Category Archives: Story

“七星鼓 (Seven Star Drum)” by Zen Cho in L7


LONTAR #7We have an additional surprise today! Zen Cho’s wonderful tale “七星鼓 (Seven Star Drum)” appears as the lead-off story in our upcoming seventh issue, and we’re happy to present it here in its entirety, completely for free. Enjoy!


七星鼓 (Seven Star Drum)
Zen Cho

“When Boris was a kid,” said Coco, “he was scared of everything.”


Boris had been born with an extra membrane around his brain that filtered in things other people didn’t see.

This was not unheard of. Everybody knows somebody who can see ghosts. But Boris’s peculiar tragedy was that his parents were sceptics. Marvellously, incredibly, they did not believe in spirits.

It was not just that they did not pray. Boris’s parents used to go jungle-trekking during their holidays. They were the kind of people who kicked tree stumps and shouted at the wind without fear of retaliation. They spoke openly of death as something that happened to everyone—something that would, one day, happen to them and people they knew.

This is all right, unless you are a child who sees ghosts. And Boris saw all kinds of ghosts. His eyes did not discriminate. He saw red-eyed, white-faced, long-tongued vampires, hopping horribly, reaching out for him with sharp-nailed hands. He saw pontianak and langsuir and toyol and penanggalan, orang minyak, hantu tetek, hantu kum-kum, evil genies, plain old dead people.

Even the quiet ones were terrifying, with their sad eyes and transparent bodies. They were so hungry.

Every ghost wanted something from Boris. Usually they wanted his entrails.

As a small child Boris started at everything. He was afraid of shadows and the dark, of loud noises, of whispers, of people with red faces, of cats and dogs, of old people and babies. He could not sleep if it was raining. He threw tantrums if he was forced to go to the bathroom alone.

This was irritating for his parents. Boris withdrew into himself. People started wondering if there was something—you know—funny about him. They felt sorry for his parents, though it was Boris who was suffering, at prey to the whims of the ubiquitous underworld.


In the picture on the lion dance troupe’s website, Boris looks strong and cheerful. His forehead is beaded with sweat from a training session; his lean arms hoist the lion head high in the air. He smiles fearlessly into the camera.

You can tell that here is a young man who has found a destiny to push him forward. He has the sunny conviction of one secure in the knowledge of what he is meant for.

But peel off the layers of time, roll him back to the child he was. Boris never got very large or tall, and he’s never quite lost the frown that drew his eyebrows together. With not too strenuous an effort of the imagination you can see in the dauntless lion dancer the child’s skinny legs pitted with scabs, the hunched shoulders, the small, guarded face.

He could easily have lived out his life with those hunched shoulders, pursued by the unfulfillable longings of the dead and spiritous, if not for the discovery.


It had happened when he was seven. It was Chinese New Year and for once his parents hadn’t gone hiking on some spirit-soaked mountain. They were in Ipoh, where Boris’s grandmother lived. His parents were buying kuih from a street-side hawker stall when Boris realised there was a man at the end of the street whom he should not look at.

Boris had learnt not to seem frightened no matter how much his heart shook and his breath stuttered. But his eyes stopped seeing; his mouth went dry. Because he refused to turn around he was not sure what the man looked like, but out of the corner of his eyes he saw the inhuman blue tufts of hair. He smelt the stale exhalations of the undead.

He must be calm. The man had not yet realised that Boris could see him.

Seeing ghosts was not really the problem. The problem was when they looked back.

“Ma,” he whimpered.

Boris’s tough, hearty parents ignored him:

“I’m getting the pisang goreng,” said his mother. “You know your favourite? You wait first lah. Mummy will get for you.”

Boris could not help himself. He looked.

He was wrong after all. It was only shaped like a man. When you had a proper look at it, it was not very like.

The thing looked back.

Nobody told Boris what happened when ghosts realise you can see them, but he knew it on a bone-deep level. He had escaped horror many times in his short life, but somehow he knew this time was different.

The thing started moving towards him, in a spiky mechanical shamble. Boris could not move or cry out, though doing that had saved him before. He was frozen. He knew his doom was upon him, that fate was about to touch him on the face.

That was when he heard the drum.

The thing paused and raised its many-eyed head.

The lion came flaming down the road, attended by golden clashings.

“Ah,” said the hawker stall auntie, pleased. “Aiyoh,” said Boris’s parents, dismayed—just when they’d thought they’d be able for once to have an afternoon out without an exhibition from Boris.

They looked at Boris and seeing his still face, thought him struck with terror.

It was a great emotion that held Boris in its grasp, but for once it was not fear.

The lion was gold and red and silver; its head was white-furred like the face of a kind grandfather; the bounce of its feet was like the dance of sunlight on water. Its sequined body twinkled in the lights from the hawker stalls. The sky was blue with evening, but the lion was bright as the day.

When it landed in front of him his mother put a hand on Boris’s shoulder, to reassure her always-frightened son.

But Boris looked up into the lion’s round glass eyes and what he felt was love. The lion’s hinged mouth dropped open. The antennae on its snout quivered. Its hot stinking breath brushed his cheek.

