Kit Fan was born and educated in Hong Kong before moving to the UK at 21. He is a novelist, poet, and critic.
His first book of poems Paper Scissors Stone (Hong Kong University Press, 2011) won the inaugural International HKU Poetry Prize.
His second book of poems As Slow As Possible (Arc) was a Poetry Book Society Recommendation, one of The Guardian's 50 biggest books in Autumn 2018, and The Irish Times Best Poetry Book of the Year.
He was awarded by the Gulbenkian Museum in Lisbon to be a Visiting Scholar in 2020-21.
He was winner of a Northern Writers' Award, The Times Stephen Spender Poetry Translation Prize, and the POETRY magazine Editors Prize for Reviewing.
He is represented by the literary agent Matt Turner at Rogers, Coleridge & White.
'A vivid, powerful portrait of a vanishing world' - David Nicholls, author of One Day & Sweet Sorrow
'A rapid-fire debut with a cinematographer's eye for detail, Diamond Hill interrogates fate, memory and redemption at a filmic velocity befitting its setting in Hong Kong's former Hollywood. Fan strikes a deft balance between agile set-pieces and lingering beauty.' - Naoise Dolan, author of Exciting Times
'Gripping and highly accomplished . . . a thoroughly enjoyable and profound exploration of powerlessness, identity and the evolution of a city.' - The Guardian, Book of the Day
'Fan is an exuberant chronicler of a lost time and place, delightedly preserving Cantonese slang and profanities... it's a timely consideration of Hong Kong's recent past.' - The Times
'Fan creates a textured, unsettled portrait of a territory facing a decisive ending...The dark drama that unfolds is an elegy to that vanished vanishing world.' - The Wall Street Journal
'Diamond Hill gleams with pleasurable insights...Memorable moments are sketched by a poet’s hand.' - South China Morning Post
‘Fan deftly mixes the sacred with the profane, often on the same page. Just when you decide there’s no room for holiness amid the wreckage, you realize there may in fact be no other option.’ - Kirkus Reviews
'Fan’s evocative debut portrays a Hong Kong in transition... and brings poetic language and moving tributes to descriptions of the lost neighborhood. The novel’s aching beauty makes an effective argument for remembering.' - Publishers Weekly
'Fan resurrects the neighbourhood as it would have looked in 1987, a decade before Britain's handover of Hong Kong to China - a precarious maze of shacks and open gutters, shaken constantly by the rumblings of the planes flying close overhead from nearby Kai Tak Airport.' - The Straits Times
Set in the last shanty town of Hong Kong before the fraught 1997 handover from Britain to China, Diamond Hill follows the return of a recovering heroin addict, Buddha, as he tries to salvage what's left from a place he hoped to forget.
Diamond Hill was once the 'Hollywood of the Orient', but is now an eyesore in the middle of a glitzy financial hub. Buddhist nuns, drug gangs, property developers, the government and foreign powers are all vying for power, each wanting to stake their claim on the land.
Buddha finds himself crossing swords with the Iron Nun, fighting for her nunnery; a disturbed novice, Quartz, who is fleeing her past; a faded film actress called Audrey Hepburn; and Boss, a teenage gang leader with a big mouth and even bigger plans, plotting to escape what she calls 'the death of Hong Kong'.
Kit Fan's hard-hitting and exhilarating debut is a requiem for a disappearing city, and a meditation on powerlessness, religion, colonialism and displacement. It explores the price of forgetting and how the present is ultimately always entangled in the past.
‘The assurance of the voice in As Slow As Possible is often startling, partly because of the precision of its vulnerability, and partly because Fan seems to sense something in the language that gives his poems an uncanny momentum and coherence. There is wisdom encoded in these poems that is at once fleeting and revelatory. It is an extraordinary book.’ Adam Phillips
‘If there is something of Marianne Moore’s eccentric edginess in the formal accomplishment of these poems, there is also an elegant surrealism wholly Kit Fan’s own. As Slow as Possible deserves to be read in the way its title suggests: this is a collection that will lavishly reward careful and attentive reading.’ Caitríona O’Reilly
Reviews of As Slow As Possible:
Winner of the inaugural Hong Kong University International Poetry Prize
“‘Then all things began twice.’ The poems in Paper Scissors Stone are moved by the forces of repetition and release, and are haunted by crossings (of borders, of people, of languages and their written characters). With wit and sorrow, precision and tact, the poems study the essential qualities of places, persons, and their arrangements, asking us what it is to begin twice. The book is a formally beautiful and complete meditation on transformation.”
“These extraordinary poems, so assured in their directions, so startling in their clarities, have an eerily dream-like wakefulness. Fan’s enigmatic lucidity is born of a confluence of traditions, both real and imagined. This is not simply a remarkable debut, but a brilliantly accomplished book.”
“Here is a collection of complex work, skillfully executed. The poems, each carefully measured and crafted, when taken together add up to a beautifully articulated body of work. This is the performance of a fully fledged poet.”
What do we know but that we face
One another in this place?
– W. B. Yeats, 'Man and the Echo'
HK. I loved my mountains, rivers, and trees
long before towers and families, but if the only way
the sea can speak to the hills is through the moon
I will speak to you from the ink-dark
about the changing tides, the slow equivocal pain
of transition, how things are moving away
from the norm, the deceptive comfort
of a norm, the fading neon noises
on Mong Kok streets, the kind of blue and yellow
you’ll only find in my heart, the Lion Rock spirit
and the endangered species named after me:
the grouper, cascade frog, incense tree.
Echo. What do we know but that?
HK. What’s the meaning of life in numbers?
Although I count every second of mine
I remember nothing of those Crown-
appointed governors come and gone who said
nothing, did nothing, changed nothing.
What are the promises in a red flag with five stars
shooting out from one bauhinia?
Twenty-two moon-calendars since I was re-unorphaned
I stray and obey like a tree, half-crown, half-root,
branching out and bedding in, each growth year
a scar tissue erased by the smudges
of shared stocks, fireworks, new railways and bridges.
Echo. We face one another? We face one another?
HK. What am I but the high-rise windows
reflecting the sun and the lives below?
Come, look into every single one
and find millions of homemade voices in an impasse,
in fissures, in boxlike existences
where one language is never enough.
High above I see black kites, sometimes white-bell
sea eagles gliding between glass and cliff,
drones and signals, eyeing the quick chance
while larks, thrushes, and titmice are twittering
in bamboo cages, bird to bird, sharing
the captive sky with their distant counterparts
as one sun drops under the horizon
and a different one rises.
Echo. In this place? In this place? In this place?
(Published in World Literature Today, April 2019 issue)
Hong Kong and the Echo, World Literature Today
Vitreous Humour, The Poetry Review
The Painted Skin, The Poetry Review
June, by Bei Dao, Modern Poetry in Translation
The Burning of Books, Prairie Schooner
Rachel Whiteread’s Ghost, Soanyway
From The Bostonians, The Compass Magazine
Among School Teachers, Lacuna
Late, Poetry Book Society
Mother's Ink, Cha
Ghost Letter, Cha
Shortlisted, Guardian 4th Estate BAME Short Story Prize 2017
Sheila, an immigrant divorcee and mother, works as a cleaner while her son Sunny receives private tutoring in the Hong Kong International Airport where a strange incident has taken place and thrown the mother and son into actions that they have never dreamed before.
Shortlisted, Guardian 4th Estate BAME Short Story Prize 2018
Mai, a teenage girl from a seaside northern city, lives with her absent mother and works in her grandmother's Chinese takeaway after school. In a wake of a family crisis, she struggles to find her voice while participating in her school debate on the EU Referendum.