A warm welcome to my guest, the legendary Bill Colegrave,
who has collected and been inspired by travel books for more than four decades. He was the owner and publisher of the Cadogan Guides travel series.
And now over to Bill…
The unforeseen complications of a one-night stand
are the foundations of this tale and the adventure that ensues. Benjie, a Chinese Malaysian Doctor is quickly diverted by his new assistant, a tattooed Iban, an indigenous Bornean; once hooked, he remains on the line. The more he discovers of her history, the deeper he becomes embroiled.
Children tattoo children to ensure the art never dies.
Debut novelist, Ivy Ngeow is Malaysian and international and she uses all her multicultural skills to explore the interaction of her character cast of Chinese, Malay, Scottish and Iban. The latter are the catalysts for the drama.
“A man or a woman without tattoos is invisible to the gods.” – Iban proverb
Elderly Sea Dayak woman of Borneo with thigh, feet and hands tattoo
Everyone has heard of Borneo, but most can’t place it on the map.
That is because Borneo is the name of an island, which is not a country; 75% of it is the Indonesian province of Kalimantan, the rest is the Malaysian outposts of Sabah and Sarawak plus the tiny but powerfully oil-rich Kingdom of Brunei. The Borneo of Cry is Sarawak, the home of the Iban.
The story engaged my attention but I was also learning about the Iban,
and learning to admire the Iban. Marriage, we learn, should be considered in practical terms:
“Every boy should look to marry a girl that is top class at weaving…..Boys want girls that are good at weaving, because it is a tough, tough life in the jungle. The girls, they weave to make clothes for war and for every day. They weave pua and the blankets make you dream well. In Iban, dreams are the most important gift from the Gods.”
Traditional Sarawak weaving of Pua Kumbu
A traditional Borneo longhouse
Central to the tale are the two Iban boys, Minos and Watan, who are taken under the wing of a English pastor, who has not understood that the 19th century ended a few years ago and that he is not helping anyone by trying to convert Iban to Christianity. But what he can offer is attractive to the eager Iban. Minos complains that there is no TV.
“Ingland says no. If plentymoney says No, it means No. But Pastor says Yes. Someone from the church give a TV. It is only the size of a chicken.”
I hope I remember to use that splendid simile when I am next buying a TV. Let me also remember Minos’ advice about mushroom gathering:
“….if all rotten and covered in worms, means OK to eat. If fresh and untouched, means poisonous.”
Cry of the Flying Rhino is charming as well as compelling
as a story, partly because the author creates her own moral code, as a result of which almost all crimes committed by her characters can be forgiven, so long as they can be held to be avenging a greater wrong.
The charm of the book and its insights into the ways of the jungle people of Borneo have drawn me to the island.
When I get there I will be thanking Ivy and two other writers:
My friend Robin Hanbury Tenison, whose Finding Eden – A Journey into the Heart of Borneo, has just been published. It tells the story of his time leading the Royal Geographical Society expedition to the same area in 1977 and starts with his chance meeting with Nayapun, a Penan tribesman:
“The Penan have a quality of stillness….They melt into the shadows and that is their life”.
2. and the American, CS Godshalk, whose novel Kalimantaan, brought back to vivid but fictional life the time of Rajah Brooke, the Briton who became an effective Rajah of Sarawak in the mid 19th Century.
“When we affect to condemn savages, we should remember that by doing so we asperse our own progenitors; for they were savages also. Who can swear that among the naked British barbarians sent to Rome to be stared at more than 1500 years ago, the ancestor of Bacon might not have been found?–Why, among the very Thugs of India, or the bloody Dyaks of Borneo, exists the germ of all that is intellectually elevated and grand. We are all of us–Anglo-Saxons, Dyaks and Indians–sprung from one head and made in one image.” – Herman Melville
Have you been to Borneo and have you met an Iban before? If you have enjoyed this blog post, please share, join my mailing list or email me with your comments and feedback. We would love to hear from you.
