I am absolutely delighted by the tremendous response to my latest commentary on Lee Kuan Yew, a response which reflects his unique position in Singapore. This, in turn, is reflected in the amazing range of attitudes towards the man, from sheer adulation at one end to intense dislike at the other. The result is that the same commentary has, to my astonishment, provoked the extremes of outright condemnation and enthusiastic support. (This is all part of the work of a political commentator, so I say, ‘Keep those comments coming, whatever their tone!’ Indeed, I am learning a great deal from them.)
It is a measure of my continuing fascination with Lee Kuan Yew that I wanted to explore one aspect of his post-GE 2011 situation that can never be adequately represented through formal exposition. This is the psychological dimension which is clearly the most complex-–-and the most engrossing-–-because it deals with the impossibly vast, constantly changing landscape of human emotions, passions, needs, drives and motives, which the political commentary, constrained by fact and logic, can never capture. But literature can, because this genre is given the privilege of literary licence allowing for the free play of the imagination. Indeed, far from being precise, logical and rational, literature glories in nuances, ambiguities, allusions and paradoxes. Far from providing answers, it only wants to tease the mind and heart with questions.
I have therefore chosen to write a play about Lee Kuan Yew in a fictive setting. It is based not only on some recognisable events in GE 2011 but also on one person in Singapore’s history, who has impressed me as much as Mr Lee. He is Chia Thye Poh, the longest-serving political prisoner who was incarcerated on Sentosa Island for decades. Dramatised in a play, these facts become less important than the interpretation each reader will have for them. Thus the play may be seen as a kind of imaginative extension of my political commentaries.
Island
A Play
The action throughout takes place in a small, very sparsely furnished room in an old, run-down house on a small, deserted island somewhere off Singapore.
SCENE 1
An old man is standing at an open window, the only one in the house, and looking out upon the desolate scene outside. He sees, in the far distance, a lighthouse, and fairly close by, what seems to be an old, abandoned stone fortress.
Minister Supremo—he hates the name now—once the most powerful man in the ruling government of Singapore, advising and guiding a succession of prime ministers, is now in self exile. There is a look of fierce intensity on his face, rather at odds with the scanty white hair, the deeply furrowed brow, the stoop, the occasionally trembling hands.
He hears the sound of footsteps approaching the door at the far end of the room, and quickly shuts the window, before returning to his place on an old wooden chair at a table on which the only items are a thermos flask and a porcelain tea mug. Hanging on a nail on the wall facing the table is the famous uniform of the ruling party, a short-sleeved white shirt with the recognizable party symbol in bright red on the right sleeve. There is a knocking on the door.
Supremo: (sullenly) Who is it?
Voices: Please, please, Minister Supremo, please come back! We need you! Read more