I met Golda Mowe in
Kuching in 2009. As one of the judges for the MPH contest I was conducting
a short story workshop on their behalf, when Golda Mowe told me that she was working on a novel
about Sarawak. Later she published not one,
but two — Iban Dream and Iban Journey — and a collection of science fiction stories
for children, The Nanobots and Other Stories.
Born and raised in Sarawak on
the island of Borneo to an Iban mother and Melanau father, Golda Mowe has
always been interested in the culture and traditions of Borneo’s indigenous
people. After graduating from Waseda University in Japan and enduring ten years of corporate
life, the author found herself yearning for childhood evenings spent in the
longhouse, sitting in a pool of lamplight, listening to her great-aunt tell
tales of jungle animals or her father recount his hunting adventures. This led her back to writing and she is now
living in Sibu, a town on the Rejang River in Sarawak, where she expends large
portions of her time researching ideas for books and short stories.
“I
have loved folklore, myths and spooky stories since I was a child growing up in
Sarawak…living on Borneo allows me to explore the beliefs and superstitions of
multiple cultures, our own Asian ones and being exposed to western beliefs from
our colonial heritage.”
— Golda
Mowe, author of Iban Dream and Iban Journey
Golda: Of course you did, Robert. Remember that time when I asked you about “Neighbours”?
I was so surprised when you wrote back a
long and patient reply. That story of
yours is still my gold standard. The
words flow so smoothly, I forget I am reading. I now redraft my stories over and over until I
reach that level of smoothness before I show them to anyone else.
RR:
Over the years, I probably
rewrote that story about fifty times—for three book publications and the
French translation. I felt honored when
the Education Department chose it to be taught in Malaysia for SPM literature,
which they did for six years. Mrs. Koh went
on to become this stereotype for a busybody neighbor, and was even featured in
an article in the New Strait Times by
Denis Harry, “Are You Mrs. Koh?”
When did you first begin to write Iban Dream and how long did it take to
get that first draft done? How much
longer before you got the novel to the point where you felt it was
ready to be published?
Golda: I was
working on the first draft part time from 2002 until the end of 2004, when I resigned
from my full time job. It was exhausting
to work 8-hour days then come home and work some more on the manuscript. From then on, I did part-time work, earning
just enough to cover my day-to-day living expenses. I completed the first draft around the middle
of 2005….I only sent out my manuscripts to publishers recommended in the
writer's forums because all the ones I found advertised in magazines or
newsletter were vanity presses. After
multiple rejections, I took another hard, critical look at the story. I changed some scenes, some plots and finished
the second draft.
I promised myself I would rewrite the
book each time I got a rejection…assuming it was not good enough. Having
said that, I must be very clear here: I
treated this period as a time of educating myself….You must have returned
multiple drafts to your students for rewrites! So I treated these rejections as a request for
redrafts from the publishing industry and did exactly that and resubmitted it
to a new publisher or an agent. I cannot
remember how many redrafts I did. I
guess I would have saved a lot more time if I got advice from a professional,
but at that point I was going into the industry blind. It never occurred to me that I should have
looked for an editor who would have guided me in the right direction. The manuscript that I had put together by
trial and error was finally accepted by Monsoon Books in January 2012.
RR: If only I could get those students
and editing clients to take those rewrites seriously! Naturally they were less
than pleased because they thought they were done or that it was ready to be
published….It’s those rewrites that make your stories good and possibly publishable. Without that self discipline to rewrite
(without a teacher or an editor standing over you with a ruler), you won’t go
very far….It’s also too easy (and rather tempting) to think, ah, what does he
know! See, this vanity press here
(masquerading as a legitimate publisher) tells me my writing is good, that
they’ll gladly publish my book (for a rather large fee upfront and minimal, if
any, editing that they conveniently forget to point out!)
