The winners of the SEA Write Awards, the region's most distinguished literary prize, will be announced early next month, the category to be judged in this year's competition being the short story. In the run-up to that glittering event, we talk to the six Thai finalists, all unconventional individuals in their own way, asking them about their work, their favourite authors and why they prefer to express themselves in the short-story format.
Samarn Saman
by Uthis Haemamool
Uthis Haemamool, recipient of a SEA Write prize in 2009 for his full-length fiction, left his comfort zone to write short stories that reflect life and the sentiment of people in contemporary Thai society. Despite its gloomy tone (and even gloomier book jacket!), Uthis deftly uses his moving, snappy and satirical prose to breathe life into the eight short stories he has penned about individuals living in Thailand during the last decade, a period rent by bitter political divisions. To challenge readers to examine their own perceptions, Uthis constantly raises issues such as the way "truth" can be fabricated to suit circumstances and the process of remembering and forgetting.
What's your favourite short story?
Street Corner Man, an anthology of short stories by Jorge Luis Borges. I felt that there were stories behind his characters and the writing has lots of complexity and many dimensions.
Who's your favourite writer?
J.M. Coetzee, because he manages to tell stories with a dispassionate voice, as if he doesn't care, although readers can't help caring deeply about his characters.
Why did you choose to write short stories?
I'm more comfortable with long fiction, but I needed to try something new, to walk out of my comfort zone.
What's your favourite work by a SEA Write Award-winning author?
Taling Soong Soung Nak (High Banks, Heavy Logs), for which Nikom Rayawa won a SEA Write Award in 1988. I was struck by the clarity of his ideas and I simply love his prose; it is forceful yet lean and lyrical.
What do you think this short-story collection says about your development as a writer so far?
This book is a walk outside my comfort zone of writing lengthy fiction. I do a lot of research into political matters, history and culture and like to play around with narrative structures by using obituary or traditional prose styles as a medium. I hope that readers will remember me as an experimental writer.
If you weren't a writer today, what would you be doing?
I never ask myself that question. Honestly! I graduated in fine arts, but I chose to write for a living and I have never looked back.
If you could compare your book to a type of food, what would that food be?
Moo manao [a spicy pork salad doused in lime juice and typically served with raw cabbage or kale]. It's a comfort food, a tasty, Thai appetiser that you snack on while drinking beer. It's usually served cold so it goes well with our tropical climate.
— Anchalee Kongrut
Ying-Sao and Other Stories
by Kla Samudavanija
Son of newspaper columnist Chaisiri Samudavanija and nephew of Thai political scientist Chai-anan Samudavanija, Bangkok-born Kla Samudavanija has been described as one of the new generation of writers worth keeping an eye on. His first short story was published in Matichon, the Thai-language newspaper, in 1992 when he was still studying in secondary school. Since then he has been contributing work to various websites, magazines and newspapers. His first book of short stories, Kor Khwam Tang Dao (Alien Messages), was published in 2010. Ying-Sao And Other Stories is his first work ever to be shortlisted for a SEA Write Award.
What's your favourite short story?
Her Little Dog In The Ground by Haruki Murukami, which I read recently and was really into. It's perfect: language-wise, atmosphere-wise, setting-wise, theme-wise, mood-wise, how the characters act, how the story is told and how it hints at nostalgic memories.
Who's your favourite writer?
The first writer whose prose made me feel that reading could be fun and who made me want to become a writer myself was Por Intharapalit. Seksan Prasertkul was the writer who made me more conscious of my spirituality and more aware of social issues. The foreign writer that I like most at the moment is Antonio Tabucchi. I am always on the lookout for new books by these people whenever I visit a book store or book fair.
Why did you choose to write short stories?
Short stories stand out for me because they don't consume the time of either the writer or the reader. They can be used to discuss small issues, such as a tale about some kindness witnessed on public transport, say, as well as more complex things such as the challenges posed by generation gaps. A short story can create a big image or portray a long period of time just as well as a novel can.
What's your favourite work by a SEA Write Award-winning author?
I like the natural symbolism in the works of Paitoon Tanya. His writing style has both literary flair and a fun element to it. Prabda Yoon is a real master of the language, while Uthit Hemamul uses language to create atmosphere in a most amazing way. I also admire the overwhelmingly creative ideas of Win Lyovarin.
What do you think this short-story collection says about your development as a writer so far?
My work illustrates feelings I recorded during the turmoil that affected our society and country [in recent years]. I channelled all that into short stories, some depicting our innocence, some depicting observations and questions people had on various issues. If you don't record it, it can be forgotten and that would be a shame. I felt that I was writing about something that I know really well, so I didn't have to rely on my imagination to any great extent.
If you weren't a writer today, what would you be doing?
I think I'd be a government official working in the area of public legislation. If not that, then probably a researcher on matters of constitutional law, which is what I am currently doing.
If you could compare your book to a type of food, what would that food be?
A sandwich, because it's easy to eat. It can be a snack, but if you want it to be filling, it can do that as well. All the nutrients are there, so it isn't just something that one eats merely for fun.