Boris knew, for the first time in his life, that he was safe. For once the membrane showed him something worth seeing—the fact that the lion was real. He saw the muscles rippling underneath its fur-lined scaly hide. He saw the pulse throbbed out by the drum shake the lion’s flanks.

Under the clanging of the cymbals, he heard the ghost chitter with fear.

When the lion reared on its back legs and leaped forward, when its massive jaws closed around the ghost, it was only doing what Boris had expected it to do.

The other people on the street saw the lion eat air. Boris saw the lion’s first snap crush the ghost’s leg.

The lion bowed its head, blinking at a gourd quietly placed on the ground by a troupe member. A second snap.

One way of seeing: a human hand reached out from the lion’s mouth and grabbed the gourd. You could only see it if you were close to the lion, and only from a certain angle. It was so swift you could almost believe the lion had done it itself.

Another way of seeing, just as true: the lion swallowed the ghost. It snatched the gourd by the neck and chugged its contents down. It dropped the gourd and raised its shaggy head in triumph, shaking its rear, puffed up with pride:

“See what I did?” it would have said, if lions spoke human languages. “I have kept everyone safe.”

But lions don’t talk—or roar, for that matter. They let their hearts speak for them.

As the lion pranced away down the road, the drum and the cymbals following, Boris disengaged his hand from his mother’s and walked to the spot where the ghost had been slaughtered.

The lion hadn’t cleaned its plate. A great brown slug glared up at Boris from the ground. Bizarrely for a slug, it had six staring red eyes, and a lot of blue hair.

“Eeyer,” said Boris’s mother. “Don’t be scared, boy, come here and take Mummy’s hand. Insect is more scared of you. Boris, what are you doing!”

Boris squashed the slug under his heel.

The viscera of the slug was corrosive. Smeared on the road, it created the smallest of potholes. Boris inspected the underside of his shoe. There didn’t seem to be much shoe left, so he decided to take it off.

His mother could never understand what had happened to that shoe, and she never knew what happened to her son, either. He became outgoing and unflappable. He stared fearlessly into the corners of houses, went to sleep the minute his head hit the pillow, seemed to enjoy horror movies as if they were comedies.

At ten, he started to train with a local lion dance troupe. He went on with it when he went overseas to study, and founded a troupe at university.

“Otherwise I’ll have nothing on my CV,” he said when people asked, but really it was his favourite thing to do.

It was an expensive hobby, however—lion heads cost a few hundred pounds; the large drum costs more; and all these things must be replaced as they are worn down over time.

The university paid out a little to support cultural diversity, but it wasn’t enough. People are happy to shell out to have a lion dance inaugurate their shop or bless their wedding. They pay even more to have the skeletons cleaned out of their closets. Nobody likes having a ghost in the house.


“And that’s how the troupe ended up ghostbusting,” said Coco. “It’s a good story, right?”

“What happened to Boris?” said Jia Qi.

“Oh, he’s working at Goldman Sachs now,” said Coco. “I see him sometimes when I go to London. He wants to be a millionaire by the time he’s thirty.”

This seemed to Jia Qi a somewhat disappointing ending to the story. “Does he still do lion dance?”

“He gets about four hours of sleep a night,” said Coco. “I don’t think he does much of anything besides work. Anyway, the last time I saw him Boris said he wasn’t into it anymore.”


“Lion dance for fun, okay,” Boris had said. “To kill the hantu, not so much anymore lah.”

“But that’s why you got into it, isn’t it?” said Coco.

“Yes, but,” said Boris. His eyes went filmy and distant—though maybe that was just the redness of sleep deprivation.

“Actually, no,” he said. “I started because of love. I really love that lion. You ask me if I love my girlfriend more than that lion, I also won’t know how to answer you. And you know the story about the origins of the lion dance? Why they all started doing it in ancient China?”

“They wanted to get rid of the Nian, didn’t they?” said Coco, who had read the Wikipedia page. “This monster came to the village and the lion fought it off.”

“That’s one story,” said Boris. “But the other story is, maybe the lion is the Nian. You look at the lion. It doesn’t look much like real lion, right? Where got real lion got horn? Maybe the Nian has horn. In the end maybe it’s the same thing.

“Somehow doesn’t seem right,” said Boris, “getting the lion to eat spirit. It’s like cannibal, right? That’s why I stopped.”

Coco shrugged. “Fish feed is made of fish.”

“You ask me if I love my mother as much as that lion, I don’t know if I would say yes or not,” was all Boris would say.

But to be fair to Boris, he was pretty drunk at the time.

“七星鼓 (Seven Star Drum)” is copyright © 2016 by Zen Cho, and is a companion piece to “起狮,行礼 (Rising Lion—The Lion Bows)”, which was published at Strange Horizons in March 2011.