The Star called your book a fantasy
novel, which it is, but having lived in Sarawak and having read various Dayak
legends, I saw your book as an offshoot of the mysticism and animism that’s
still prevalent today. There are certain
taboos that you don’t risk breaking whether in a longhouse or in the jungle. For me, your book seemed ‘natural’ in a
Sarawak context and even ‘believable’.
I mean, you hear these fabulous stories that you just don’t question,
that are probably not all that far from the truth — at least according to
legend. Did
you feel that way while you were writing, while trying to capture the ‘truth’ in
your story or the ‘truth’ of certain Iban myths that perhaps you grew up with?
Golda: I did not start out to explain the Iban culture…I was just writing what
I know and what I have experienced. Since
their migration into Sarawak, the Ibans had been separated by geography and
disputes for three to four generations before coming together again in modern
times, so my biggest headache had been to keep track of the bits of differences
between the groups.
I usually check and double check my facts to make sure that I have the
appropriate taboo, custom, or belief for a particular region. One time, I wrote that the gecko represents
the creator god Selampadai. This is true
for the Rajang region, but my hero is based in Batang Lupar. Among the Ibans
there, the representative of Selampadai is the millipede. Now, every time when I feel like taking
shortcuts, I’m reminded of that oversight on a certain page in Iban Dream.
Since you have been in Sarawak for so long, you must have noticed this
strange combination of artistic freedom and restrictions among the Ibans. I feel free to write as crazy a story as I
can, and put the demons, gods, and spirits into any kind of trouble I wish, but
I am not free to change their nature. For example, Sengalang Burong, the
warpath god, brings great blessing and good fortune. He does this all through the trophy head. Even though I wish I could make him more sympathetic
and become a fatherly figure to Bujang Maias, I could not. Hence my protagonist had to disobey him in
order to become a more modern and sympathetic hero.
RR: Did you do a lot of research before you began
writing the first draft of Iban Dream
or did most of it come later as you began writing and realized that you needed
to delve into the subject deeper to make your story or scene more convincing,
or did it just come naturally from growing up within your culture or through
extensive reading over the years or from listening to oral tradition repeated
over and over since you were a child?
Golda:
A combination of all the above….There was no research work in the early
stages, only a need to write the story because I could not stop thinking about
it. Then as the MS progressed I became curious about the why’s and the how’s
of Iban life. As you have mentioned,
some things are just accepted as it is, and few people really knew why it was
so. That was when I started looking for more information from books because
very few people were willing to talk openly about some taboos.
My real-life experience has helped me create characters who have a
proper Iban attitude and beliefs. My
love of Iban folklore has helped me create a protagonist who is typical of the
Iban hero. And my research work has not
only given me a solid foundation for the theme of the story but it has also
helped me explain the Iban taboos and customs to non-native readers.
RR:
A great book on taboo is The
Golden Bough by Sir James Frazer.
Occasionally I’ll come across a bizarre news story…about a teenager in
Nepal dying while sequestered from her family in a hut because she is
menstruating, and I’ll think, my god, they were doing that five hundred years
ago…but now? Still!
You could tell that a lot of research
(and personal knowledge) went into this; there was little, if any, vagueness or
generalizing. It was rich with
details. It’s like stepping into a new world
and feeling a part of the fabric. You
made it all seem believable and that takes considerable skill to pull off; you
can only fake so much until people see through it — especially those familiar
with Sarawak.
Also, a lot of first time novelists
write mostly about themselves (and there is nothing wrong with that) but you
clearly did not. How did your
upbringing or your experience with those living in a longhouse influence you to
become a writer or a novelist?
Golda: My grandparents lived in a longhouse,
so I visited during the school holidays. This has helped a lot in the sense that
everything seemed so different, so I took notice of them. I started reading seriously when I was around
nine, including a lot of Enid Blyton books, and believed that I could find
fairies in the longhouse and at my grandparents' orchard. I pestered my grandparents with questions and,
of course, they obliged by telling me that a demon lived in the tapang tree, or
that the kelansat demon would kidnap
me if I stray too far from them. Their intention was to scare me into behaving
because I liked to roam off alone, but it had the opposite effect.
