BY
Lee Ruo Hwee

Editorial Admin

Hype Issue #77

Published on

Nov 28

2025

Lee Ruo Hwee attends a panel that explores how Southeast Asian writers craft authentic stories for young children at Singapore Writers Festival 2025.

Think back to those silent reading sessions in primary school. Among the sea of Geronimo Stilton and Diary of a Wimpy Kid books, how many Southeast Asian titles ever made it into your hands? Have you ever truly related to book characters on a cultural level? 

The HYPE team attended a panel discussion on the last day of Singapore Writers Festival (SWF) 2025, which was held from 7 November to 16 November. “Southeast Asian Stories for Young Readers” brought together Singaporean freelance author-illustrator Quek Hong Shin, award-winning children’s book author Namita Moolani Mehra, and award-winning Malaysian writer Maureen Tai – each passionate about bringing Southeast Asian narratives to young readers. 

Singapore Writers Festival (SWF) 2025, organised by Arts House Group, is one of Asia’s premier multilingual literary events. Since 1986, it has brought together international, local and Southeast Asian creative talents through panels, workshops, performances and more. 

Mr Yong Shu Hoong, Festival Director of SWF, explained that this year’s theme “Shape of Things to Come”, coinciding with Singapore’s 60th year of independence, allows us to “take stock of past struggles and achievements, while gazing ahead with optimism and hope”.

This spirit of hope and reflection came through as the authors shared how growing up without proper cultural representation has shaped their work today. 

A Representation Gap Since Childhood

“The first time I saw myself in a book was when I was 19,” said Ms Tai , recalling a memoir written by a Malaysian poet. She described the feeling as overwhelming, and that children should experience the impact of Southeast Asian representation in books as early as five or seven.

Having spent her primary school days at a public school based in the United Kingdom, Ms Mehra had received her fair share of discrimination as a “third culture kid”. 

According to a 2024 article by Renu Counselling, a third culture kid “represents a blend of influences, resulting in a cultural identity that doesn’t fit neatly into one country.” 

Ms Mehra mentioned she experienced racial slurs on a daily basis growing up, and had to explain her reasons for wearing an Indian costume on Diwali to “very mean little British kids”. 

It is these experiences that now guide their work, pushing them to create stories with representation they once lacked. 

Maintaining Authenticity in Stories

A selection of titles from Quek Hong Shin’s Heritage Picture Book Series. (Photo credit: Lee Ruo Hwee)

In multicultural Singapore, it can be difficult to tell stories rooted in identity in a way that remains authentic and respectful. 

These authors look past our backgrounds, choosing to connect through everyday themes. Ms Mehra, for instance, often highlights Southeast Asia’s love for food. 

“I will focus more on universal themes like friendship and family. Yeah, things that make us common rather than different,” said Mr Quek. 

Just For Kids?

Sure, we are technically past the age of children’s books. However, they might not be as juvenile as we think. 

Ms Tai shared that reading with her 15-year-old son left them both in tears, showing that children’s books can move not just children, but adults as well. 

“I felt that was just so powerful, much more than any game or movie, or whatever they could do on screens.” 

Seeing yourself in a book can be life-changing, but sometimes, it happens later than expected or not at all. By crafting these narratives, these authors are helping Southeast Asian readers feel understood, seen, and culturally rooted from a young age. 

So, the next time you’re deciding between a best-selling novel or a story penned by a Southeast Asian writer, maybe give the latter a chance. You might just find something a little closer to home.