believe to be the essential nature of the contribution of literature to the human spirit: by dramatising human dilemmas and struggles and travails in fictional terms (which are often just thinly-veiled depictions of real events), the best authors are able to capture in words and on paper, however fleetingly, essential and timeless truths about human nature and the struggle of existence.

As I mentioned to a good friend recently over coffee, in nowhere else but in literature, I believe, can one human being truly immerse themselves in someone else’s mind and consciousness, to walk in someone else’s shoes. I am thinking here of Victor Hugo’s depiction of Jean Valjean’s internal struggle on whether to give himself up in place of someone else who was mistakenly arrested by the authorities. I am thinking of James Agee’s masterful narration of the inner monologue of Ralph Follet, the alcoholic brother struggling against his addiction and self-loathing. I am reminded here of Tolstoy’s Pierre Bezukhov, and his long journey towards finding himself amidst the hedonism and travails of early 19th century Moscow. Moments in Proust and Austen and Eliot when a smattering of letters and punctuation marks and lines can come together to paint a picture of utter realism in the lives of people who are recognisably human in their frailties and concerns and inner doubts.

This is why I read literature. For pleasure, yes, and to while away the time, certainly. But more than anything, it is through literature, I believe, that we can best get past the superficialities of our mundane existence, to attempt to touch the very core of what makes us truly human.

On Political Ambition

When I was in university, I got involved in student politics, and got bitten by the politics bug. Perhaps it was natural – at a place like Cambridge, you suddenly find yourself a small fish in a big, big pond, filled with many other fishes, big and small, many of whom have grand ambitions for themselves. I remember, in my earliest days at university, visiting the room of one of my fellow Malaysian students, and noticing a copy of Margaret Thatcher’s memoirs on his bookshelf.

It is a small and flitting memory, but distinct for several reasons.

The first is that after many years of being in high school where I got ribbed often for reading too much, I had found myself in a new social environment, one in which it was almost taken for granted that everyone reads. More than that, it was an environment in which ambitious and competitive young students would often compete to see who has read what. It took a while to get used to this.

The other reason why this was so memorable was that I had finally found myself in a place where mostly everyone would have some opinion on politics, and many others would (often not-so-secretly) harbour ambitions of politics. I remember hearing, in hushed tones, of recently-graduated seniors having been recruited to become a special officer to so-and-so. I had contemporaries who were themselves scions of political dynasties, or hungry to make their own.

Of course, little did I know that coming up to university in the summer of 1997 was soon to thrust me into a world I had scarcely imagined, when the comfortable assumptions of what I thought I knew about Malaysian politics would be exploded by the arrest of Anwar Ibrahim and the rise of Reformasi.

I am old enough now to see friends in university now taking on important jobs in Cabinet, and many others over the years in the halls of government, as speechwriters, as special officers, as political operatives, as aspiring front-line politicians themselves. And of course there are many others who started out with that fire in their eyes – but later on, choosing different paths in life: corporate law, or working in MNCs, or taking up big jobs in GLCs, or investing in private equity.

What I can say, after having lived this long on this earth, and observing others and myself as we wrestle with our own individual hopes and ambitions, is that there is no one right way to live life. The years will come and go, and the fires of youthful ambition, as important as they are, are only as important as you would like them to be.

Know why you are carrying this ambition within you, and if and when you let go, know for whom and why that decision is made. For those who are still in the arena, I congratulate you and I wish you all the very best. In the end, we have nothing and no one to answer to but our own selves, and our Creator who will be waiting for us at the end of this long journey through existence.

On the Books I Would Write if I Had All The Time in the World, Part II

What do you do when you have grand plans of writing grand books, but have neither the time nor the discipline to actually write them? You just list down the titles, and berangan that someday you might miraculously find the time to write them, or (perhaps more realistically) inspire someone else to actually take the trouble to write them out. 

