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Two Figures in a Car and Other Stories
Two figures sit in a car, waiting to commit a crime. A young girl steals her grandmother’s jade bracelet. A Malay man collects the blonde hair of a British teenager he is transfixed with, and a young woman feeds human blood to a frangipani tree. There’s right and wrong in this world. Or is there? This collection of fourteen stories explores the grey and amoral lives of ordinary – and not so ordinary – Malaysians and Singaporeans looking to carve their place in the world. Shifting between the dark hills of Penang island to the lonely coasts of Singapore and the cramped corners of Kuala Lumpur and Manchester, Two Figures in a Car is coloured with petty crimes, small ambitions and fantastical delusions.
- GenresShort Stories
136 pages, Paperback
Published September 28, 2021
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Displaying 1 - 18 of 18 reviews
November 3, 2021
Two Figures in a Car and Other Stories by Wan Phing Lim is a a collection of short stories that cover so many aspects in life. Getting second chances, mystery, crime and so much more. Every time I turn the page to read a new story, I have no idea what to expect because this small book is so full of surprises.
I was so captivated by this book when I first received it and I honestly have no idea what it was about. The cover pulled me in and the synopsis too. I'm so glad that I received a review copy of this book because I don't think I will ever pick it up myself.
The writer has managed to delve across different genres which some are heartwarming, mysterious, overwhelming and a whole lot of other emotions would come around. You really just have no idea what to expect and it will caught you off guard from the characters, background and setting. My favourite story is definitely Two Figures In A Car because it was just a simple yet meaningful story.
I would absolutely recommend you to read this short stories book if you're currently browsing for one. A small book with a bang, just read it and you'll know exactly what I'm talking about.
I was so captivated by this book when I first received it and I honestly have no idea what it was about. The cover pulled me in and the synopsis too. I'm so glad that I received a review copy of this book because I don't think I will ever pick it up myself.
The writer has managed to delve across different genres which some are heartwarming, mysterious, overwhelming and a whole lot of other emotions would come around. You really just have no idea what to expect and it will caught you off guard from the characters, background and setting. My favourite story is definitely Two Figures In A Car because it was just a simple yet meaningful story.
I would absolutely recommend you to read this short stories book if you're currently browsing for one. A small book with a bang, just read it and you'll know exactly what I'm talking about.
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November 5, 2021This review was originally featured in Penang Monthly and is featured here with permission.
https://penangmonthly.com/article/204...
WRITER WAN PHING Lim (her preferred name order) was born in Butterworth and lives in KL. Many of the 14 stories in her recently published debut short story collection Two Figures in a Car and Other Stories strongly reflect her Penang roots.
“When one writes about Penang, places like Batu Ferringhi, George Town and Penang Hill usually feature,” says Lim. “But because I was born in Raja Uda and grew up in Sungai Ara, I set a lot of my stories in the less popular, southern part of the Island.”
Not only does she draw her inspiration from her native Penang, but also from the pages of Penang Monthly. “In The Apparition I wrote about an abandoned mansion in Relau, based on a Sino-Venetian bungalow that was featured in Penang Monthly,” she says (see Penang Monthly, May 2019).
Two of the stories feature Manchester in the U.K. as a setting, while several other of her stories are based in and around Singapore – fittingly enough since this book’s publisher Penguin Random House has its Southeast Asian base there.
The Red Kemboja Tree is perhaps the most taboo-breaking story in this collection, a magic realist tale that leads its perfumist protagonist to an abandoned quarry on Pulau Ubin. Meanwhile The Ruby Case uses a police station in Jurong as the base from which Corporal Jeffrey Kong ventures to different areas around Singapore. The title story Two Figures in a Car also uses Singapore as its setting, featuring a morally flexible receptionist named Nadine who works in a homestay in the vicinity of Changi Beach.
Setting is almost as important as characters and plot in almost all these stories and it does not take long before Lim transports the reader back to Penang again. “Bukit Gambir, Lip Sin, Jelutong and Gelugor are suburbs that my parents grew up in and where my extended family lives,” says Lim. “Jalan Masjid Negeri and Jalan Scotland were where I went to school. These places are hardly ever written about in fiction.”
Readers familiar with contemporary Malaysian writing in English may already know Lim’s work. Her short story The Goddess and the Sea is the strong opening piece in Home Groan, a collection of Penang-centric stories and poems published earlier this year and reviewed in Penang Monthly, February 2021.
