Trirat Petchsingh is a contemporary Thai writer who writes fiction in English rather than Thai. He was born in 1954 in Petchaboon, Thailand but was educated abroad, earning a degree in engineering from the University of New South Wales. In 2007, Bangkok Book House published his debut book, a collection of short stories entitled Thai Mangoes. Currently he is working as a teacher of English at a college in Bangkok and writing his next historical novel. In this interview he talks about writing, his future book and the local literary scene.
Mihnea Voicu Simandan: The most obvious question that I would like to ask you, and I’m sure the readers would also like to know the answer to, is: Why do you write in English?
Trirat Petchsingh: The main reason I write in English is because English is my “mother” tongue (yes, I even had a surrogate English mother), in the sense that I was educated completely in that language, from primary to tertiary level (five years in England, eight years in Australia, and about four years in Taiwan and Sri Lanka at English-medium schools). I have never studied Thai in any classroom, my knowledge of the language has been gained through self-study. But even if I was as totally fluent in Thai, I would not choose to write fiction in that language.
MVS: What’s wrong with the Thai language?
TP: In my view, plenty, such as the paucity of vocabulary to express just the right actions and shades of feeling. But let’s say that I admire the language of Shakespeare, and the thousands of great contemporary writers, as an ideal to aim for.
MVS: With the decreasing numbers of tourists visiting Thailand don’t you think that you could find a bigger readership if you wrote in Thai, not to mention the access to local and regional prizes, such as the SEA Write Award?
TP: First, tourists were never my target audience in the first place. As a writer in English, it was probably a mistake to publish in Thailand where the readership is miniscule. Singapore, for example, has a huge readership by comparison; some of their best-selling authors can achieve sales in the hundreds of thousands. I’m not saying I could ever achieve that, but at least it’s something to aim for. In Thailand the print run would be a couple thousands at most. Any future book I write I hope to publish abroad. As for the SEA Write Award, since a Thai candidate has to write in the vernacular, doesn’t interest me.
MVS: Can a writer living in Thailand and writing about Thailand be successful if he tackles other genres than “dick lit”? Is there a readership for more literary works of fiction in English?
TP: As I said, if you’re aiming just for the Thai market, the readership will probably be small whatever you write. All the successful “farang” writers with fiction based in Thailand or the region aim for the international market. Earlier this year I attended an FCCT meeting where three such farang writers of thrillers were guest speakers. The following week I went to Singapore and in a Borders bookshop near my place, all three writers had their latest books prominently displayed on the promotion table!
MVS: Your debut on the literary scene of Thailand was Thai Mangoes, a collection of short stories. Do you feel that short fiction better represents your writing style?
TP: Well, yes and no. I never thought I would be a writer, having studied the sciences rather than the arts. When I felt the urge to write, I thought a collection of short stories would be easier to write and so began with that. I’m glad I did that, but now I hope to finish a novel. I think a novel gives you greater scope whereas short stories are like warm-up exercises. I know a lot of people wouldn’t agree with me there.
MVS: I tried to buy your book from different bookshops in Bangkok, but couldn’t find a copy so I had to order it online. Was the lack of finding it due to a successful rate of purchase by eager readers?
TP: No, unfortunately. When the book first came out it was reviewed, or should I say panned, by Bernard Trink. He called the collection of stories “fair to middling.” A couple of other reviewers were more generous. But of course, any publicity is better than none. In the first quarter the book sold more than three hundred copies. This was quite satisfactory in my view, but then the sales nosedived and finally the publisher said it would only be sold via the internet.
MVS: After reading your book I had the feeling that the second part of it was written in a rush, as if in an effort to reach a certain number of words for publication.
TP: Yes, you’re quite observant. I did write the last half dozen stories quite quickly, as you say, to reach a quota of words.
MVS: If you were to publish a second print, would you make any changes in the original manuscript? Would you keep all the short stories?
TP: Most of the stories were written quite a while ago and obviously I hope my writing has improved. I am mulling the idea of rewriting them and submitting them to a Singapore publisher. I also like the idea of reworking the stories, with name changes and so on, into a short story cycle.
MVS: Let’s talk about the cover. Why use an image of a paradisiacal beach when, with very few exceptions, the action of your short stories takes place either in the mountains of northern Thailand or in Bangkok?
TP: The title and cover were the responsibility of the publisher (though they asked for my suggestions). I now realize that the cover and title of a book can make or break it, and in this we were less than successful. In fact “Thai Mangoes” were often not found on the fiction or literature shelf, but on the Thailand or Southeast Asia shelf. I’m sure many browsers saw the cover and thought it was a book about mangoes, the fruit. The publisher was quite adamant in not having a subtitle such as “A collection of short stories,” which I thought might have helped to defuse the confusion.
MVS: You’re working on a historical novel about 17th century Siam. Can you give us a few details about your project?
