One of the problems of compiling a bibliography is generic. A related problem, which is quite often bracketed with genre, is quality. If one looks at the novel, there is a tendency, which is not always easy to do away with, to focus on naturalistic or realistic novels and to place lesser value on other genres, such as science fiction, horror, medieval fantasy, crime and detection, amongst others. For the English-language literature of Malaysia and Singapore, popular genres are important, and some writers are appreciated well beyond the borders of the two countries, such as Zen Cho for medieval fantasy, and Ovidia Yu and Sharmini Flint, for their detective novels. They are important not only in producing works of quality, but in the localisation of their narratives. The Singaporean and Malaysian aspects of the works of Yu and Flint cannot be ignored and if one wants to look for medieval fantasy with a Malaysian tinge, one looks at the work of Cho. One eagerly awaits the next works of Cho and Flint. Yu is represented in the 2018 bibliography with The Betel Nut Tree Mystery, which is the second novel dealing with the amateur sleuth Su Lin. Of popular genres, horror seems too important to be overlooked, if one were to engage in a comprehensive survey of the literatures of Malaysia and Singapore. In the Singapore context in particular, horror may be seen as a reflection of psychological reality, possibly even of the Singaporean psyche and, at one period in the history of Singapore literature, it came close to being mainstream, as it had not been not a minority genre written by only a few writers. One tendency of Singaporean horror in recent years is that it is not only written in prose. In 2018, Christina Sng’s collection of poems, A Collection of Nightmares (2017), won the Bram Stoker Prize for its “Superior Achievement in a Poetry Collection”. Horror poetry is certainly not the exact equivalent of horror stories written in prose. While some of Sng’s poems are plotted as stories – though more sketchily than if they were written in prose – one is more struck by the startling and gruesome imagery, tales, than by their

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马来西亚和新加坡

编制参考书目的问题之一是通用的。一个相关的问题，经常被归入流派，是质量。如果人们看小说，就会有一种倾向，这种倾向并不总是很容易消除，即专注于自然主义或现实主义小说，而不太重视其他类型的小说，例如科幻小说、恐怖小说、中世纪幻想小说、犯罪小说和犯罪小说。检测等。对于马来西亚和新加坡的英语文学来说，流行体裁很重要，一些作家的欣赏程度远远超出了两国的边界，例如中世纪幻想的禅宗，以及奥维迪亚·尤和夏米尼·弗林特的侦探小说。它们不仅在制作高质量的作品方面很重要，而且在其叙事的本地化方面也很重要。Yu和Flint作品的新加坡和马来西亚方面不容忽视，如果想要寻找带有马来西亚色彩的中世纪幻想，可以看看Cho的作品。人们热切地期待着 Cho 和 Flint 的下一部作品。于 2018 年的参考书目中有《槟榔树之谜》，这是与业余侦探苏林有关的第二部小说。如果要对马来西亚和新加坡的文学进行全面调查，那么在流行的流派中，恐怖似乎太重要了，不容忽视。特别是在新加坡背景下，恐怖可能被视为心理现实的反映，甚至可能是新加坡心理的反映，并且在新加坡文学史上的某个时期，它几乎成为主流，因为它不是只有少数作家写的少数体裁。近年来新加坡恐怖的一种趋势是它不仅是用散文写成的。2018年，Christina Sng的诗集《梦魇集》（2017）凭借“诗集卓越成就”获得布拉姆斯托克奖。恐怖诗当然不完全等同于散文写的恐怖故事。虽然 Sng 的一些诗被描绘成故事——虽然比散文写得更粗略——但令人吃惊和可怕的图像、故事比他们的故事更能打动人。