I grew up poor in Sibu town. We
had a proper home but there was very little luxury. I remember one time when Mary Poppins was
showing in the cinema. Most of the kids
in my class had gone to see it, and they would discuss bits of the story. I would listen and then repeat the story to my
toys….The vision of Mary Poppins floating down on a ray of light while holding
an umbrella over her head is still very strong to this day. I don't know if my vision is correct because I
have not seen the movie yet. (The green
Chinese umbrella is definitely wrong, I think). My imagination was always running wild. Whenever my friends discussed any movie or
show they had watched, I would pretend to myself that I saw the same show and
made up stories about them.
I think the most important factor that helped me become a novelist was
the discipline of persistence that I accidentally turned into a habit. The school and public library only had
classics during my school days, so after my Form 3 exam, I started reading a
book by Sir Walter Scott. I did not
understand most of the words he used, but the story was so interesting I
started collecting dictionaries so I could read it. I think this habit is what gave me the
discipline to stubbornly persist on learning grammar when I started writing
seriously in 2004. Ivanhoe is still one of my favorites. I bought my own copy and still reread it every
few years.
RR: Mary Poppins’ umbrella was black,
but she had more than one….The idea of Mary Poppins floating down with an
umbrella is surreal in any culture. It
sure captured the imagination of children.
Unfortunately some have tried it by jumping off their roofs thinking
they will float to the ground — with disastrous consequences. I wonder if any kids tried to fly out a window
with a broom quidditch style like Harry Potter? Did Aladdin prompt any children to fly on a
magic carpet? I couldn’t get mine to
levitate. I was so bummed.
Did
you study in a writing program or take a creative writing course or a writing
workshop with anyone who may have influenced you to become a writer? (I learned from two fiction writing courses from
Writer’s Digest because I was on the
road a lot.) Or did you just learn your
craft on your own—there many excellent writing books and writing websites out
there!
Golda: I think about the only serious writing lesson I ever took was the
workshop where I met you. I registered
for a writing course by post around 1996. I paid the fees, got the materials but did not
do any of the assignments. Life got the
better of me: work was hectic and the
night life was intoxicating. Oh how I regretted not finishing the course
with The Writing School.
It was really frustrating when I started writing the first draft for Iban Dream. I read extensively, but I did not understand
even the most rudimentary grammar structure. I combed through the English grammar sites and
tried to learn as much as I could. Even
though I eventually understood how English worked, I still could not write the
way I wanted to write.
Then I read that Jack London copied Rudyard Kipling to learn how to
write like a master. I love Jack
London’s work, so I thought I should try it too. Tolkien was my choice because his style of
writing reminded me so much of the style of storytelling in Iban. I copied every word of the first chapter of Lord of the Rings by hand, circled every
punctuation in red ink and tried to figure out why a sentence was structured in
a particular way. It took me months to
finally figure it out.
RR:
I’m impressed you actually did this….I’ve read of other writers doing
the same. It makes perfect sense. I considered it but didn’t follow
through. I was already married and on
the road a lot setting up stores in the US, so I had little time to spare and
was working on a novel about my experiences being on a road and setting up
stores! The novel was horrible (but a
confidence builder) except the first chapter, which I turned into a short story
(actually it was the other way around, I wrote the short story and thought,
hey, this could be the first chapter of a novel!) I think I would’ve learned more about writing
novels had I copied Tolkien.
Speaking
of learning, how did you end up studying in Japan? What did you study?
Golda: My father was an unskilled blue collar
worker, so the only way to further my studies was to get a scholarship. Malaysia had a Look East Policy and they were
sending students to study in Japan and Korea. I was lucky to be chosen….It was wonderful to
be in Japan as a student. I am quite
reclusive, and Japan is the perfect culture for people like me. There were secondhand bookstores everywhere,
and the books were dirt cheap. I did not
have to sacrifice a meal or my rent for any copy I bought. Then there were the well-stocked libraries.
