September 2017 Posts

“Lab Girl: A Story of trees, science and love” by Hope Jahren

09 09 , 2017 No Comments


My strongest memory of our garden is not how it smelled or even looked, but how it sounded. It might strike you as fantastic, but you really can hear plants growing in the Midwest. At its peak, sweet corn grows a whole inch every single day and as the layers of husk shift slightly to accommodate this expansion, you can hear it as a low continuous rustle if you stand inside the rows of a cornfield on a perfectly still August day. As we dug in our garden, I listened to the lazy buzzing of bees as they staggered drunkenly from flower to flower, the petty sniping chirps of the cardinals remarking upon our bird feeder, the scraping our trowels through the dirt, and the authoritative whistle of the factory, blown each day at noon. 

Award-winning scientist Hope Jahren’s memoir Lab Girl: A Story of trees, science and love is a poignant, almost lyrical tribute to her love for science and some special relationships. It is also a meditation on her absolutely passionate dedication to her subject, it shines through every word written with loving care as if she wants to share with mankind the precious magical secrets she has acquired from the Universe over the years. The last time I read such a beautiful piece of literature dwelling upon the intricate beauty of plants was Gerard Manley Hopkins essay on bluebells which he wrote as a Jesuit priest.  In the humble bluebell Hopkins saw the very glory of god. Hope Jahren has far more sophisticated tools at her disposal to understand and describe her plants unlike Hopkins who only had to rely on his naked eye. There is a great sense of peace which radiates through Lab Girl as if keeping herself occupied in her lab day in and day out even after the birth of her son keeps her centred and happy.

My lab is a place where my guilt over what I haven’t done is supplanted by all of the things that I am getting done. My uncalled parents, unpaid credit cards, unwashed dishes, and unshaved legs pale in compairson to the nobel breakthrough under pursuit. My lab is a place where I can be the child that I still am. It is the place where I play with my best friend. I can laugh in my lab and be ridiculous. I can work all night to analyze a rock that’s a hundred million years old, because I need to know what it’s made of before morning. All the baffling that arrived unwelcome with adulthood — tax returns and car insurance and Pap smears — none of them matter when I am in the lab. There is no phone and so it doesn’t hurt when someone doesn’t call me. The door is locked and I know everyone who has a key. Because the outside world cannot come into the lab, the lab has become the place where I can be the real me. 

My laboratory is like a church because it is where I figure out what I believe. 

A fact recognised by her colleague Bill and her husband Clint.

They let her be.

The combination of freedom and love is a potent one, and it made me more productive than ever.

Lab Girl  is a book that will stay with you for a long time after having read it.

Hope Jahren Lab Girl: A Story of trees, science and love  Fleet, Great Britain, London, 2017. Pb. Pp. 370

9 Sept 2017

The Erotic in the Indian Imagination

08 09 , 2017 1 Comment

Amrita Narayanan has edited Parrots of Desire: 3,000 Years of Indian Erotica , an anthology consisting of extracts from literature published in India over centuries. There are pieces from Rig Veda; the Tamil Sangam poets; Bhakti poets Antal and Mahadeviyakka, who describe women’s fantasies of men (whether human or godly); short stories by Kamala Das that have been out of print for decades; excerpts from the work of contemporary writers like Mridula Garg, Ginu Kamani, Tarun Tejpal, Deepti Kapoor, Sudhir Kakar et al. It is not as comprehensive in its survey as say the two volumes of Women Writing in India were and thus falls short of one’s expectations. Having said that Parrots of Desire is a start maybe to be added to later in a revised edition? 

Here is an extract from the opening pages of the well-written introduction published with permission. This section is “Erotic in the Indian Imagination”. 