While that particular story curiously doesn’t feature here, the majority of the stories in this collection have previously been published elsewhere, though this is their first time assembled together in one volume.
The stories span a range of socio-cultural settings, from working class to jet-setting upper class, from gangsters, thieves and killers to policemen, from sushi chefs to mat and minah rempit, and many more besides. The host of characters is as diverse as the individual stories. In the intriguing Confessions of a Sushi Boat, the narrator – as might be deduced by the title of the story – is a wooden sushi boat, lovingly scrubbed and soaped by Chef Sakamoto.
Two stories, Snake Bridge Temple and Races – one of which appears early on, the other much later in the book – are linked, with an overlap between the characters. The action culminates in a motorbike race. The perceived invincibility of youth is on display in the characters’ cavalier and acrobatic approach to road safety.
“In Races I wrote about the Seagate Highway,” says Lim. “It was a nickname for the stretch of highway popular for illegal motorbike racing before the days of Queensbay Mall and the second Penang Bridge.” It doesn’t take a lot for the double meaning of the title of that story to become apparent, though it is not a point that is laboured. Instead throughout these stories, the social divisions are more along class lines and have little or nothing to do with the characters’ diverse ethnicities.
Wan Phing Lim.
That said, there are stories where nationality as an aspect of identity is integral to the plot, arguably overlapping again with the socio-economic context. In The Last Day of January – another of the Singapore-based stories – Amelia is at a loose end. She invites Kaw, a migrant worker who works as a cleaner and who is handsome “like one of the dark-skinned baddies in a Bruce Lee film” into her apartment. This story is quite ambiguous and open to interpretation, but Kaw’s foreignness makes him expendable, perhaps even disposable. When questioned by the police as to Kaw’s fate, Amelia shrugs, explaining that migrant workers die all the time, that “maids can fall over from cleaning windows”.
Chee Seng, the protagonist of the opening story The Roof Walker is an undocumented Malaysian worker trying to eke out a living in restaurant kitchens in the U.K.. Among other things, the story serves to highlight the fact that Malaysians overseas can suffer an ignominious fate not entirely dissimilar to the plight routinely faced by undocumented migrant workers in Malaysia.
While all these stories are rich in detail, many would benefit from being a little longer. Several come to a very abrupt conclusion, which led this reader to leaf back on more than one occasion to see if a page or even several pages had been inadvertently skipped. But perhaps it is better to be left wanting than to have had too much.
It could even be said that concision is one of the author’s strengths as a writer. Lim manages to fit a lot into her pages. The stories are tight and move along at a good pace with admirably little wasted space. There were a few sentences an eagle-eyed editor might have singled out for improvement, but it’s unclear if the omission to do so was due to the stories being published as they originally appeared, or whether they were reworked and re-edited for this collection. But these are small quibbles in the overall scheme of things.
Lim’s distinctive voice is a welcome one in the local contemporary literary canon and holds a lot of promise. Hopefully this collection will be a stepping stone to greater things yet to come for Wan Phing Lim, allowing her to bring stories of Penang and elsewhere to a wider audience. Certainly, that seems to be her ambition. As she says on her website, “My hope is to be agented in the U.K. and North America and to tell the stories of my world to an international audience.”
https://penangmonthly.com/article/204...
WRITER WAN PHING Lim (her preferred name order) was born in Butterworth and lives in KL. Many of the 14 stories in her recently published debut short story collection Two Figures in a Car and Other Stories strongly reflect her Penang roots.
“When one writes about Penang, places like Batu Ferringhi, George Town and Penang Hill usually feature,” says Lim. “But because I was born in Raja Uda and grew up in Sungai Ara, I set a lot of my stories in the less popular, southern part of the Island.”
Not only does she draw her inspiration from her native Penang, but also from the pages of Penang Monthly. “In The Apparition I wrote about an abandoned mansion in Relau, based on a Sino-Venetian bungalow that was featured in Penang Monthly,” she says (see Penang Monthly, May 2019).
Two of the stories feature Manchester in the U.K. as a setting, while several other of her stories are based in and around Singapore – fittingly enough since this book’s publisher Penguin Random House has its Southeast Asian base there.
