Hachette India Posts

Book Post 25: 20 January – 2 February 2019

Every Monday I post some of the books I have received in the previous week. This post will be in addition to my regular blog posts and newsletter. Today’s Book Post 25 is after a gap of two weeks as January is an exceedingly busy month with the Jaipur Literature Festival, Jaipur BookMark and related events.

In today’s Book Post 25 included are some of the titles I received in the past few weeks as well as bought at the literature festival and are worth mentioning.

4 February 2019 

“The Journey Of Indian Publishing” by Jaya Bhattacharji Rose

I recently contributed to How to Get Published in India edited by Meghna Pant. The first half is a detailed handbook by Meghna Pant on how to get published but the second half includes essays by Jeffrey Archer, Twinkle Khanna, Ashwin Sanghi, Namita Gokhale, Arunava Sinha, Ravi Subramanian et al.

Here is the essay I wrote:

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AS LONG as I can recall I have wanted to be a publisher.  My first ‘publication’ was a short story in a newspaper when I was a child. Over the years I published book reviews and articles on the publishing industry, such as on the Nai Sarak book market in the heart of old Delhi.  These articles were print editions. Back then, owning a computer at home was still a rarity.

In the 1990s, I guest-edited special issues of  The Book Review on children’s and young adult literature at a time when this genre was not even considered a category worth taking note of. Putting together an issue meant using the landline phone preferably during office hours to call publishers/reviewers, or posting letters by snail mail to publishers within India and abroad, hoping some books would arrive in due course. For instance, the first Harry Potter novel came to me via a friend in Chicago who wrote, “Read this. It’s a book about a wizard that is selling very well.” The next couple of volumes were impossible to get, for at least a few months in India. By the fifth volume, Bloomsbury UK sent me a review copy before the release date, for it was not yet available in India. For the seventh volume a simultaneous release had been organised worldwide. I got my copy the same day from Penguin India, as it was released by Bloomsbury in London (at the time Bloomsbury was still being represented by Penguin India). Publication of this series transformed how the children’s literature market was viewed worldwide.

To add variety to these special issues of The Book Review I commissioned stories, translations from Indian regional languages (mostly short stories for children), solicited poems, and received lovely ones such as an original poem by Ruskin Bond. All contributions were written in longhand and sent by snail mail, which I would then transfer on to my mother’s 486 computer using Word Perfect software. These articles were printed on a dot matrix printer, backups were made on floppies, and then sent for production. Soon rumours began of a bunch of bright Stanford students who were launching Google. No one was clear what it meant. Meanwhile, the Indian government launched dial-up Internet (mostly unreliable connectivity); nevertheless, we subscribed, although there were few people to send emails to!

The Daryaganj  Sunday  Bazaar where second-hand books were sold was the place to get treasures and international editions. This was unlike today, where there’s instant gratification via online retail platforms, such as Amazon and Flipkart, fulfilled usually by local offices of multi-national publishing firms. Before 2000, and the digital boom, most of these did not exist as independent firms in India. Apart from Oxford University Press, some publishers had a presence in India via partnerships: TATA McGraw Hill, HarperCollins with Rupa, and Penguin India with Anand Bazaar Patrika.

From the 1980s, independent presses began to be established like Kali for Women, Tulika and KATHA. 1990s onwards, especially in the noughts, many more appeared— Leftword Books, Three Essays, TARA Books, A&A Trust, Karadi Tales, Navayana, Duckbill Books, Yoda Press, Women Unlimited, Zubaan etc. All this while, publishing houses established by families at the time of Independence or a little before, like Rajpal & Sons, Rajkamal Prakashan, Vani Prakashan etc continued to do their good work in Hindi publishing. Government organisations like the National Book Trust (NBT) and the Sahitya Akademi were doing sterling work in making literature available from other regional languages, while encouraging children’s literature. The NBT organised the bi-annual world book fair (WBF) in Delhi every January. The prominent visibility in the international English language markets of regional language writers, such as Tamil writers Perumal Murugan and Salma (published by Kalachuvadu), so evident today, was a rare phenomenon back then.

