Book Review: Suffian Hakim's The Keepers of Stories | Karyawan
Book Review: Suffian Hakim's The Keepers of Stories
Nabilah Syahirah
06 Feb 2024
10 min read
Sufiian Hakim’s novel, The Keepers of Stories, is a compelling tale that centres on the clashes between tradition and modernity, set in post-independence Singapore. The Keepers of Stories depicts the journey of two young siblings, Hakeem and Zulaika, and their encounter with the Anak Bumi – the Children of the Earth, a secret community at Changi Beach. Here, members of the community take turns to engage in a communal storytelling tradition, called the Wayang Singa, beneath the stars, reminiscent of the tales, legends, and histories passed on to them by their ancestors.
In an interview with L’Officiel magazine1, Suffian remarked that he tapped on “a deep well of personal grief” for the book as he drew on the stories and imaginative anecdotes that were passed on to him by his late grandmother. In fact, the character of Nyai Timah in the novel, a strong-willed elderly woman who led and fiercely protected the Anak Bumi community, is largely based on Suffian’s grandmother, someone whom he describes as having “a mind [that] was made of coruscating universes”. He went on to call her his very own Keeper of Stories.
TRADITION VS MODERNITY
The addition of mystical and otherworldly elements in the novel is reflected in the captivating combination of blue and purple hues on the cover page, the bushes providing a shield for the elderly woman and children against the towering skyscrapers and the gentle drift of campfire smoke merging in the air converge harmoniously, offering a narrative that bridges tradition with modernity and infused with an essence of mystique. This mirrors the magical journey to Changi Beach Hakeem and Zulaika embark on with their father in the novel as described in the following lines:
"The path they followed snaked into the trees, which grew denser and denser until it seemed almost improbable that they were near a beach. The trilling twilight-hymns of the forest became more pronounced than the roaring of the waves".
Suffian creates an almost alternate reality with the conceptualisation of the Anak Bumi and the way they led their lives in a hidden part of Singapore, away from the bustling city life. At the heart of it, the existence of the Anak Bumi represents the fears and anxieties that Singaporeans faced in the early days of post-independent Singapore as they were forced to accommodate to the changes brought upon them by modernisation and urbanisation.
This is especially applicable in the context of the Singaporean Malay community in the early days of post-independence. In her paper, Shukarman opines that in view of the resettlement programme of the 1960s– 1980s, “[Singaporean] Malays [were] forced out of their lands to be reconstituted into modern housing in the mainland”.2 The physical displacement of the Malay community impacted them culturally, economically, and socially. This is a central theme in the works of Malay authors post-independence, such as Mohamed Latiff Mohamed and Suratman Markasan.
In Suffian’s novel, we see the character of Nyai Timah, a matriarch who resists modernisation, rebelling against this displacement as she proclaims:
"My community is made of free people, free from the chain of modern society and city life. Here, they breathe the air of the Earth, not smog or sawdust. Here, they have a place to stay where they are accepted, where nobody but the Earth judges them".
In these forceful lines, Nyai Timah clearly distinguishes the Anak Bumi from the rest of Singapore who accepted and adapted to the changes that were brought about by modernism. In a way, the Wayang Singa ritual could be viewed as a response to modern society as the Anak Bumi community takes an active stance in preserving and upholding their identity, tradition and culture that have been passed down across generations in a context where they are being removed from their land of origin.
The oral tradition of passing down tales through generations also stands in stark contrast to the current digital age, a result of modernism, where the internet serves as our collective knowledge repository. Today, we no longer trace these stories back to our ancestors. This fading away of oral tradition runs the risk of debasing the humane aspects of storytelling that connect the individual to his/her cultural heritage.
Hence, the existence of the Anak Bumi community and the Wayang Singa in The Keepers of Stories serves as a parallel universe where all of these are subverted. It represents a reality where modernisation and urbanisation did not occur, a place where people are not subjugated to the demands and changes that these processes brought about.
THE WAYANG SINGA: STORIES WITHIN A STORY
Nyai Timah describes the Wayang Singa ritual in an almost sacred manner as she says:
"We are the keepers of an ancient tradition - a tradition that has been passed down since the early ages of our people".
Implied in these lines is the urge for the community to preserve and uphold not only the traditions that have kept them together but also the identity that unites them. This tradition of oral storytelling is a practice that is not alien to the Malay community in Singapore. The oral tradition of storytelling within the Malay community is deeply rooted in the transmission of tales, legends, and cultural heritage from one generation to another through spoken narratives.3 This tradition plays a significant role in preserving and sharing the rich history, values, and beliefs of the Malay culture.
In the Malay community, storytelling has been a fundamental means of education and entertainment for centuries. Elders would impart stories to the younger generations during gatherings, community events, or informal settings like family gatherings. In The Keepers of Stories, Suffian beautifully depicts this practice through the Wayang Singa storytelling ritual that affords every member of the Anak Bumi community an opportunity to narrate the stories that they have inherited from their ancestors. In an era where folktales are encountered in books or online, the Wayang Singa transports us to a time we might never have otherwise known.