Here’s another list from my overactive imagination:

  1. One Must Wait Until the Evening: The Life of Rahmat Harun
  2. Mahathir dan Anwar: Sebuah Novel Puisi
  3. Malay Republican: Ibrahim Yaacob and His Legacy
  4. Candu Rakyat: Pengaruh Konservatisme Islam dalam Masyarakat Melayu di Awal Abad ke-21
  5. Sesak: Perancangan Bandar di Kuala Lumpur, 1974-2020
  6. Pak Lah & Endon: Damai Abadi
  7. Khairy Jamaluddin: Hang Jebat atau Hang Nadim?
  8. Novel Modern Melayu: Dari Ahmad Rashid Talu hingga Abdullah Hussain
  9. Monkey: The Life of a Well-Loved Cat
  10. Bumiputera: The Biography of an Invented Identity 

On Writing Everyday

The other day, a friend of mine asked, “Where you find the time to write/update your blog on a regular basis?? Kasi tips sikit!”

I was tickled by this question, because of course writing is writing – you just pick up your pen (or keyboard, choose your poison) and write away. 

But then, upon further reflection, I realised that my friend did have a point: after sporadic bursts of writing for more than a decade (and when I mean sporadic, the gap between my writings were usually numbered in months, even years!) I have finally gotten into a regular rhythm of writing. It may not necessarily be elegant or beautiful writing (though I do aim to write well, or at least, progress towards eventually writing better as I get more practice), but this morning I checked my Jetpack app, and it greeted me thus:

“You’re on a 46-day streak on Essays / Esei!”

Astounding, even to me, because this must surely be the most sustained period of public writing I have ever managed in my life. 

Of course, I have been writing almost daily in my journal for almost a decade now, but this bout of public writing is a recent phenomenon. I would say two things have spurred this recent turn.

The first is reading Montaigne’s Essays. (Yes, my current blog title is directly inspired by that legendary Frenchman.) Writing in a time of great religious and political upheaval, Michel Eyquem, Sieur de Montaigne retired from the turbulent politics of his day to take refuge in his castle and in his books, and began writing a series of essays that has not only enshrined him in the literary canon of the West, but has also inspired legions of similar writings across the centuries, including Francis Bacon and every other blogger today. Presaging the Renaissance, Montaigne made it an explicit aim to focus on himself as a subject of writing – glorying in his own joys and sorrows, his own rationalities and idiosyncrasies. He wrote about friendship and learning languages and parenthood and wisdom and literature and heroes and simple folk and fame and memory and marriage and death. He was certainly the world’s first true essayist, and reading Montaigne today, even in translation, would remind us of how modern his thinking was. Those of us grappling with issues of burnout and consumerism and the meaning of life, would find ourselves nodding vigorously, as I did, on reading Montaigne’s prognostications.

Reading Montaigne (the present continuous tense applies here – I am probably still only a quarter of the way through his voluminous writings) is inspiring to me. I have always wanted to write, and I have always known, since childhood, that I had it in me to write. Certainly not Shakespearean or Proustian levels of writing, but I have stories that I want to tell – like many of us. 

It just always baffled me, the art of writing: I would have moments (usually during holidays, when my mind suddenly has the space to roam, outside of the daily strictures of corporate life) when I would be inspired to write about something, or even struck by the idea of a grand writing project – a memoir, perhaps, or a novel in verse about Malaysian politics. As my own paltry output would testify, these were often mere angan Mat Jenin that would take root in my imagination, but die ignominious deaths, out of a lack of any real tangible action. 

The problem is that the blank page would always stare at me, almost taunting me: Kau siapa, nak tulis semua ni? Apa kau tau? My own insecurities and lack of courage would embarrass me into silence.

And this is where the second point of inspiration came along. One evening, several weeks ago, while glancing at the permanent pile of books hidden underneath our coffee table in the living room, I glanced at a copy of Carl Roger’s On Becoming A Person. I think I must have just finished a rather well-written book, because my common and ineluctable pattern is that right after reading a particularly satisfying book, I get into a restless and rather flailing mood. Gratified by the recent high of beautiful and profound writing, I would be casting around for another bout of the same intellectual and spiritual high. Often, after reading a very good book, I would be going through one book after the other, flitting through several pages, and eventually casting off one book for another, dissatisfied at not being presented with yet another magnificent read. (I know, it’s rather sad.) 

So it was in this mood that I discovered Carl Rogers, and sat down to read through his philosophy of client-centred therapy. His approach, apparently radical for his time, was almost laughably simple: he believed that the main task of the therapist is to provide a safe and non-judgmental space for the patient to fully express herself, to find within themselves the courage to try to live out their own unique individual self. Carl Rogers taught me, as he has certainly taught many others, that the path towards truly living is to have the courage to explore one’s own authenticity, and to embrace all sides of one’s self: the good, the bad, the sad, the happy, the glorious, the mean, even the most shameful parts of who we are. Being truly human is to accept our humanity, in all its ineffability.

