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The Immolation: Singapore Classics
The Immolation: Singapore Classics
The Immolation: Singapore Classics
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The Immolation: Singapore Classics

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Regarded as one of the pioneers of Singapore literature, Goh Poh Seng takes on larger-than-life themes in his most ambitious novel, which is set in post-war Vietnam. In The Immolation, Goh's take on issues of national identity, war, and self-discovery has contemporary relevance not just to Asian readers, but an international audience.

PublisherEpigram Books
Release dateAug 14, 2016
The Immolation: Singapore Classics
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    The Immolation - Goh Poh Seng

    Introduction by Dr. Ismail S. Talib

    GOH POH SENG (1936-2010) belonged to a select minority of Singaporean authors—whose current members include Robert Yeo and Alfian Sa’at—who wrote capably in all the three major literary genres: poetry, drama and fiction. Of the three genres, Goh’s legacy as a writer of fiction is particularly noteworthy, as he is regarded as the pioneering novelist in the English Language, which he accomplished with his novel If We Dream Too Long, published in 1972.

    Placing Goh’s ground-breaking significance in the context of Singapore literature in English may be easy enough. However, specifying Goh’s achievement in historical and literary-geographical terms may not be so easy. For writers of an earlier generation, such as Edwin Thumboo, Catherine Lim, Suchen Christine Lim and Goh himself, it is difficult to make a clear distinction between Singaporean and Malaysian writers in English, as all of them were born in what is now Malaysia, were Malaysians at one time, and became Singaporeans when Singapore achieved its independence from the Malaysian Federation in 1965. In this regard, Goh should be viewed as a pioneering postcolonial novelist not only in Singapore, but in both Malaysia and Singapore. The nearest competitor to If We Dream Too Long was Lloyd Fernando’s Scorpion Orchid, which was published in 1976. Lee Kok Liang’s London Does Not Belong to Me, which he wrote in the 1950s, but which was published posthumously in 2003, was a colonial rather than a postcolonial novel, and could be classified with other novels of an earlier era, such as Chin Kee Onn’s Ma-rai-ee (1952) and his The Grand Illusion (1961).

    The Immolation, first published in 1977, is Goh’s second novel. Unlike If We Dream Too Long, which is set in Singapore, it is set in an unnamed country. However, from the names found in the novel, the self-immolation of the monk, the presence of American forces and a number of other factors, the reference to Vietnam is very clear. Vietnam was geo-politically very important in Southeast Asia around the time that the novel was published, as it was one of the major battlegrounds in the conflict between the forces of capitalism, as represented by America and Europe, and communism, as represented by China and the Soviet Union. Also significant in Vietnam were the underlying nationalistic and pro-democratic forces, at least as they were understood by most Vietnamese, that rendered both capitalism and communism much less relevant than the big powers thought they were. However, in spite of Vietnam’s importance, only Goh, among Singaporean authors, and to a certain extent, Robert Yeo, in his And Napalm Does Not Help, dealt with the country in their works.

    In spite of their different locations, The Immolation could be seen as a follow-through of Goh’s first novel. Both fictional works could be described as limited bildungsromans, which are not extended accounts of their protagonists’ growths from childhood to adulthood, but deal with important segments of their lives. More specifically, they are about their developments, at crucial periods of their lives, into more mature or more enlightened persons, with better level-headed understanding of the world they live in. In order to achieve this aim, the protagonist in each of the novels is deployed as the text’s centre of consciousness.

    In The Immolation, attempts to delve into the consciousness of the protagonist Thanh’s mental processes can be seen, for example, in the following passage, where Goh uses the present tense, instead of the conventional past tense, to convey Thanh’s thoughts to us. In order to make the reader’s experience of Thanh’s thoughts more immediate, intrusive inverted commas are not used. The passage begins with the solitary mediation of the projecting clause, ‘he thought’, but this is abandoned right away. What follows is the apparently unmediated use of the present tense to convey Thanh’s thoughts directly to us:

    Maybe I’m getting sentimental, he thought, trying to dam back that brimming. After all, I’ve only known the old man for two days. What’s two days? There have been friends I have known for much longer: childhood friends, and then friends in France. A lot of people. Yes, I’ve known a lot of people in my lifetime. What has happened to them? How do I feel about them? 1

    In addition to genre and technique, there is continuity in the two novels in their content as well. The Immolation is ostensibly about Vietnam, but it is also, at a more subtle level, about Singapore. Thanh’s decision to follow his vision, instead of having a steady job with a secure income, is an experience that many Singapore youth have undergone, and is another element that thematically links the novel to If We Dream Too Long.

    Politically, there is more of the reality and practicality of the postcolonial situation in The Immolation than in If We Dream Too Long. It is thus a more self-consciously postcolonial novel than If We Dream Too Long, whose protagonist’s problems could have existed anywhere, and are not really specific to the postcolonial predicament. However, dealing upfront with postcolonial politics in a novel set in Singapore would have been too sensitive, and Goh’s critique of the postcolonial political situation has to be done by deflection.

    In this regard, even if one looks at immolation, the novel is not unrelated to what had happened in Singapore, at least at a symbolic level. Although immolation was not literally used for a political purpose in Singapore, it has symbolically been brought up by some Singapore politicians to refer to the self-sacrifice that some local people had to make, in their attempt to achieve their political ends. The following, for example, is from the former Singapore President C. V. Devan Nair’s foreword to Francis Seow’s To Catch a Tartar: The supremacy of the state over the individual which those inclined to totalitarianism always propound has invariably meant, in practice, the immolation of the individual at the altar of an impersonal, faceless, and conscienceless deity...

