2026年8月——新書上架

　　《我狮城，我街道》系列以“街道与记忆”为主题，从文学视角描绘新加坡的城市肌理、人文地景与生活日常。两册作品共汇聚五十多位作家的诗与散文，串联语言、族群、空间与记忆，构筑出属于狮城的文学地图。

《我獅城，我街道》
　　本书收录新加坡三代、二十六位作家的原创作品，以诗歌与散文书写街道与地方的故事、记忆与生活。有书写大坡小坡的周维介、小印度学艺的黄子明、描绘黑街旧事的吴伟才、漫步耶礼峇路的潘正镭、回望死人街的何志良与林方伟、记录上班日常的蔡欣洵，以及虚构“登百灵坊”的杨薇薇等。
　　书中不仅是一场文学漫步，更是一份留给城市与读者的“记忆档案”。主编汪来昇于〈心之所向〉中回顾了编书缘起与传播历程——若繁体版是让狮城走向世界，简体版则是温柔地回归故土。

《我獅城，我街道２》
　　延续第一册的精神与热度，本书收录三十位作者的二十九篇散文，书写更宽广的时间与地理幅度，继续关注新加坡的地方故事与生活痕迹。
　　从中峇鲁一颗“铁球”的跨世记忆，到安德逊路、苏菲雅路与盛港的人文变迁；从新加坡河与安祥山的静谧步行，到加冷河畔的劳动与歌声；从“阿裕尼十楼”的半世纪风华，到勿洛北与高文的烟火气、武吉巴督的魔幻写实、裕廊西与实龙岗北的陶窑兴衰——每一篇都以文字留住生活的温度。

　　愿我们深深爱着的这片土地与日常，历久弥新，继续闪耀人文的光彩。

特别附赠：英译版选集 —— Streets & Places of Singapore 1 & 2: Works originally written in English
　　此小册精选两册中原以英文创作的作品，完整收录英文本，展现文学跨语言的对话与文化交流之美。

Did you know that many resistance fighters in the Malayan jungles were just teenagers? That one of the first large-scale coded messages created in Changi prison was inspired by girl guides? And that many university students from Malaya and Singapore returned during the war as commando-spies?

We Shall Remember: The Story of Singapore at War is the fascinating story of World War II and the Japanese Occupation in Singapore.

In addition to the more familiar events, this book also uncovers little-known but no less exciting stories of Singapore’s war experience, such as the secret school in Sime Road Prison, the courageous quilters in Changi Goal, the multi-racial volunteers of the Burma-Yunnan Road, the grandmother who became a fighter, and many more. Hear from teenage resistance fighters, fearless commando-spies, the unbreakable war heroine, soldiers who chose death over dishonour, and many other unsung heroes. The people who march through its pages with their stories of courage and sacrifice are multi-racial and multi-national, which show the war as it truly played out in Singapore. What happened on the Malay Peninsula is also captured here to an extent as both lands were integrated under colonial rule at that time.

With much of old Singapore still covered in jungle, encounters with animals were not uncommon for those who lived here. Tiger Tales brings to life some of these little-known episodes, from a crazy rain of fish and the discovery of a giant croc in the Rochor River, to a conundrum with tapirs and the delights of a zoo in our very own Botanic Gardens.

Of course, no compendium of Singapore’s animal stories can go without the legend of Sang Nila Utama—did he really see a lion, we wonder? —and the dramatic story of the tiger under the billiard room. Along the way, readers also meet a cast of colourful yet real people from the past—including Colonel William Farquhar, the First Resident of Singapore, the famous Ming Dynasty admiral Zheng He, and Charles Phillips, the former principal of the Raffles Institution who marches into these pages in his pyjamas.

Singapore operates in a dangerous world — a world where might is right, where the strong eat the weak, and where small countries are, all too often, expected to submit to a brutish order. 

This is the harsh reality that Singapore diplomats have faced over the past 60 years of the nation’s independence. Yet, they have clung resolutely to the belief that Singapore has the right to determine its own future. Amid violence and volatility, generations of foreign service officers have steadfastly advanced Singapore’s interests on the global stage — while remaining clear-sighted about the nature of the world we live in. 

