Uthaya Sankar SB

You find very few non Malays dabble in Malay writing. One of them is Uthaya Sankar. In this interview which was published in the sun July 16 2009 . Here is the article

Suggested Headline : Straight from the heart

Award-winning writer Uthaya Sankar SB tells Bissme S what he thinks of the literary scene, his run-ins with Dewan Bahasa dan Pustaka and racism.

Why do you get angry when journalists ask you about your excellent command of Bahasa Malaysia?
If the journalists were to ask me how come I am fluent in German, I would understand their curiosity. German is not my mother tongue. German is not my national language. By the way, I don’t know German. But to ask a Malaysian "how come you are so good in Bahasa Malaysia" is an insult. I believe every Malaysian should be able to converse and write well in Bahasa Malaysia.
Many assume that I grew up in a Malay environment and that is the reason I can write and speak Bahasa Malaysia well. But that is far from the truth. I grew up in a village (Aulong Lama in Taiping, Perak) where the majority were Indians and there were only two Malay families.
Bahasa Malaysia is our national language. I regard Bahasa Malaysia as my first language. When a Malaysian is not good in Bahasa Malaysia, then it’s news. I wouldn’t have minded if the journalist asked me why I was not so good in Bahasa Malaysia because that would have made more sense. However, over the last few years, journalists have stopped asking me this question. Thank God for that.

Tell us more about the "little war" with Dewan Bahasa dan Pustaka (DBP) over the use of the term "Bahasa Malaysia"?
It started in 1999. This year I am celebrating my tenth anniversary of this so-called war. (Both of us laugh.) It all began when I submitted a collection of short stories to DBP for publication. The collection comprised stories from ten Malaysian Indian writers including myself. In the foreword I wrote, an editor in DBP wanted to change the word "Bahasa Malaysia" to "Bahasa Melayu". When I still wanted to use the term "Bahasa Malaysia", he started to lecture me that the term doesn’t exist. The matter was even taken up to (prime minister) Datuk Seri Najib Razak who was then the education minister. He made a statement to the press that it was all right to use the term "Bahasa Malaysia". But DBP said it’d only publish the book if I used the term "Bahasa Melayu". In the end, I did not allow the book to be published by DBP.

Why are you obsessed with the term Bahasa Malaysia? What have you against the term Bahasa Melayu?
I have nothing against the term "Bahasa Melayu". I will not stop anyone from using "Bahasa Melayu". But it pisses me off when someone – or anyone for that matter – says I can’t use the term "Bahasa Malaysia". I am not doing anything illegal. The term was introduced in 1970 and reinforced by the cabinet in 2007. Therefore, nobody has the right to stop me from using it. The more you try to stop me from using "Bahasa Malaysia" without any valid reason, the more I want to use the term. It is like parents telling you that you can’t love this girl and you start loving her even more.

What is your honest view of DBP?
DBP works at a snail’s pace. Once it does get a manuscript, it can take years to publish it. It’s also an open secret that it does not have a good marketing strategy. DBP should learn from Alaf 21 (a publication house owned by Kumpulan Karangkraf Sdn Bhd). Alaf 21 starts its marketing and publicity drive long before the books hit the market. Publishing books per se is not good enough anymore. You need to promote the books vigorously so readers will pick up the books. You need to make sure the books are available everywhere.
But this is not happening in DBP because most of the time, the books are merely available in the Dawama (the marketing and distribution department of DBP) storerooms.
Therefore, it is not surprising that (national laureate) Datuk A. Samad Said has taken back the rights to most of his books from DBP and wants to publish under his own publishing house, Wira Bukit Sdn Bhd. Haslina Usman has also done something similar with her father (national laureate) Datuk Usman Awang’s works by taking back all the copyright from DBP and publishing under UA Enterprises Sdn Bhd.
DBP is given the task and responsibility to look after our national laureates but it appears it is not doing a good job. The fact that these national laureates do not want to be under DBP’s umbrella doesn’t paint a good picture of DBP. I submitted a letter to DBP recently to officially take back the rights to my books under it. I have no other choice. In 2007, I gave DBP a letter to reprint my books under their publication since there was a demand for my books. But it has not done anything to date. It’s a sad fact that DBP is not proactive.