Ivy Ngeow lives in London. Cry of the Flying Rhinois a debut award-winning novel set in Malaysia and Borneo. Her second novelHeart of Glassis published by Unbound in 2018. Find me at www.writengeow.com, tweet me @ivyngeow, or write to me here: ivy_ngeow at yahoo dot com
Bill Colegrave is a travel writer and explorer. He was publisher of Cadogan Guides, which he bought in 1989, and also a Director of Everyman’s Library. His book Halfway House to Heaven (Benefactum, 2011) tells the story of his expedition to find the source of the River Oxus in the Wakhan Corridor and Pamir Mountains of Afghanistan. He is also co-creator of Not The Times, a parody of The Times during its year-long strike. He has an extensive travel book library and has travelled to 110 countries and counting. He has three grown children and one grandchild, and lives in London. Scraps of Wool was published by Unbound on 16 November 2017. Write to him here: scrapsofwool at gmail dot com
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.
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.
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.
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.
This 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.
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.
If you missed my reading atBrixton Book Jam, The Hootananny, London SW2 1DF on Monday 3 March 2018, no worries. Watch it here now!
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
“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
Today’s inspo: just wanted to share these photos of the 1916 venue of the book launch and prize ceremony. This is the Blue Room where the event will be held. I am very excited to be launching my award-winning postcolonial novel Cry of the Flying Rhino here! Originally built for the protection of women’s rights,. I think it’s going to be a symbolic, meaningful and once in a lifetime experience and one that I will treasure forever or at least until I have senile dementia. The Helena May is a historic post WWI building and it is fully restored. It is built in the classical colonial villa style with the articulated frieze consisting of dentil corbelling at the cornice level and the Italianate balustrading on all levels. The entrance portico has a curved pediment and the classical entrance columns are of the Corinthian order. The windows are casement and have no articulation. On the street elevation, There are flattened arched openings on the ground and first level from which the windows are set back in a gallery-style colonnade.
During WWII (the Japanese occupation) the building was used by the Japanese forces as stables for their horses! After the war, in 1947, the Royal Air Force took over the building. Disclaimer: I wrote all this architectural analysis myself, so if there are any errors in terminology, well, tough.)
“The Helena May was founded in 1916 and named after Lady May, the wife of Sir Henry May, Governor of Hong Kong at the time. Funded largely through the generosity of two local philanthropists, Sir Ellis Kadoorie and Mr. Ho Kom Tong, CBE, it was originally established to support women living and working away from home, and contributing to the Hong Kong community. Lady May’s original vision, enshrined in the organisation’s constitution, is central to today’s community outreach programme which focuses on the needs of women and girls living in Hong Kong.”
“From the outset, The Helena May has been an organisation for women led by women. The driving force was Lady May who, as President of the Y.W.C.A and mother of four daughters, was very aware of the lack of facilities for women and girls in Hong Kong. She provided leadership and direction to The Helena May in the early years that set a strong foundation.”
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.
Robert Raymer is an American writer and writing facilitator from Grove City, Pennsylvania, who now lives in Kuching, Sarawak on the island of Borneo.
I have met Robert just once. I mentioned him in another blog post called “My First Prize-winning Story was typed on this typewriter” about when I first started submitting my work to competitions and won a short story workshop as a prize for a story I entered. I was 17. I had travelled to the big city of Kuala Lumpur for the first time as part of the prize was attending this workshop. I had never been to KL on my own before. I was totally naive and he was the first American I had met and I thought hey, this glamorous guy must be a movie star from Hollywood as all Americans were movie stars, were they not? The only other white people I had ever met were three women preachers or missionaries from my mum’s home church who played the church organ, wore frocks and sandals and sang gospel hymns all in harmony. They were not film stars. They were Methodists from New Zealand.
It was thirty years ago. I am now 47. About twelve years ago, Robert was the editor for an anthology of short stories called Silverfish New Writing 4. He selected and edited my short story entitled “Friday Night at the Pheasant”. I have lost touch and found him again, thanks to the internet. It seems that life has its circular way of making sense.
I am really honoured that I got to interview Robert here. I have read most if not all of Robert’s stories and what comes across is that he really loves writing and his work is accessible. He writes with kindness, passion and humour. Here he shares with honesty his invaluable experience, hard work and expertise as a writer which he has gained over many decades, his lessons learned and re-learned, the dedication and sacrifices he and his family have made. Warning: This post is a treasure trove. Look away now if you do not wish to know the skill, hardship and labour of love that is the writing life.
