Some observations on the featured writers of the previous post

Malaysian Literature in English or MLIE are classified as sectional literature within the realms of the country and as such proves to be a hindrance for its flourish. Admittedly, the list featured in the previous post are compiled by information gathered from the internet thus nothing de facto (nor de jure) can be inferred from it. However, the dearth of MLIE are pretty apparent as the biggest resource in the world (ie the internet) can only come up but with a few mentions of MLIE.

It is a pity writers such as Tan Twan Eng, a world renown writer or a prominent local novelist such as K.S. Maniam could garner even the highest literary award in the world but would never get the same level of approval from their own home turf due to the secondary status Malaysian Literature in English commands. Objectively speaking, haven't writers such as K.S. Maniam with literary classics such as In a Far Country (1993) and Between Lives (2003) contributed a great sum towards the enrichment of Malaysian Literature in general to be awarded National Laureate?

How can one be proud of the literature scene in Malaysia when most of its advocates such as Rani Moorthy and Tan Twen Eng have to leave the country in order for their works to flourish and receive the recognition it deserves? Controversial Figures such as Sabri Zain would not be deemed as such if the local scene is similar to that of the United Kingdom for example whilst Azalia Suhaimi and her innovations seems to attract a larger audience overseas than it does locally . These writers have the Malaysian DNA embedded within them yet their literary pieces are received as if there are something foreign.

As such describes MLIE perfectly, something foreign and secondary; a sectional literature.

#justmytwocents

Comments

  1. How about us getting into that existential mode where the natural outcome of this chain of steps, is us architecting ourselves into a Renaissance?

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