Why do you think DBP is not proactive?
Every year, DBP is getting funding from the government to publish a certain number of good quality books. It does not have to generate profit since it relies on the government funding. It feels as long as it publishes books, it has done its job. This has to change.

Some people believe DBP should be privatised so it will be more effective. What do you think?
Dawama (the marketing and distribution department of DBP) is privatised. But I do not see any real change. Privatisation is not the answer. It is the mentality of the people involved that should change.

You often criticise DBP. But it gave you your first big break. Some might say you are biting the hand that feeds you. What is your comment?
My relationship with DBP is more of a father and son. When a father makes a mistake, it is the duty of the son to point it out. I am doing my duty as a son. I am just asking them why are they neglecting their other sons (Usman Awang and A. Samad Said). I am just asking DBP (or anyone else for that matter) why can’t I use "Bahasa Malaysia" when there is such a term. What I am saying is based on facts. This is not slander. Whenever DBP has functions, I still attend and I still give my support. As I said, ours is a love-hate relationship.

Have you written anything in English?
I think in English but I prefer to speak and write in Bahasa Malaysia. I would not mind if people wanted to translate my stories into English, Tamil or Chinese.
Funnily enough, Institute Terjemahan Negara Malaysia (ITNM) translated one of my stories into English recently and I never knew about it. I only got to know that my story (Nayagi) was in the Sea of Rainbows anthology when I went for the book launch. I have nothing against ITNM translating my work. But I would have appreciated it if ITNM had at least informed me about it.
DBP has also translated one of my stories (Yang Aneh-aneh) into English and it was supposed to be featured in An Anthology of Malaysian Short Stories. But frankly, I would be surprised if the book gets published by 2020.

Is it true there is discrimination and as a result a lot of non-Malays are not keen to write Bahasa Malaysia literature?
I do not think discrimination exists. In fact, the many magazines under DBP are always looking for non-Malay writers to write Bahasa Malaysia literature. In fact, they pay very well. But the editors do not seem to get enough contributions. In this case, I blame the (non-Malay) writers. They like to jump to a wrong conclusion that their works will not be accepted and that discrimination exists. Of course, you cannot expect publications to accept every material that non-Malay writers submit. The works should be of a certain standard.
I always advise my editor friends not to accept stories in Bahasa Malaysia just because they are submitted by a non-Malay. You accept the work because it is a good piece of writing, regardless of race. In the past, Kumpulan Utusan had a literature competition category for non-Malays who write in Bahasa Malaysia. I do not agree to having such a category. Why have a separate award for non-Malays? If it is a competition, everyone should be in the same level. Of course I am happy that Utusan has scrapped this category.
Many non-Malays also have this assumption that you must write about Malay or Muslim characters if you want to get your stories published. That is not true. Most of my stories are about Indian families. The editors are always looking out for different cultures to be featured in their magazines.
The writers must also make sure the fiction they submit is free of spelling mistakes, so the editors do not have a headache going through their work. Read your work 101 times before sending it to the editor. Do not expect your editor to correct all your silly mistakes that you should have corrected.

So far no non-Malays have made it as sasterawan negara (national laureate) and this proves discrimination exists. One good example of this is the poet Dr Lim Swee Tin.
Associate Prof Dr Lim Swee Tin should be recognised as sasterawan negara, not because he is non-Malay but because he deserves it. He has created some masterpieces. I do not know why he has not been awarded sasterawan negara title till now. Maybe no one has nominated him. I am submitting a nomination. Like I said, he deserves the title.