The Red Kemboja Tree is perhaps the most taboo-breaking story in this collection, a magic realist tale that leads its perfumist protagonist to an abandoned quarry on Pulau Ubin. Meanwhile The Ruby Case uses a police station in Jurong as the base from which Corporal Jeffrey Kong ventures to different areas around Singapore. The title story Two Figures in a Car also uses Singapore as its setting, featuring a morally flexible receptionist named Nadine who works in a homestay in the vicinity of Changi Beach.
Setting is almost as important as characters and plot in almost all these stories and it does not take long before Lim transports the reader back to Penang again. “Bukit Gambir, Lip Sin, Jelutong and Gelugor are suburbs that my parents grew up in and where my extended family lives,” says Lim. “Jalan Masjid Negeri and Jalan Scotland were where I went to school. These places are hardly ever written about in fiction.”
Readers familiar with contemporary Malaysian writing in English may already know Lim’s work. Her short story The Goddess and the Sea is the strong opening piece in Home Groan, a collection of Penang-centric stories and poems published earlier this year and reviewed in Penang Monthly, February 2021.
While that particular story curiously doesn’t feature here, the majority of the stories in this collection have previously been published elsewhere, though this is their first time assembled together in one volume.
The stories span a range of socio-cultural settings, from working class to jet-setting upper class, from gangsters, thieves and killers to policemen, from sushi chefs to mat and minah rempit, and many more besides. The host of characters is as diverse as the individual stories. In the intriguing Confessions of a Sushi Boat, the narrator – as might be deduced by the title of the story – is a wooden sushi boat, lovingly scrubbed and soaped by Chef Sakamoto.
Two stories, Snake Bridge Temple and Races – one of which appears early on, the other much later in the book – are linked, with an overlap between the characters. The action culminates in a motorbike race. The perceived invincibility of youth is on display in the characters’ cavalier and acrobatic approach to road safety.
“In Races I wrote about the Seagate Highway,” says Lim. “It was a nickname for the stretch of highway popular for illegal motorbike racing before the days of Queensbay Mall and the second Penang Bridge.” It doesn’t take a lot for the double meaning of the title of that story to become apparent, though it is not a point that is laboured. Instead throughout these stories, the social divisions are more along class lines and have little or nothing to do with the characters’ diverse ethnicities.
Wan Phing Lim.
That said, there are stories where nationality as an aspect of identity is integral to the plot, arguably overlapping again with the socio-economic context. In The Last Day of January – another of the Singapore-based stories – Amelia is at a loose end. She invites Kaw, a migrant worker who works as a cleaner and who is handsome “like one of the dark-skinned baddies in a Bruce Lee film” into her apartment. This story is quite ambiguous and open to interpretation, but Kaw’s foreignness makes him expendable, perhaps even disposable. When questioned by the police as to Kaw’s fate, Amelia shrugs, explaining that migrant workers die all the time, that “maids can fall over from cleaning windows”.
Chee Seng, the protagonist of the opening story The Roof Walker is an undocumented Malaysian worker trying to eke out a living in restaurant kitchens in the U.K.. Among other things, the story serves to highlight the fact that Malaysians overseas can suffer an ignominious fate not entirely dissimilar to the plight routinely faced by undocumented migrant workers in Malaysia.
While all these stories are rich in detail, many would benefit from being a little longer. Several come to a very abrupt conclusion, which led this reader to leaf back on more than one occasion to see if a page or even several pages had been inadvertently skipped. But perhaps it is better to be left wanting than to have had too much.
It could even be said that concision is one of the author’s strengths as a writer. Lim manages to fit a lot into her pages. The stories are tight and move along at a good pace with admirably little wasted space. There were a few sentences an eagle-eyed editor might have singled out for improvement, but it’s unclear if the omission to do so was due to the stories being published as they originally appeared, or whether they were reworked and re-edited for this collection. But these are small quibbles in the overall scheme of things.
Lim’s distinctive voice is a welcome one in the local contemporary literary canon and holds a lot of promise. Hopefully this collection will be a stepping stone to greater things yet to come for Wan Phing Lim, allowing her to bring stories of Penang and elsewhere to a wider audience. Certainly, that seems to be her ambition. As she says on her website, “My hope is to be agented in the U.K. and North America and to tell the stories of my world to an international audience.”
May 29, 2022
Unfortunately this does not gel with my taste. Most of the characters are one-dimensional and not much is done to bring me into their world and empathize with them. Many stories rely on shock value so they don't work so much for me. One standout story is "The Last Day of January", which brings some sense of absurdity that I like.
