studiesofasia.wikispaces.comho+ly… · web viewminfong ho. throughout her writing career,...

Minfong HoThroughout her writing career, Minfong Ho has utilised short stories, novels and picture

books as avenues through which to share realistic depictions of her native southeast Asia; a

region which forms the backdrop for not only much of her life but also many of her stories.

Typically writing about strong female protagonists triumphing against seemingly

insurmountable odds, Ho is renowned for the honesty and

sensitivity with which she renders her tales. Her prose

describes events, thoughts and feelings in simple, yet

evocative terms readily interpretable by developing readers

and thinkers worldwide.

Born January 7, 1951 in [then] Rangoon, Burma, Minfong Ho spent much of her childhood

and teen years in Thailand and Singapore. Along with two brothers, she is the child of

parents born and raised in China. Her father was a successful businessman and

philanthropist, and her mother a chemist, bilingual writer and columnist for the Singaporean

Straits Times. In her formative years, Ho’s parents talked to and instructed her in their

native language, Chinese; this she describes as “the language of my heart...when I cry, I cry

in Chinese”. Upon moving to Thailand as a child, she learnt to converse with her peers,

parents and teachers in the local Thai language, eventually becoming fluent in what she

describes as “the functional language...the language of my hands”. Later as a student at

International School in Bangkok and University in Taiwan, Ho learnt to study and think in

English; this she describes as “the language of my head.” Describing her Thai childhood, Ho writes:

Lynn Jennison – EDAS 8008A – Assignment 1: Artist Option

Home...

An airy house

next to a fishpond and a big garden

With rice fields,

where water buffalo wallowed in mud holes,

on the other side of the palm trees.

I liked the usual things

Eating roasted coconuts and fried bananas,

Chasing catfish in the grass in the rainMinfong Ho, age 6, with her two brothers at home in BangkokAuthors Guild, 1997, para. 4 & 5

Minfong Ho did not become a serious writer until after she’d left Southeast Asian soil for

study in the United States. Whilst studying economics at Cornell University, New York, Ho

became burdened with a sense of yearning for the sights, sounds, smells and ‘feel’ of her

younger years, and turned to writing for solace. Originally penned as notes recalling what

she missed about home, Ho’s first short story, Sing to the Dawn was written in 1972.

Against the bleakness of a New York winter, Ho explains: “...writing about the dappled

sunlight and school children of home brought them closer to me; it aired on paper that part

of me which couldn’t find any place in America. The original story was never intended to be

read by others...it was only one hand clapping”. (Answers.com,

2010, para.3) With a plot focusing around teenage Dawa’s

struggle to prove her worthiness to pursue an education, it is

curious to speculate the extent to which this novel is based

upon the author’s personal experience and/or that of her

peer group. Ho is skilled at describing in detail the feelings,

attitudes and actions of her characters within an intricately

defined setting, all suggestive of first-hand experience;

however, unlike Dawa who must fight ingrained sexual

discrimination and resistance from her father and brother in

order to accept a highly contested government scholarship, it

is feasible to assume that Ho would have gained significant encouragement and support to

study and pursue a career. On a whim, Ho submitted Sing to the Dawn to the Council for

Interracial Books for Children, and surprised herself by winning the award for the Asian

American Division of unpublished for Third World Authors. Subsequently encouraged to

enlarge the short story into a novel, Ho could never have envisaged that simple childhood

recollections would be the beginning of an incredible literary journey. Over three decades

later, Sing to the Dawn has evolved to become a staple literature text for secondary

students, a musical, and even a full-length animated movie.

Whilst now an internationally recognised, award-winning author with numerous

publications to her name (see Appendix), back in the early 1970’s Minfong Ho’s writing career

was anything but a foregone conclusion. After graduating from University at age 22, Ho left

behind her prosperous life in America to return to Southeast Asia, where she relied upon

her multilingual status to earn a living, despite holding a bachelors degree in economics.


Originally as journalist for the Straits times in Singapore and then as an English teacher at

Chang Mai University in Northern Thailand, Ho was to become so embroiled with events in

her native and adoptive homelands that Sing to the Dawn remained her only publication for

almost a decade. Whilst working at Chaing Mai University, she become interested in popular

student movements to promote democracy; this was a particularly poignant era for Ho.

