Most of the research presented in this special issue questions the notion of a singular Singaporean story, and yet this narrative persists as a form of Gramscian common sense for most Singaporeans, whether young or old, and also for recent immigrants and international commentators. To understand the reasons for this persistence, I turn to American political scientist Rogers M. Smith's concept of narratives of peoplehood, and in particular his notion of ethically constitutive stories that are central to individual subject formation. The role of the colonial past in such stories of Singapore is contradictory, in that the relationship between colonialism and the nation-state is seen simultaneously in terms of rupture and continuity, and this conceals a further contradiction in terms of the relationship between individual and the collective. In exploring these contradictions, and in tracing reparative possibilities for new stories of peoplehood, I will, in conclusion, turn to recent literary narratives, and in particular recent historical speculative fiction that revisions the colonial past.

In Asia, and in Southeast Asia in particular, the Cold War was far from cold, witnessing the most deadly conflicts and political massacres of the second half of the twentieth century. Also, the clash of ideologies there did not follow a binary logic but included a third force, nationalism, which was rooted in the anticolonialist movements of the interwar years and played a significant role even in countries that decolonised peacefully after the end of the Second World War. The Cold War thus overlapped with the twin process of decolonisation and nation-building, which had its founding moment at the Asian-African Conference at Bandung in 1955, where the non-aligned camp, which advocated a neutral position vis-à-vis the two rival blocs, coalesced (one year ealier, the anticommunist Southeast Asia Treaty Organization had been established). Postcolonial aspirations to national progress that tied socioeconomic development to the civic and cultural elevation of the citizenry were widely shared among newly decolonised countries. By the mid-1960s, however, the utopian ‘Bandung Spirit’ had lost ground to Cold War realpolitik; intra-Asian and communal conflicts fomented by Cold War enmities (the Sino–Indian War of 1962, the Indo–Pakistani War of 1965, Indonesia's anticommunist purges of 1965–66) along with the escalation of the Vietnam War and the consequent exacerbation of regional divisions, belied governments’ earlier commitment to human rights, Third World solidarity and world peace. The authoritarian involution of several Asian countries that were often American allies, redoubled by the opening of their economies to multinational corporations, led many artists and intellectuals to embrace political activism. The conception of art as a revolutionary instrument in the service of the masses had been famously articulated by Mao Zedong at the Yan'an Forum in 1942. In China, Mao's prescriptions on art were sidelined, though never officially repudiated, only in the early 1990s, following the end of the Cold War and the adoption of a socialist market economy, by acknowledging the necessity ‘to respect and guarantee the creativity of individuals’.