December 30, 2021
As a brief disclaimer, I am probably biased towards this book because Wan Phing is a writing friend - some of these stories I remember from critique sessions, and two of them (A Star Has Landed and Islanders) were first published in NutMag, the annual zine that I run.
I've always loved Wan Phing's voice as a writer - and this debut collection of 14 stories (2 of them new) is a showcase of that. The stories are very rooted in local life and the places she's lived - mostly Penang and Singapore - while the one (and a half) set in England are peopled by Malaysians. Her language dips in and out of local vernacular, peppered with Malay and Hokkien expressions and the occasional Mandarin phrase.
If I were to put a central theme to this collection, I'd say it's relationships - or maybe love, sex, and family. Because whether it's Seng sending money home to his son, Sozai musing on the Penang Bridge, the Ruby case that Sergeant Wong refuses to close, or the many people Justin Liew has slept with, each character is pushed and pulled by their relationships to the people around them. There's no shying away from the dark side and failings of human nature: the stories explore ambition and escape, affairs and one-night stands, madness and murder, as well as the supernatural.
All fourteen stories are quite short - I think many of them don't cross the 2K mark - so Two Figures in a Car and Other Stories is quite a quick, if somewhat dark, read.
I've always loved Wan Phing's voice as a writer - and this debut collection of 14 stories (2 of them new) is a showcase of that. The stories are very rooted in local life and the places she's lived - mostly Penang and Singapore - while the one (and a half) set in England are peopled by Malaysians. Her language dips in and out of local vernacular, peppered with Malay and Hokkien expressions and the occasional Mandarin phrase.
If I were to put a central theme to this collection, I'd say it's relationships - or maybe love, sex, and family. Because whether it's Seng sending money home to his son, Sozai musing on the Penang Bridge, the Ruby case that Sergeant Wong refuses to close, or the many people Justin Liew has slept with, each character is pushed and pulled by their relationships to the people around them. There's no shying away from the dark side and failings of human nature: the stories explore ambition and escape, affairs and one-night stands, madness and murder, as well as the supernatural.
All fourteen stories are quite short - I think many of them don't cross the 2K mark - so Two Figures in a Car and Other Stories is quite a quick, if somewhat dark, read.
January 4, 2022
In this well written and heart-warming new collection of fictional short stories that hits close to home, Lim explores the amorally grey lives of fascinating (and sometimes dubious) Singaporeans and Malaysians situated around the world, trying to make sense of their colourful lives and uncertain futures and those around them.
January 19, 2022
From the moment that I first heard about this collection of short stories, I knew that it was going to be one that I would have no trouble reading until the end. Such great talent, and the attention to detail by the author adds another layer of enjoyment for the reader. There were many topics in the collection that I did not expect to come across, but it was such a welcome experience to see the author explore them in such an open and honest way-in fact, it is my favourite thing about the collection. This book has done a great job in convincing me to continue looking for more Malaysian authors to read and support. I look forward to seeing more from Wan Phing in the future.
February 26, 2024
3.5? 4? Stars. Found a signed copy in a used book shop in Langkawi, Malaysia. Carried it through Penang to Kuala Lumpur where I read these stories on buses, the LRT, and while eating alone. There’s an eeriness in many of the stories, morally subjective and grey. Wan Phing Lim brings light to perspectives we might much rather leave in the dark. Most of her cast of narrators shared the same unstable and untrustworthy trait, that within several pages left a shadow, a question, a movement that carried on despite the end of every short story. Haunting, unsettling, well crafted. Not typical my genre of choice but I enjoyed the power these stories had on me nonetheless.
March 28, 2022
Brilliant, love this. Would compare this with Amanda Lee Koe’s Ministry of Moral Panic and Rattawut Lapcharoensap’s Sightseeing.
January 12, 2025
Voyeuristic, a glimpse into the passing lives of people who could be anyone you pass on the street.
May 11, 2023
They say one's reading preference is as idiosyncratic as one's personality, from attitude, to psychological trait, right down to one's culinary inclination, etc etc.
Black coffee, whisky, slow dance, jazz music, the beach, the ocean, moonlit night, sunset, spicy food, Van Gogh, nostalgic songs, poetry, durian, movies, plays, taste for the morbid, and tragic (the list goes on, limited only by one's experience and imagination)
If you love, enjoy or even appreciate any of the above, then so will you with this collection of short stories.