Romance novels and popular fiction sell better. But why do you write serious literature?
I have nothing against people who write romance novels and popular fiction. But I like to write stories that make people think. Perhaps, 95% of readers are looking for romance novels and popular fiction, compared to only 5% who are looking for serious stuff. Let me cater to those who are hungry for serious stuff.
I strongly believe that God wants me to write something other than romance novels and popular fiction. I believe my writing talent is God’s gift and there must be a reason for His gift.

Do you think writers should write just to tell a story or their stories should have some moral message to make the world a better place?
If you are a writer with morals, it will be reflected in your writing. If your mind is corrupted, it will also be reflected in your stories. I have never written a story with the aim of putting a moral message across. But subconsciously, the moral values in me would be reflected in the stories I write. The readers are a better judge of that.

What do you think of our prime minister’s 1Malaysia concept?
It could be a brilliant concept to strengthen racial unity. But I think we are going overboard. For example, the TV station where I work is so keen to cover anything that has to do with the different races in this country. The media seems to be desperate to get non-Malay faces on the TV screen.
Ironically, last year (in April 2008, one year before the 1Malaysia concept was launched), I went out to cover a news event that featured Telegu New Year celebrations. In the end, the story was not aired in the Bahasa Malaysia news.
I was curious and wanted to know why the story was not used. The editor in charge told me, it was a story about an insignificant minority group and she also accused me of bringing "unsur-unsur Keling" (Keling elements) into the Bahasa Malaysia news.
I resigned immediately from my post as news editor because I felt her statement was racist. I did not want to work in a news department where racism exists.

A Samad Said

A National Laureate talks his his frustration over the scenario that is taking place in the local serious literature scene. The article appeared in the sun newspaper in Marc 6 2008

Suggested Headline : Malay lit under threat

National Laureate Abdul Samad Muhammad Said, better known as A. Samad Said, has 65 books to his credit, from short stories to poetry. His popular novels include Salina, Hujan Pagi, Cinta Fansuri and Langit Petang. The state of serious Malay literature in the country, however, makes the writer sad, angry, and frustrated. He tells Bissme S. he has given up all hope of it getting the recognition and support it deserves.

What is the biggest challenge you face as a Sasterawan Negara (National Laureate)?
To get real recognition, to have all your work accepted, especially in school. As a writer, you usually want your books to be accessible to students, who will be your audience in the future.

There was recently a news report that two years from now, books by national laureates would not be included in the school curriculum. What is your opinion on this matter?
Some clever guys in the Education Ministry have said Sasterawan Negara books shouldn’t be included in school because they are difficult. During my school days, we studied William Shakespeare, George Bernard Shaw, John Buchan’s The 39 Steps and Lord Byron. They were hard. But we had good teachers as intermediaries ... to help us understand the text. When you are 18 or 19, you already know these famous literature figures.

So you don’t agree with the move?
I think what they are doing is insulting. Usman Awang, Keris Mas and Shanon Ahmad have been writing for almost 50 years.You cannot just say all the work of Sasterawan Negara are difficult. There are bound to be one or two books that are suitable.
You can say my poem Al-Amin is very difficult. But I have another poem Kita Ini Tetamu Singgah, which has been made a song. That poem is easy.You must have teachers to help you understand the text, so you have some knowledge of good literature.
When Anwar Ibrahim was the Education Minister, and then when he was Finance Minister, he took care of this. He respected literature. He remembered writers. He even sent me books ... good books ... to read. He would invite Sasterawan Negara to read poems and their work for his office functions. This is rarely done now.
He even invited W.S. Rendra from Indonesia to read poems for his functions. He encouraged reading.
Even in Tun (Dr) Mahathir (Mohamad)’s time, he sent me books. He wrote "Samad, you should read this." They (Mahathir and Anwar) created situations where you love literature, where you loved writers.

Do you think these situations no longer exist?
Yes. It is very clear from what they are doing.

Some people say you’re angry because you’ll get less in royalties when your books are not used in schools.
I am 72 now. I don’t need a lot to survive on. I just need a small amount of money. I don’t even have a car. So I don’t have to worry about petrol and road tax. It is not about royalties. I don’t mind that they don’t want to use my books.

