Published work

NEWSFLASH: I will reading @BRIXTON BOOK JAM, Monday 5 March 2018 @Hootananny, LONDON

bbj-Mar5th-a6-front copy

South London, are we ready? I am coming straight out of my garret to read from my new award-winning debut, CRY OF THE FLYING RHINO, at the Brixton Book Jam, on Monday 5 March 2018 7:30pm at The Hootananny. (95 Effra Road, London SW2 1DF) – a large pub with a performance space that can hold 600 people. It also provides cooked food. The closest tube station is Brixton (Victoria line) and buses 2, 3, 415, 432 and 196 will transport you very near to the venue. Guess what, it’s FREE to attend!

This will be the FIRST TIME that I am reading aloud from this book and answering any burning questions you may have about it or about me.

Check out the exciting line-up of authors:

Tony White,
Guy Gunaratne,
Stevyn Colgan,
Chris Chalmers,
Zelda Rhiando,
Mark Hill,
Julia Bell,
Sarah Robertson,
The Deserter
Noo Saro-Wiwa

and of course Yours Truly.

During the intervals, resident DJ Andy Carstairs will spin melodic stylings from his hard drive. Check out The Hootananny. See Brixton Book Jam for detailed biogs of each author and his/her book description.

A cartoon by @willmcphail4. Follow @newyorkercartoons for more #TNYcartoons.

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ASIAN BOOKS BLOG: 500 words about Cry of the Flying Rhino

What were the inciting incidents which inspired Cry of the Rhino to become an award-winning novel? Asian Books Blog ran a 500 word article with answers and much more. I was also covered by the American author Robert Raymer in his insightful and entertaining blog, the Borneo Expat Writer. Robert and I interviewed each recently.

You can also read the article here below:

Cry of the Flying Rhino was written thirteen years ago after I made my one and only trip to Borneo with my mother. I was inspired by the dark, macabre and gothic nature of communal longhouse living and the tribal civilisation and culture which have been around for thousands of years. Two things triggered some ideas.

longhouse3 longhouse1 longhouse2

Firstly, during the trip, I saw a tattoo parlour called Headhunters. It piqued my interest in the traditional art and symbolism of Iban tattooing, performed manually with a hammer, steel pin and ink made from tree ash.
36BorneoDayak
Secondly, long after our trip, I dreamt of a girl in a longhouse with eyes as huge as the “hollows of the benuah tree”. Those words came to me in the dream. I wrote them down. She looked sad and haunted and there was also terror in her eyes. I did not know who she was or what the dream was about but something unpleasant and unusual had happened to her and I set about finding out about the Iban culture, which I later discovered, is based on dreams. That dreams were everything, our hopes, work, happiness and luck.

In exploring the two triggers above, I found out that indigenous cultures are threatened and dying, because of loss of habitat due to logging and deforestation, and due to the conversion of the Ibans to other religions. As a result, orang asli (original people) like the Ibans are forced to leave their habitat for the city because their livelihood, dependent on being able to survive in the jungles on the fat of the land, is diminishing due to the jungles being cleared. Their way of life which is so rich in folklore, superstition and traditions will soon be lost. Ultimately the rapid destruction of the jungles will impact upon the rest of the world via climate change and so on. I also found out that children tattooed children which ensured that the art would never die. If adults were one day wiped out by an epidemic or a massacre, the surviving children would all have learned and mastered all survival and artistic skills including tattooing.

headhunters tattooing girls tattooing girls

Cry of the Flying Rhino is a modern novel set in the railway town of Segamat, which has already been deforested and turned into miles of plantation, and Borneo, whose jungles are under threat. The Chinese GP, Benjie, has been forced to marry Talisa, a mysterious and tattooed teenager, and the adopted daughter of wealthy crass Scottish landowner Ian. Benjie has to discover for himself his wife’s true identity, when Minos and Watan, two Ibans who leave the jungle and appear in Segamat one day, looking for Talisa.

Cry of the Flying Rhino raises uneasy themes of identity, poverty, religion, race, greed, colonialism and post-colonial struggles, and deculturalisation because I want to convey to readers the issues and conflicts which affect Asia today using the medium of fiction. I hope the story will take them to another world.