In 2000, I wrote the first book market report of India for Publisher’s Association UK. Since little data existed then, estimating values and size was challenging. So, I created the report based on innumerable conversations with industry veterans and some confidential documents. For years thereafter data from the report was being quoted, as little information on this growing market existed. (Now, of course, with Nielsen Book Scan mapping Indian publishing regularly, we know exact figures, such as: the industry is worth approximately $6 billion.) I was also relatively ‘new’ to publishing having recently joined feminist publisher Urvashi Butalia’s Zubaan. It was an exciting time to be in publishing. Email had arrived. Internet connectivity had sped up processes of communication and production. It was possible to reach out to readers and new markets with regular e-newsletters. Yet, print formats still ruled.

By now multinational publishing houses such as Penguin Random House India, Scholastic India, Pan Macmillan, HarperCollins  India, Hachette India, Simon & Schuster India had opened offices in India. These included academic firms like Wiley, Taylor & Francis, Springer, and Pearson too. E-books took a little longer to arrive but they did. Increasingly digital bundles of journal subscriptions began to be sold to institutions by academic publishers, with digital formats favoured over print editions.

Today, easy access to the Internet has exploded the ways of publishing. The Indian publishing industry is thriving with self-publishing estimated to be approximately 35% of all business. Genres such as translations, women’s writing and children’s literature, that were barely considered earlier, are now strong focus areas for publishers. Regional languages are vibrant markets and cross-pollination of translations is actively encouraged. Literary festivals and book launches are thriving. Literary agents have become staple features of the landscape. Book fairs in schools are regular features of school calendars. Titles released worldwide are simultaneously available in India. Online opportunities have made books available in 2 and 3-tier towns of India, which lack physical bookstores. These conveniences are helping bolster readership and fostering a core book market. Now the World Book Fair is held annually and has morphed into a trade fair, frequented by international delegations, with many constructive business transactions happening on the sidelines. In February 2018 the International Publishers Association Congress was held in India after a gap of 25 years! No wonder India is considered the third largest English language book market of the world! With many regional language markets, India consists of diverse markets within a market. It is set to grow. This hasn’t gone unnoticed. In 2017, Livres Canada Books commissioned me to write a report on the Indian book market and the opportunities available for Canadian publishers. This is despite the fact that countries like Canada, whose literature consists mostly of books from France and New York, are typically least interested in other markets.

As an independent publishing consultant I often write on literature and the business of publishing on my blog … an opportunity that was unthinkable before the Internet boom. At the time of writing the visitor counter on my blog had crossed 5.5 million. The future of publishing is exciting particularly with neural computing transforming the translation landscape and making literature from different cultures rapidly available. Artificial Intelligence (AI) is being experimented with to create short stories. Technological advancements such as print-on-demand are reducing warehousing costs, augmented reality  is adding a magical element to traditional forms of storytelling, smartphones with processing chips of 8GB RAM and storage capacities of 256GB seamlessly synchronised with emails and online cloud storage are adding to the heady mix of publishing. Content consumption is happening on electronic devices AND print. E-readers like Kindle are a new form of mechanised process, which are democratizing the publishing process in a manner seen first with Gutenberg and hand presses, and later with the Industrial Revolution and its steam operated printing presses. 

The future of publishing is crazily unpredictable and incredibly exciting! 

3 Feb 2019

Book Post 24: 6 – 19 January 2019

Every Monday I post some of the books I have received in the previous week. This post will be in addition to my regular blog posts and newsletter. Today’s Book Post 24 is after a gap of two weeks as January is an exceedingly busy month with the New Delhi World Book Fair and literary festivals such as the Jaipur Literature Festival.

In today’s Book Post 24 included are some of the titles I received in the past few weeks as well as bought at the book fair and are worth mentioning.

21 January 2019

Book 23: 9 December 2018 – 5 January 2019

Every Monday I post some of the books I have received in the previous week. This post will be in addition to my regular blog posts and newsletter.

In today’s Book Post 23 included are some of the titles I received in the past few weeks and are worth mentioning and not necessarily confined to parcels received during the holiday season.

Enjoy reading!

7 January 2019

Interview with instapoet Nikita Gill

Alice in Wonderland 

Alice’s rabbit hole began when she entered her father’s library and picked up one of the books she was forbidden to read. In it, the words were flavoured with anger and terror and beauty and everything she hadn’t tasted yet in her young life. People revolting, war, famine, anger at the aristocracy, compassionate philosophers writing famous ideas and wild theories. 