To read centuries of voices writing on the erotic is to become keenly aware of a deep argument that exists in the geography of the subcontinent, an argument between literary romantics—who embrace the erotic for the gloss it adds to life—and religious traditionalists[1]—who caution against the erotic, for its disorderly nature and potential to cause chaos. While romantic and traditionalist voices are unanimous in their belief that the erotic holds an extraordinary power and attraction for human beings, each does something very different with that belief. Romantics are erotically positive: they believe life is made worthwhile by its erotic aspects, that the best life is one in which our understanding and awareness of the erotic are maximally enhanced. Traditionalists, on the other hand, are erotically anxious: they believe that a worthwhile life is one in which the four goals of life[2] are in balance; they do not favour the promotion of the erotic, worrying that if not tightly controlled, the erotic could undermine the other three goals of life. Aficionados of the romantic project used the arts as a vehicle of articulation; their literature, music, drama, even grammar, was thought to be imbued with the erotic and capable of enhancing our understanding of the erotic. Traditionalists used both religious writing and the social contract to articulate the dangers of the erotic, believing that the erotic must be kept on the sidelines, aside from its necessary use as a vehicle for reproduction. Romantics believe that coupling is a central life force, and they appreciate the energy that comes from all couplings, whether man-woman, woman-woman, men who identify as women (and are fantasizing about male gods), or (wo)men with God. Traditionalists believe in the notion of an ‘ideal couple’: heterosexually and monogamously married, with children and extended family in the foreground and a willingness and ability to keep the erotic in the background.

To further understand the argument between traditionalists and romantics, consider a brief history of the time that traditionalism and romanticism have held sway. The purview of this anthology begins about 1000 BCE in ancient India. For the first 800 years or so of this time period, that is, beginning with the Vedas, traditionalist sentiments prevail. During this time, the destabilizing dangers of the erotic are far better articulated in the literature than are its pleasures. From the Vedas onwards, traditionalist literature, which is largely in the form of religious texts, is squarely articulate on the need to manage the destablizing potential of the erotic. Beginning in 200 BCE, however, and continuing for several centuries, literary voices sang the glories of the erotic and their dedication to it—in Tamil, Sanskrit, and Maharashtrian Prakrit. From the second to the sixth century, an Indian literary-erotic-nature idiom was spelt out from Tamil Nadu to Maharashtra and up to Madhya Pradesh. Here the poets embraced the erotic along with its problems, accepting that though the erotic often brought anger, grief and shame, it was still worth embracing for its pleasures. During this medieval period emerged the Tamil Sangam poets and the Maharashtrian Prakrit Gatha Saptasati, the prose and poetry of Kalidasa and Bhartrihari, as well as the Kama Sutra itself. After this golden age of the Romantics, puritanism once again holds sway and the next major erotic work—at least the one that has survived—is the collection of romantic poems known as the Amarusataka, written in Sanskrit in the seventh or eighth century and attributed to King Amaru of Kashmir. From the eighth century onwards there is again a long period in which very few important works have survived, the next set being from the Bhakti poets who compose discontinuously from the ninth to the fifteenth centuries in praise of erotic love with God himself. The fact that Bhakti poets praise erotic love only in language that involves a deity suggests that this was considered the most elegant and refined expression of romanticism at that time. Alternatively, perhaps, the social climate—which by this time included both Hindu and Muslim puritans—did not support an articulation of a more explicit person-to-person erotic love. The taboos on self-expression of erotic love might have impinged particularly on women poets and the re-direction of this love to the divine might have spared them the censorship that might have otherwise been forthcoming. Another way of thinking about it is that, dispirited with the limitations of romantic love between humans, some of these poets were able to find a more elevated idiom with the gods.

Following the Bhakti period, the proliferation of the Urdu language and the culture of refinement associated with Islamic courtly love played an important pro-romantic influence; but as the Hindu and Muslim puritans were joined by the British puritans in the seventeenth century, one has the sense that romanticism was very much in the dark ages. Nevertheless, important works continued to emerge in a more scattered fashion. Amongst these individual works are those written by courtesans, such as the Telugu Radhika Santawanam (The Appeasement of Radhika) by Muddupalani, in the eighteenth century. Another is the erotic proponent of the Lucknow school of poetry, Qalandar Bakhsh Jur’at, known for his bawdy yet spiritual imaginings of women in sexual union. As the reader advances towards and past the twentieth century, individual writers offer an exploration of contemporary erotic problems alternating with the past. Contemporary Indian writers who match and build on the efforts of their ancestors write in, among other languages, English, Tamil and Malayalam, and continue to shed profound light on the erotic. In this anthology the contemporary writers I have chosen include those who have made a searing commentary on the relationship between kama and society: Perumal Murugan, Kamala Das; those whose reverential treatment of the erotic couple recalls the glorious medieval period: Pritish Nandy, K. Satchidanandan, Tarun Tejpal; writers like Manto and Ambai whose erotic-nostalgic writings make us feel lustful and tender at once; modern Bhakti poets like Arundhathi Subramaniam and Kala Krishnan Ramesh; and those who have treated in great depth the extraordinary conflicts that the erotic poses for an individual life: here found in the works of Mridula Garg, Deepti Kapoor and Ginu Kamani