There is a strong sense of setting, but not too much, just right to keep us grounded.
The characters are varied, complex, real. They live and breathe just like us, with their own motivations and quirks.
The plot is masterwork in perfection, the details imaginative, surreal yet truthful and lively.
The writing is pure craftsmanship: every word in the right place, with no faults to be found; the choice of word, especially the verbs, lean but atomic, the end result like an endless stream that slowly but surely seeps within one's psyche, or a flower that permanently resides in one's garden.
The cadence and rhythm of the sentence structure is elegant and graceful, like a finely choreographed dance. The story reads like a dream.
But perhaps, what this reader finds most impressive about the story is the degree of restraint and consideration for its readers. Every plot sequence flows seamlessly and every description is cinematic. The story does not seek to impress upon us brilliant and vivid observation; instead, it invites us for a journey, every revelation feels discovered and unforced, from within, much like nature.
Its brilliance lies in its focus and simplicity, subverting expectation, inducing nostalgia. It is a painting with words, a combination of poetry and screenplay. It is artistic and a beautiful short story collection, one of the finest and incomparable in its own right, and genre (in this reader's limited repertoire of books read of course).
Perhaps, the genius of it all lies in the fact that this book feels important, essential, and necessitates reading of a second or third time, or even more, in order to fully appreciate the slow burn of its greatness. Most importantly though, every re-reading feels better than the previous experience, its sublimity (if such a word exists) evoking admiration.
This is not a grand piece of work.
It is not a mountain of a book to scale, and conquer.
Rather, it is what a short story is supposed to be: a flower in the sky, a full moon, a glimpse of heaven, a vision, an Apparition, a guilty pleasure.
This book is a reminder that there is the divine in every small thing, and in all of us.
Black coffee, whisky, slow dance, jazz music, the beach, the ocean, moonlit night, sunset, spicy food, Van Gogh, nostalgic songs, poetry, durian, movies, plays, taste for the morbid, and tragic (the list goes on, limited only by one's experience and imagination)
If you love, enjoy or even appreciate any of the above, then so will you with this collection of short stories.
There is a strong sense of setting, but not too much, just right to keep us grounded.
The characters are varied, complex, real. They live and breathe just like us, with their own motivations and quirks.
The plot is masterwork in perfection, the details imaginative, surreal yet truthful and lively.
The writing is pure craftsmanship: every word in the right place, with no faults to be found; the choice of word, especially the verbs, lean but atomic, the end result like an endless stream that slowly but surely seeps within one's psyche, or a flower that permanently resides in one's garden.
The cadence and rhythm of the sentence structure is elegant and graceful, like a finely choreographed dance. The story reads like a dream.
But perhaps, what this reader finds most impressive about the story is the degree of restraint and consideration for its readers. Every plot sequence flows seamlessly and every description is cinematic. The story does not seek to impress upon us brilliant and vivid observation; instead, it invites us for a journey, every revelation feels discovered and unforced, from within, much like nature.
Its brilliance lies in its focus and simplicity, subverting expectation, inducing nostalgia. It is a painting with words, a combination of poetry and screenplay. It is artistic and a beautiful short story collection, one of the finest and incomparable in its own right, and genre (in this reader's limited repertoire of books read of course).
Perhaps, the genius of it all lies in the fact that this book feels important, essential, and necessitates reading of a second or third time, or even more, in order to fully appreciate the slow burn of its greatness. Most importantly though, every re-reading feels better than the previous experience, its sublimity (if such a word exists) evoking admiration.
This is not a grand piece of work.
It is not a mountain of a book to scale, and conquer.
Rather, it is what a short story is supposed to be: a flower in the sky, a full moon, a glimpse of heaven, a vision, an Apparition, a guilty pleasure.
This book is a reminder that there is the divine in every small thing, and in all of us.
November 5, 2021
After I heard Wan Phing’s reading of an excerpt from her book I wanted to know more about Sampat’s story. She talked about all the things that seemed very familiar to me. Do check out her Reading on YouTube. She’s the first reader.
Upon opening the first page, I met Seng, and happily I jumped into his world. A world I knew would probably not be much different from mine if I had done the same thing he had many years ago. But I wouldn’t have been brave enough, and to not see my family for such a long time…I don’t know, one does seem to have some courage to do what Seng did.