 

 

READ Cry of the Flying Rhino FOR FREE: Now at Southfields Library, South London

Calling SOUTHFIELDS or WANDSWORTH residents/library members/mums/friends/neighbours! What are you waiting for?!!! READ MY BOOK FOR FREE!!! Support local libraries and read for free. If you don’t, they will shut down. We don’t know how lucky we are. When I was growing up I had to read really torn, vandalised or simply extremely old and falling apart books in the Sultan Ismail Public Library in my home town of Johor Bahru. I frequently did not know the ending, the beginning or the middle because of the damage done to them. I moment I could read, I read, and I could not stop. I treasured each book more than anything in the world.
I am next to Helen Dunmore. That is all. My book is in #southfields #library. This is a little local library I have been going to for about 20 years or something like that. #wandsworth #wandsworthlibraries #southlondon #macabre #dark and #literary #crime #fiction #bookstagram. #tattoos#borneo #tribal #story #diy #author #writer #novel #plottwist #cryoftheflyingrhino #ivyngeow #writersofinstagram #onlocation #helendunmore @ Southfields Librarysouthfieldlibrary2Southfieldlibrary1

Lulu Allison: The Relevance of Art in Literature

“Art is not what you see, but what you make others see.” – Edgar Degas

-COVER smlLulu Allison is a Brighton-based artist and writer. Before she started writing she had already been an established artist.

Author photo smaller

Twice the Speed of Dark
is told from the viewpoint of Caitlin, killed by violent boyfriend Ryan. Ten years on, her mother Anna is still burdened by suppressed grief. Dismayed by the indifference in the news to people who die in distant war and terror, Anna writes portraits of the victims, trying to understand the real impact of their deaths. It is only through these acts of love for strangers that she can allow herself an emotional connection to the world. Anna’s uneasy equilibrium is disrupted when Ryan is released from prison. As her anger rises will Anna act on her desire for revenge, or will she find freedom at last from the terrible weight of grief? And will Caitlin reclaim herself from the brutality that killed her?

Lulu Allison’s self-discovery
unexpectedly made her transition from visual artist to a writer as an indirect result of the Boston Marathon Bombing in 2013. It was triggered by her curiosity for why the news offered reasons to care about victims of the Boston bombing when the names of those who died in Iraq or Afghanistan were not released. Why were some victims unseen and others offered up for public grieving? Lulu began what she thought of as an art project, writing portraits of the nameless victims in the news. It became clear that writing offered a means of expression that didn’t exist in art. She expanded the portrait writing; the result was her first novel, Twice the Speed of Dark.

Art by Lulu Allison

in a gallery in Cardiff, from her pre-writing days. They are site-specific installations, newspaper and bamboo structures, part of a series called Vagabond Palaces because they are made of waste newsprint.

“I liked the idea that waste becomes something valuable because something is removed from it (the cut holes) and I thought too that it is a vagabond material, transient, overlooked.”

vagabond palace 1

Vagabond Palace 1

vagabond palace 4

Vagabond Palace 4

There are three types of art in literature:

1/ art for art’s sake
Is the purest form of art. There is no one best to represent this than Shakespeare whose literature was to entertain, and not just the esoteric few, but the masses. Shakespeare’s plays were exercises in realism. There was no intention to reform or to revolt against the evils of society or the ruling party. Yet being a true artist, his insights and portrayal of the human condition and the conflicts in his tragedies, histories or comedies are true to character and filled with empathy.

2/ art for social purposes
is for spreading or instilling social ideas. In poor countries, with corrupt, inept governments, art is used as a device through which social ideas are spread, through billboards, public art, printed material such as leaflets. Keats, Tennyson, Ezra Pound, T.S. Eliot and Edgar Allan Poe are of the view that society is influenced by propaganda, which is when artistic licence is taken to spread social ideas.