I studied accounting because the subject felt structured and systematic.
I think this is where I got my data
organizing habit from. I have always
loved collecting information since I was young but was never good at organizing
them. In a strange way, learning how to
balance books had helped me to categorize my bits of garbled information.
RR:
Book are horribly expensive in Malaysia.
That was a culture shock for me and other expats. Having the skill to gather and organize information
and a system to retrieve it when you need it would be great. For me, it’s like, I know I got it somewhere
in this notebook or stuffed in this envelope or typed into the computer….Hours
(days later) — aha! I found it! Now what did I need this for?
Did
your corporate work or any previous work experience prepare you in some way to
become a writer? Or did it just make you
realize, that this corporate life is not for me!
Golda:
I worked in a few local
companies, but my most significant training was from Daiken Sarawak and 1st
Silicon. The people related stress did
make me fantasize about being a hermit. I
once thought that it would be amazing if I could find a job like the one that
Jack Torrance got in Stephen King's The
Shining.
I did have two very good bosses in the Sales
Department in 1st Silicon. They
trained me to think in terms of forecast and expectations. This has helped me stay level headed about the
prospects of success as a writer. I
understood then that the majority of writers are not dirt poor; neither are
they J.K. Rowling rich. It helped me
decide how to choose the best strategy for myself when I was finally ready to
look for a publisher.
RR: So long as that strategy didn’t involve breaking down publishers’
doors with an ax! Tempting, I’m
sure. Stephen King’s and JK Rowling’s
early struggles to sell their work and their astronomical success inspired a
lot of writers to keep at it, this “discipline of persistence” as you had so
aptly put it. The odd are stacked
against you but there are plenty of success stories out there, you included.
How old were you when you when you got the idea/notion that you wanted
to become a writer? Any early success
getting your stories published? Did any
of your stories lead to one of your novels?
Golda: I remember when I was 12, in primary 6, the teacher asked me what I
wanted to be when I grew up. I said, 'pengarang' or essayist. People just assumed that I meant secretary. I was so annoyed, I stopped thinking about it.
The idea was reignited when I was 17
while reading Hanta Yo by Ruth Bebe
Hill. This was the first time I read a
novel about natives from the point of view of a native….It made me ask why I
had not found an English novel from an Iban's perspective.
I tried to write, but I
hated everything I wrote. I was terribly
disappointed with myself. I was my worst
critic, I guess. I tried to pick up
writing again in my late twenties. That
was why I registered for the writing course. But I could not even mail out my first
assignment.
Nowadays I write a lot of
short stories. Part of the reason is
because I needed to get them out of my head, so I can focus better on whatever
Manuscript I am currently working on. There
had been stories I thought could be worked into a novel, but I have yet to
return to them. The first two stories I
managed to get published were for anthologies that a group of writers had put
together. I was getting rejection after
rejection for Iban Dream, so seeing
my work in print helped lift my spirits.
My third
short story, “A Jungle for My Backyard”, managed to get into a serious
anthology on the effects of climate change called Facing the Change (Torrey House). I also have one fantasy story for Remang edited by Daphne Lee and a second
tale for The Principal Girl, to be published by Tutu Dutta and Sharifah
Aishah bte Osman. Then I wrote a
collection of ten sci-fi stories for children for the Malaysian publisher,
Oyez Books, The Nanobots and Other
Stories.
RR: I met Daphne Lee at a reading in Kuala Lumpur and she interviewed me for The Star, so I’m a fan. For your novels, I noticed that instead of a Malaysian publisher, since you’re a Malaysian, you went with Monsoon, a Singapore publisher. How did that come about? Have they managed to get your books outside of Malaysia/Singapore?