The Ministry of Foreign Affairs (MFA) has played a critical role in charting Singapore’s path to prosperity through crisis and conflict. Ironically, its work remains largely invisible to the public. Not So Little Red Dot: 60 Years of Singapore’s Diplomacy is an attempt to peel back the curtain on six decades of foreign policy, and the men and women who have made it possible. The book spotlights seven episodes largely from the 21st century that illustrate key tenets of Singapore’s approach: 

• Russia-Ukraine War — Sovereignty
• Gaza Crisis — Humanitarian Aid
• Vaccines — Multilateralism 
• Trump-Kim Summit — Honest Broker
• Points of Agreement with Malaysia — Neighbourliness 
• ASEAN formation — Centrality of ASEAN 
• COVID-19 evacuations — Consular Assistance

Each chapter offers an accessible reading experience by blending comics from veteran artist Cheah Sinann and prose written by a team of seven writers from The Nutgraf. The content and communications agency was behind bestselling titles such as The First Fools: B-Sides of Lee Kuan Yew’s A-Team. Not So Little Red Dot: 60 Years of Singapore’s Diplomacy is authorised by MFA to celebrate its 60th anniversary. 

Survivors of Operation Spectrum — the alleged Marxist conspiracy — speak up in this volume. For many of them, this is the first time that they cast their minds back to 1987 and try to make sense of the incident. What they did in that period was meaningful and totally legitimate. Their families and friends share the same view.

The detainees were subjected to ill-treatment, humiliation, and manipulated television appearances. Under duress, and threatened with indefinite imprisonment without trial, they had to make statutory declarations against their will.

It is hoped that with this publication, Singaporeans will know what actually happened and decide for themselves if there was a national security threat that necessitated the mounting of Operation Spectrum.

Finalist for the 2025 Epigram Books Fiction Prize

A mythic historical novel by two-time Singapore Literature Prize winner.

Utama reimagines the rise of Sang Nila Utama through the eyes of those who shaped his path— exiles, warriors and queens. From the Chola invasion to a fateful sea crossing, ambition and betrayal forge an empire. As dragons fall and a sea goddess awakens, the Lion City is born.

Patriotism: do you have it? How does one express it? Is it worth it? The Singapore Trilogy—consisting of Are You There, Singapore?, One Year Back Home and Changi—has raised questions since the seventies about nationhood that we are still asking today. Influential in steering early English-language theatre in Singapore away from its colonial roots, Robert Yeo conceived of characters that are believably local in speech, thought and behaviour, and provided a dramatic platform for the dialogue of politically sensitive issues. Yeo’s trilogy continues to link to an exciting time of sociopolitical flux in Singapore’s history, and engages by provoking us to explore the meaning of being Singaporean.

This edition of these three landmark playscripts is accompanied by a new introduction from the playwright, as well as a reappraisal by Nah Dominic and Adeeb Fazah, who restaged the entire trilogy in one single condensed adaptation in March 2021.

《字花》120期「科幻現實｜現實科幻」

　　所有對世界曾感到好奇的人，相信都愛上過科幻。又或者倒過來，因為科幻而開始對世界感到好奇。然而，很多以前出現過在科幻小說裡的情節，來到今天竟逐步由虛構變成現實！在這個現實與虛構之間變得愈來愈模糊的當下，重新審視科幻這個主題似乎變得更有意義——當科幻再也不是遙不可及的無垠想像，而是近在眼前的即將降臨，我們該怎樣定義當下這個世界、這個人類社會，以至我們自己？如果科幻在當下是最大的現實主義。科幻用開放性的現實主義，為想像力提供了一個窗口，去書寫主流文學中沒有書寫的現實。那麼在這個前提下，科幻文學便與傳統文學是否就有了對接的可能？