Wonderland emerged when Alice found her love for reading, and even better, acting on what she read. …

She scorned the idea that young ladies of that time should not do what she did. Make change and make waves and create a world more equal for everyone that lives in it. She was more concerned about making a change and in every little way she could find, she would. 

                                                                                                            Wild Embers, pp. 68-69

Nikita Gill is a British-Indian writer and poet living in the south of England. With a huge online following, her words have entranced hearts and minds all over the world. Wild Embers (2017) was her first book. I discovered the hugely popular Instapoet poetry in print, not on social media. It were the print editions that caught my attention primarily because her book publicists sent the beautifully designed editions of Wild Embers  and Fierce Fairytales & Other Stories to Stir Your Soul.  Strong poetry that is a pleasure to read for its sharply articulated ideas and representation of strong, independent, and thinking women characters especially in the retelling of the age-old fairytales. In fact Fierce Fairytales was whisked away by my young daughter as her own! I was a little surprised at her action as I was not sure how much of the poetry she would understand. Yet she surprised me pleasantly by getting the gist of the stories. She may not have got the layered meaning but she got the gist. It speaks volumes of Nikita Gill’s skill as a poet to be able to connect across generations.  Unsurprisingly she has a legion of followers on social media: Facebook (109k), Instagram ( 478K), Twitter ( 26.6K) and Tumblr 

Hachette India helped faciliate this email interview.

1. How and why did you decide to become a poet? 

When I was 13 years old, I was introduced to the work of Robert Frost through English class. There was something incredible in capturing such a wide span of emotion inside a single poem that rattled my soul and I felt a deep connection with it. Soon after, my nani (maternal grandmother) gave me my very own copy of Sukhmani Sahib and the hymns and verses there made me realise how poetry and prayer were not dissimilar, each one crafted from air to create something beautiful in and of itself. This was what made me fall in love with and want to write poetry.

2. How long does it take you to write a poem?

Genuinely speaking I am never done writing my poems. I think it was Da Vinci who said, “Art is never finished, only abandoned.”, and I resonate with that deeply. I frequent my old journals often, and rewrite pieces that I wrote years ago. I have a fondness for visiting an old thought with a fresh mind and a newer heart. I edit my manuscripts over and over again until I have to give them up. On a good day, a first draft will take about 6 hours, and rewrites take longer.

3. You are a huge success on social media. You are one of the few Instapoets who is known worldwide with a celebrity following too. But traditionally publishers are hesitant to publish poetry for the book gets easily read in a store or can be easily copied. How do you manage your poetry posts online from being plagiarized or shared without acknowledgement?

There are battles you can fight and battles you can’t. Plagiarism is a difficult thing to battle when your intellectual property is out on the internet. People get inspired by things, when we are finding our voices, our work tends to be clichéd. The easiest way for me is to write new things which I’m not seeing done around me right now. Fairytales verse retellings, writing about my very specific experiences with Partition and being Kashmiri and Punjabi, and my love for the night sky. The point is to keep reinventing yourself and keeping your head above the water. It’s also the only way to become a better creator.

4. Your primary audience are on social media. Do you find writing poetry for publication on paper is any way different to putting out posts in cyberspace? How does it affect your style of poetry? Would you say that writing for an online audience is predominantly performance poetry but it’s tone has to change for consumption in print? Do you edit the poems before the print publication or do you publish the poems as was first put out on social media? 

It’s interesting because I always thought my primary audience was on social media. But my sales figures show an even split between bookstores and internet sales. Social media is also a very different realm than to paper. You’re fostering a community there. Thoughts, ideas, friendships – also there is close interaction with your audience which you don’t get with a book. I have always said that the community in the comments section is the most magnetic thing about posting your work, unfiltered, online. I wouldn’t call it performance simply because performance poetry is such a beautiful craft in and of itself (the poets on Button who are powerhouses for instance). I would call it “confessionalist bite-sized poetry” which exists to cause a reaction, a thought, a feeling. When I write for a book, the work is edited and reedited many times before I am happy with the story it tells, whereas on the digital platform, I predominantly share excerpts or aphorisms.

5. Do you find that interacting regularly with your readers on social media influences your poetry as well as selection of themes?