3/ art for morality
is the positive end of art for social purposes. Dickens, Bernard Shaw, Walt Whitman, Mark Twain, Harriet Beecher Stowe, Upton Sinclair, John Steinbeck, Balzac, Stendhal, Flaubert, Victor Hugo; Goethe; Cervantes; Tolstoy, Gogol, Dostoevsky speak the truth through their fiction: the truth being their despair and opposition of oppression, fatalism, passivity, and submission to the societal flaws. Twice the Speed of Dark by Lulu Allison is a novel which comes into this third category as there are themes of grief, domestic violence and disorder which ultimately examine the moral and emotional conscience.

This is another example of Lou’s site-specific non-gallery based art from a series called Entropy: Value-Added.

“Again, it was thinking about value, and I loved the bombastic idea that I was adding value to decay. There is something beautiful in that for me. This is essentially street art, but I called it feral, because I felt it had escaped from the studio back into the wild. I guess it suits Anna’s interest in the accidental too.”

entropy value added

Entropy: Value Added

Anna, the grieving mother in Twice the Speed of Dark seeks solace in the viewing of public art at the Tate, but makes the weary re-discovery that her “passion for art has gone” and that “Twentieth-century art… looks tired, more tired than her even.” Yet she stands back, passive, she feels she has outgrown that passion and is unmoved by the passion invoked by one of the trustees, energetic Eva, of the arts organisation.

Also in the same chapter, we see from the viewpoint of the late Caitlin bonding with her mother Anna in a flashback.

“It was easy to absorb her joyfulness, and soon Dad and I were as elevated as she… Today’s happy evening was brought to you by the colour purple.”

Caitlin describes her pride for her mother being an art history lecturer, who

“spent her life looking at paintings, artworks, filling her eyes with arrangements that had been created, if not inevitably to please the eye to fill it.Little_Chittenden_Wood_-_geograph.org.uk_-_1861070

“…But she did offer the chance to share in her looking. Look, Caitlin how beautiful it is! It might be a distant view… it might be something I couldn’t spot at all.”

These scenes in Chapter 4 are firstly symbolic of art which bring people, in this case, family together. It is something that grows up and grows old with us. Secondly, these scenes depict also that in literature, art becomes a habit, a theme, an inspiration both for memory and storytelling.

Author’s Biography:

Lulu Allison has spent most of her life as a visual artist. She attended Central St Martin’s School of Art then spent a number of years travelling and living abroad. Amongst the bar-tending and cleaning jobs, highlights of these years include: in New Zealand, playing drums for King Loser and bass for Dimmer. In Germany, making spectacle hinges in a small factory. In Amsterdam painting a landmark mural on a four storey squat and nearly designing the new Smurfs. In Fiji and California, teaching scuba diving. After a decade of wandering, she returned to the UK, where she had two children and focused on art. She completed a fine art MA and exhibited her lens-based work and site-specific installations in group and solo shows. In 2013 what began as an art project took her into writing and she unexpectedly discovered what she should have been doing all along. Twice the Speed of Dark is her first book, published by Unbound. She is currently writing a second novel, called Wetlands.

You can find Lulu Allison here. Check out her new novel Twice the Speed of Dark paperback version here and the kindle version here. Check out my new paperback award-winning novel Cry of the Flying Rhino here, kindle version here.

 

 

DEBRIEF: Publishing Two Books!

Bako KuchingThis is a view of Bako National Park in Kuching, Borneo, home to millions of flora and fauna many of which are still undiscovered and unknown to humans. It seems the opposite of the Hong Kong in the photo below, yet both of these places are where Cry of the Flying Rhino was born.IMG_9230

Publishing Cry of the Flying Rhino traditionally and publishing Heart of Glass through Crowdfunding:

Before my book launch in Hong Kong, Borneo-based US author of Lovers and Strangers, Robert Raymer, had talked to me about having two books out not quite but nearly at once after writing for so many decades. We discussed both traditional publishing and the crowdfunded system ofpublishing for Heart of Glass. I was very chuffed that Robert had written the advance commentary for my book Cry of the Flying Rhino. I had admired his writing from a very long time ago, in fact, 31 years to be exact, when I first met him. I was a 17 year old schoolgirl and I had just won my first “prize” in writing, which was a Writer’s Workshop in Kuala Lumpur. It was the second time I submitted a short story to the New Straits Times for a competition and the first time I won anything in my life or travelled to the capital city on my own. Therefore it was a rite of passage for me. I read Robert’s books when I was a young adult (in those days there was no such thing as YA fiction). You are either an adult or not an adult.