The Wayang Singa could also be said to be a variation of a prominent form of oral storytelling in the Malay community which is the art of Wayang Kulit or shadow puppetry. This traditional performance involves intricate shadow puppets made of leather, manipulated by a storyteller, who narrates stories from epics like the Ramayana or local folklore while casting shadows on a screen.4 This is referenced in Suffian’s novel through the character of Samy, an Indian man who belongs to the Anak Bumi community, as he shares the story of Ravana from the divine epic Ramayana in one of the chapters in the novel.
THE PERTINENCE OF THE ORAL TRADITION OF STORYTELLING TODAY
The Keepers of Stories reminds its readers of the continued relevance of the oral tradition of storytelling in current times. The following are several pertinent points on the importance of preserving spoken narratives extracted from the novel:
Perpetuating the Kampung Spirit: A Sense of Camaraderiep>"...with Wayang Singa in their hearts, [they] were never truly alone".
The oral tradition of storytelling in the novel provides an avenue for the Anak Bumi to feel a sense of belonging to the community regardless of their backgrounds and heritage. A range of stories originating from different countries such as India, as narrated by Samy, the story of “Qilin and the First Son” from China, narrated by Mister William who is a Chinese surgeon, and a revised version of how Singapore was discovered by Sang Nila Utama can be found in the novel. The diverse range of narratives narrated by these individuals evokes the unique essence of the kampung spirit, a distinctive trait within Singaporean society.
Preservation of Culture, Tradition, and Identityp>Another notable feature of the narrative would be the unifying chant that the members of the Anak Bumi community echoes each time the Wayang Singa ritual is about to begin.
The chant goes, “Kami Anak Bumi; kami akar Bumi! We are the children of the Earth; we are rooted to the Earth! We will tell our stories, for our stories are the stuff of our souls! Kami pendengar dan penjaga hikayat kamu! We are the listeners and keepers of your stories!”
The chant possibly serves as a powerful cultural motif, connecting the characters to their heritage and the oral tradition. Embodying a ritualistic or ceremonial significance, the chant is likely to be passed down through generations within the Anak Bumi community. Through its significance, Suffian advocates for a community that values and sees the importance of culture and heritage, something that is made possible by the oral tradition of storytelling.
Uplifts in Times of Adversityp>Suffian embeds both religious and cultural elements through the use of intertextuality – stories within a story – in his novel. In doing so, he highlights the important role of drawing on familiar narratives that have been passed down through generations in times of adversity.
For instance, the tale of Buraq titled Buraq’s Final Flight in the novel intertwines the elements of myth, tradition, and cultural heritage within the narrative. Buraq, a mythical creature from the Islamic tradition, is often depicted as a winged horse with supernatural abilities. Through the tale of Buraq, not only does Suffian reiterate the power of storytelling as a means to preserve cultural identity and values, but he also highlights how this well-known mythical creature in the Islamic world symbolises hope, guidance, and a connection to something greater than oneself.
Suffian also references P. Ramlee, a celebrated actor, singer, songwriter and director in Singapore, Malaysia and Indonesia in his novel through the story of Bujang Lapok meets the Queen. He skillfully adds a playful twist to this narrative through the merging of Bujang Lapok, the iconic comedic trio from the classic Singaporean Malay film series with the Queen of England. In doing so, Suffian evokes humour to create a light-hearted atmosphere at a time when Zulaika and her brother Hakeem were anxious about their father’s, Sujakon, safety. Once again, Suffian reminds us of how stories can uplift in times of adversity.
A Way to Immortalise Beingsp>Finally, but more importantly, Suffian emphasises how stories are mediums in which human beings and pieces of the past can be immortalised. Just like how memories of his own grandmother are kept alive in his story, likewise, Nyai Timah is remembered in Hakeem’s story years after the Anak Bumi community has dispersed. This is also echoed in Sujakon’s last words to his children, “Keep me in your stories”. This mirrors Suffian’s attempt to keep alive the tradition of oral storytelling as well as cultural and religious elements that are specific to the Malay/Muslim community in Singapore through his novel.
Overall, Suffian Hakim’s The Keepers of Stories is a poignant and engaging read that not only entertains but also prompts the reader to contemplate the value of tradition, storytelling, and cultural identity, more specifically amongst the Malay community, in modern Singapore. Suffian’s ability to blend elements of contemporary fiction with a touch of magical realism and cultural exploration results in a story that is both engaging and thought-provoking. By seamlessly merging contemporary elements with cultural richness, The Keepers of Stories offers readers a unique and immersive experience that transcends traditional genre boundaries. This novel offers a breath of fresh air, particularly for younger readers who wish to embark on an adventure through the diverse tales nestled within its pages.
About the Author
Nabilah Syahirah is an English Literature graduate from the National University of Singapore (NUS). She has completed her Postgraduate Diploma in Education (PGDE) at the National Institute of Education (NIE) and is presently undergoing teacher training at a local secondary school. Her dedication lies in fostering an appreciation for language and literature among students, aspiring to create an enriching and engaging educational sphere.