[1]I chose the word traditionalist and not puritan because of the historical origins of puritanism that are not pertinent to India. However I thought it worth mentioning that the traditionalist argument is close in nature to the puritan argument. Here puritan is used in the sense of against pleasure, see for example, H. L. Mencken, who sardonically defined Puritanism as ‘the haunting fear that someone, somewhere may be happy’.

[2]The four aims of life (purusharthas): artha (wealth), kama (desire), dharma (duty) and moksha (salvation from the cycle of life and death).

Amrita Narayanan ( ed.) Parrots of Desire: 3,000 Years of Indian Erotica Aleph Book Company, New Delhi, 2017. Hb. pp. 304 

8 Sept 2017 

Scholastic India celebrates International Literacy Day ( 8 September 2017)

08 09 , 2017 No Comments

Scholastic India to Participate in International Literacy Day to Promote Literacy as an Instrument to Empower Individuals, Communities and Societies

New Delhi, 8th September 2017 – Fifty one years ago, September 8 was officially proclaimed as International Literacy Day by UNESCO aimed at mobilizing the international community to promote literacy as an instrument to empower individuals, communities and societies.
Scholastic, the global children’s publishing, education and media company, is celebrating International Literacy Day in India and around the world. Scholastic India has engaged partners across the spectrum to reach out to readers. These include:
� Popular parenting website MyCity4Kids will encourage parents to write about why reading is important.
� The popular Facebook reading group for parents The Reading Raccoons, is inviting parents to post a picture of their children reading.
� Scholastic has associated with Books On The Delhi Metro, a group of reading enthusiasts and book fairies who drop books inside the Delhi metro for commuters to read and pass on. They will drop bestselling Scholastic books inside the metro on September 8.
� On Twitter, the Scholastic India handle will donate to a foundation The Community Library Project the total number of books equal to the number of retweets of its International Literacy Day message.

Speaking on this range of activities, Neeraj Jain, Managing Director, Scholastic India said, “Access to books, and reading books of their choice every day, helps children grow into readers. This in turn can transform a child’s prospects for success. For International Literacy Day, we have tried to capture these aspects through various activities, hoping to encourage parents to participate in the process.”
In 2016, Scholastic India released the findings of its first-ever India version of the global research report, Kids & Family Reading ReportTM. This national survey of Indian children aged 6–17 years and their parents, plus parents of children aged 0–5, explores attitudes and behaviours toward reading books. The survey reveals that 86 percent of children aged 6–17 years agree that “my favourite books are the ones that I have picked out myself.” Eighty-eight per cent of boys and eighty-six percent of girls equally agree “I would read more if I could find more books that I like.” The majority of children, 81 percent, in this critical age group enjoy reading books for fun and more than three-quarters, 77 percent of children, believe reading books for fun is extremely or very important.

Importance of reading aloud
Parents of children aged 0–5 years shared that the top benefit they want for their child when they read books for fun is development of vocabulary and language skills. Similarly, these parents primarily start reading aloud to their children to help them learn the letters and words. Half of the parents surveyed who have 0–5 year-olds, received the advice that children should be read books aloud from birth, most commonly from their grandparents. Overall, only 27 percent of parents started reading aloud to their children before age one and 60 percent began reading books aloud to their child at two years or older.

