Malaysian author Zen Cho made an impressive debut with her fantasy novel The Sorcerer and the Crown, which I found delightful and engaging, and hope will have a sequel one of these days. In the meantime, I have widened my experience of Cho’s writing with her short fiction collection, Spirits Abroad.
These stories are rich with the history and traditions of Cho’s homeland, but make enough reference to Western sensibilities to be wholly relevant and meaningful to the ignorant reader such as myself, in large part because the themes, though they may be clothed in different cultural realities, are universal human experiences - love, family, a need to belong.
As the title suggests, the stories in this collection are mostly what one might class as fantasy, with some more sciencefictional settings, drawing on Malaysian traditions of supernatural beings and forces - but they are often situated in what seems to be perfectly normal situations. The collection is divided into four sections, titled Here, meaning Malaysia, There, meaning the West, Elsewhere, and Going Back.
The first story of the collection, “The First Witch of Damansara,” is a darkly humorous story about a family preparing for the funeral of their matriarch, fondly referred to as Nai Nai - who is continuing to communicate with one of her granddaughters through dreams. Nai Nai does not want to be buried where her daughters now lives, but next to her long dead husband - not because she loved him, but because it’s the proper thing to do. The task of persuading Nai Nai to be happily buried where her family lives falls to the Americanised Vivian, who is more concerned with finding the right wedding dress - traditional Malaysian, or Western white? It’s funny, and it’s heart-warming, and it’s about family and traditions and legacies that go beyond material things.
“First National Forum on the Position of Minorities in Malaysia” begins as an account of an NGO organising and opening a conference, and in the process gives the reader unfamiliar with Malaysia a sense of the diversity of peoples and religions in the country, but then it morphs into a recollection of a bittersweet interspecies love story, as the two lovers meet again for a last farewell.
“The House of Aunts” features a young girl who is also a pontianak, an undead woman similar to the western vampire. Having become a pontianak while still an adolescent, Ah Lee lives much like other young girls - she goes to school, has crushes on handsome boys, and struggles over her homework. She lives in a house of women, all pontianak, all her relatives - her grandmother, great-grandmother, and several aunts - who watch over her, give her endless advice on staying in school, going to university, maybe becoming a doctor. And they distinctly disapprove when she falls in love with a boy from school - but are ready to stand by her when she reveals her secret to him, and is rejected. This is another story that centres on the primacy and importance of family, and particularly the love and support that women can give each other. I also suspect that Cho is telling us something about what it means to be a woman of reproductive age in Malaysian society, as traditionally pontianak are created when a woman dies while pregnant or in childbirth - for one family over the course of several generations to produce so many pontianak suggests a social issue with maternal morbidity.
“One-day Travelcard for Fairyland” takes place in England, at a private college prep school in the countryside that caters to international, largely Asian, students. Hui An wanders outside the school gates one day, and accidentally stumbles, stepping into a hole in the ground and killing a sleeping fairy. The next day, the fairies arrive in full force, angry and violent, and the teachers have vanished, leaving the students with only a few words of advice on dealing with fairies.
In “Rising Lion — The Lion Bows” we meet a troupe of lion dancers living in Britain who offer a special sideline to their regular performances - they also exterminate ghosts. But on this particular occasion, they just can’t bring themselves to terminate the ghost in question - a young African boy brought to England a century or more ago to be a servant. “Seven Star Drum” is also set among the members if this lion dance troupe, and tells the story of Boris, the troupe’s founder, who was born with the ability to see ghosts and other supernatural creatures.
“The Mystery of the Suet Swain” features Sham, a tall, hawk-nosed, brilliant but socially awkward lesbian, and her only friend Belinda, both university students. Belinda has a problem - she attracts stalkers, men who mistake her friendliness for something more. But there’s something different, scary, even dangerous about her latest mystery stalker, and Sham sets out to find out who - or what - he is. And to protect Belinda from him. And yes, Sham and Belinda remind me very much of another famous literary duo, and I hope to see more stories about them.
In “Prudence and the Dragon,” medical student Prudence Ong has to deal with a besotted dragon named Zheng Yi, who wants nothing more than to take her back with him to his own dimension to be his consort. Prudence, however, isn’t really interested, especially not now, while she’s still in med school. And not when his attentions seem to be casing trouble between Prudence snd her best friend Angela. Although even when the friends become reconciled, Zheng Yi’s presence is a problem for Angela as we read in “The Perseverance of Angela’s Past Life.” But, as Angela says, “Angela wasn't going to stop hanging out with her best friend just because doing so literally split her in two.” Friendship between women means something in Cho’s stories, which is a wonderful thing to see.
“The Earth Spirit’s Favorite Anecdote” is a charming little story about the beginning of a rather unusual partnership between an earth spirit and a forest spirit - funny, but with Cho’s familiar focus on the importance of relationships, and on understanding tradition, when to observe it, and when to break it.
“Liyana” is a tragic story, one in which a great evil is done for the good of others. I suppose in a way, it reminds me of Le Guin’s “Those Who Walk Away from Omelas” - a child, in this case non-human, but precious and loved, sacrificed because there is no other way to honor a previous, willing sacrifice, or keep a family alive.
“The Four Generations of Chang E” is a story about change, about leaving the past behind and moving forward, but still being tied to what has been before, at least for a time. In this story, the first Chang E flees a desolate future, escaping to the Moon, only to find herself out of place among the Moonites. Her daughter and granddaughter are, like her, between two worlds, still tainted by their immigrant past, nit quite a part of the future. But when the fourth Chang E fulfils her mother’s dying request to be buried on Earth, she discovers that she, the fourth generation, is finally of the Moon.
“The Many Deaths of Hang Jebat” is just what it says... a series of vignettes, each of which involves a character named Hang Jebat, being killed, blocked on social media, fired... experiencing some form of physical or social annihilation. Each vignette also involves his childhood friend, Tuah - who sometimes is killed by him, and sometimes kills him. In the background, a shadowy authority figure, Mansur. The permutations of events and settings, though, show some kind of connection, and some kind of slow change in the relationship of Tuah and Hang Jebat. It’s a story to contemplate.
“The Fish Bowl” is a dark story, about a girl living in a culture of achievement, expected to do well in so many things, to be excellent, until the pressure if it drives her to erase herself to escape. It hit me very hard, partly because a friend of mine, back in school, was in the same place, and erased herself completely, finally, irrevocably. But it’s an excellent story, and at the same time a caution about demanding more of a person than they have the resources to give.
In Malaysia, they hold a festival of the Hungry Ghost. Ghosts who have died violently, or with unfulfilled longings, or otherwise still hungry for life, can return to the earth for this one month, experience old things, or new ones. In “Balik Kampung,” Lydia is a newly deceased ghost, who does not remember how she died. But she is a hungry ghost - she thinks it is because her parents were always quarreling, more focused on their own pain than her happiness. She want to go back to the place where she lived with her husband, the only time she believes she was truly happy. But even the dead must face the truth in order to move on.
There’s not one weak story in the collection, in my opinion, and Cho provides notes for each story at the end of the book to provide context and help readers with some of the more specific cultural references. The ebook version contains an excerpt from the author’s novella, “The Dangerous Life of Jade Yeo,” which quite caught my interest and is now on my “must get very soon” list.
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