I have written about Carl Rogers earlier, and I should not belabour the point. But what reading Carl Rogers did to me, was to encourage me – literally, to give me courage – to embrace who I am, and to decide: I want to make this journey towards better acceptance of who I am. And I want to use my writings as a means to explore this. 

And so I picked up my blog, which has been around since, oh maybe 2012, but had lain fallow through long periods of abandonment, and I promised myself: whatever and however my day would be like, I would make it a point to find time through the hours and days to make sure that I write enough to be able to publish something, every day. It would be wonderful if every day I could publish something profound and meaningful and elegant and beautiful – but if on some days, or many days, I don’t, that would be okay. I just need to write, and use that space to discover who I am, and this world that I live in. 

So that’s it. That’s the “tip”. I simply decided that of all the things in my life, this exercise in writing would take precedence, and be up there in my list of daily priorities, like taking a shower every morning, and praying five times a day (not always succeeding on this one, tapi bro cuba), and telling my wife everyday that I love her. And part of achieving this is also to let other, less important things, drop out of your life. I try to cut out TV and Netflix from my life. No more computer games – even Marvel Snap and Mini Metro get little time on my calendar now. I don’t go out much at night, except to have dinner with close friends and family, and even in that latter, it is mostly just spending time with my wife. I get into bed around 10, often even earlier. 

It’s nice to know that it’s been 46 continuous and unbroken days of trying to write more honestly, more openly. In the same way, I am trying to be more honest, more open with my own self. To accept my failures and disappointments, as much as I take comfort in my “achievements”, however grand or meek they may seem in the eyes of others. 

Some years ago, bereft in what was certainly depression, feeling disappointed at how my life had turned out, I took refuge in a series of books about palliative care and mortality. I remember reading the final pages of Paul Kalanithi’s When Breath Becomes Air, tears streaming down my face at two in the morning. I came out of that particular period of reading with a determination, almost grim in its steely grip, of wanting to learn how to live well, so that I could die well. I wanted it so that when I finally come to the final moments of my life, I can look back at a life well lived. 

These writings are part of that project, and perhaps that also explains the tenacity of these past few weeks. To use the much-loved metaphor of a much-beloved mentor of mine, if this is my “Game of the Impossible”, then I want to play it well. I want to be present for every inning that each new day presents to me. 

And this is how I find time every day to write. 

On Mat Som

One of the injustices of modern Malaysian culture is that so little regard and respect has been given to what I personally think is one of the top works of contemporary Malay literature: Lat’s singular graphic novel, Mat Som.

Perhaps it is because we associate Lat predominantly with saccharine cartoons on national unity, or nostalgic depictions of kampung life (both of which, of course, remain as indelible contributions from Lat to the Malaysian public discourse.) Maybe it is because we do not have any real tradition of the graphic novel as a legitimate and respectable vehicle for aesthetic expression and cultural commentary. The graphic novel, in the Malaysian mind, is too easily mistaken for its adolescent cousin, the comic book.

This is why there is hardly any discussion in the public space about the contributions of Mat Som to the narrative of modern Malay culture. Even amongst Lat’s abundant oeuvre, Mat Som is so often overlooked.

For more astute readers of Malay culture, Mat Som is an invaluable and singular artifact of a fracturing Malay polity, forced to undergo one of the most rapid and dizzying socioeconomic transformations of the modern age.

Within just a generation, thousands of poor young Malays were taken out of their villages, and handed the keys to education that would unlock opportunities beyond their wildest dreams. Many were sent overseas to learn the secrets of modern science and technology, and told to come back to serve the nation. Most of these young Malaysia came home with burning ambition, but were also deeply confused: they were told that to study overseas, and to go to the cities and get a corporate job and to enrich themselves beyond their parents’ imagination, was a noble vocation – but as they sought to find their place in their new urban settings, they were also told that many of the habits they had taken to be emblematic of what it meant to be “modern”, were shameful and to be castigated. The very modernity that they were told to seek, was labelled as “budaya kuning”, worthy only of disdain and censure.