　　今期《字花》為大家探討「科幻文學」的意義，特別訪問了譚劍與陳楸帆這兩位重量級的科幻小說作家，更有鄭政恆撰文考究香港科幻文學的前世今生。除封面主題外，今期還有董啟章的專訪，詳細為讀者拆解新書《物種源始・貝貝重生：消失的可能世界》的創作過程，這部橫跨超過二十年的「自然史三部曲」，是怎樣構築出一個龐大的文學宇宙。還有張歷君為李歐梵新書《我這一代人》撰寫的書評，延續《我的二十世紀》的思路，從「個人視角」的模式入手，試圖勾勒和拼貼一組二十世紀的人物「群像」。以及由何福仁、劉偉成、周怡玲創作的「西西《我城》五十周年特輯」。

精彩內容包括：

專題「科幻現實｜現實科幻」

● 譚劍專訪：科幻只是一種形式，小說卻是一個世界
　　「科幻小說是廿一世紀的寫實小說！尤其是疫情之後，AI被廣泛應用，我們每隔兩三星期便又有新技術推出，怎追都追不完。這時你再寫關於AI的科幻小說，就一點也不科幻了。當現實變得愈來愈科幻，再寫科幻就要求你更懂得科技和更多的想像，可能要去寫量子生物學，但這些科技的門檻又再變得更高。這可以說是當下科幻小說所面對的問題。」
　
● 華語科幻文學的現在進行式：專訪作家陳楸帆
　　「我覺得為甚麼中國科幻能走向世界舞台，很重要的一點就是因為它還是有非常強的這種基於中國現實的觀察和思考，否則別人為甚麼要看你寫的科幻？我去看別的地方也一樣，對吧？如果都是寫好像《Star Wars》的太空歌劇，那其實就把一些地域性給抹去了，它是在很遙遠的未來、在太空裏發生的一些事情。那麼中國科幻作為後起之秀，必然需要強化自己的身份標籤、文化屬性，才能在一開始獲得關注。」

●拼貼一個未完成的文學宇宙——專訪董啟章
　　「剛開始構思「自然史三部曲」時，不可能清晰預見廿幾年後的發展，許多繁複的細節都是在漫長的書寫過程中慢慢生長出來的。而那種「創造一個宇宙或世界」的模糊輪廓，確實從一開始就存在。之所以命名為《自然史》，並非真的要去撰寫一部科普或歷史意義上的自然科學史，「它本質上依然是一群人在香港發生的故事」；但借用「自然史」的概念，是指涉這個世界本身就像一個宇宙，它有自己的演化歷程。」

●回憶與反思：讀李歐梵《我這一代人》
　　「這是一本回憶錄，但關注的不僅是我個人的經驗，而是把個人的「生命體驗」置於「世紀經驗」之中的反思，並由此探索和反省我的「思想機緣」。因此，它和一般的回憶錄和自傳不盡相同，更非個人學術成果的總結，而是在回憶的敘述過程中把「自我」分開：一個是經驗者的「自我」，另一個是敘述者和對話者的自我，在對話的過程中，前者在後者的回憶和反思的過程中被支解了，變成了一部文化史的參與者，因此個人的心路歷程變成了歷史的潮流和變遷的一小部分。」

●西西的創意，從書名開始──重讀《我城》
　　「為什麼不寫成清楚明遼的《我的城》？「我城」一詞，此前未見。難道是為了簡省，又或生造詞，以故作驚人？不是的。倘是「我的城」，「我的」只是修飾「城」，「我」從屬於城，以「城」為主。然而，書中的阿果、悠悠、阿北等人，絕對不是賓客；而是城的主人，由他們帶出城的種種面貌。易言之，這些平凡的「眾我」，跟他們生長於斯而愛之深的城是同等重要的。我與城，兩者的關係對等，相輔共存，碰撞、對話。就份量來說，我不高於城，也不低於城。」

刊物簡介

　　《字花》是香港一本雙月刊文學雜誌，於 2006 年 4 月創刊，由水煮魚文化製作有限公司出版，用文 學視角直接介入社會文化議題。專題以外，每期均有文字、視藝和跨媒體創作，以及文學、影視和 文化評論，以「立足本地，放眼世界」為旨，力圖打破香港文學雜誌的固有形式，以展示文學年 輕、活潑和多元化的一面。

網頁：http://zihua.org.hk/ Facebook
專頁：字花 | https://www.facebook.com/fleursdeslettres/
水煮魚文化 | https://www.facebook.com/spicyfish001/