I think I have a huge responsibility towards my readers to ensure my platform remains a safe space for them to share their experiences. My first allegiance is to marginalized people and survivors of trauma and I ensure posts contain trigger warnings. I don’t let it affect my work for the simple reason that the people who follow me only follow me because they enjoy the work I already put out. I need to be true to myself to be true to them. I don’t post at any particular time of the day or daily. Just when I have a fleeting thought to put something up or create something. It’s all so much more organic that way.

6. Who are the poets who have influenced you the most?

I have a fascination for the works of Emily Dickson, Maya Angelou, Sharon Olds, Lucille Clifton, Rabindranath Tagore, Amrita Pritam, Walt Whitman, Anne Carson, Emily Berry – this list is non exhaustive. I think the more older poetry we read, the better we learn how to truly see that poetry is a very vast subject and means very different things for different people.

7. What are the forms of poetry you prefer to read and write in? 

I like to read every form of poetry – there are so many genres to enjoy and such a rich world of poets to discover. Recently, I’ve been experimenting more and more with lyric poetry and moving away from free verse which has been my form for so long. Lyric poetry is far more based on regular meter and it’s teaching me a lot to try and learn how to write it.

8. Your poems seem to be in free verse with a “fludity” about the stories. Do you “work” at this craft or does it evolve on its own when you are writing?

It does evolve on its own. I have to often stop myself from rhyming but the poem does exactly what it wants to do without permission from me. I’ve found that it is best not to fight it, fighting it leads to writers block. So I just go with it instead. And then edit like I am own worst critic (because truly, I am. I don’t know anyone who has ever sworn or yelled at me as much as my inner critic has.).

9. Jesuit priest and poet Gerard Manley Hopkins was very clear that his poetry was meant to be meditative and it is the reason why he developed the inscape technique. It forces the reader to engage with the poems. Whereas your poetry is far easier to read but the ideas of love, feminism and independent women that you share are powerful. Do you, like Hopkins, wish for something equally transformative wrought in the reader after engaging with your poetry?

Absolutely, but I do think that will take time. I am still young in my writing journey and discovering my voice. To be truly transformative is to not only find your voice but have complete of command over it. Whilst I have discovered what I want to say, what messages I want to put out, I feel like I am just at the very beginning of honing my craft. I feel like language shouldn’t be something that is overly difficult to read, but it should make the reader feel changed when they have read a thought a certain way.

10. How did wonderfully sharp and witty Fierce Fairytales & Other Stories to Stir your Soul come about?

I think Fierce Fairytales was something I was always meant to write. The idea within the book all germinates from a single thought: the incredible magic we seek in our environments, in other people, is already within us, and we must seek it out. This idea has been within all my books but with Fierce Fairytales I got to explore it, and tell the stories of the villains who I genuinely believe have so much more to say than just “we are evil people doing evil things”. I enjoyed writing this book thoroughly, so much so that it has been the seeds for multiple new projects which are presently in development.

7 December 2018 

Nikita Gill “Fierce Fairy Tales & Other Stories to Stir Your Soul”

‘You thought I must be in need of saving? Because you are in need of a wife? How archaic and condescending.’

The prince clears his throat and then says, ‘Fair princess, I will do whatever I can tp break the curse that turns you into . . . that thing.’

‘That thing, as you call it,’ the princess says, ‘is the magical part of me. I love being the dragon and the dragon loves me.’

‘But if not a wife, you will die an old maid,’ he presses on.

‘I am half dragon, who told you I will ever die at all?’

The prince frowns in annoyance, he is obviously vexed and he speaks words that anyone over the course of history will tell you he will regret. ‘I think you need to learn that if you aren’t a wife and a mother, you are a witch and have no place in this world.’ 

The princess stares at him for a moment and then she snaps her fingers. Guards appear and take the prince by his arms, escort him out, and yet the princess lingers. She looks him in the eye before he is thrown out, the moon dragon’s gleam still in hers, and she speaks words so powerful the wind etches them inside the atmosphere for women to remember through history. ‘I exist. Outside of being a mother, a wife, a sister, a daughter, I exist. I exist as a human first, as a being that experiences joy and suffering, beauty and learning, life and tragedy. I exist because the universe chose to put me here for a purpose higher than my relation to men. I exist because a wise old woman gave me a gift and now magic runs through my veins. So the problem is not my existence as half dragon, half girl. The problem is how you perceive it as so small, you do not believe I can exist at all apart from through my bonds with men.’ 

And after the prince is thrown out, the moon dragon and the princess continue to share the day and night and live happily ever after.  