Parents play a huge role in seeding the love for reading and in keeping kids interested in books. One of the most powerful predictors of reading frequency in children age 6–17 is being read to by parents 5–7 days a week. Across all ages, 85 percent of children love being read aloud and among kids aged 6–11 years, whose parents have stopped reading aloud to them, more than half, 57 percent, wish their parents had continued.
The online link for the detailed free to download report is: http://scholastic.co.in/en/readingreport
The survey was conducted, among 1,752 parents and children, including 350 parents of children aged 0–5; 701 parents of children aged 6–17; plus one child aged 6–17 from the same household. All data presented in the Kids & Family Reading ReportTM, India Edition represent the country’s English-speaking population with access to the Internet.

About Scholastic
Scholastic Corporation (NASDAQ: SCHL) is the world’s largest publisher and distributor of children’s books, a leading provider of core literacy curriculum and professional services, and a producer of educational and entertaining children’s media. The Company creates quality books and e-books, print and technology-based learning programs for pre-K to grade 12, classroom magazines and other products and services that support children’s learning both in school and at home. With operations in 14 international offices and exports to 165 countries, Scholastic makes quality, affordable books available to all children around the world through school-based book clubs and book fairs, classroom collections, school and public libraries, retail and online. True to its mission of 97 years to encourage the personal and intellectual growth of all children beginning with literacy, the Company has earned a reputation as a trusted partner to educators and families.
8 Sept 2017 

Interview with Shikhandin

08 09 , 2017 No Comments

My interview with Shikhandin was published in Scroll on Sunday, 10 September 2017 as “‘The writer in me doesn’t have a gender, or is made up of all the genders’: Shikhandin“. 

Immoderate Men by Shikhandin is a remarkable collection of stories published by Speaking Tiger Books. These stories meander through the minds of men giving a perspective on daily life which would ordinarily be dismissed. For instance stories like  “Room Full of Presents”, “Salted Pinkies”, “Hijras on the Highway” and “Old Man Sitting on a South Kolkata Park Bench, Ruminating” if taken at face-value are regular stories with a mild twist. On the other hand these stories also dissect with finesse the preconceived notion of “What is masculinity?”  By delving into the mental makeup of the protagonists the author explores bewildering scenarios; thereby brilliantly subverting notions of patriarchical norms by blurring gender lines as often this confused state of mind is attributed to women and not men.

Here are edited excerpts of an interview with the author:

  1. How did these stories come about?

Mostly from the world around me, past and present. A couple are from dreams and visions. Some from newspaper articles, photographs, a conversation overheard, a person observed in a crowd, and so on. My stories usually come from life itself, whether dreamt or experienced or watched. “Room Full of Presents” came to me in a pre-dawn dream, all of it, more than a decade ago. I still remember waking from it, the sensations of the dream falling off me like water droplets as I sat up on my bed, trying to stay still, just feeling the story over me, around me. Dreams have their roots in reality, regardless of their form and shape. I was sure I had seen/met the characters somewhere, sometime. “Ahalya” came from a vision of a girl with cascading black hair running up a hill. I was half asleep, but I could see her clearly; the hill felt mysterious; this story crept up on me at first without any specific shape, smoky, yet tangible. Most of my stories run like little movies on a little screen before my eyes – that is my first sighting of the story. I write what I see and hear in that mental screen. This is how it has always been for me, even when I wrote press ads and ad films for a living, years ago.

  1. How long did it take to write these stories?

The stories in this collection, and others too, were written over a period of almost two decades. I love short stories (and novellas and novelettes), but everybody keeps saying there isn’t a market for them. So for many years I didn’t put together a manuscript of short stories, though I continued to submit and be published in journals, mostly abroad. The earliest story in this collection was written in 2002 and first published in an American Magazine the same year. Individual stories have their own pace. Some, like “Mail for Dadubhai,” was written in one sitting. Ditto for “Ducklings”, “The Vanishing Man” and “Black Prince”. They were edited/fine-tuned after what I call the resting/roosting period. In general, a single story may take me anything from one or two days to a week. I leave them alone after that for as long as it takes, before I revisit. Some may take longer, like “Salted Pinkies”. I was inhabiting the minds of young men, the kind who loiter in Calcutta’s cheap cafes. Even though I was confident of their language and mannerisms, I kept stopping to check, which was difficult because I no longer lived in Calcutta. At times I literally had to mentally transport myself to North Calcutta, walk the streets in my mind. Watching the boys and men all over again. The writing time, I would say, really depends on the story. There is a story that I have left incomplete for almost two decades, because I have imagined several alternative endings for it; one will rise up and push out the others I know. For me, it’s the story that dictates. I am merely the conduit.

