When we wrote a
mini-review of Sonny Liew's presentation of The Art of Charlie Chan Hock Chye almost 2 years ago, we remarked that the graphic novel telling an alternate history of Singapore appeared to be "
a pastiche of various periods and styles of comic art that were popular during the 1940s to 1970s".
In the intervening year,
we bought a copy of the graphic novel and were amazed at how vastly Liew had undersold himself. Sure, Liew didn't research actually existing comics made by artists in pre-independence Singapore. The Art of Charlie Chan Hock Chye isn't just a pastiche of various periods and styles of comic art; it is a love letter to giants such as Osamu Tezuka, Steve Ditko, Walt Kelly, and Jack Kirby, who have influenced Liew as an artist.
But his book isn't at all an alternate or secret history of Singapore; it is a self-critiquing narrative informed by a historian's understanding that official history is enhanced when it is tempered and even interrogated by the inclusion of multiple viewpoints and the appreciation of paths not taken. It is a masterful love letter to Singapore, warts and all, and a tribute to Singapore's big men and smallfolk alike, and all their dreams.
Photograph of Sonny Liew, reproduced with kind permission from Red Dot Diva
But let's talk about how the clown show at the National Arts Council has to deal with Liew's multiple Eisner wins.