TP: I decided to tackle a historical novel because I felt that as a first novel it would be easier to write, plus I also love reading history myself. As you know, because of past wars, most ancient Thai historical records were lost. But, serendipitously, the 17th century is a period where the light of knowledge shines brightly, through the books and journals left to us by European merchants, traders, sailors, ambassadors, artisans, and just plain adventurers who came here. Again, serendipitously (for future historians and fiction writers), one of these adventurers, Constance Phaulkon, even became the second most powerful man in the country. As if that wasn’t enough, King Louis XIV and King Narai exchanged ambassadors on two occasions, the French king even sending 600 French troops to Siam; and we have descriptions of Siamese ambassadors wandering around the halls of Versailles and traveling across half of France. Phaulkon is not the hero of my book, but a young Englishman (fictitious) who initially comes to India with the East India Company and then drifts to Siam where he gets involved in the political intrigues, and of course falls in love.
MVS: How much research did you put into your future book? Was the bibliography you read mostly written in English or in Thai too?
TP: I’ve been working on this project, off and on, for several years, in the process reading all the books on the period I could find. These books, which are original source material, are in English, though some have been translated from French, Dutch, or Portuguese. There are no original source materials in Thai, discounting a very short excerpt which was fortuitously preserved in France, which has been translated into English, called ”The Diary of Kosa Pan, Thai Ambassador to France, June-July 1686“). But of course it’s going to be a work of fiction, so if the facts are inconvenient, the fiction will take precedence. As has been said, fiction can often reveal what truth hides. The other side of the research coin is, of course, how to actually write a novel, which is something which you can never stop learning.
MVS: When do you expect to finish the first draft and what publication plans do you have?
TP: I hope to finish the first draft by March 2010, if not a little earlier. I’m a school teacher by profession and we have long, hot summers, which I normally spend in Singapore. That’s when I hope to find a publisher, or an agent through the internet.
MVS: Last year, in an interview you mentioned that you will use a pen name for your second book. Do you still have the same intentions? Do you still think that a Thai name on the cover of a book in English cannot be successful?
TP: For the international market, I think having an easily readable or familiar name would be a plus, for the following reason. I know I resist buying Indian authors, mainly because I don’t believe their themes interest me. This is just a prejudice. So a potential reader in London or New York or Sydney, for example, seeing an unpronounceable Thai name, might be prejudiced as well. I’m not talking racial prejudice, but subject or theme prejudice; they aren’t interested in this part of the world. On the other hand, there are people who love reading Anglo-Indian authors. When I finally picked up Salman Rushdie’s “The Enchantress of Florence,” I was bowled over. I loved his style, but I was right; the storyline itself didn’t interest. I’m having trouble getting through Midnight’s Children. As for a pen name, I’ve come up with the perfect solution. My real name is Trirat Petchsingh; I’ve worked out two anagrams: Garth Christpinet, which is an exact anagram; and Trent Highstar, which leaves out three letters. Seriously, whose book would you rather buy, Trirat Petchsingh’s or Garth Christpinet’s?
MVS: What is your writing routine? Do you have an allocated writing time you dedicate every day to you book, or do you write whenever you feel the inspiration is upon you?
TP: Luckily I have a light teaching load; basically I have the afternoons and weekends free to write and research. My main difficulty is keeping on task, but with the end of the project so close I can smell it, I’ve become very motivated. Plus now that I’m meeting other writers is a great incentive.
MVS: You are a member of the Bangkok Writers’ Guild. What is your take on the English-writing community in Thailand?
TP: I’m beginning to realize there must be quite a lot of wannabe writers out there, all foreigners of course. I think that everyone of them has the basic toolkit to be a writer, but whether they succeed or not depends on the writing skills they can bring to the table (probably by reading how-to books or taking a writing course), the effort or perspiration they put into it, and that necessary inspiration which will make their writing stand out.
MVS: Oscar Wilde noted that “The only thing worse than being talked about is not being talked about.” Based on this quote, in your opinion, would you support a writer to receive a broad range of comments rather than just simple compliments and encouragement? Is there any place for singularly harsh criticisms on the literary scene?
TP: As members of a writing guild which meets once a month, giving each other harsh criticism would probably not be a good idea or very constructive. It wouldn’t be long before someone’s ego will get clobbered and the guild folds up. I view the gathering more as a social occasion and yes, giving simple compliments and encouragement. Most of what I hope to learn about writing I hope to glean from books on writing. However, one idea I’d like to float is that two members who are actually writing a book could pair up as writing buddies, exchanging chapters and then giving each other harsh criticism, because that’s really the only kind of criticism that you can actually cash in. But again, the buddies would need to be at somewhat the same level of development and commitment to writing.
MVS: Thank you for your time.
TP: Thank you!
Bangkok, Thailand
November 30, 2009
