Flash fiction in Singapore Chinese literature

In Chinese literature, flash fiction is a genre that is shorter in length than microfiction. After several rounds of discussion and refinement, the consensus reached regarding the word count limit for this ultra-short fiction is “preferably within 300 words, with a maximum limit of 600 words”.¹ The form is characterised as short, new, strange, and fleeting, meaning that it pursues micro, novel, ingenious, and refined aspects in writing, and is thus considered a “new literary genre like a spiritual lightning bolt”.²

Flash fiction came into the spotlight after the 8^th World Chinese Microfiction Symposium in Hong Kong in 2010. When then-president of the Singapore Association of Writers, Xi Ni Er, attended the symposium and witnessed the enthusiastic discussion among participants on flash fiction, he “feared being left behind by the new trend”.³ Upon returning home, he published three ultra-short stories in Lianhe Zaobao’s Literary City section, titled “Three Flash Fictions”.⁴ The emerging genre of flash fiction officially made its debut in Singapore with this series. In the following years, with enthusiastic promotion from writers like Xi Ni Er and Xue Feng, many Singapore Chinese-language authors began creating flash fiction.

Publication Singapore Flash Fiction Selection

During the five years between 2011 and 2016, flash fiction in Singapore saw a vibrant, thriving development. In January 2011, the 74^th issue of Singapore Chinese Literature — a publication of the Singapore Association of Writers — featured a special collection of microfiction titled Shunjian jingcai (Brilliance in an Instant). Experimentally, the collection included 12 flash fiction pieces by four authors.⁵ In March the same year, Lianhe Zaobao’s Literary City also released a full colour special feature on flash fiction, featuring works by authors such as Xi Ni Er, Ai Yu, Lin Gao, Xue Feng, Lin Jin, Tong Noong Chin, Nan Zi, and Chia Joo Ming.

The following year, in the 77^th issue of Singapore Chinese Literature, the Flash Fiction Special was officially launched, featuring 68 flash fiction works by 40 Singapore authors. After the release of the Flash Fiction Special to warm response, the Singapore Association of Writers seized the opportunity and, in September 2013, compiled and published Xingkong yiran shanshuo: xinjiapo shanxiaoshuo xuan (Twinkling Starry Night: Singapore Flash Fiction Selection). This anthology featured 28 participating authors and included a total of 180 flash fiction works. Additionally, the collection contained some commentary written by authors about flash fiction. With this publication, the theoretical framework for flash fiction had been established, and the lineup of creators was steadily expanding. The release of Xinkong yiran shanshuo can be said to be a significant milestone in the development of flash fiction as a literary genre in Singapore.

International attention

In fact, flash fiction creation in Singapore attracted the attention of the international literary community even during its budding stage. In November 2011, the 323^rd issue of Hong Kong Literature featured a special edition on flash fiction by Singapore writers. It showcased flash fiction works by writers such as Xi Ni Er, Xue Feng, Ai Yu, Lin Gao, Zhou Can, Chow Teck Seng, Lin Jin, Chua Chee Lay, Tong Noong Chin, and Chia Joo Ming. This marked the first special edition overseas focusing on Singapore flash fiction.

During the same period, the inaugural issue of Dangdai shan xiaoshuo (Contemporary Flash Fiction), edited by Cai Zhongfeng in China, was published. It also included flash fiction works by five Singapore writers, Xi Ni Er, Xue Feng, Nan Zi, Lin Gao, and Tong Noong Chin. In October of the following year, the sixth issue of Dangdai shan xiaoshuo, the Chinese Online column specially featured a “Singapore Chinese Flash Fiction Special”, publishing 14 flash fiction works by nine Singapore authors.⁶

Many years later, Singapore flash fiction continues to attract attention from around the world. On 7 February 2023, the UCLA Centre for Chinese Studies hosted an online seminar where the discussion was focused on the book, Twinkling Starry Night: Singapore Flash Fiction Selection, published by the Singapore Association of Writers.⁷

In addition, the third issue of the Taigang wenxue xuankan (Taiwan and Hong Kong Literature Selection) in 2023 (Issue 370) featured a “Singapore Flash Fiction Special”, showcasing the works of 12 Singapore writers.⁸ The editor-in-chief of the mainland Chinese magazine Shan xiaoshuo (Flash Fiction), as well as the initiator and advocate of Chinese flash fiction, Cheng Siliang (pen name Lengyue Xiaoxiao), also published an article analysing the featured articles titled “yishan yishan liang jingjing” (Twinkling Flashes) in the special issue.

In addition to flash fiction anthologies, individual Singapore Chinese writers such as Zhou Can, Xi Ni Er, and Lin Gao have published their own collections of microfiction or flash fiction. The promotion of flash fiction continues unabated, with writers actively introducing flash fiction works to students through book clubs, school residencies, literary lectures, and other platforms.

Future Prospects

The Committee to Promote Chinese Language Learning’s Writing Group has published flash fiction written by students in the Qingchun xilie (Youth Series), a student anthology released in conjunction with the Author-in-Residence Programme in schools. Additionally, in 2020, the Singapore Association of Writers held the 2^nd Youth Literature Award: Flash Fiction Writing Competition in the hopes of attracting more young writers to engage in the creation of flash fiction.

There is generally an optimistic attitude towards the future of flash fiction in Singapore, as its concise nature aligns with the fast-paced, fragmented reading habits of modern urban dwellers, making it an ideal trend to pursue in future literary creation. However, others believe that because flash fiction requires condensed and refined writing, it is more challenging to excel in this form.