— Parisa Pichitmarn
Reung Pom Lao
by Jamlong Fangcholajit
Jamlong Fangcholajit, often referred to as "Long Reung San" (Short-story Long, a shortened version of Jamlong), has written 240 stories over the past 37 years. He has been nominated for a SEA Write Award four times prior to this. This time around his name has been put forward for his most recent work, Reung Pom Lao, a collection of nine stories he penned during the past three years.
What's your favourite short story?
The Night At The Hotel by Siegfried Lenz. I've read it more than 10 times already!
Who's your favourite writer?
If I really have to pick one, it would be Heinrich Boll. I've incorporated elements from his Mein Onkel Fred (My Uncle Fred) into a story of mine called A Flower Blooms In Hamburg. He writes about difficult subjects in a most readable and easily comprehensible way.
Why did you choose to write short stories?
The most valuable substance in a coconut is the oil, not the milk. I choose to write short stories because I want to convey subjects inspired by conflicting ideas — in society, in politics, in economics, in culture — and how they cause or result in a shared human experience. The format of a short story suits me. I'm free to explore various writing techniques.
What's your favourite work by a SEA Write Award-winning author?
Atsiri Thammachot [winner of a SEA Write Award in 1981 for the short story Khunthong, You Will Return At Dawn]; again, simple and sharp writing but deeply philosophical, as in Taling Soong Soung Nak [written by Nikom Rayawa]. Also Chart Korbjitti and Mala Kamjan, who are from the same generation of writers as me.
What do you think this short-story collection says about your development as a writer so far?
In Rueng Pom Lao, I write in the first person [singular] in every story, even if the "I" may be different people. Writing in the first-person form opens up how I can convey various themes. I'm always finding new techniques. In Me And The Other Me, I combined the idea of "featuring", as in an artist who is featured in a song, with communications through Facebook. I returned to the era of Gustav Flaubert in the first story of the book.
If you weren't a writer today, what would you be doing?
I would be an environmentalist trying to advocate for social intervention against global warming. I don't know how to ride a motorbike. I leave a minimal carbon footprint. For the past 17 years, I've been sleeping with just a fan on. I have an overgrown plot of land, and I don't encroach on the forests. I don't eat meat. I am very green.
If you could compare your book to a type of food, what would that food be?
Not a meat dish for sure, but also not a vegetable dish. A dish made of fish from the deep sea, spiced with Thai herbs — easily digestible and suitable for the palates of both adults and children. Why? It's appetising, entertaining, not poisonous and full of fibre. And it tastes delightful.
— Pimprapee Thungkasemvathana
No Sea In Melaka
by Jadet Kamjorndet
With his trademark non-linear, surreal narrative style, Jadet Kamjorndet has, over the past few years, cemented his place on the Thai literary scene, with the short-story collection Daed Chao Ron Kern Kwa Ja Nang Jib Kafae (The Morning Sun Is Too Hot To Sit Outside And Sip Coffee) which won him a SEA Award in 2011 and his poetry collection Phu Ok Bap Sen Khop Fa (Skyline Creator) which made the SEA Write shortlist last year.
While retaining the interest in current social and political issues that he displayed in his previous collection, in No Sea In Melaka, Jadet has created a fictional world where the past clashes with the future and reality blends with imagination, making his message all the more accessible and yet open to various interpretations.
What's your favourite short story?
The Open Window by Saki [pen name of Hector Hugh Munro]. It's a story which makes me think of soft sunlight in spring. I can feel that soft sunlight even before a picture of the characters and the settings is conjured up. This short story makes me put atmosphere into every story I write because I think there must always be some people who'll be able to remember the atmosphere more than the setting.
Who's your favourite writer?
Roald Dahl. I like his naughty heart and that great imagination of his. I like his concise writing; when we start reading him, we are instantly thrown into his world.
Why did you choose to write short stories?
A short story can create an impact in such a short period of time through the use of various fun devices. I chose the short-story format because it fits with the kind of stories I want to tell at the moment.
What's your favourite work by a SEA Write Award-winning author?
I like the works of Wanich Charungkitanan. They are lively, but they are also very moving. I like his black humour, too.
What do you think this short-story collection says about your development as a writer so far?
I wasn't as elaborate as I have been before. I just chose the right tone in telling the story. The language is not that neat. In terms of the content, it's no longer just about what's inside of me, but also about what's going on outside. Even though I still retain my personal viewpoints, you can feel that I'm observing the world outside. I'm no longer the kind of person who shuts himself in a room and writes about what's burning in his chest. Recently, I've opened my window and started looking at the outside world.
If you weren't a writer today, what would you be doing?
I would probably be painting, like I did before. I might be a songwriter. Before writing, I wanted to be a songwriter and tried to do that but I didn't know how. If I weren't a writer, I would probably find some way to be a songwriter and get better at doing it. Or I might become a singer. If no one cared for my songs, I would be an indie musician and write songs just for myself.
If you could compare your book to a type of food, what would that food be?