Nikita Gill’s Fierce Fairytales & Other Stories to Stir Your Soul is a collection of reimagined fairy tales consisting of mostly fiercely independent and strong-willed people. The bravery of the individuals stems from within rather than being dependent on men rescuing them. The tales are beautifully illustrated with line drawings. The beauty of the retelling comes through in the multiple layers that exist — as they should in any good poem! Whether it is for a mature reader or a tiddler, there is much pleasure to be derived from these crisply narrated tales. My eight-year-old daughter grabbed the book as soon as it arrived and took it away with her to the ongoing Readathon in school. She returned triumphantly saying how much she had enjoyed the poems and was able to retell them simply in her own way, missing much of the layered nuances that an adult would immediately get, but that is immaterial. The poems worked!

Fairy tales such as these have existed for generations with the kernel of the story being more or less as is. Somehow the flavour of each story is retained in Fierce Fairy Tales as are the characters but the stories have the unique stamp Nikita Gill’s storytelling — fiesty, sparkling, sharp, tongue-in-cheek, bold and true. The poems in this volume offer a way of seeing. The book blurb advertises the collection as “Feminist Fairytales for Young and Old”. So true! Given that these poems can be read in solitude or read aloud, either way they will be transformative as there are many ideas embedded in them.

Share Fierce Fairytales widely!

18 November 2018 

To order on Amazon India

Hardback 

Kindle

Book Post 10: 9 – 15 September 2018

Every Monday I post some of the books I have received in the previous week. Embedded in the book covers and post will also be links to buy the books on Amazon India. This post will be in addition to my regular blog posts and newsletter.

In today’s Book Post 10 I have included some titles that I received in the past few weeks and are worth mentioning and not necessarily confined to parcels received last week.
Enjoy reading!

17 September 2018

Book Post 3: 22-28 July 2018

Book Post 2: 15-21 July 2018

Last week I announced that I am going to post every Monday a list of all the book parcels I have received in the past few days. Embedded in the book covers and post will also be links to buy the books on Amazon India. This post will be in addition to my regular blog posts and newsletter.

In today’s Book Post 2 I have included some titles that I received in the past few weeks and are worth mentioning and not necessarily confined to parcels received last week.

Enjoy reading!

23 July 2018

Anuradha Roy’s “All The Lives We Have Never Lived”

I read award-winning writer Anuradha Roy‘s stunning new novel All The Lives We Have Never Lived which is set during the second world war in British India and Bali. The narrator is Abhay Chand or Myshkin Chand Rozario who many years later in 1992 recounts details of his childhood. His mother was a Bengali Hindu and his father part-Anglo Indian. When Myshkin was nine his mother left the Rozario family. Myshkin was left in the care of his grandfather, a doctor,  Bhavani Chand Rozario and his father, a college lecturer, Nek Chand. A couple of years after his wife’s departure Nek Chand left on a pilgrimage. He returned home with another wife, Lipi and a daughter, Ila.

Gayatri Sen left India for Bali with German artist Walter Spies and another friend of his Beryl. While in Bali, Gayatri would write letters to her son but particularly long and detailed ones to her best friend Lisa McNally. Myshkin receives his mother’s correspondence to Lisa from her children upon her death. 

After finishing the novel I wrote Anuradha Roy a long letter. Here are some excerpts. 

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Dear Anuradha,

Today I finished reading All the Lives We Never Lived. It is another one of your stories that will be with me for a long, long time to come.

I loved the dramatic opening sentence “In my childhood, I was known as the boy whose mother had run off with an Englishman.” It is similar to another novelist I thoroughly enjoy — Nell Zink. I like how you begin as from the present moment, with the boy, now an old man, reflecting back to his childhood. Obviously the opening sentence defined him for years as that is what is crystal clear. He echoes what society says about his mother. Although the rhythm and cadences of the text are so correctly measured with never a word out of place. It is a voice of experience speaking, yet one who is so terribly (and understandably) rattled by his mother’s letters towards the end that he walks through the local marketplace distractedly.

Your descriptions of the women writing letters to each other with every line scrawled upon, as well as in the margins and wherever they could find space transported me back immediately to my days of writing letters. When my friends left India, I would send them letters by snail mail. In those days’ international postage was so expensive for the heavy packets since the letters were long and used a lot of paper. So I devised a method of using an aerogramme and writing as tiny as I could and then writing across the margin and filling up whatever little space I could find on the page.