Alongside fellow teacher and students, she spent several periods living and working in

nearby villages helping to alleviate hardships associated with land rental, rice farming and

other everyday necessities of rural life. In 1976, after experiencing the brutal Thai military

coup of October 6, Ho returned to America. Working as an English literature teaching

assistant whilst pursuing a Masters Degree in Creative Writing, again at Cornell University,

she married long-time friend and environmental consultant, John Value Dennis Junior. Ho

recalls, “... six years and more than three hundred letters later, we were married. It took a

catholic church wedding and a Chinese tea ceremony (both in Singapore) and a Buddhist

wrist-binding ritual (in a Thai village) to satisfy our family and friends. (Authors Guild, 1997,

para.7) By 1980 Ho found herself increasingly haunted by endless graphic depictions of

malnourished and disenfranchised refugees struggling to survive the Khmer Rouge genocide

in Cambodia. Not satisfied with vicarious sympathy for their plight, Ho took positive action;

deferring from her studies, she returned to the land of her childhood to contribute as an

international aid worker. Here she gathered first-hand experience of not only horror,

despair and poverty associated with war and its aftermath, but also what she eventually

came to consider crucial components of survival and recovery; self-reliance, family and

hope. By 1983 Ho was again living and working in Singapore, this time as a Writer in

Residence at the National University of Singapore. It is interesting to note that whilst she

spent a large portion of her life in Singapore, she never really regarded Singapore as her

home. (Ahmad, 2004, para.4) Fortunately, her husband also became bilingual and worked

internationally, thus sustaining a string of foreign homes, in Asia, Switzerland and the United

states.

With the birth of her first child in 1986, Minfong Ho at last found herself in a position where

she could begin fictional writing again. Claiming to have never enjoyed reading stories of

Asia in her own childhood she grew to resent the (usually white) writers who ‘out of

condescension and ignorance’ misrepresented these countries. Seeking to counteract

themes of children’s books about Thailand, China & Burma, “invariably about princes and


emperors and or their elephants, peacocks and tigers,” Ho was determined to write about

the realities of Asian life and lore as witnessed by her own eyes; concurrently, she

developed the view that fictional writing could be an avenue for political expression.

(Answers.com, 2010, para.4)

When considering her second novel, Ho reflected upon her experiences in the rural villages

and politically-motivated student enclaves of her 20’s. She recalls thinking, “there is so

much beauty and so much pain in the world around me which I want to write about –

because I want to share it”. (Johnson, 2010, para.8)

In Rice Without Rain, (1986) Ho takes us through the

trials and tribulations of seventeen year old Jinda living

in a remote village in drought stricken Cambodia.

Struggling to harvest sufficient rice for not only their

own survival but also to cover exorbitant land rental,

Jinda’s life is turned upside down with the arrival of

strangers who challenge community thinking and

tradition. Whist Jinda finds love, she also witnesses

untold horror; including the death of her sister’s child

via starvation, her father’s death in prison via neglect,

and the bloody massacre of whole cohort of students

via political repression. Whilst fictional, this story has

deep roots in fact and personal experience. Ho has a simple, unpretentious way of writing,

able to portray confronting events and concepts for youth audiences. It has been reported

that “though the book has violent and sometimes gritty passages, the violence is quietly

told, never exploited.” (Rochman, 1991, para.1)

With her third novel, the Clay Marble, (1991) Ho again calls upon personal experience; in

particular her time as an international aid worker in refugee camps along the

Thai/Cambodian border. This book intricately follows the experiences of twelve year old

Dara and the fragments of her family in the aftermath of the genocidal Khmer Rouge. Dara,

along with her grandmother and brother, seeks the bountiful supplies rumoured to be freely

available on The Border. In the vast refugee camp Dara finds not only food and friendship

but also the promise of a future. Confronted with numerous obstacles, Dara is given a clay

marble by her new friend Jantu: a marble which she believes has magical properties to


promote strength and perseverance. When Jantu is fatally wounded by friendly fire, Dara

comes to realise that strength is not in the marble but within herself. Whilst the story is

shaped to dramatize political and humanitarian issues, Ho

writes in a way that makes hard-hitting realities of the era

accessible to students continents and decades away. When

describing the size of the refugee camp, Ho writes, “If I were a

tadpole weaving my way through a big, flooded seedbed...and

each rice seedling were a refugee family, that might be how big

this camp is.” (Ho, 1991, p.38) In her preface [p.6] Ho states:

“There are no words to describe the intensity of suffering I saw

in Cambodia... the sickness, the starvation, the sheer silence of

this vast sea of people overwhelmed me. I wanted to shut my

eyes, turn around and go back home.” Ho however refutes her own statement by crafting

the very words needed to do just that! In this first person fiction, absolutely based on

witnessed events, she captures the quintessential elements of the era, the locale and the

experience.