The next character that intrigue me was Afiq and his Goldilocks. A unique tale indeed. At this point I really liked how Wan Phing presented her stories, it was simple and I could follow without getting lost in all flowery jargon.
I skipped Confessions of a Sushi Boat, as it was close to lunchtime and any hint of food would mean I had to stop and eat something.
Then came Sampat, hahaha, I laughed out loud at the all too familiar phrase pang tien, tiok sot.
Overall, I really do love this book and the characters in it. It felt familiar and yet touched on some “taboo” aspects of things.
Well-done Wan Phing!! Looking forward to your next book.
Upon opening the first page, I met Seng, and happily I jumped into his world. A world I knew would probably not be much different from mine if I had done the same thing he had many years ago. But I wouldn’t have been brave enough, and to not see my family for such a long time…I don’t know, one does seem to have some courage to do what Seng did.
The next character that intrigue me was Afiq and his Goldilocks. A unique tale indeed. At this point I really liked how Wan Phing presented her stories, it was simple and I could follow without getting lost in all flowery jargon.
I skipped Confessions of a Sushi Boat, as it was close to lunchtime and any hint of food would mean I had to stop and eat something.
Then came Sampat, hahaha, I laughed out loud at the all too familiar phrase pang tien, tiok sot.
Overall, I really do love this book and the characters in it. It felt familiar and yet touched on some “taboo” aspects of things.
Well-done Wan Phing!! Looking forward to your next book.
May 21, 2024
A collection of short stories set in a contemporary Malaysia that combines realism with surreal and sometimes odd elements.
I don't usually read local fiction, I was taken by surprise and enjoyed the fact that these stories were all very short and consumable, not requiring much brainpower yet intriguing at the same time. My personal favorites were Goldy Gold (oh this one was really crazy, I made everyone I met that week read this),Confessions of a Sushi Boat,The Red Kemboja Treeand The Moths of Pearl Hill.
However, the writing definitely fell flat for me. I don't know if it was intentionally meant to sound/look unpolished and raw but it felt like it lacked proper editing. Nothing much to deep dive into, it was fun and quick palette cleanser. I would pass this book on to friends or family :)
2.5/5 stars
// Purchased at Gerak Budaya, GeorgeTown Penang 30/4/24
I don't usually read local fiction, I was taken by surprise and enjoyed the fact that these stories were all very short and consumable, not requiring much brainpower yet intriguing at the same time. My personal favorites were Goldy Gold (oh this one was really crazy, I made everyone I met that week read this),Confessions of a Sushi Boat,The Red Kemboja Treeand The Moths of Pearl Hill.
However, the writing definitely fell flat for me. I don't know if it was intentionally meant to sound/look unpolished and raw but it felt like it lacked proper editing. Nothing much to deep dive into, it was fun and quick palette cleanser. I would pass this book on to friends or family :)
2.5/5 stars
// Purchased at Gerak Budaya, GeorgeTown Penang 30/4/24
December 10, 2024
Such a perfect book. Encapturing the messiness of Malaysian and Singaporean lives, the characters delve with complicated backstories and personality building - allowing the audience to feel a sense of authenticness and connection to the short stories that other books can't quite capture. The book is real, down to earth, and spikes interest within its readers almost immediately. The Malaysian-Singaporean terms and references openly build a safe and "home like" feel within each of these stories, as if you are reading from the personal lives of day to day people. I highly recommend this book if you are looking for something authentic and capturing.
November 26, 2021
The story 'a star has landed' - I have actually seen an art installation as described.
November 20, 2022
Really enjoyed some stories but found a couple really boring.
March 3, 2023
I thoroughly enjoyed all the short stories in this book. A mix of thriller, mystery and romance evoking all sorts of emotions.. can’t wait to read more of Wan Phing’s work in the future!
April 7, 2022
3,5 stars.
Overall, it is an interesting collection of short stories. Like always some of them I loved dearly and others haven't spoken to me.
I bought my copy during a stay in Singapore, so I'm going to keep the book.
Overall, it is an interesting collection of short stories. Like always some of them I loved dearly and others haven't spoken to me.
I bought my copy during a stay in Singapore, so I'm going to keep the book.
August 27, 2023
The first story about an illegal immigrant and his relationship with his faraway son had really captured my attention, but that’s about where it ended.
The rest of the book was ok at best, some stories better than the others.
The rest of the book was ok at best, some stories better than the others.
Displaying 1 - 18 of 18 reviews