PP Wong is a Vancouver-based author and screenwriter. Her novel The Life of a Banana was nominated for the Women’s Prize for Fiction. Wong completed an MFA at the University of British Columbia, receiving the celebrated Paetzold Fellowship. The TV adaptation of The Life of a Banana is in development.
A dystopian thriller, a speculative fiction, and a coming-of-age story. As Slice the Water‘s narrator, Fred, unpeels layers of truth and sees beyond the optics of altruism and the illusion of choice, PP Wong’s novel unpacks the myriad amplifying impacts of technology, addiction, and complacency.
Interviewed by Cathalynn Labonté-Smith
Cathalynn Labonté-Smith (CLS): Does living in Vancouver inspire your writing, and in what ways?
PP Wong (PPW): Vancouver is indeed a very inspiring place with incredible natural beauty within the city and its surroundings. I like to think and imagine on long walks, to put myself into the ‘soles and souls’ of the characters and see the world through their eyes. Even as a child, I would spend hours walking up and down in any space I could find, in the living room, the garden or even a car park, pretending I was a character from a book or a movie.
In acting, people talk about being ‘method actors.’ Perhaps I’m a ‘method writer’ because I live and act out the characters and emotions as I write. When writing Slice the Water, I found myself hiking among the tall trees of Pacific Spirit Park, and sometimes I was in the protagonist Fred’s mind, looking carefully at the leaves or taking in the sounds of the birds around me.
I also love swimming, whether in the lakes of B.C. like Cultus, Lost Lake, and also Kitsilano pool. There is a key scene set in The Great River that is a turning point for Fred’s character trajectory. When I wrote that scene, I spent many hours swimming and living through the emotional beats of Fred and the people around him.
CLS: Did your Singaporean roots influence Slice the Water, and in what ways? Or did your British roots influence the theme of colonialism, Servile vs. Unservile, or other literary elements in the book?
PPW: I have roots from Canada, England and Singapore. Every country and the people I’ve loved have made me the person I am. I’m truly grateful for every crooked, kinked and gnarled root.
The close-knit community of the village of How Poisson was ignited by what people in Singapore call a Kampong (sometimes spelt Kampung). This term refers to traditional villages where many early Singaporeans lived. Even today, when people say someone has a “Kampong Spirit,” it refers to a person who has a good sense of community and solidarity. Someone who will readily offer their neighbours food, assistance and support.
With Canada, being in tune with the wild nature of B.C. helped me with world-building as I imagined the characters fishing and sitting by the river. Several key scenes happen near and by The Great River in the novel, and I think being around vast B.C. lakes helped put me in the right mindset. In fact, the annual Salmon Run in B.C., where salmon return from the ocean to their birthplace in rivers to spawn, inspired me to create a critical conversation between Fred and his Uncle about how suffering and perseverance often lead to hope.
Finally, people who have read Slice the Water have mentioned that it has thought-provoking topics, but what pleasantly surprises them is the sometimes laugh-out-loud humour. I think that is from my British influences, where I grew up watching many British comedies like Only Fools and Horses, Keeping Up Appearances, Monty Python, and Mr. Bean. I’ve always been taught that sometimes when things are so bad, you just need to ‘have a bit of a laugh!’
CLS: How and why did you come up with the idea for the destruction of books in this dystopic novel, and why shredding vs. burning? Did any of the following books inspire you, or others, or any specific current or past world events?
PPW: The destruction of books and censorship of narratives has always been one of the telltale signs of tyranny in literature. I’ve consistently been interested in reading books that explore the idea of power, and what it means to lack it or to have it. Books that explore the themes of suppression and freedom I have enjoyed over the years are 1984, The Handmaid’s Tale, My Own Words (Ruth Bader Ginsburg), The Fajar Generation, Fahrenheit 451, Brave New World, A Room of One’s Own, and Never Let Me Go.
However, my novel was not inspired by any specific current event or book, but more by the larger idea of what it means to be free. And what is freedom anyway? Also, how does technology hinder or enhance our freedoms?
For some, freedom means having the ability to say anything you wish; for others, it is the gift of walking around safely at night. For many living in a challenging economy, it is financial freedom. This concept of ‘freedom’ inspired me to create two different countries that have various forms of suppression and freedoms. I don’t have the answers, but I always like to write about what keeps me up at night.
CLS: Why did you choose Mahana as the name for the country?