By the mid 1990’s motherhood appears to have had a

profound effect upon the direction of Ho’s thematic

thinking and writing. During this era we see a dramatic

shift away from recollections and perceptions of war-

torn Southeast Asia, more toward language, concepts

and themes accessible and appropriate for younger

readers.

Hush – A Thai Lullaby (1996) is simple but beautifully written and

illustrated picture storybook. A world away from previous

publications, this story has a gently repeating refrain and cheeky

ending; provoking joyful interaction between the (often adult)

reader and the intended pre-school audience. Herein we follow

the efforts of a mother quietening an assortment of animals

contributing to a cacophony of night noises as she attempts to

soothe her restless child to sleep. Having personally travelled to Thailand, Vietnam and

Cambodia, Ho’s simple but descriptive prose dynamically evokes recollections of summer


With husband John Dennis and children Danfung and Meimei

evenings in a Southeast Asian village. One can picture and almost feel the slight cooling of

the air and the night coming alive with sounds of nocturnal activity.

Her next book Two Brothers, (1996) covers the fates of two orphaned brothers and their

efforts to overcome barriers and achieve justice. Like many of her other stories, Two

Brothers promotes virtues of self-reliance, cleverness

and collaboration to overcome obstacles. In an author’s

note Ho describes how this story is especially poignant

against the context of Cambodia’s recent history. “The

Cambodian’s have accepted tragedy in their past with

stoic fatalism, yet when given the chance to shape their

own destinies, they have actively done so.” (Ho, 1995,

preface) [Here Ho refers to the impressive 90% of the Cambodian electorate that braved

threats of violence to vote for government reform in 1983.]

In Cambodian folklore style, Brother Rabbit (1997) cheekily describes the antics and

ultimate success of a small but clever rabbit attempting to overcome obstacles. This

vibrantly illustrated book has storyline and

pictures that are engaging upon first reading and

great discussion material for exploring the

behaviours and motivations of the characters. The

illustrations evoke a sense of location, with

students gaining significant information about

Cambodian village life from the detail in both

central images and intricate page borders. With a

triumphant main character successfully outwitting

physically superior creatures and elements, Ho

continues her thematic coverage of self reliance

and wit conquering physical prowess. Again the story reflects common thread in the psyche

of the Cambodian working class; “after all, farmers and villagers often felt powerless

compared to their mighty landlords and kings, so they naturally revelled in stories in which

the tables were turned and the weak got the better of the mighty.” (Ho, 1997, Cover Blurb)


By 2003, Ho’s own children were well into their teens and at this time she returns to writing

about the Cambodian genocide that has proven such a profound influence on her life and

her authorship. The Stone Goddess (2003) is a tragic first person novel following the

experiences of twelve year old Nakiri and her family during the 3 years, 8 months and 20

days of the Pol Pot regime. With an underlying theme of traditional Cambodian dance

culture and reference to stone carvings

of dancing apsaras at Angkor Wat, this

story sensitively but honestly describes

not only horrific suffering and terror,

but also grace, beauty and hope for the

future. Ho continues her coverage of

the importance of endeavour and self-

reliance, whilst harnessing memories of

happier times and the love of friends

and family. Originally titled Gathering

the Dew in reference to Nakiri’s older

sister Teeda’s dream to dance the lead

role a triumphant goddess who collects

a glassful of dew drop, by drop, “so,

too, bit by bit, day by day, Nakiri and

her family do small things that, taken

together, make possible their survival and success in their new world.” (Isaacs, 2003, para.1)

Whilst reasons for the change of title are unknown, this remains a moving and honest

portrayal of events and emotions during and after the unforgettable Khmer Rouge era. Ho

has been repeatedly praised for her ability to write about sensitive, relatively mature

subjects such as death, starvation, poverty and war in a manner appropriate for youth

understanding and reflection.