  1. Are they pure figments of imagination or are borrowed heavily from life or inspired by events? (I ask because there is a tone to them that makes me feel as if there is a pinch of reality infused in the stories)

They are both and neither. Like dreams, our imaginings are also based on reality, grounded in the material world. Even a fantasy-scifi movie like Avatar, is at the end of the day, a story about thwarting colonial intrusion. If my stories are relatable, I have succeeded in writing a true one. By true I don’t mean factually correct or historically acceptable. Truth, as I see it, in fiction is about emotional sincerity, that kernel that makes you weep, laugh, sing or rage with or against the character or situation; the narrative that makes you walk through to the end, because it is probable, plausible, relatable, even when the world the story brings forth seems impossible or in the case of literary stories, unfamiliar and totally strange or even shocking. Having said all of the above, yes, there are stories that were inspired by something almost physical. Like “Ducklings” for instance, which is from a photograph I had seen in a newspaper. Avian flu was sweeping across Bengal and Orissa and also Bihar. It was around 2006 I think. There was this black and white photograph of a Bengali woman, weeping as she clutched ducklings, her pets, to her breast. The ducklings were looking innocently back at the camera/photographer. Having grown up with many animals and birds, and experienced the pain of loss, I am not ashamed to say that I wept for that woman, mourned her loss for days. And then I re-imagined her life.  “Old Man Sitting on a South Kolkata Park Bench, Ruminating” is inspired from an actual conversation, part of it, that I had heard while passing through a similar park in that city. A few old men were gossiping, about the young girls they had seen or knew, and their daughters-in-law. An incident in the story (kissing a baby boy in the crotch) was actually witnessed by me during my college days in the early eighties, and it is still practised. These traditional Bengali men didn’t/don’t think they were/are doing anything wrong. Saluting a baby boy like that is acceptable; displaying a boy baby is a matter of pride. I stitched that incident into my story. And I became an old man in my head when I wrote it.

  1. Curiously you chose to write about the world of men while inhabiting their minds. With this technique it is fascinating the multiple layers of reading it lends itself to. How did you train yourself to write in this manner?

For this I really must thank my rigorous advertising training. One of the exercises copywriting entailed was mentally switching places with the consumer. I discovered it works quite well for fiction when you are writing as someone else, seeing things from another’s perspective. My short experience with theatre also helps. That apart, since my childhood, I’ve had this tendency to feel things intensely- be inside the book I am reading or the music I am listening or the movie I am watching, the food I am cooking. Once my mother tore my drawing book into shreds because I hadn’t replied when she’d called me. I wasn’t ignoring her or being disrespectful, I actually hadn’t heard, but of course I wasn’t believed. Similar problems would crop up in school too. Be that as it may, it’s great fun becoming someone or something else even momentarily! Adventure and action, madness and mayhem all in the safety of your own mind. It helps that I am mostly by myself on any week day. I can laugh or cry without being seen as a lunatic! Right now, a part of my head is a dog, doing doggie things; two dogs actually in two totally different stories, so I had to apportion off my grey cells!

  1. Why use a nom de plume?

Actually in my case, it is not so much as a nom de plume, as acknowledging to myself and everyone, that the writer in me doesn’t have a gender or is made up of all the genders. I ought to have used Shikhandin right at the beginning, but felt shy about it; didn’t want to come across as pretentious. It’s hard enough replying “I write” when folks ask me what I do.

I could have picked up any other gender nonspecific name or initials. There are several versions to the Shikhandin narrative in the Mahabharata. The common thread running through all is that Shikhandin, who was princess Amba of Kashi, in a previous birth, through deep penance and austerities and after several rebirths and a Yaksha’s boon, became a male, Shikhandin, and succeeded in destroying the man (Bhishma) who was responsible for her humiliation and ruin in her first life. Whichever version you read, Shikhandin’s life is a fascinating story of grit, determination and resolve against all odds. For most people Shikhandin represents members of the LGBT community, or those who have rejected gender stereotypes. For me, Shikhandin represents a mind so strong that it can overcome physical boundaries and frailties. It doesn’t matter what you are born as, but who you can become.