PPW: Much like the Mahanian slang, the word Mahana is an amalgamation of more than one word.
Ma-Ha-Na
Ma represents the love for a mother/motherland.
Ha (haha), being a joyful noise
NA to represent the words Now and Always, an infinity of feelings.
I was also drawn to the idea that the word Mahana almost sounded like a comical stereotype of a name for a sunny island far, far away. It’s a word that could even possibly evoke exoticized, preconceived notions from settlers about who and what this island represents. However, as with any place or culture seen as an “other,” the richness of the land and the beauty of the Mahanianpeople’s culture can only be entirely understood by those willing to listen and learn.
CLS: From where did you derive or create the unique language of the Mahanians? How does an author go about creating a new language?
PPW: Thank you for appreciating the slang of the Mahanians! It definitely was a puzzle trying to find the right words with the right intentions.
I was purposefully playful with the sounds and choices of the amalgamation of words because I found they gave a lovely contrast to whatever dark challenges Fred would be facing internally or externally.
When I was choosing the words, I aspired for them to be in tune with Mahanian culture. Despite what Fred and his neighbours are facing, they are kind, community-minded, joyful, inclusive, resilient, warm-hearted people. A community that is passionate about animals, so I tried to incorporate all these facets within their slang words.
Finally, I also included words that I enjoyed the sound of and how they rolled on the tongue.
Some example slang words:
Fireleg – To move very quickly / to make a gesture in a rapid motion / to run
Sticklip – To keep quiet
Um-tum –Hitting / knocking / punching / using force against / pushing against
Elephant-anus – Mahanian version of ‘asshole’
CLS: A frog was an interesting choice for Fred’s pet, Fabu. Why not a furry pet?
PPW: I adore animals, and over the years I’ve had all kinds of pets. I’ve had hamsters, chinchillas, a cat, a dog, a rabbit, guinea pigs, and the list goes on. However, my first pet, when I was three, was a snail, rather a family of snails. I remembered how inconsolable my tender child’s heart was when my favourite baby snail went missing. It was as tiny as your smallest toenail. Despite the early loss, I still remember the magical feeling of having your first pet, and that’s what Fabu is for Fred.
I think I did not choose the typical ‘furry’ pet because, in many ways, Fabu is not the obvious choice of a pet. In life, I’m always the kind of person not to pick the ‘obvious choice.’ I was the child who preferred to play with ‘ugly’ toys, the adult who gravitates to the out-of-the-box thinkers on the margins.
So, with Fabu, he’s somewhat ‘ugly’ and not an ideal pet by world standards. He bites, is stubborn, and grumpy, but Fred adores him. I think there is something beautiful about Fred loving and seeing the special traits of Fabu in a way that no one else does.
CLS: What was your purpose in writing this book, and/or what did you want your readers to take away from it?
PPW: When I write, I start first and foremost with characters, rather than intention or purpose for the readers. A character will appear in mind, how they speak, how they stand, what they enjoy in their free moments, and even what they eat. Then, perhaps a question will pop into my head.
In this case, Slice the Water asks questions about what true freedom means and whether technology brings us greater freedom than our ancestors. I love the idea of the reader taking this journey with me and then drawing their own conclusions.
I don’t write to teach or preach, I write to tell a good yarn, to create characters that feel real to the reader. Truly, what I want most of all is for the reader to enjoy the read. And maybe even laugh out loud and shed a tear or two. To relish the read, that’s all I ask.
CLS: I know this is a sensitive subject for writers, but can you tell us anything else about what you’re working on?
PPW: I’m also a screenwriter, so I’m working on the pilot script adaptation and TV pitch for Slice the Water. There has been very early interest in a TV adaptation and there is a promo video of the novel here:
Slice the Water Teaser
I’d love to see how the book connects with readers first before seriously exploring anything with production companies. But producers, if you have a meaningful vision for the adaptation, happy for you to contact my agents.
I’m also working on the updated version of my debut novel, The Life of a Banana. It was published in Europe and Asia, but with complications I won’t get into, it never made it to North American shores. So, fingers crossed, I’ll be sharing it with everyone soon!
I genuinely look forward to connecting with everyone at the Victoria Festival of Authors. Victoria is such a beautiful place with warm, literary-minded people, and every time I visit, I consider moving there. I hope to see you at the festival!
www.ppwongauthor.com