So you believe fewer youth will develop the reading habit as a result of the move?
Yes. With the help of the Education Ministry, this will happen. Just think of these students two decades from now. They are not exposed to good literature.
If you start saying the work of Sasterawan Negara are difficult at school level, then don’t expect them to touch these books when they leave school. You are sending out a clear message - do not read the work of Sasterawan Negara. Everything should start in school. We are not creating a situation where people will read good literature.
In America the students are studying To Kill A Mocking Bird, and in England they go for Lord Of The Flies. All are difficult books. If you want simple books, then just read ABC all the time.

Are you sad at the situation?
I used to be. But not anymore. I am angry now. They should be respecting Sasterawan Negara. But they are not.

What is your hope for serious Malay literature? What changes would you like to see the government make?
I don’t want to visualise anything anymore. I have no more hope. I will leave the situation the way it is. There is a small group of people in the ministry who are so clever, let them go on being clever. If they want it like that, let it be. I want to make them happy.

It appears that you have given up?
Yes. I have given up. I am sick of it. I don’t care any more. I am defeated.

What is your view of Dewan Bahasa dan Pustaka (DBP)?
They have no tongue. (Writers association) Gapena (Gabungan Penulis Nasional) has no tongue now. They have not shown any reaction to this school situation. Their silence shows that they agree with what the ministry is doing.

The last time we spoke, you said you were trying to get from DBP the copyright for your books so you can publish your own books. Did you succeed?
Not all. They have given me the rights to 12 books, but not to seven others ... the most important ones ... the ones I want.
DBP always says the work of Sasterawan Negara is difficult to sell. When you ask for your copyright, they don’t want to give it to you.
I think it is the right time to give me the rights to all my books. What is the point of keeping the copyright for my books if people are not interested in reading them?

Is it your opinion that we do not appreciate Malaysia’s literature figures?
I believe so. I have just returned from Korea after attending an Asia Africa Literary Festival. I was there for nine days. It was wonderful to see how they loved books and writers.
There was a special segment on me on TV. I was so inspired that I have written 68 poems and will compile them into a book called Soneta Pohon Ginkgo (available in the market in April).
My poems were recently translated into Bangla and launched in Bangladesh. It appears that I am beginning to be appreciated in other countries. So I don’t worry that my country doesn’t appreciate me.

Do you think the country will ever learn to appreciate you?
When you are no longer here, then they will appreciate you. They will sing praises of you. They will say we have lost a shinning star from the sky. They will say you are so good. They will say hilang tak dapat diganti. (what is lost cannot be replaced)

You constantly criticise DBP. But they gave you your first big break. They launched you into stardom by publishing your books. Some might say you are biting the hand that feeds you.
Yes. I bite the hand if I see the hand doesn’t really give me good things (laughs). It is wrong to say DBP gives me anything.
The people give tax to the government and the government goes through DBP and then DBP gives the money to me.
It is people’s money that published my books. If I owe anything to anyone, I owe to the people who paid taxes. I don’t owe DBP. It is their mission is to see what allocation they have and give the money to the authors who they think can give back to the country. The money is not from the DBP director’s own pocket. Some people think I might have grudges against DBP. But that is not the case.

What kind of roles do you like to see DBP play in promoting literature?
I don’t want to complain about DBP anymore. What is done is done. What I care about now is just give me back my copyright and I will be happy.

How do other Sasterawan Negara feel about the situation?
Maybe I am the only one who is not happy with what is happening. Maybe the others are happy. I should not represent them.

What do you think of your own writing and your own work?
I keep meeting people who ask me about the same book I wrote almost 50 years ago. I wrote it when I was 23. I’m going to be 73 in April and people are still taking about Salina (his first novel). It is as if they don’t know that I have written 65 books.
I have gone into short stories, novels, essays, poems and plays. But people keep coming back with the same book. Yes they know me, it doesn’t necessarily mean they read my work. I believe they read my work only when they are in school. (Salina is a school textbook) Only those who want to be writers read all my books later.