    Whether figurative immolation in the face of the overpowering authority of the nation-state applies to Nair’s or Seow’s personal situation is a moot point, and arguments can go either way. Symbolic immolation may be a matter of degree or interpretation. But there could be no dispute that Nair’s observation is more fittingly applicable to the self-immolation of the young monk, Tran Kim, in The Immolation, or, for that matter, to the literal self-immolation of the Tunisian street vendor, Mohamed Bouazizi, which sparked the Arab Spring of 2011, and which rocked several authoritarian regimes in the Arab world to their very foundations. With this in mind, the re-publication of Goh’s novel is not merely an exercise in the occasional celebration of Singapore’s literary heritage, as the novel has contemporary relevance in the wider postcolonial world as well. In this respect, its wider postcolonial resonance, which continues to ring true today, makes it of some relevance to the Singapore situation as well.

    Aside from the expressly political significance of self-immolation, Tran Kim’s lethal act must also be seen within its context in the novel. In this light, it can be observed that it is emblematically and emotionally significant. However, it does not, from a structural perspective, serve as an adequate triggering device for the novel’s plot.

    From an emblematic perspective, the immolation has a representative connection to Vietnam’s political history of that time. It locates the Vietnamese setting within this particular time period more effectively than anything else. The period was between 1955 and 1975; more specifically, from the 1960s onwards, with American military intervention, the increasingly obstinate corruption of the Ngô Đình Diem and subsequent regimes in South Vietnam, and, for the purpose of the novel, the self-immolation of Buddhist monks.

    There is also no question about the immolation’s emotional impact, especially when the novel is viewed from the perspective of its centre of consciousness, Thanh. The event haunts him, and is deeply entrenched in his mind. He keeps the dead monk’s bamboo flute, even though he cannot play it. It is also a concrete object which occasionally elicits the frightening memory of the immolation, but which he is emotionally attached to, and cannot give away, even to the nine-year-old boy Troy, who plays the instrument beautifully. When he later loses it during a battle with American forces, he is devastated.

    However, important as it is from the emblematic and emotional perspectives, Tran Kim’s self-immolation is not an actional activator in the way perhaps the historical self-immolations of Thích Quang Đuc in Vietnam and Bouazizi in Tunisia were. Thanh has decided on political involvement beforehand, and Tran Kim’s self-immolation, although it poignantly reverberates throughout the novel, right to its very end, is not the initiating cause of his political and paramilitary actions in the narrative. It serves as an affective thread within Tranh’s consciousness, which is predominant in the novel. In this connexion, it is one of several factors that bring the various strands of the novel together.

    The reprinting of The Immolation in a new edition is to be welcomed. The novel has been in the shadow of its historically more important predecessor for too long. It is hoped that the new edition will throw more light on Goh’s general accomplishment as a fictionist, and on some of his ideas as an author. The Immolation is certainly a more forthrightly postcolonial novel than its predecessor. It is also, if one gives some thought to this aspect of Goh’s achievement, an exercise in the art of critiquing one’s own backyard by relating a narrative that occurs in a different location.

    Dr. Ismail S. Talib, 2011


    1. Goh Poh Seng, The Immolation, Epigram Books, 2011, Singapore, p. 103.



    THE MOMENT THANH stepped out, he was stunted by the sun’s glare. Lunch felt like a stone in his stomach as he walked slowly, keeping close to the buildings. Even so, he sweated.

    Since returning from Europe, Thanh had searched the streets of the capital for evidence of war, but found nothing. There was no blood blackened by the sun on the pavements; the multitudes of the dead did not lie piled up on display; only their unbodied voices chanted in the mind, amplifying the night, and Thanh had spent long nights listening.

    Turning a corner, he came upon a crowd in front of the Thing Hoai Pagoda. They were oddly restrained.

    A young, bespectacled monk sat on the bare cement street in the lotus posture, his shaven dome vivid in the harsh light. Beside him a few monks stood in a line, intoning prayers. Several people knelt on the ground.

    Thanh always felt an intruder in the vicinity of people praying, as if he had no right to witness such an intimate ritual, for there is an intimacy when one communes with God, even to an unbeliever like himself. On such occasions, he felt he did not belong.

    The prayers had an incantatory music, unrelated to ordinary language, compelling, yet bereft of ardencies. It almost seemed the only way to God. Like sharp wind sibilant among the leaves.

    A shaft of sunlight flashed, reflected off the thin, rimless glasses of the monk. Thanh was drawn by his serene smile, which surpassed those on the statues of the Lord Buddha at the pagodas and museums.

    There was a flurry of saffron as two monks emerged from the pagoda carrying cans of gasoline. With sudden horror Thanh realised what was about to take place and shivered with an inner chill. It all seemed unreal, as if happening in a dream.

    Abruptly, the prayers ceased. He could hear the noise of traffic not far away. How could the world go on outside?

    The young monk rose and walked slowly towards the cans of gasoline. Thanh watched deliriously as he doused himself, the gasoline liquid golden in the sunlight. He then returned to the same spot, sitting erect and looking straight ahead, the sunlight still flashing from his glasses.

    Thanh held his breath as the young monk took out a box of matches and without changing his composure, struck one. The flames shot up, leaping higher and higher. At last, a wail issued from the crowd as the flames began to lick the body. From where he was standing, Thanh felt the impact of the heat. He stared into the midst of the flames, and thought he could still see that face, serene and smiling. He stood there transfixed. It was a long time before he turned away.

    He walked in a daze, his shirt wet with