The magic of writing and the beauty of ideas all begin in the mind, in the imagination. One day it is somewhere else, in someone else’s mind and imagination. Read Robert’s post after the book launch, where a book about Borneo finally arrives in Borneo in the very place where the novel is set!

Check out my SHOP where you can purchase SIGNED FIRST LIMITED EDITIONS of Cry of the Flying Rhino. Find out why this book won outright for the first time in 9 years of the International Proverse Prize competition.

USEFUL LINKS

If you would like unsigned copies, please go to

Paperback: amazon.com
Paperback: amazon.co.uk
Kindle eBook: US

Kindle eBook UK 

NEW author pages! See below:
Amazon author’s page
Goodreads author’s page

GREAT NEWS: Cry of the Flying Rhino now available, paperback, eBook

IMG_9368NEWS: I am reading at Brixton Book Jam, The Hootananny, London SW2 1DF on Monday 3 March 2018, 7.30pm, please come along if you can.

Cry of the Flying Rhino LIMITED EDITION, FIRST EDITION, SIGNED is now available! Find out why this book won outright for the first time in 9 years of the Proverse Prize competition. Go to my SHOP for a LIMITED EDITION, FIRST EDITION, SIGNED COPY of Cry of the Flying Rhino and other books.

UK £16.75 including first class postage
Rest of world £22.50 / USD29.81 / SGD40.34

 

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FOR UNSIGNED COPIES, GO TO:

Amazon UK

Amazon UK Kindle eBook

Amazon USA 

Amazon USA Kindle eBook 

“Anyone impressed, anyone imprinted upon and inspired by Lalwani, Roy, Chatterjee, Burgess, Lowry or Orwell, will be correspondingly affected by Ngeow.” – Professor Jason S. Polley, Department of English, Hong Kong Baptist University

 

CRY OF THE FLYING RHINO Sneak Preview: Doing my Bit for Postcolonial Literature:

Heart of Glass: Front cover done. Back blurb in progress.

Some delays in August because I was torn between two cover options both of which I liked. Now we’re done being torn. Very exciting. Clue: 1980s! Yes!  In sports news, Cry of the Flying Rhino: Hong Kong – the prize giving ceremony and launch is now only 4 weeks away!

I have been living in Hong Kong time and refuelling on carbs, waking at 2 or 3 am to do live edits and emails in order to not lose a day each time an email comes from the publishers. The 4 rounds of edits are done now. I’ve designed the cover, prepared a Sino-Malay glossary, a map of South East Asia (aside: after Illustrator crashed at 5 am, had to have a go in Photoshop). You don’t realise what goes on backstage. Months and months of prep, and before that, years and years of writing.

Forget the lip gloss. This is the harsh terrain of pre-press. I climb a small mountain every day.

Before you say Mazel Tov,  this book has some history because it was written 12 years ago, been through 14 drafts, and “many” rejections and you know why? It is a bit controversial. Not very, just a bit. Many, many times I wanted to delete it from my hard drive and throw the damn thing away. What saved me from doing it was the voice over my shoulder. Cry raises uneasy themes like race, religion, class struggle, colonisation, diversity, poverty, capitalism, exploitation. All my pet topics, all-in-one.  They are under-represented in English fiction, especially by non-English writers for whom English is a second language.  The themes in Heart of Glass are: imprisonment, greed, displacement, cultural identity. I only speak the truth, dressed up in fiction. I express myself best through music and fiction. 

Some inciting images. These fascinating images sparked off a million ideas before one or two story threads led to writing Cry. I first saw this image of girls tattooing girls and also a photo of this sign on my one trip to Borneo:

I am thrilled that the judges of the prize can see the truth and my point. That is actually the real prize for me, not the prize itself. There’s a door I’ve opened. Through Heart of Glass, I have gained your support and my voice may at last be heard. The next update on Heart of Glass will be very soon. As usual your comments are welcome.