Golda:
Iban Dream is a culturally specific story, so it was really difficult for me to
find a local publisher willing to accept the book. I got so many rejections that by 2011, I began
to scour websites to see if any publisher had books on Borneo. Monsoon Books has A Servant of Sarawak by Sir Peter Mooney, so I wrote them a query and
a month later my MS was accepted.
I must admit when I decided to become
a writer, I had decided that I will never self-publish my first book. For one, I had no experience with the
publishing industry, so I thought that if I can get a publisher to invest in my
book then they will have a good idea for how to market the book. Then all I
needed to do was to follow their lead. Monsoon
Books have already built a good reputation for publishing books about Southeast
Asia, so that was a huge plus point. I
did not know that MPH and Silverfish were publishers, so it never occurred to
me to approach them.
RR: I would’ve recommended both had you asked….It’s good that you’re
getting sales outside Malaysia and Singapore, one of the advantages of publisher
websites and e-books! From
Singapore’s perspective, Sarawak sometimes feels like another country. I once wrote a blog about the difficulties of
getting my books stocked in Sarawak when I first moved here from Penang, and about
publishing in Malaysia and Singapore in general, which I recently updated,
including the aggressive tactics of some unscrupulous vanity presses.
Are you working on anything else?
At the end of 2015, I
entered the Scholastic Asian Book Award contest and my story The Budding Traveller was shortlisted
for the main prize. I did not win but
Scholastic will be publishing the MS under the title The Laughing Monster. It is
targeted to be out in the first half of next year. On top of that, I have completed the first
draft to Iban Woman, the final sequel
to Iban Dream.
RR: Sounds like
you’ve been very productive, quite successful, too. More importantly you’re finding a market for
your work, even for “niche fantasy”.
Good writing is good writing and your fantasy comes off sounding
believable which makes it work.
What is your typical
writing process? Do you compose on a
computer or write your first draft long hand?
Do you rough out a first draft or are you meticulous from beginning to
end? Do you keep a strict writing
schedule that you have the discipline to adhere to?
Golda: I
used to draft long hand, but this was rather tedious for me because when I
retype that draft into my computer I will become so engrossed with the details
that the story will stay stuck until I am satisfied with the scene. Writing straight into the computer does not
work well either. When I stop to think I would play solitaire….Then my eyes
were getting tired. (Possibly too much
solitaire). Now I work on a simple word
processor that has no internet connection and no games. (It's a Japanese model called DM100…a word
processor that is all work and no play.) This works really well for me because I can
transfer the files chapter by chapter to my PC so I don't have to look at the
draft until I complete the whole project.
RR: The internet
for me has become this evil temptation.
It’s too easy to be sucked into sensational crime stories (past and
present) or news in general — the daily (hourly) drama coming out of the US….It
steals away valuable writing time, totally wrecks my writing schedule. Or is it just my lack of discipline? I know…
Golda: I don't stick to schedules very well, especially when I don't feel
obligated to keep it. That is why I keep
my life as dull and as organized as possible. This is like returning to my childhood years
when I could not go to the movies or watch a show on TV. My best inspiration usually comes from
information. Whenever I get an idea for
a story, I will ready a large envelope for the project. Loose bits of paper, articles, books (or
title and page numbers), maps, etc. related to the project is placed inside. Every time I feel uninspired, I will go
through these materials to be rejuvenated….I cannot make myself write when I
do not feel like it. So I try to understand
how and why I am inspired to write a story, then create an environment that
will help me stay inspired. Works quite
well for me because it helps me write consistently.
RR: I like the fact that you’re focusing all of your energy
on Sarawak and that is a good thing.
It’s not easy finding good novels set in Sarawak. There’s a rich vein in Borneo non-fiction, the
I-was-there-and-this-is-what-happened type stories. I did come across a novel by a Frenchman, Borneo Fire, which I enjoyed, but from a
native perspective, you’re pretty much it.
