Hachette India Posts

Neil Gaiman, “The View from the Cheap Seats: Selected Non-Fiction”

Neil Gaiman is the superstar of storytellers and one of the leading influencers on social media with his strongly voiced opinons. He is incredibly generous while sharing his knowledge, he has bundles of energy, oozes with charisma and can pack quite a powerful punch while speaking his mind. He comes across as straightforward and can be blunt when he wants as in the essays — “Why our future depends on libraries, reading and daydreaming: The Reading Agency Lecture, 2013” or “The PEN Awards and Charlie Hebdo ” ( 2015). He is charming in his hero-worship when he writes about meeting legends such as Fritz Leiber and magnanimous with his compliments such as on illustrator Charles Vess with whom he often collaborates. Gaiman is passionate about his love for reading, letting the imagination roar and creativity blossom as evident in the innumerable speeches he has delivered. One of them being “Good Comics and Tulips: A Speech”or after his visit to a Syrian refugee camp, Azraq refugee camp, Jordan — “So Many Ways to Die in Syria Now: May 2014”. Here is a typical Gaiman straight-from-the-heart observation:

I realise I have stopped thinking about political divides, about freedom fighters or terrorists, about dictators and armies. I am thinking only of the fragility of civilisation. The lives the refugees had were our lives: they owned corner shops and sold cars, they farmed or worked in factories or owned factories or sold insurance. None of them expected to be running for their lives, leaving everything they had because they had nothing to come back to, making smuggled border crossings, walking past the dismembered corpses of other people who had tried to make the crossing but had been caught or been betrayed. ( p.506) 

Most of the essays and speeches collected in this volume have gone viral on the Internet recently. They have developed a life of their own for the ideas they spawned. As Gaiman says in “Credo”, “I believe that it is difficult to kill an idea because ideas are invisible and contagious, and they move fast. He also firmly believes that “Literature does not occur in a vaccuum. It cannot be a monologue. It has to be a conversation, and new people, new readers, need to be brought into the conversation too.” The title essay refers to his appearance at the Oscar ceremony when the film adaptation of his book Coraline had been nominated and he walked the red carpet but was given a seat in one of the top balconies.

The articles included in this collection may over a period of time vanish from their original place of publication in cyberspace or disappear behind pay walls as business models of media websites evolve. This is an anthology that is must have that will constantly be read and re-read for its thought-provoking ideas, its analysis of the changing game of publishing, the relationship between writer and readers but most importantly it will be remembered for Gaiman’s fervour in infecting others with his passion for reading and allowing the imagination to run wild.

Buy it. Treasure it. Preserve it. Share it widely. Pass it on to the next generation.

Neil Gaiman The View from the Cheap Seats: Selected Non-Fiction Headline Publishing Group, London, 2016. Pb. pp. 532 . Rs 599

Hachette India distributes it in India, Bangladesh, Nepal, Bhutan, Sri Lanka and Pakistan. 

19 June 2016

Mary Beard, “SPQR: A History of Ancient Rome”


I have spent a good deal of the past fifty years of my life with these ‘first millennium Romans’. I have learnt their languages as well as I can. I have read a good deal of the literature they have left us ( no one has read it all), and I have studied some of the hundreds of thousands of books and papers written over the centuries about them, from Machiavelli and Gibbon to Gore Vidal and beyond. I have tried to decipher the words they carved into stone, and I have dug them up, quite literally, on wet, windy and unglamourous archaeological sites in Roman Britain. And I have wondered for a long time about how best to tell Rome’s story and to explain why I think it matters. … .

I no longer think, as I once naively did, that we have much to learn directly from the Romans — or, for that matter, from the ancient Greeks, or from any other ancient civilisation. We do not need to read of the difficulties of the Roman legions in Mesopotamia or against the Parthians to understand why modern military interventions in western Asia might be ill advised. … .

But I am more and more convinced that we have an enormous amount to learn — as much about ourselves as about the past — by engaging with the history of the Romans, their poetry and prose, their controversies and arguments. Western culture has a varied inheritance. Happily, we are not the heirs of the classical past alone. Nevertheless, since the Renaissance at least, many of our fundamental assumptions about power, citizenship, responsibility, political violence, empire, luxury and beauty have been formed, and tested, in dialogue with the Romans and their writing. 

We do not want to follow Cicero’s example, but this clash with the bankrupt aristocrat, or popular revolutionary, with which I started this book still underlies our views of the rights of the citizen and still provides a language for political dissent: “Quo usque tandem abutere, Catilina, patientia nostra?’ The idea of ‘desolation’ masquerading as ‘peace’, as Tacitus put into the mouths of Rome’s British enemies, still echoes in modern critiques of imperialism. And the lurid voices that are attributed to the most memorable Roman emperors have always raised the question of where autocratic excess ends and a reign of terror begins. 

