Special feature on Jin Pyn and The Elephant and the Tree. The Elephant and the Tree is compared to Hans Christian Anderson's classics. What an honour! Jin Pyn's philosophy is also associated with that behind the other famous classic - Winne the Pooh.
(Pardon the bad scans. The scanner is old and mouldy. Go get a copy of iSh!)
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Congratulations on having your first title! No doubt the route must have been long and dusty. Tell us more about how the project started and the difficulties you met.
Thanks! I got wind of the opportunity from my cousin and a friend. The Elephant had been gestating in my mind for a while now, and so the birth of The Elephant and the Tree was quick in Cambodia, where I was staying at that time. Thank goodness for Cambodia’s hand-courier services! The manuscript would not have reached the National Book Development Council (NBDCS) in time otherwise! That was the easy part.
As this was my first publishing project, everything else was a case of swimming in murky waters. Guidebooks helped, but they were mostly for aspiring authors who want to pitch to publisher, and not about publishing. Good thing was, there were many helpful people, most of whom weren’t even my friends to begin with.
Aside from The Elephant And The Tree, Singapore Media Fusion 2005 also unearthed other children’s books. How else can the government or local institutions encourage the scene?
International publishers based here and local publishers can publish works from such schemes since the work would have already been validated. Suppliers can support the project through full or partial sponsorship. Big corporations can adopt a title/ artist by committing to buy the finished work, or a certain number of copies; better still, donate the purchases to needy children. They will also benefit from the publicity arranged for the scheme.
I must say that retailers have been largely supportive of local authors. Many give prime spots to local writers; and some, like Page One, actively promote local works.
Aside from funding, the government can help with publicity, which is extremely crucial for debut writers. On exporting the works, Media Development Authority was indispensable in exhibiting the Singapore children’s titles at the Frankfurt Book Fair. Hopefully they will do the same for the Bologna Children’s Book Fair! The non-profit National Book Development Council of Singapore has also done a tremendous job in initiating publishing schemes and publicising local authors, but perhaps more awards and website reviews in the literary scene can be set-up, such as those in the UK and USA, many of which are internationally recognised but are meant only for the respective countries’ own published titles and authors. Apart from helping to push local talent into international limelight, parents rely greatly on these reviews and awards in their selection of books for their children.
What differentiates you from other Singaporean writers and illustrators?
There isn’t much to compare. The Elephant and the Tree is a fable and a children’s picture book. A fable or a children’s picture book tends to be more universal in content, rather than being culturally specific. A great deal of content from local writers do however, centre on Singapore and their sense of identity as Singaporean.
What was the most important lesson you walked away with from your English Literature classes in National University of Singapore? How did you apply it to your writing?
That I can manage not to read my books and still get away with it? Couldn’t apply that to my writing though. Jokes aside ¬- rhythm, syntax, alliteration, imagery, and symbolism. Although a children’s picture book is written in prose, it is, in many ways, like poetry. By its nature, the story has to be succinct, carry rhythm when read out loud, and retain sensitivity in its syntax. For a good children’s picture book, that syntax also interacts with the illustrations. This means a greater thought process, more creativity and discipline! To say more by saying less is more difficult!
Tell us more about the natural history filmmaking course you were selected for. How was the selection carried out? How long was the stint? What did the stint comprise?
The course was part of Animal Planet’s original series and biggest production Unearthed, which will be aired in April 2007. Applicants had to send a short self-introduction reel. The reels were used to judge our creativity and groundings in natural history filmmaking. As this was a course, the most important criterion was passion for the subject. I have been volunteering for various animal welfare and environmental groups, such as ACRES, and WildAid Asia, even chairing one in the university.
Only six were selected from the international applications. We spent a month at the Shamwari Private Game Reserve in South Africa. It was one of the most well-run and ethical game reserves I have visited. We were taught how to put together a natural history documentary, such as budgeting, researching, pitching and camerawork. Everyday we filmed one type of animal: elephants, lions, cheetahs; and we had only a day to cut a short film for each one. It was quite a challenge! The lack of control over the natural elements and the animals’ behaviour didn’t help! We weren’t briefed in advance, so each colourful sunrise, complete with the symphony of birds, brought a new surprise.
Each of us produced, scripted, directed, filmed and edited a short documentary in a few days. The films were judged and the winning film will be shown on Animal Planet.
Pooh Bear, in Benjamin Hoff’s The Tao of Pooh, said, “If people were Superior to Animals, they’d take better care of the world.” What is your take on this?