Notes on “The Spurned Bride’s Tears”


Issue #5Gord Sellar’s striking novelette, “The Spurned Bride’s Tears, Centuries Old, in the Rain”, was just published as the anchor story in LONTAR issue #5, and he’s assembled some notes on what inspired him to write it:

During the winter of 2010, I spent approximately two months in Indonesia (with much of that time spent in Depok, an exurb of Jakarta), where my then-girlfriend—now my wife—was studying Bahasa Indonesia, the official national language of the country. Indonesia’s not an easy place to be, at times: Jakarta’s traffic is pure insanity, and I got the worst food poisoning of my life there. But the place had a powerful effect on me: rereading the story at some remove, I find Depok rushing back into my mind with vivid, overwhelming immediacy.

One interesting thing about Jakarta is that, despite the nation’s official semi-secularity, and the overwhelming popularity of Islam there, the’re a certain amount of Hindu cultural material that still is very visible in Jakarta (let alone over in Bali, where Hinduism is still commonly practiced). Hinduism in Indonesia (as in much of Southeast Asia) predates the arrival of the now-dominant religions of Islam (in Indonesia) and Buddhism (in much of the rest of Southeast Asia) by a significant margin. Angkor Wat depicts scenes from Hindu, not Buddhist, religious narrative. The Ramakian of Thailand is a localized remix of the Ramayana. It got me thinking about Hindu cosmology underlying modern Indonesian religious practices and identities: what if the Indian model of the afterlife—reincarnation for as long as people need to work out their karmic and dharmic balance—were correct, despite the majority of Indonesians adhering to a different model of the afterlife today?

Read the rest of Sellar’s entry at his website. And read “The Spurned Bride’s Tears, Centuries Old, in the Rain” in LONTAR issue #5.

Behind the Scenes of Zen Cho’s “Love in the Time of Utopia”


From issue #1, Zen Cho provides a behind-the-scenes look of her story “Love in the Time of Utopia”:

What first sparked “Love in the Time of Utopia” was the idea of someone saying to someone else, in horror: “You can’t message her on Facebook! That would be so forward!”

I liked the idea of writing a story about the interaction of Regency novel norms and modern social media. But as I tried to work out why you would have those sorts of norms in a near-future version of Malaysia, the story became more about the idea of meritocracy than about etiquette. “Meritocracy” is a word we throw around a lot in Malaysia, as a remedy for all our ills, but the story examines what it might mean if we did implement a strict meritocracy based on, say, academic achievement.

(I originally set the story in Singapore, but for some reason that didn’t work.)

So it’s kind of a gentle satire, but it’s also just a love story, and a coming of age story. Hopefully it works on at least one of those axes.

Behind the Scenes of Elka Ray Nguyen’s “The Yellow River”


From issue #1, Elka Ray Nguyen provides a behind-the-scenes look of her story “The Yellow River”:

While I’ve always loved to read—and write—mysteries, I was never attracted to stories about the supernatural. In fact, I thought “speculative fiction” meant “edgy”.

A few years ago I found a musty, dog-eared copy of Lost Girls in my local gym in Ho Chi Minh City, Vietnam. The debut novel of a Canadian writer named Andrew Pyper, Lost Girls came out in 2000 and won that year’s Arthur Ellis Award, the top prize for mystery and crime writing in Canada. If I’d known it was a ghost story I wouldn’t have read it. But once I started, I was hooked. Although I’ve lived in Asia for 20 years, I grew up in Canada. Maybe it was the small-town Canadian setting that reeled me in, or just Pyper’s haunting but wildly beautiful writing. While the ending was unsatisfying, I hardly cared. I can still feel that book, so mysterious and disturbing.

Since then I’ve written two short stories that classify as “speculative”. One, “The Yellow River”, is included in this inaugural edition of LONTAR. The other, “You Get What You Pay For”, will appear in Monsoon’s upcoming anthology Crime Scene Asia: Asia’s Best Crime Fiction. Much to my surprise, a Catholic miracle and a vengeful ghost have crept into my novel-in-progress, which recounts the 1930’s murder of a French priest in Vietnam’s Central Highlands. What’s next? I can’t even speculate.

Behind the Scenes of Kate Osias’s “Departures”


From issue #1, Kate Osias provides a behind-the-scenes look of her story “Departures”:

The original concept for this story was to write it from the perspective of Enzo. Unfortunately, after a thousand words in, I realized that the story was much larger than I had originally thought. Which meant I would have to commit far more than I could afford. (Because of certain practical realities, I have a day job; also, I have a five-year-old who likes to explain to me why he likes Nightwing over Batman and how he absolutely needs a cape now and why I should listen to him hum the Angry Birds tune every time he feels like it.) I decided to scrap that monster of a story and turned my attention to Carla, who, thank goodness, had a self-contained journey.

One of the short stories I’ve been toying with recently (but have not actually written) is Natalie’s point of view. In my mind—as most stories are, I suppose, when they are first conceived—it is a beautiful depiction of love and growing up and how the world moves on as a contrast to a place that doesn’t. But the words have yet to obediently find themselves on paper so all I have are visions. Perhaps someday, when I myself have grown up, I will have enough craft and skill to actually write down.