SNEAK PREVIEW: Cry of the Flying Rhino book cover draft designs

Cry - cover option B Cry - cover option AA Cry - cover option A

Because I am a control freak, I decided to have a stab at cover design myself. The first one, the black and red one is inspired by Iban tattoo pattern and Alfred Hitchcock film posters by illustrator/artist Saul Bass. But I think it might be deemed too London, too retro. The second and the third are variations on the same which the idea of the rich mystery of the deep, dark jungle.

Guess which one the publisher chose? It surprised me too.

STOP PRESS: Ivy Ngeow wins 2016 International Proverse Prize (FIRST PRIZE)

prize

I am thrilled my first novel Cry of the Flying Rhino has won this prestigious international literary prize for an unpublished full-length work of prose fiction.

Winning the 2016 Proverse Prize is important in promoting excellence in literature and the love of and for books, across all boundaries of race, country, creed. International writing is still at the heart of postcolonial literature, which as a Commonwealth writer, I am proud to represent. Results were announced in the spring reception in Hong Kong on the evening of Thursday 27 April 2017. Cry  (89,119 words)  will be published in November in Hong Kong this year. I will travel there to receive the prize, to meet the judges, the publishers, readers, writers, guests, the organisers and finally, my book

 

I entered the competition on 19 May 2016 before I even wrote to Unbound regarding Heart of Glass. It is a cash prize of 10K HK dollars (look it up, pound has gone down) and publication of the book. Having written for some 40 years with so much blood, sweat and tears (cliche, sorry, yes I know, but how else to put it?), indeed I am crying and my skin is thick as a rhino’s. I have managed to get not just one book out, but both, this year. Although it seems like a coincidence, it is not. I only started submitting my work with any seriousness last year and despite everything,

I carried on like some kind of bumper sticker. (“If life gives you lemons” etc). Rejection after rejection (the holy grail of all writers) and eventually acceptance.

About the book: Cry of the Flying Rhino, told from multiple viewpoints and in multiple voices, is set in 1996 in Malaysia and Borneo. Malaysian Chinese GP Benjie Lee has had a careless one night stand with his new employee – mysterious, teenaged Talisa, the adopted daughter of a wealthy, crass Scottish plantation owner, Ian, in the provincial Malaysian town of Segamat. Talisa’s arms are covered in elaborate tattoos, symbolic of great personal achievements among the Iban tribe in her native Borneo. Talisa has fallen pregnant and Ian forces Benjie to marry her. Benjie, who relished his previous life as a carefree, cosmopolitan bachelor, struggles to adapt to life as a husband and father. Meanwhile, an Iban called Minos has languished in a Borneo prison for 10 years for a murder he didn’t commit, and is released into English missionary Bernard’s care. When one day, a Minos and his sidekick Watan appear in Segamat, Benjie has to confront his wife’s true identity and ultimately his own fears. He has only just noticed that he is losing money in large amounts. Could the tattoos be the key to her secrets?

See also What is the Flying Rhino and Why does it Cry? if you are interested to find out more about the background.

About the publishers: Proverse Hong Kong is based in Hong Kong with regional and international connections. The International Proverse Prize for Unpublished Non-fiction, Fiction and Poetry is open to all irrespective of residence, citizenship or nationality. The Publishers were born in the UK and have lived and worked in many countries. They visit Australia, Europe, Japan, Mainland China, Malaysia, New Zealand, Singapore, the United Kingdom and the USA.

Previous winners of the  Proverse Prize: Rebecca Tomasis, for her novel, “Mishpacha – Family” Laura Solomon, for her young adult novella, “Instant Messages” Gillian Jones, for her novel, “A Misted Mirror” David Diskin, for his novel, “The Village in the Mountains” Peter Gregoire, for his novel, “Article 109” Sophronia Liu, for her collection of sketches, “A Shimmering Sea” Birgit Linder, for her illustrated poetry collection, “Shadows in Deferment” James McCarthy, for his biography, “The Diplomat of Kashgar” Philip Chatting, for “The Snow Bridge and Other Stories” Celia Claase, for her essay and poetry collection, “The Layers Between” Lawrence Gray, for his novel, “Adam’s Franchise” Gustav Preller, for his novel, “Curveball: Life never comes at you straight”