He has written plays for The Necessary Stage--Black Boards, White
Walls,
(1997) and sex.violence.blood.gore (1999) and Teater Ekamatra--Dongeng
and
Deklamasi Malas (1997), Causeway, Madu II, and Anak Bulan Di Kampung
Wak
Hassan (1998). He has also translated into Malay Ng Xin Yue's original
Mandarin text of 'My Mother's Wooden Chest' from Kuo Pao Kun's English
translation--Peti Kayu Ibuku (1999). He has had two books published,
'One
Fierce Hour', a poetry collection (Landmark Books, 1998), and
'Corridor', a
collection of short stories (Singapore Literature Prize Commendation
Award
1998; SNP, 1999). He has also spent a year writing freelance theatre
reviews
for The Straits Times' Life! theatre desk. He is a member of the medical profession.
Through his work with The Necessary Stage, he has always been
interested in
engaging with and negotiating within socio-political spaces, and
deconstructing gender, national, ethnic and class identities and
fictions.
He is also interested in exploring the positionality of a minority
writer/artist in Singapore, specifically that of the Malay writer
writing in
English. A few projects he will be pursuing in 2000 are: translating
the
poetry of Mohd Rafaat Hamzah into English, a collaborative web-based
project
called 'Geograffiti' with Heman Chong and Hanin Zainomum, about the
fictionalising of Singaporean spaces/places, as well as preparing a new
manuscript of poetry entitled 'A History of Amnesia'--based on
ahistoricity,
memory, and the oppositional strategies of micro-narratives against
grand
totalitizing narratives. In addition, he is interested in exploring the
theory of micro-politics in art, what the poet Carla Harryman describes
as
'the game of minute resistance.'