So you can imagine my delight to discover the letters between Gayatri and Lisa McNally in All the Lives We Never Lived. You had to my mind so effectively managed to make that leap of unearthing memories not only of the characters but also of the reader. So many times I found myself slowing down or grinding to a halt in your descriptions of the plants and trees. The descriptions of the gardener plucking the jasmine and collecting them in a basket of white cloud to later thread them as a gajra for Gayatri brought back a flood of memories. Every morning in the searing summer heat I would go to my grandmother’s garden in Meerut and pluck all the beautiful white blooms off the bushes. Later I would thread the flowers into gajras for the women in the family. It was a daily ritual over summer vacation I loved. The moment I read that passage in your book I got a strong whiff of the sweet fragrance of the flowers –perfect for summer as well as of the needle used to thread would be coated with sticky nectar.

The beauty of nature, the flowering trees whether in the scorching dry heat or in the tropics to the mountain vegetation. The burst of colour in your novel makes its presence felt but what is truly exhilarating is how Gayatri and later her son gets associated with the most vibrantly colourful passages describing nature in the book. The passage where you describe Myshkin filling up his long-unused sketchbooks with studies of trees and plants in the garden while remembering his mother are like the last movement of a symphony, where everything comes together as a whole. It is as if Myshkin is expressing his delight at discovering the joy of who his mother was and experiencing her life through his paintings.

Over the next weeks, my long-unused sketchbooks filled with studies of the trees and plants in the garden that I associated with my mother: the pearly carpet of parijat flowers, Nyctanthes arbortristis, that she loved walking on barefoot; the neem near the bench where she had sat with Beryl listening to the story of Aisha. I barely slept, I forgot meals, I drew and painted her garden as if possessed. I drew the Crepe myrtle and Queen of the Night, the common oleander and hibiscus; the young mangoes on the tree in June, as raw as they had been when Beryl de Zoete and Walter Spies first came to our house.

It took me five days to finish my studies of Queen of the Night and then I turned to the garnet blossoms of the Plumeria rubra, the champa. I painted the long, elliptic leaves, the swollen stem tips, the fleshy branches that go from grey to green and ooze milk if bruised or cut. I blended in the ochre at the edges of the petals with the deepening incandescence of the red in the depths of the flower.

Your descriptions of the gulmohar and amaltas trees (though you use the scientific names) are stupendous. One has to live in this ghastly dry heat of the north Indian plans to realise just how much the bright deep rich yellows and fiery reds actually seem pleasant on a hot summer day. Of course the entire sub-plot of the Sundar Nursery and the superintendent of horticulture, Alick Percy-Lancaster, is absolutely fascinating! Years ago I recall you had published the gardening journals of the nursery in a brown hardback with a dustjacket. It is still one of my prized possessions. So I absolutely understood your love for greenery and making a new city green, or the distress at the unnecessary felling of the neem trees in Calcutta and Myshkin’s grief for it was he who had planted the saplings as a young horticulturist.

The characters you create are always so memorable. In a very male household there are only two women – the ayah/cook Banno Didi and Gayatri—who “typically” do not have much of a say in what is happening but the authorial eye gives sufficient clues to the existence of the women and it is not just the tantrums they throw. Or even the religious leader Mukti Devi, head of the Muntazi Seva Gahar, Society for Indian Patriots, whose image in the reader’s mind is created by Nek Chand’s accounts of her. Later even Myshkin’s surprise and then cruel assertion with his stepmother to lord it over in the manner he has seen his father behave, brings into play the sense of patriarchal entitlement men seem to have – even the best of them.  This is exactly why I was so surprised to read the exchange of letters, of which only one set remain, but that is enough to give a great insight into the free spirit Gayatari was. There are so many women in this novel, some prominent (Gayatri, Lisa, Lipi, Banno, Beryl), some absolutely silent (Kadambri, Queen Fatima and Lucille) and others with walk-on parts (Ila’s daughter, Gayatri’s mum, Ni Wayan Arini and many of those in Indonesia). The little interlude with the story of Amrita from Maitreyi Devi’s novel is fantastic too.