I had heard about Shikhandin as a young child listening to tales from the epics. Later, while still in school, I read a bit. Shikhandin has been with me for decades. And because of Shikhandin I questioned male-female roles as dictated by society, and the kind of character and personality ascribed to each as acceptable. I wondered then, and still do, how gender specific are we in the purely intellectual or cerebral sense. How much of our gendered lives are in fact centuries of conditioning. I think it is nonsense that only women can understand women and likewise for men. Physical violence is not a male characteristic, just as daintiness is not a female thing. As a writer, I don’t want to belong to any specific place or slot. I don’t matter, the story does. At the time of writing, I should have the freedom to become whatever is necessary, whatever is required of me, for the story to unfurl as truly as it can.

  1. When did you gravitate from writing children’s stories to stories for adults?

It’s the other way round actually. I have been writing for adults ever since I can remember.  I wish I had started writing children’s stories earlier. That’s another regret, and hope I can make up for lost time now. I was afraid I wouldn’t be good enough. But the Children’s First Contest curated by Duckbill, Parag (an initiative of Tata Trust) and Vidya Sagar School has boosted my confidence . I enjoy reading children’s fiction a lot, even today, after my own children have grown up. And every time I have written a story or poem for children I’ve come away feeling so euphoric – the sheer joy of being a child is like an elixir. I enjoy listening to children’s patter too. Their sense of logic and observation astounds me. They also know more than many grownups about many things.

  1. Do you think there is any difference in your methodology while writing for children or adults?

Yes, certainly. There is a poem that I’d written and published several years ago, which I think can give you an idea about the kind of heart needed when writing for children:

WHAT THE CHILD DOES

When gossamer tufts come cascading down

From the silk-cotton tree’s bright scarlet crown

Who chases the tufts? Say who does?

The child does

When plump raven clouds thundering their refrain

Suddenly shed weight in vast feathers of rain

Who raises a fountain? Say who does?

The child does

When dew beads strung across blades of new grass

Glisten like rows and rows of glowing elfin glass

Who sees the rainbow? Say who does?

The child does

When within that pupa clinging to a tree

A butterfly softly struggles to be free

Who hears the cry? Say who does?

The child does

When deep down in winter’s icy waters

A timid sun’s shy white ray quivers

Who feels the arrow? Say who does?

The child does

Ah! Everywhere in this world, a new world unfolds

And unwraps and unfurls, expands and grows

Who stands in wonder, then? Say who does?

We do! We do! Yes. But first the child does!

  1. At times you hold yourself back from describing in greater detail the surroundings or situations. Why?

In short stories less is more – usually, because there are always exceptions to prove the rule! The best are those that without shouting, slip inside your head and start to niggle, urging you, the reader, to create possible endings and solutions, extend the surroundings or simply stay on with the story. I try to emulate that standard. I try.

Shikhandin Immoderate Men: Stories Speaking Tiger, New Delhi, 2017. Pb. pp. 190 Rs 299 

12 Sept 2017 

Seth Stephens-Davidowitz’s “Everybody Lies: What the Internet can really tell us about who we really are”

05 09 , 2017 No Comments

 I can’t pretend there isn’t a darkness in some of this data. If people consistently tell us what they think we want to hear, we will generally be told things that are more comforting than the truth. Digital truth serum, on average, will show us that the world is worse than we have thought. 

With the information age there is bound to be a explosion of data. For some years now it has been said that the amount of information uploaded on the Internet every day is equivalent to the amount created in history of all mankind. Some say it is approximately eight trillion gigabytes of data. This is a HUGE! Data scientists like Seth Stephens-Davidowitz make regular attempts to sift through this data to determine what picture it creates.