In Mat Som, Lat would dramatise the rapid social change of the late 20th century amongst the Malays, but from a more rooted perspective: that of the young Malay from the kampung who makes his way to the city to earn a living with words. The young journalist finds himself attracted and entranced by the whirling pace and the glittering lights of the city, but is repulsed by the crass commercialism and the capitalistic striving of the rising Malay middle class. Lat, in Mat Som, romanticises the poet, the working journalist, the common Mat on the street.

Mat Som puts into stark focus the cultural confusion of the Malays of that generation, forced to choose between traditional values and the modern world that threatens to unmoor the Malay from familiar ground. If Umno’s Revolusi Mental and Mahathir’s Malay Dilemma were loudly exhorting the Malays to change their mindsets and embrace modernity, to discard old-fashioned values that were seen to be holding back the community, then Lat’s Mat Som was a cri de coeur for the common Malay man – that the way to traverse the rapid currents of social upheaval was to hold fast to the wisdom of old.

To be fair, Mat Som was not a blind rejection of modernity – Yam could be at ease in a baju kurung, or wear a pair of jeans if she wanted to. But the ideal Malay, in Lat’s telling, was someone who was not merely throwing the baby out with the bath water, when it came to the values that would anchor and centre the Malay. One could be modern, and still be Malay, without merely aping the West.

Lat’s genius, of course, was to wrap all this cultural commentary within a simple and heartwarming story of a young man trying to find his way, and his heart, in a city that can often appear heartless and cruel. Bridging that gap between modernity and tradition is still an ongoing dilemma for the young Malay today, and Mat Som reminds us that there is a path through the thicket of confusion, if we only remain clear-eyed about who we are and where we came from.

On What I am Reading Right Now, Part I

I am currently reading a few books in parallel (beware, there may be spoilers ahead):

  1. Robert Caro’s Power Broker – this is one of those books that I have been reading for some time – years, in fact! – but got shelved as I got distracted by other books. Also, the size and heft of the book means that I often only read this in the evenings and on the weekends. Right now the book is heading into an interesting turn in Robert Moses’ life, as his benefactor Al Smith leaves the Governor’s Mansion in Albany, and FDR – whom Moses had pissed off many times over – takes over. I am keen to see how he managed to parlay the powers he had already gathered through the State Park Commission, to become the powerhouse of New York City that he eventually becomes.
  2. Pushkin’s Eugene Onegin – I am reading this Byronic verse-novel in fits and starts. The English translation is really enjoyable, and apparently well captures the metre and rhyme of Pushkin’s work. Tatiana, having mourned Onegin’s retreat from her life, is now settling into society life in Moscow. I was not expecting the duel, or Lensky getting shot and killed, and I am expecting only further tragedy ahead.
  3. Gibbon’s The History of the Decline and Fall of the Roman Empire, Volume I – another one of those books that I am picking up again, in keeping with my vow not to buy any new books this year, and to go through my current stash of books lying in wait at home. His prose style is erudite and mannered, and his current exposition of early Christianity in Rome leads me to think that he is not all that enamored with institutionalised religion. This is, of course, a classic work of history that I have always wanted to read, especially since it famously inspired Asimov’s Foundation series, which is one of my all-time sci-fi favourites.

On the Books I Would Write if I Had All The Time in the World, Part I

A random assortment of the titles of books I would write if I was independently wealthy enough to just spend all my days writing books:

1. The Trip: From Kuala Lumpur to Oxford in the Summer of 2018

2. UMNO: A Biography of Malaysia’s Grand Old Party

3. Kanun Sastera Melayu: Menelusuri Khazanah Persuratan Bangsa dari Tun Seri Lanang ke Usman Awang

4. Sakau: How Najib Razak Destroyed Tun Razak’s Legacy

5. The Tattered Hibiscus: Poems on and about Malaysia

6. Reformasi, 1998-2022: Suatu Penilaian

7. Tan Sri Asri Muda: Sebuah Biografi Politik dan Peribadi

8. The New Economic Policy: Achievements and Failures in Malaysia’s Bumiputera Policy

9. How I Learned to Stop Worrying About Other People and Pay Attention to the Prospect of My Own Impending Death

10. Essays: A Decade of Writing, 2023-2033