1. How did publishing your first book change your process of writing?
Usually once you publish a book, you move onto the next one, but when the publisher, Heinemann Asia got bought out and the buyer got bought out, too, and dropped their whole line of fiction, I found my three-year-old collection of short stories orphaned. So I kept revising the individual stories, trying to sell them to markets outside of Malaysia/ Singapore. Then a Malaysian lecturer wanted to use my now-out-of-print book for his course on post-colonial writing, so I contacted another publisher that said yes. But first I took a hard look at the stories, hired an editor to rip them apart, and then I overhauled the stories, adding back-stories, changing endings, even doubling several stories in length. After moving to Sarawak and not finding the book in the stores, the Malaysian publisher blamed it on the Singapore distributor refusal to ship the books because of the additional costs, so with his blessing I switched to a third publisher, and revised everything again. That third collection, with the addition of two stories, won the 2009 Popular Reader’s Choice Award and was translated into French. Those original 15 stories (minus one, plus two) have been published 80 times in twelve countries. I even blogged a story-behind-the-stories series, pointing out the significant changes for each story that led to their publications locally and overseas.
The lesson, even though a book is published, doesn’t mean you can’t improve it.
That surely applies to unpublished novels that I felt could’ve been published a long time ago— I’ve had offers, but I didn’t think it would ever get out of Malaysia or Singapore. The heavily-revised books are so much better than what they would have been had I settled for a local publisher.
2. What was the best money you ever spent as a writer?
Investing in myself by moving to Malaysia to write full time (and taking the slow route, backpacking nine months until I got dysentery),
after writing “Mat Salleh”, a short story about meeting my Malaysian-in-laws, later published in the UK, and completing the first draft of a terrible novel to prove that I could at least stick with it. As a footnote, that “Mat Salleh” story attracted the attention of Ohio University (USA) twenty years later who wanted to film it; instead they opted to film another story of mine, “Home for Hari Raya” in Malaysia.
3. How long were you a part-time writer before you became a full-time one?
That’s a tricky question. I was a part time writer for a few years in the US but chose to move to Malaysia in order to write full time, though I was mostly living off savings. Once that money ran out, I went back to working/teaching full time and writing part-time for another twenty years.
Although I write full time now, I’m also a house husband looking after two boys, age 10 and 13.
For now, I’m not making enough to support myself full time, but that is a trade off we made….Living in Malaysia, in Borneo, as a writer is a lot cheaper than living in the US or the UK. Now and then, when my wife has a really bad day, she’ll ask me for a progress report to keep me honest…Luckily, one of the perks for her job is travelling every year to Germany and then taking an extra week to travel in Europe while I stay home with the kids…
4. How many hours a day do you write? Tell us about your day.
Writing full time when you have children rarely means writing full time.
Since my elder son started to attend afternoon school my day has become topsy-turvy. On school days I’m up by 5:30 and by 6:00 the children are en route to school and I’m free to write until about 10:15. Then I have to cook and feed my elder son and take him to school and pick up my younger son and feed us both lunch. By 2:30, I’m back to writing. On the evenings that I cook, I stop around 6:00 and if I’m lucky, I can get back to work by 8:45. By 10:00 I’m usually in bed. The days I don’t cook dinner, I can work from 2:30 until about 7:45 and be back to work by 8:30 until 10:00. Of course not all of that is sole writing time, since I do have children,
but when I’m pushing a self-imposed or a real deadline, I’m surprised by how much work I can get done when I focus on the work and ignore distractions, including my children, who naturally take advantage of me….
Weekends depend if they have any school activities (swimming) on Saturday morning or tuition in the afternoon and our plans to watch a movie or go out for dinner. Sundays, after cooking brunch, I usually write all afternoon, often into the evening, especially when pushing a deadline.
5. What advice would you give writers who are facing only rejections?
If you are getting rejections that means you are writing and submitting your work and that is good.
No rejections, usually translates into not writing or not submitting your work. It’s all about perseverance and writing better stories and revising and outlasting those rejections. They say you only fail as a writer when you stop writing, so don’t stop writing! Remember that every best-selling author, every published writer started out getting rejected again and again! They didn’t give up; they persevered. The question you have to ask yourself: will you give up or will you persevere? Also read widely and read successful books you would not normally read to see what makes them successful. Read, learn and apply what you have learned to your writing. Self-help books do help!
6. Have you read anything that made you think differently about fiction?
Rarely do I read any book that doesn’t make me think differently about fiction.