In Everybody Lies: What the Internet can really tell us about who we really are Seth Stephens-Davidowitz’s basic premise is what is the truth. In his fascinating thesis-converted to-book he discusses how the data swirling on the internet  confirms and conforms to our expectations. We find and get what is comforting. The truth is there is much more than meets the eye. The truth exists on the Internet, it requires being alert to it and looking for it. He cites examples from the recently concluded American elections proving that President Trump’s victory was always in the making. He shows how the number of times the toxic word “nigger” and “nigger, jokes” were searched were in the very same places from where Trump won a resounding victory. It was merely a way of seeing. Traditional media missed it.

And Google searches presented a picture of America that was strikingly different from that post-racial utopia sketched out by the surveys. I remember when I first typed “nigger” into Google Trends. Call me naive. But given how toxic the word is, I fully expected this to be a  low-volume search. Boy, was I wrong. In the United States, the word “nigger” — or its plural, “niggers” — was included in roughly the same number of searches as the word “migraine(s),” “economist,” and “Lakers.” I wondered if searches for rap lyrics were skewing the results? Nope. The words used in rap songs is almost “nigga(s).” So what was the motivation of Americans searching for “nigger”? Frequently , they were looking for jokes mocking African-Americans. In fact, 20 percent of searches with the word “nigger” also included the word “jokes.” Other common searches included “stupid niggers” and “I hate niggers.” 

There were millions of these searches every year. A large number of Americans were, in the privacy of their own homes, making shocking racist inquiries. The more I researched, the more distrubing the information got. 

On Obama’s first election night, when most of the commentary focused on praise of Obama and acknowledgement of the historic nature of his election, roughly one in every hundred Google searches that included the word “Obama” also included “kkk” or “nigger(s).” Maybe that doesn’t sound so high, but think of the thousands of nonracists reasons to Google this young outsider with a charming family about to take over the world’s most powerful job. On election night, searches and signups for Stormfront, a white nationalist site with surprisingly high popularity in the United States, were more than ten times higher than normal. In some states, there were more searches for “nigger president” than “first black president.”

There was a darkness and hatred that was hidden from the traditional sources but was quite apparent in the searches that people made. 

Seth Stephens-Davidowitz tested his hypothesis in other spheres of Internet engagement as well such as economics, mental health and many other general searches. As an economist and former Google data scientist mines and analyses plenty of data to prove his basic premise and it is not pleasant. He uses a lot of statistical data to bolster his anecdotes. He confirms the Internet as being a minefield. It has all kinds of information but it is important to look for clues that will mirror reality as close as possible. The challenge lies in unearthing those clues. Is it feasible for everyone to do it?

Eerily Salman Rushdie who has published a new novel The Golden House told the Guardian that ” ‘A lot of what Trump unleashed was there anyway’ “. ( 2 Sept 2017)

Seth Stephens-Davidowitz’s Everybody Lies: What the Internet can really tell us about who we really are is unnerving while being undoubtedly an absorbing read.

Seth Stephens-Davidowitz’s Everybody Lies: What the Internet can really tell us about who we really are Bloomsbury, London, 2017. Pb. Pp. 338 Rs 499

Angela Duckworth’s “Grit: The Power of Passion and Perseverance”

03 09 , 2017 No Comments

“Grit is about working on something you care about so much that you’re willing to stay loyal to it.”

Angela Duckworth‘s Grit: The Power of Passion and Perseverance is an analysis of how those who are successful in life are primarily due to their grit, their passion and perseverance rather than talent or being naturally gifted at it. This is the conclusion she came to after studying students and professionals across the spectrum. She wortked with the cadets at West Point to sales people, to school children and interviewed many achievers to understand what made them tick. Surprisingly it was not the IQ scores that determined whether a child/person would succeed at their task. It was dedicated hardwork, perseverance and a passion to excel. Sometimes the hardwork involved in the attempt to excel can be exhausting but it is at this precise moment that the grit of the person decides whether s/he will finish their task. Angela Duckworth interviewed Bill Gates too who said that when he used to screen applicants for Microsoft he inevitably selected the candidate who had completed the tough programming task he had given. He appreciated the candidate’s stamina to stick on till the end rather than give up in frustration. There are many, many examples strewn through the book that confirm her hypothesis that grit determines success, not necessarily talent and IQ. This is a strength of character she states is a good quality to inculcate in children too. The satisfaction of doing something important and doing it well even though it’s so very hard. Children “recognize complacency has its charms, but none worth trading for the fulfillment of realizing their potential.”