One of her most recent novels The Green Armchair (2004) is poignant short story describing

the continuing struggle of Cambodian refugees to reunite with family and friends whilst

yearning for a place to call home. Set in frigid pre-Christmas America, teenage Soeap

develops a friendship with Tom; a red-haired American boy in her history class who is

grieving over the death of a beloved grandfather. Soeap’s family business, Sadowsky’s


Furniture Repair, is commissioned by Tom to reupholster a cherished armchair that

belonged to his grandfather; it is to be a Christmas gift for his father. Soeap and Tom work

companionably to complete the chair in time; however, just as the final stitches are made, a

letter arrives notifying of her own grandmother’s death in distant Cambodia. Bringing

abrupt halt to the family’s well-established preparations to reunite, Soeap deals with her

grief by recalling and practicing traditional Cambodian dance moves, as strictly taught by her

grandmother. This touching and at times humorous story highlights cross-cultural concepts

of loss and grief, whilst cherishing connections with family and treasured memories. Written

in first person narrative, Ho’s literary style again invokes touching images of events,

thoughts and emotions. This story is eminently readable and engaging for both proficient

readers and those new to the English language. “An armchair, he said. Arm-chair, she

repeated silently. Did he mean a chair for an arm, or a chair made of arms, or maybe a chair

with four legs that were shaped like arms?”(Ho, 2004, p.204) Here the author provokes the

reader to empathise with the plight of refugees coming to grips with the nuances of an

adopted language; a language often learned largely via forced immersion. “Something

about a pair (as in a couple, or a fruit?), and leather, and a long word that cropped up again

and again: apple stories?” Noting Soeap’s confusion Tom, writes down the instructions.

“One: replace stuffing. Two: replace upholstery. So it wasn’t “apple story” she noted. Three;

repair and polish wood.” (Ho, 2004, p.206)

In this story, Ho maintains her appeal to younger readers by entering the 21 st century. Tom

and Soeap both have an interest in the computer game Sim City and, whilst working on

Soeap’s rendition of a fantasy Phenom Penh, they discuss copyright laws. A prime example

of Ho’s simple yet descriptive writing style comes later in the book when Tom attempts to

help Soeap deal with her grief;

She may be gone, he was telling her now, but what she taught you has passed on to

you. “Like software,” she murmured. “Even better,” he said. It’s shareware.”

He’s right, Soeap thought. What I have can never - and should never be –

copyrighted. What has been passed onto me is harder than any hardware, softer

than any software. A series of words, a sequence of movements – a story, a dance:

these things grandma passed onto me, these things that are almost sacred in their

simplicity. And they are mine, yet they belong to me only as much as the flame of a

candle belongs to the wick. When the candle is melted away, the flame is

passes on, that’s all” (Ho, 2004, p.221)


As one reviewer described, “Minfong Ho creates a world of great beauty and gentleness,

with loving family relationships and ancient customs. But she also creates a world of

poverty, drought, dreadful injustice, starvation, and death. Her protagonists are set

between these two visions, but in that situation they discover their pride, integrity, and

determination to love the land and overcome injustice." (Answers.com, 2010, para.1)

Having grown up and studied in Thailand, Singapore and the USA, Minfong Ho developed a

unique set of life experiences and multifaceted linguistic abilities that would later inform

and influence her fictional writing. Living in numerable locales world-wide, she experienced,

absorbed and adapted to divergent cultures,

and is now more than happy that her own

children, Danfung, Mei Mei and Chris, are

entering the 21st century with similar

enriched experiences. “Like me, and I hope

like many children today, they are growing

up comfortable with a blend of several

cultures and languages.”

Ho recognises the worth of her writing in helping children worldwide to become more

empathetic, globally-aware citizens. “Sometimes it has been a bit of a stretch, to try to

absorb and adapt to the different cultures, but it has been enriching as well. If my writing

has helped other children become more ‘elastic’ in their appreciation of Southeast Asian

cultures, then my stretching would have truly been worthwhile.” (Johnson, 2010, para.12)

From the small round ball of mud in The Clay Marble, through Teeda’s threadbare scarf and

the “clack, clack” of Grandma’s weaving loom in The Stone Goddess, to the cherished family

heirloom and memories in The Green Armchair, Minfong Ho gives us glimpses of how

seemingly insignificant and obscure acts, items and recollections can have an enormous

impact upon and individual or group’s ability to tackle and overcome hardship.