Whichever kind that is not tom yum. It might be a new dish created on that TV show, Iron Chef. It's made of soft, chewy beef. You can't guess what it is made of just by looking at it from the outside. Once you try it you will start to realise the nature of its different ingredients which have come from many different places. Each bite will be enjoyable, and you will get full, but the dish will be hard to digest.
— Kaona Pongpipat
Seu Kin Khon
(Tiger Eats Man)
by Sakorn Poolsuk
Infused with simplicity and the charm of the countryside, Sakorn Poolsuk presents his second work to be nominated for a SEA Write Award. Seu Kin Khon consists of eight short stories that reflect the way the writer moved around the country a lot as he was growing up, relocating from the South all the way up to the North.
What's your favourite short story?
I like Nam Tok (Waterfalls) by a writer called Kanokpong Songsompan. I like a method of writing that proceeds slowly, which yields a very genuine display of a character's slowly unfolding emotions. Southern Thai folk dance, manohra, is also featured in the book as a narrative connector to allow readers to see various social and cultural dimensions.
Who's your favourite writer?
My favourite is Gabriel García Marquez, the Colombian Noble Prize-winner who recently passed away. His greatness lies in the quality of his writing; he maintained this quality throughout his career. If you have a look at his biography, you will understand why he is not an ordinary person.
Why did you choose to write short stories?
Actually I write both long fiction and short stories. Generally, a book of short stories is succinct; however, being short also precludes giving a lot of detail about everything. Nevertheless, given that short-story compilations often share congruent ideas, a 'short story novel' thus feels connected, seamlessly and in a charming fashion.
What's your favourite work by a SEA Write Award-winning author?
I admire Nikom Rayawa [author of the 1988 SEA Write Award-winning novel Taling Soong Soung Nak (High Banks, Heavy Logs) because of his writing style, which is casual yet deep. His writing does a fine job of conjuring up clear visuals. The language is plain, but highly memorable. Nikom uses a voice that expresses sincere sympathy for the fate of his characters.
What do you think this short-story collection says about your development as a writer so far?
For me, it didn't matter whether my book was going to make it to this final round. I think my book has its own way, like a wanderer who has been running up mileage for quite a while and who then stops and turns around to look at the past. He has learned his lessons. He has found out how to continue walking and what he needs to watch out for. And he has realised where he needs to pause, once in a while, in order to recharge his energy from the beauty of his surroundings.
If you weren't a writer today, what would you be doing?
I am a teacher. I have accumulated a lot of experience during my teaching career, which is a good foundation for composing books. I am happy to continue working as a teacher.
If you could compare your book to a type of food, what would that food be?
Tom yum goong, but it's a kind of half-finished tom yum goong for which readers are required to select the spices by themselves and then add them to the soup.
— Duangphat Sitthipat
Venom And Other Stories
by Dan-aran Saengthong
After Diew Dai Tai Fah Klang (Alone Under The Riotous Sky), which made the SEA Write shortlist two years ago, Dan-aran Saengthong is back in contention again with a collection of short stories entitled Venom And Other Stories. His most famous work, Ngao Si Khao (White Shadow), has been translated into English, French, Spanish and several other European languages and he is the only Thai writer to have been honoured by the French government with their equivalent of a knighthood (Chevalier des Arts et des Lettres).
In this collection of 12 stories, Dan-aran weaves into his tales intense feelings and emotions, from bliss and agony, bravery and fear, to faith, suffering and a desire for vengeance. Universal in his messages, Dan-aran has managed to incorporate contemporary issues into his stories while retaining the flavour of Thai traditions and Buddhist beliefs.
What's your favourite short story?
Rak Tee Mai Ma by Utsana Phleungtham. It's a story that tells us not to disrespect other people's determination. It's a lesson.
Who's your favourite writer?
Utsana Phleungtham. His writing is beautifully elaborate. His prose is as beautiful as divine poetry.
Why did you choose to write short stories?
Short stories end quickly; they don't disturb the reader too much. Writers should have good manners!
What's your favourite work by a SEA Write Award-winning author?
Luk Isan (Son Of The Northeast) by Kampoon Boontawee.
What do you think this short-story collection says about your development as a writer so far?
I'm still an amateur. I write and then I edit over and over again. Even now, it still feels like I have just begun; I still think I'm a young writer. I want to write a beautiful book and it's a game I play with myself to pretend that I'm going to send that book to Utsana Phleungtham for him to read. It's difficult for your work to be perfect if you're writing for Utsana!
If you weren't a writer today, what would you be doing?
I can't think of anything. I have to be a writer. I have always wanted to write, ever since I was young; I never wanted anything else.
If you could compare your book to a type of food, what would that food be?
Fun Kang [one of the stories in the book] is a dessert. The Third Eye [another story in the same collection] is also a dessert. Venom is an authentic Thai, fiery, spicy dish, but there's also an element of dessert in it, too. You've got to dissect it yourself. Chao Karaked [his previous novel] is a dish with a disgusting taste.
— Kaona Pongpipat
