What I really enjoy about theatre is that it’s a liberating art form. It’s often used to explore ideas that aren’t mainstream. Mimi Fan is a prime example of this in Singapore literature. When it was first staged in 1962, it shocked more than a few sensibilities because it was rather progressive and liberal for its time. The annex even features a newspaper article touting Mimi Fan as a controversial play.
A Deadly Education left me with very mixed feelings. The opening line held so much promise. It offered conflict and an intriguing dichotomy right from the get-go. Such as, why would anyone want to kill the very person who’d saved their life? What more when they had saved them more than once? I wanted answers but didn’t feel like I got much by the end of the book. Is this one premise supposed to span across the entire series? Evidently, but the opening of the story arc for it didn’t turn out as solidly as I had hoped.
Tweet Cute was so much more relatable than I had anticipated. Based off the title alone, I probably wouldn’t have picked up the audiobook. But I did remember enjoying Open Road Summer years ago, not realising that Emma Lord wasn’t Emery Lord. Oops. ‘Twas a good mix-up though because I really enjoyed Tweet Cute.
The first time I heard the term “retelling,” I expected it to refer to reimagined fairytales. I didn’t exactly expect these to be simply be stories inspired by fairytales. Stepsister, however, is exactly that which I had originally expected of a retelling. It builds upon the well-loved fairytale of Ashputtel, blood and all. It was entertaining with its dark humour as it continued to tell the story of how it might have continued. Stepsister was more detailed since it’s a novel rather than a short story but stylistically, it still very much read like a fairytale.