When I read good non-fiction it can read like fiction, if it has a good story to tell in an interesting way. This used to surprise me, but good fiction can also read like non-fiction (think memoir—James Frey, anyone?) if your characters and setting and all the details ring true and seem real to the reader, even if you’re making most of it up, so long as the story is good.
7. What is the most difficult part of your artistic process?
Other than financial, it is patience and knowing when your work is ready for publication and not just because you are tired of monkeying around with it and can’t wait to become rich and famous. It’s having the courage to accept that maybe it’s not the best it could be and then rolling up your sleeves and revising it yet again.
Having gone through it again, if done earnestly, you’re often glad that you did, surprised by how much you were able to improve the manuscript on nearly every single page!
So keep doing that! I now go through each chapter three times whether it’s my 5th, 10th or 20th draft, after I’ve printed it out and line edited it, and the changes I keep making are immense….And I thought it was already good, ready to be published! So you can either blame the agents and the publishers or get back to work and find out what’s missing or what could be fixed or improved.
8. What are you working on now and what are you planning on writing next? Tell us about your next project.
I have sequels planned for three novels that I wrote, including one set in Penang, which will be sandwiched between two other novels, part of a trilogy.
Originally I hadn’t planned a trilogy, or even a sequel, but when I realized both novels could be related, I changed the character in the second book to match that in a much earlier novel, and reconciled the dates, the back-stories; but then I realized that I had always planned to write a third novel set in Penang based on an incident that happened to me and I thought, this might work between the other two books, involving the same character. Since I had purposely introduced a new character at the end of the first book who would be one of the main characters in that now third book, she could be in the second book, too, along with several upcoming characters. So that second book is starting to feel like a prequel to that third book. Also, I had written a novel set in the US about a shooting incident involving a child, and I have two novels planned as sequels. Then last year I adapted a screenplay into a humorous novel about a hapless spirit helping a boy find a new mother. Of course, I have a sequel planned for that….In fact, I was itching to start either that or the other set in the US by mid-July while waiting for the results of the Faulkner-Wisdom contest where I have submitted five novels.
But two weeks ago, while showering, I suddenly found a way to begin another novel idea that I had been collecting notes on that I felt was more marketable, so I put everything else on hold.
Since I’m still in the early stages of writing the first draft, I don’t want to let the genie out of the bottle before I finish writing it. Based on past experience, the drive to write the story is gone once you start talking about the story. You can talk the story right out of your system. Write it first, talk about it later when the story is written or it’ll always be just another idea that you never got around to write. I figured if never got another new idea for another novel, I could spend the rest of my life happily writing sequels based on the notes I already typed into my computer (dozens of pages for most, others a whole lot more) and that’s not a bad feeling….I admit, at times, I do feel like that donkey that starves to death because it can’t decide between two stacks of hay. So finding a third stack can be a real life saver…
9. If you didn’t write, what would you do for work?
Edit…which I do now and then. Having taught creative writing for thirteen years at two universities and having line edited about a thousand manuscripts, I know I can help other writers because I can see what they are missing. Of course, it’s always easier to see the flaws in someone else’s work than your own, but after a while, you see similar flaws in your own work and because you were able to fix their work, you can now fix yours….
And if you had stopped writing for any reason, you would think, hell I can write better
than that, and this would lead you back into your own writing and editing your own
Thank you so much Robert for the incredible interview! I can’t wait to hear the results of the Faulkner-Wisdom Competition and please join me in wishing him every success. I hope he starts on the seeds of his new novel imminently. Find him at www.borneoexpatwriter.com. Read his entertaining and insightful blog here.
Named as one of the “50 Expats You Should Know in Malaysia” by Expatriate Lifestyle magazine (January 2010), Robert Raymer’s short stories and articles have appeared in many publications including The Literary Review, London Magazine, Thema, Descant, The Writer and Reader’s Digest. One story from Lovers and Strangers Revisited has been used for the Cambridge International Examinations and others have been taught in Malaysian universities, private colleges and Sijil Pelajaran Malaysia literature in secondary schools, as well as in a high school in Canada. He was the editor of Silverfish New Writing 4. Three of his novels have been “short-list” finalists in the 2009 and 2011 Faulkner-Wisdom Novel Competition.
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?
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”