So keep writing those Sarawak novels! Readers will find you. Singapore’s literary scene, I gathered, has
already found you…
Golda: Yes, I have done a few
discussion panels at the Asian Festival for Children's Content in Singapore
(2013 & 2015). I also did a couple
of discussion panels at the Singapore Writers' Festival in 2016.
RR: How did it go?
Golda: Are you asking a small town starry-eyed girl
how it went? Of course they were wonderful.
I don't know if anyone learned anything
useful from me, but I got to talk with Tash Aw and Tan Twan Eng last year.
RR: I met Tan Twan
Eng’s mother at the Popular Reader’s Choice Awards back in 2009. She was picking up an award in his honor and
told me that I had taught her daughter creative writing at USM. I wished I had
taught her brother, too!
If you were
interviewing yourself, what one question would you ask?
Golda: Are you ever afraid of
running out of stories? Yes, I am. Absolutely terrified of it. There was one time
two or three years back when I actually thought that I had run out of ideas. I started some stories and could not finish
them. Those were really dark days, and
it lasted for months.
RR: For years I
kept rewriting the same novels and short stories over and over again. While in Penang, I wrote the first 100 pages
of a new novel, but something happened (we had a baby, I think) and I got
sidetracked. I had this nagging feeling
as the years went by that if I never finished that book I would never write
another novel. Then my father died and while
I was in America, I made a vow that I was going to finish the first draft of that
book that very year. I was going to do
it for my father. Since then I wrote two
other novels (one completed, the other, a first draft).
What advice
would you give to your younger self when you first began to write fiction? Would it be the same advice you would give to
others?
Golda: I
would tell my younger self (and other aspiring novelists) — take care of your
health. Eat healthy and have an exercise
routine that is light and easy to follow daily. After I published Iban Journey, the second book, my overall health slid. It was my own fault. I live in an area where there were coffee
shops selling carbohydrate laden food. While
working on Iban Journey, it was easy
to just pop into one of these places, have a quick meal then go back to work on
the story.
When the period of lethargy
set in, it was all I could do to write. I
was unproductive for months. No stories, no joy, no sense of achievement for
anything. When I got my health back, and
I became more sensible, the stories returned.
The best stories I have
written, are ones done during times of clarity.
If I am feeling tired, or if I have a headache, or a stuffy nose, it
will be hard to find the right words to describe the terror of jumping down a
cliff or of swimming across a crocodile infested river. So stay healthy. Do all you can to keep your mind clear.
RR:
That sounds like pretty good advice, something we all take for granted — our
health. Eating right, exercising or you
can work (or write) yourself to death, and who needs that when you have all
these stories that you want to write!
With all of these books coming out (and
others in the works), you’ve certainly come a long way since that workshop
where we first met. I’m proud of you. You’ve become an inspiration, not just to
Sarawakians, but also Malaysians and Expats like me.
—Borneo Expat Writer
*Update: My interview with Golda has been published in BlueLotus 15, pages 18-21.
*Update: My interview with Golda has been published in BlueLotus 15, pages 18-21.
UPDATE: Golda Mowe featured in a documentary.
My other Interviews with First Novelists:
Ivy Ngeow author of Cry of the Flying Rhino, winner of the 2016 Proverse Prize.
Preeta Samarasan, author of Evening is the Whole Day, finalist for the Commonwealth Writers Prize 2009.
Chuah Guat Eng, author of Echoes of Silence and Days of Change.
Also, Malachi Edwin Vethamani, author of Complicated Lives and Life Happens.
Five part Maugham and Me series
Ivy Ngeow author of Cry of the Flying Rhino, winner of the 2016 Proverse Prize.
Preeta Samarasan, author of Evening is the Whole Day, finalist for the Commonwealth Writers Prize 2009.
Chuah Guat Eng, author of Echoes of Silence and Days of Change.
Also, Malachi Edwin Vethamani, author of Complicated Lives and Life Happens.
Five part Maugham and Me series
No comments:
Post a Comment