After so many terrible years of war and suffering, one can only hope that a lasting peace for Cambodia is

written in the stars.Minfong Ho, 1995 (Preface)


Minfong with her three children, Danfung, Mei Mei and Chris. (Authors Guild, 1997, para.5)

REFERENCESAhmad,N., (2005) Infodedia Talk – Minfong Ho. Retrieved: October 2010

http://infopedia.nl.sg/articles/SIP_433_2005-01-14.html

Answers.com (2010) Children’s Author: Minfong Ho. Retrieved: September 2010http://www.answers.com/topic/minfong-ho-children-author

Authors Guild (1997) Rice Without Rain–About the Author. Retrieved: September 2010http://www.members.authorsguild.net/minfong/work14.htm

Ho, Minfong (1975) Sing to the Dawn. New York: Lothrop, Lee & Shepard

Ho, Minfong (1990) Rice Without Rain. New York: Lothrop, Lee & Shepard

Ho, Minfong (1991) The Clay Marble. New York: Farr, Strauss & Giroux

Ho, Minfong (1995) The Two Brothers. New York: Lothrop, Lee & Shepard

Ho, Minfong (1996) Hush! A Thai Lullaby. New York: Orchard Books

Ho, Minfong (1997) Brother Rabbit: A Cambodian Tale. New York: Lothrop, Lee & Shepard

Ho, Minfong (2003) The Stone Goddes. U.S.A: Scholastic

Ho, Minfong (2004) The Green Armchair. In Gallo, D., First Crossing: Stories About Teen Immigrants (pp. 201-224). USA: Candlewick Press

Isaacs, K., (2003) School Library Journal Review: Minfong Ho: The Stone Goddess. Retrieved:November 2010. http://www.members.authorsguild.net/minfong/work14.htm

Johnson, V., (2010) Minfong Ho: Living in Three Languages. Retrieved: October 2010http://kids.librarypoint.org/minfong_ho

Rochman, H., (1991) Booklist Review: Rice without Rain. Retrieved November 2010http://www.sundetics.com/index.aspx?isbn=0688063551/BLREVIEW.html


http://www.sundetics.com/index.aspx?isbn=0688063551/BLREVIEW.html

http://kids.librarypoint.org/minfong_ho

http://www.members.authorsguild.net/minfong/work14.htm

http://www.members.authorsguild.net/minfong/work14.htm

http://www.answers.com/topic/minfong-ho-children-author

http://infopedia.nl.sg/articles/SIP_433_2005-01-14.html

APPENDIXMinfong Ho – AWARDS (1975 -1997)

1975: First prize, Council of Interracial Books for Children, for Sing to the Dawn

1982: First prize, Annual Short Story Contest of Singapore, Ministry of Culture, Singapore,

First prize, Annual Short Story Contest, AsiaWeek magazine, Hong Kong, for 1983, for

“Tanjong Rhu;"

1987: Second place, Commonwealth Book Awards (prose category), Commonwealth Book

Council, AND First prize, National Book Development Council of Singapore, for Rice

Without Rain

1988: Parents Choice Award, for Rice Without Rain

1990: Best Books for Young Adults, American Library Association (ALA), Rice Without Rain

1991: Editor's Choice, Booklist, and Books for the Teen Age selection, New York Public

Library, for Rice without Rain

1991 Notable Children's Book in the Field of Social Studies selection, National Council for

the Social Studies/Children's Book Council

Best Books selection, Parents magazine, for The Clay Marble

1992 Pick of the Lists selection, American Booksellers Association (ABA),

Notable Children's Trade Book in the Language Arts selection, National Council of

Teachers of English

Children's Book of Distinction selection, Hungry Minds, all for The Clay Marble

1996 Southeast-Asian Write Award, conferred by the Crown Prince of Thailand,

Horn Book Fanfare selection, Notable Book designation and Caldecott Honor Book

Children's Book of Distinction selection, Hungry Minds, all for Hush!: A Thai Lullaby

1997 Notable Book selection, ALA, Best Books selection, New York Public Library

Children's Book of Distinction selection, Hungry Mind Review, for Maples in the Mist

1997 Pick of the Lists selection, ABA, for Brother Rabbit: A Cambodian Tale.


studiesofasia.wikispaces.comho+ly… · web viewminfong ho. throughout her writing career,...

Documents