Book contents
- Frontmatter
- Dedication
- Contents
- Foreword
- Preface
- Acknowledgments
- Introduction
- I Flowers in the Sky (1981)
- II The Return (1981)
- III Rice Bowl (1984)
- IV A Candle or the Sun (1991)
- V The Shrimp People (1991)
- VI The Crocodile Fury (1992)
- VII Green is the Colour (1993)
- VIII The Road to Chandibole (1994)
- IX Abraham's Promise (1995)
- X Perhaps in Paradise (1997)
- XI Playing Madame Mao (2000)
- XII Shadow Theatre (2002)
- Conclusion
- Bibliography
- Index
- About the Author
IX - Abraham's Promise (1995)
Published online by Cambridge University Press: 21 October 2015
- Frontmatter
- Dedication
- Contents
- Foreword
- Preface
- Acknowledgments
- Introduction
- I Flowers in the Sky (1981)
- II The Return (1981)
- III Rice Bowl (1984)
- IV A Candle or the Sun (1991)
- V The Shrimp People (1991)
- VI The Crocodile Fury (1992)
- VII Green is the Colour (1993)
- VIII The Road to Chandibole (1994)
- IX Abraham's Promise (1995)
- X Perhaps in Paradise (1997)
- XI Playing Madame Mao (2000)
- XII Shadow Theatre (2002)
- Conclusion
- Bibliography
- Index
- About the Author
Summary
In Philip Jeyaretnam' Abraham' Promise (1995), the reflective and retrospective musings of the first person narrator play a crucial role in the development of the theme. The protagonist Abraham Isaac comes from the Ceylonese community and speaks English as if he was “educated at Oxford” (p. 122). This is not unusual as his father comes from a community of Jaffna Tamils who found employment because they were from missionary schools and “had a good command of English” (Arasaratnam 1970, p. 33). According to Arasaratnam, in the 1890s the first batch of “young men most suitable for subordinate clerical employment” from the “superior network of secondary schools established in north Ceylon by the missionary organizations” (p. 33), were dispatched to Singapore. They prided themselves in being able to speak well in English. Abraham' father had taught him “the power of the word” (p. 149). In Abraham' introspection of his life, he uses his command of the English language to engage the reader in the events that undermined his moral framework.
The protagonist is forced to reassess the question of his identity when the Malay driver of his Latin tuition student Richard calls him Orang Tua (p. 37). The thematic connection with the Malay expression Orang Tua (p. 37) which translates into “old man” is pivotal in the narrative discourse for it is at this juncture that Abraham is certain that he is not just an old man, but also a teacher. However, the subsequent events trigger his memory and he recalls the betrayals that have brought about his loss of identity. During a cocktail party at Richard' house, he confesses that he is “terrified by all these beautiful, rich and self-assured individuals” (p. 70). As he participates in a conversation during the party, he is conscious of his “humble dress”, but is able to carry on an intelligent discussion. However when a member of parliament with whom he speaks mocks his pronunciation of “bom-bers” he feels that he had “spoken other than in their manner of speaking, betraying” his upbringing and his Tamil otherness, and “most of all” his “insignificance” (p. 75). Abraham is portrayed here as a member of a minority community facing an identity crisis in a multi-ethnic society.
- Type
- Chapter
- Information
- Different VoicesThe Singaporean/Malaysian Novel, pp. 201 - 219Publisher: ISEAS–Yusof Ishak InstitutePrint publication year: 2009