The first half of the book is full of men but in the second half the women take over the narrative. You suddenly make visible that is mostly invisible to most eyes, especially male eyes, of the myriad ways in which women manage the daily rhythms of life. It is not just the concerns Gayatri has for her family and mentions it often to Lisa but also the management of it long distance by persuading Lisa to keep a kindly eye on the grandfather and Myshkin. And yet, it is very liberating to see how you make visible the thoughts of the women, their innermost thoughts, their experiences that are usually never made public. Lipi is the only one who upset at her husband’s high-handedness of sending her home instead of allowing her to sit through the musical concert because of her toddler Ila prompts Lipi to create a massive bonfire. She is very direct in her response; almost earthy.

You weave these intricate webs but ever so slightly shift perspectives too. Little Myshkin observes everything, perhaps not always quite understanding it, and yet he absorbs. It becomes a part of who he is and it is best expressed in his writing and later the paintings he draws as an old man. What I truly loved about the novel was how at the beginning the women and men were operating as expected in their socially defined gendered roles despite the magnificent opening line. The prose moves as one would want of a well-structured novel. It lulls one into expecting a good old fashioned story with a few unpredictable twists. Then come the disruptions not just to the domestic setup but also to the prose, the letters make their presence felt and force the reader to engage with the female mind set, even the “common or garden species of readers” is forced to be involved! You reserve many of the tiny details that really evoke the period in the women’s correspondence; later this fine eye for the “thingyness of things” is visible when old Myshkin begins to paint with as much care and attention to detail as his mother may have done.

At another level I felt that Gayatri was trapped yet the manner in which she comes free and you express it so well by changing the text form too. From the “rigidity” of long prose — since it does have a bunch of rules governing it — to the free flowing style of letters. It is not just the breaking of shackles of the form to express herself to Lisa but also the manner in which Gayatri writes. There is a sense of freedom. The correspondence is so much like the intimate conversations women have with each other, whether strangers or friends. They immediately lapse into it.

For someone so one with the elements as Gayatri seems to have been it is does not seem to be out of order to have her engulfed in so many charming stories beginning with Beryl’s own life or her narration of man-woman Aisha, or even Walter Spies himself. The freedom with which they lived; possibly Bohemian but undeniably a very talented group of individuals. Everyone had tremendous “backstories”, some dastardly, all possibly true, and yet their zest for life to explore more and more was so in keeping with character. Through these experiences she meets or hears about different forms of sexualities that exist; Gayatri accepts all these stories and never judges, instead wonders “There must have been a time when love did not have moral guardians saying you may do this but not that – this is how it is in Bali now & how it was in our country hundreds of years ago”.

The parallels that you draw tell another narrative too. For example, referring to Gayatri as “The Indian Painter” and recounting the Amrita story in Maitreyi Devi’s novel is so deftly done as if to silence critics who may be prompted to say that feisty, independent, strong-willed, headstrong women like Gayatri who is “glad to have time to work” could not possibly have existed in British India. The political-historical parallels are unmistakable as well with Arjun’s desire for the country to be governed by a “benign dictatorship” followed by Nek Chand sighing about his students who were locked up for sedition “We are fugitives in our own land.” Gayatri’s statement “I am finding out how limited my world was” seems to resonate at many levels for this story and modern India. Gayatri is ever so magical in the manner in which you create her. She comes across as a modern woman but caught in the wrong time. Sadly though how many women living today can still express themselves or be so confident as to take charge of their own lives as Gayatri did?

The title of the book + the epigraph taken from Tobias Wolff “This is a book of memory, and memory has its own story to tell”, only coalesce as significant once the book is finished. I loved the way in which you immerse the reader as if to exist within a Greek chorus, a multitude of voices, giving their often unasked-for opinions, and yet doing a fantastic job of recreating a moment or a “truth” within a community. The vagueness of the town adds to the blurriness of incidents happening in the past. I do not know how to explain it to say that the story exists in the past sufficiently and in the memory of Myshkin to be real and yet, a little hazy. Loss of the finer details are immaterial as long as the period is evoked; and even the importance of that fades away as the story progresses. And yet reading my response to your book I realise this story will trigger many memories for many readers for you tease out the floodgates of memory ever so gently and politely. It worked for me. It is a powerful book.

Yours,

JAYA

Anuradha Roy All The Lives We Never Lived Hachette India, Gurugram, India, 2018. Hb. pp. 334. Rs 599 

27 May 2018