On a philosophical level, Pooh and Benjamin did not find people to be superior, because the mind of the human separated “him from the world of reality, the world of natural laws,” and was hence “inefficient.” Even Maria Montessori describes the modern man as having “readily given up our own freedom and ended up loving our prison and passing it on to our children”. I cannot agree more. The result: the alienation of man. From an ecological standpoint, man’s claim of superiority has lead to many disasters. There are numerous examples of man interfering with nature, to the extent of wiping out entire species.
However, I am not a romanticist. I believe that we have come to a point where good management practices must be in place for humans and animals to co-exist on a mutually beneficial level.
Your writing and drawing style reveals a child-like side to you. Do you think you have a Peter Pan syndrome? (ie. You don’t wish to grow up)
Let’s see … I still love cartoons. Houses and cars have faces to me – some happy, others sad, some fat, others flat. Lollies and chocolate cakes make my day; my mug has a happy face and wears a hat, children’s books are my favourites, children’s and child-like line drawings make me smile, I like Tokidoki’s creations, and I find immense joy interacting with children. A child always finds joy in the smallest, simplest of things. That is what I wish to hold on to dearly.
“If the tree falls in the forest and no one saw it, did the tree fall?” Do you think that artists are like Tinkerbell who can only survive when recognised?
The very nature of art requires a certain level of creation – which, in essence is quite the opposite of sculpturing oneself for recognition. However, it does depend on the era one is in. In the classical and neo-classical ages, an artist would most likely have a patron. The social segregations were so entrenched that an artist could not be an artist without that recognition and patronage. Art was for the elite. You either have the money to be schooled in it or pay someone to produce it. Period. Now, everyone can indulge in artistic pursuits because the definition of art is much broader.
We hear that you spend many hours with elephants. Pray tell what you have been doing with them.
They allow me to satisfy my voyeuristic yearnings … I just watch them. They make me laugh, just by being themselves.
Did you know that even adult elephants lie on their sides to sleep – and they snore? This only happens when they feel safe. One of these safe havens is Elephant Nature Park in Chiangmai. I have been to many elephant centres. Sadly for many, their claim of elephant welfare is an empty shell – one that is filling up with money, not genuine love. In Elephant Nature Park, like other volunteers, I cleared elephants’ dung too. Elephants are very clean animals and would rather not eat around their poo.
The Elephant And The Tree has been classified as a children’s book. So is Hans Andersen’s Little Mermaid. Both books definitely look very different. How do the illustration styles and themes reflect the concern of each age?
Your choice for comparison is interesting, for I dare say that the two have similarities! Unlike most fairytales where the lead character’s bad fortune is simply reversed at the end, not all Han Christian Anderson’s stories end happily. Instead, some of his characters die with unfulfilled wishes of love and wealth. But this is often only a physical death. What survives is far greater – virtue and integrity. The Elephant and the Tree’s wasn’t an overriding happy ending either.
As a children’s illustrated storybook, The Little Mermaid’s imagery was drawn from words, rather than through illustrations. The Elephant and the Tree, as a children’s picture book, has its imagery played out by illustrations and their interaction with words. I am not sure what Hans Christian Anderson will think of the minimalist style that many have used to describe The Elephant and the Tree. I do know that he will agree to line and chalk drawings. The original illustrations for The Little Mermaid, which he commissioned, were pencil line drawings.
Yes, times have changed, but a rare few things have not.
Drawing and writing are sometimes regarded as sacred territories in their own right. Between the letter and the line, which is your preference?
I do not see the two as oppositional. A drawing is “a line taking a walk” (Paul Klee), and in that walk, the line can play with the letters.
For a tiny dot of a country, Singapore has been seeing the emergence of many writers/artists. What do you think of your peers?
We do have a lot of talented people, although most have to place their real talents aside to earn a livelihood. However I believe in art for a purpose and direction, rather than the mere “I like it, so I do it.” That stance is too egocentric for me. As thinking people we can do much more than just satisfy our own vanity and need for validation.
Who is your favourite local writer?
If playwrights count, then Kuo Pao Kun. If filmmakers count too, then Eric Khoo. If still images count too, then Norman Ng. He has documented the strength of humanity in many humanitarian and natural disasters. All three have so much to say in the works they create. But my most whimsical favourite local creative is not a published writer. Shaun is an artist and designer who has written a short story for film and created an entire clan on his Gardensilly website. His simple line drawings are kid-like and very witty, which always make me smile and laugh.
