The 28th Singapore Writers Festival concluded, not with a quiet reflection on literary tradition, but with a bold gaze toward the future. This year’s theme, “Shape of Things to Come,” resonated deeply, coinciding with Singapore’s 60th anniversary and a nationwide exploration of what lies ahead.
The festival didn’t shy away from the complex questions of a rapidly changing world, embracing science fiction, fantasy, and speculative writing as vital tools for understanding potential futures. Marquee authors like Ken Liu and R.F. Kuang headlined the event, drawing crowds eager to explore new literary landscapes.
R.F. Kuang, known for her immersive historical fantasy, delivered a provocative keynote. She challenged conventional notions of higher education, arguing that universities often reinforce existing power structures rather than fostering true social mobility or dissent. Her words sparked a critical conversation about the role of institutions and the courage to challenge them.
Ken Liu, meanwhile, explored the evolving relationship between art, technology, and originality. He posited that the very definition of art is shifting in the age of AI, suggesting that reproduction isn’t the antithesis of creativity, but a potential catalyst for entirely new forms of expression. He saw AI not as a threat, but as another inflection point in the long history of artistic innovation.
A surprising revelation emerged during a panel titled “From Colony to Cosmos”: Singapore’s engagement with science fiction stretches back far further than many realize. Writers traced the genre’s roots to late 19th-century publications and even earlier mythic tales, revealing a rich history of speculative thought within the region.
The heart of compelling world-building, according to Dean Francis Alfar, lies not in intricate details, but in emotional resonance. He emphasized the importance of grounding even the most fantastical settings in universal human experiences, a philosophy that clearly resonated with his devoted fans – his books quickly sold out, prompting impromptu signings on whatever materials were available.
Bestselling author Neal Shusterman offered invaluable advice to aspiring young writers, stressing the power of empathy, character-driven narratives, and responsible storytelling. His own work, including the soon-to-be-adapted “Scythe,” demonstrates the potential of speculative fiction to tackle complex issues with nuance and sensitivity.
Intimate conversations unfolded during a literary lunch at Brasserie Astoria, where Singaporean poet Marylyn Tan and Philippine crime novelist F.H. Batacan shared their perspectives. Batacan highlighted the unique characteristics of Philippine crime fiction, shaped by the realities of poverty, inequality, and a flawed justice system.
The festival also delved into the delicate art of memoir, exploring the ethics of retelling family stories and the inherent fragility of memory. Panelists emphasized the importance of creative license, used responsibly, to reveal emotional truths without sacrificing authenticity.
Beyond the traditional venues, a captivating graphic narrative exhibit, “That Time I Cringed So Hard I Ended Up on These Walls” by Nurjannah Suhaimi, offered a deeply personal exploration of vulnerability. The comic’s protagonist, Apollo, embarks on a whimsical journey to confront his most embarrassing moments, transforming awkwardness into a source of connection.
Ultimately, the Singapore Writers Festival 2025 wasn’t just about predicting the future; it was about understanding the power of stories to shape it. By examining the narratives we inherit and the possibilities we imagine, the festival affirmed that envisioning tomorrow begins with a profound understanding of today.