How do you know people don’t read your other books?
I know when people read my work. When I ask questions about my books, they grope in the dark. Reading is not easy. Unless you have cultivated the habit, you will not read. Things are becoming easier with the existing graphic novels. Now they can see pictures only. The intellectual groups always complain that my books are difficult to read, my books are difficult to study.

So why don’t you make your books easy to read like popular fiction?
I am always moving up. I should not go down. They (readers) should also go up. If they don’t understand me, it doesn’t mean I am wrong. I am 72 and I have been through all sorts of experiences. I don’t just make a sentence. I care about every word I write, whether it is reasonable, whether it is beautiful. Schools must help them come to that level. Instead they just say the books are difficult, so let us run away from them.

You could write in English. Why don’t you write in that language?
People have in the past advised me to write in English, so I will get a bigger audience. But I want to create Malay literature. When I die, I want to leave behind a khazanah Melayu (Malay heritage). You can have my work in English after you translate it. A lot of writers in the world write in their mother tongue and have their work translated into English.

Some say you see English as a colonial language and as a result dislike English and refuse to write in it.
(feigning disapproval) Yes. I dislike the English language. Yes, I don’t like it that you write in English ... You have no alternative because English is the language of the world. Most of what I have read is also in English. As I said earlier, I want to create Malay literature.

So why haven’t we translated your work as well as that of other Sasterawan Negara in English so the books can be sold in the overseas market?
You should ask this question to DBP and the National Translation Institute. That is their work. I wonder what the function of the institute is if they don’t translate work.

Do you think the media is supportive of serious Malay literature?
They are not helping. Malay newspapers do not have a specific literary editor ... I don’t know about English language newspapers. As a result, good books get ignored. Bad books get advertised and supported. Good literary events don’t get reported.

Do you think you have come to a stage where critics are afraid to criticise your work and say what you have produced is the work of a genius?
We do not have good critics. I don’t worry about that. But there are people who still say I write rubbish. There have been arguments before this on why a book like Salina, in which I write about prostitutes in Singapore, should be promoted in school. They say the topic is not suitable for students. But in America students read To Kill A Mockingbird, which is about racial discrimination. They want to explain to students about racial discrimination.

How would you like to be remembered?
As an A. Samad Said who was always unhappy with what was happening around him.

Why this unhappiness?
I want different things. I dream of a caring society, where there is peace, where we respect each other, where we will always smile always, where we shake hands and hug each other. We don’t get that in Iraq or Pakistan or Indonesia, and we don’t get that in Afghanistan. But this is the world, This is not heaven. You get that only in heaven.

Some people believe this is zaman kejatuhan (the era of the downfall) of serious Malay literature. Do you agree?
I do not think literature has jatuh (fallen). There are still new young writers such as Faizal Tehrani and Nisah Harun who are writing serious literature. If I can fall down, they too can fall down. But I always tell them to continue to write no matter what. But there is no appreciation for what you have given them. I would say this is zaman kejatuhan penulis (the era of the downfall of writers).

Did you ever imagine that serious literature would be in the doldrums when you first started writing?
Never. When I started writing (in his 20s), I thought the writing scene would have a vibrant and marvellous future. But I was wrong. If they don’t want to read my books, what can I do? If they don’t want to read books, what can I do? They will be stupid because they don’t read.

In the current situation, how do you motivate yourself to write?
There are times when I want to give up writing altogether. But when I pray, I feel peaceful and I become inspired.
Lately, I have been painting and drawing. I held an exhibition recently and sold 20 paintings. I got more than for what I write.

Seeing the present state of serious Malay literature, do you ever wish you could turn back the clock and had never chosen to be a writer?
I would still want to be a writer, even knowing this would be the ending. I will not change the fact that I am a writer. Writing is in my blood.

What is your advice to budding writers who want to dabble in serious Malay literature?
I have no more advice for writers. They no longer need my advice. They know Malay literature will not be supported.