Grit is one of those exceptional thought-provoking books that will be influential for a very, very long time. More so since it takes one idea and explore it satisfactorily providing sufficient empirical evidence to make it plausible.  Here is a short TED talk Angela Duckworth made based on her research. It does share the gist of her wonderful book although it is advisable to read the book for the concept to really seep in.

Angela Duckworth Grit Vermilion, an imprint of Ebury Publishing, Penguin Random House, London, 2016. Pb. pp 340

David Walliams’s “The World’s Worst Children 2”

03 09 , 2017 No Comments

My review-article of David Walliams’s The World’s Worst Children 2 was published in The Hindu Literary Review on 3 September 2017 titled “The boy who never did his homework“. I am c&p the text here as well: 

David Walliams’s The World’s Worst Children 2 is a fabulous collection of short stories about 10 obnoxious little brats. There is Cruel Clarissa, Harry who never ever did his homework, Competitive Colin, Trish the Troll, Spoiled Brad, Gruesome Griselda and others. The scrumptious book has been “illustratred in glorious colour” by Tony Ross. (The very Tony Ross, who, statistics show, is the most borrowed illustrator from U.K. libraries. In 2016, his books were borrowed more than 1 million times.) Walliams and Ross have been collaborating on books for children and young adults for quite a few years now.

Walliams is often considered to be the modern Roald Dahl. Incidentally, Walliams’s first book for children was illustrated by Quentin Blake, who is known for his illustrations of Roald Dahl’s books. Along with Ross, Walliams insists there be a picture on every page. The two books of the TheWorld’s Worst Children is sumptuously produced, with embossed lettering on the cover, gilt foil worked in to the design, and four-colour illustrations with a fascinating play of fonts throughout the text. Every page has the illustration carefully

placed in such a manner that it perfectly complements the text.

Climb a mountain

It works beautifully for young readers as well as for readers who require assisted learning. “It’s about hooking them in and not making reading seem like a chore,” Walliams says. “I think reading is important because not only do you miss out on great literature if you don’t do it, but also you miss out on finding out about new ideas and the opportunity to use your own imagination.”

Walliams is otherwise famous as a stand-up comedian. His comic talent has found its way into writing. His stories are often about children of the kind we encounter everyday — ordinary, privileged, gentle, horrendous. Without being patronising, but with humour, he writes about the world as the child sees it — a stark place, in black and white.

Even his caricatures make one chuckle with delight for they hold up a mirror to the child’s world, serving the dual purpose of telling a story while delivering a message. He compares the process of writing his manuscripts to that of climbing up a mountain. He perseveres despite the effort because, “I really like the simplicity of children’s literature. It’s a challenge because often you’ve got quite complex ideas you’ve got to put into very simple terms.”

Spoilt brats

This is apparent in his novels. For instance, in Billionaire Boy, a rich spoilt kid is also very lonely for he lacks a friend; Midnight Gang is about patients in a children’s hospital whose parents never visit them and who are left at the mercy of a harsh and unsympathetic matron; Mr Stink narrates the unlikely friendship between a lonely girl Chloe and the local stinky tramp Mr Stink, the only person who’s ever been nice to her. Gangsta Granny and Grandpa’s Great Escape are about grandparents and help create concern among children for the ailments and idiosyncrasies of old age. Controversy tails successful writers: some years ago, Anthony Horowitz had accused Walliams of creating “dumbed down books” for children.

But the criticism does not seem to be fair. Walliams’s stories are empathetic towards children: he has the knack of capturing the authoritarian and at times unreasonable voice of the adult. Hope exists in the form of a good soul lurking nearby, usually an adult who too has been marginalised by society.

To know what happens to the world’s worst children, read the book. A treat awaits!

David Walliams The World’s Worst Children 2 HarperCollins Children’s Books, London, 2017. Pb. pp. 300 

3 September 2017 

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