(Mary Beard, SPQR, p. 534-6)

SPQR: A History of Ancient Rome by Mary Beard takes its title from a famous Roman Romecatchphrase, Senatus PopulusQue Romanus, ‘The Senate and People of SPQRRome’. For a scholar who has lived with her subject for nearly half a century to produce a clean narrative and create a thoroughly readable book, not packing it with jargon is indeed very commendable. As she says in the opening pages of the book her intention is to write a story that “has to be a bold work of reconstruction, which must squeeze individual pieces of evidence — a single fragment of pottery, or a few letters inscribed on stone”. What is truly incredible with crystal clear clarity she make innumerable connections with the literature (written material, myths and oral legends) left by the Romans to the evidence found at archaeological sites and linking it to contemporary politics. Not for a moment does it become dull. One of my favourite examples is how she analyses the founding myth or legend of Rome to the legend of Romulus and Remus, linking it to Cicero, and interestingly enough to Benito Mussolini. Apparently the nurturing wolf was an addition made in the fifteenth century explicitly to capture the founding myth Wolf and baby twinsand baby twins. But copies of the famous image are found all over the world thanks to Mussolini who distributed them far and wide as a symbol of Romanita. Later she adds that Livy was one of the Roman sceptics who tried to rationalise this particularly implausible aspect of the tale. “The Latin word for ‘wolf’ ( lupa) was also used as a colloquial term for ‘prostitute’ ( lupanare was one standard term for ‘brothel’). Could it be that a local whore rather than a local wild beast had found and tended the twins?” ( p.59) Similarly throughout the book there are many more examples of such absorbing detail. Whether it be about marriage, politics, elections, citizenship, status of women, adoption, warfare, military, trade, migration etc.

For those in Italy and Britain who live surrounded by Roman ruins and have constant engagement with Roman history this book must be utterly fascinating. Mary Beard has a wonderful agreeable style of writing that makes the history of ancient Rome accessible to everyone. It is not a prerequisite that a fair understanding of the history is required. And yet she has packed SPQR with a detailed bibliography, a timeline, an index and plenty of illustrations/photographs that it can work for the lay reader or the scholar.

In India most Indians go about their daily lives doing exactly what this book is spelling out — talking about the huge impact mythology and ancient literature has had through the ages and in modern times. Indians do it all the time with their oral traditions, myths, folklore and ancient texts. A testimony to this is the immensely successful commercial fiction. It is a fine art by contemporary storytellers to create fantastical stories that blend the modern with the ancient and myth with history. Since these writers are not historians like Mary Beard they take full advantage of their creative license to spin imaginative yarns. Whereas Mary Beard points out in the utterly fascinating SPQR that there is sufficient empirical evidence at ancient Roman archaeological sites whether in Italy or abroad to prove much of the written records inherited over two millennia is more or less authentic.

SPQR has been on the list for many literary prizes including the inaugural British Book Industry Awards, in the adult category for the 10th IBW Book Award and a finalist for the National Book Critics Circle — deservedly so!

Mary Beard SPQR: A History of Ancient Rome Profile Books, London, 2015. Hb. pp. 600 Rs 2250 ( Distributed in India by Hachette India) 

5 April 2016

 

 

 

 

 

Ratan Kumar Sambharia, “Thunderstorm”

ThunderstormThe process of translating the literature of the Dalits, among India’s most oppressed classes, brings one face-to-face with the bitter realities of our society. …The situation changed significantly with the advent of printing technology. Books became available to every Indian, irrespective of caste and creed. As a result, a number of important voices began to find a wider audience. While social reformers like Jyoti Ba Phule, Mahatma Gandhi and Dr B.R. Ambedkar brought to the fore the injustices inherent in a social order designed to perpetuate caste-based exploitation, the freedom movement, launched to liberate the country from its British colonial rulers, played a vital role in the social awakening of communities that had, so far, been denigrated as the lower classes. These simultaneous developments would go a long way in contributing to the creation of a specific literary genre that eventually came to be identified as Dalit literature — the literature of the oppressed. 

( p. ix “A Note from the Translator”)

Ratan Kumar Sambharia Thunderstorm: Dalit Stories ( Translated by Mridul Bhasin) Hachette India, Gurgaon, India, 2015. Pb. pp. 246 Rs350 

World Wildlife Day, 3 March 2016 / Some books

On 20 December 2013, at its 68th session, the United Nations General Assembly (UNGA) decided to proclaim 3 March, the day of the adoption of the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES), as World Wildlife Day. In its resolution,[2] the General Assembly reaffirmed the intrinsic value of wildlife and its various contributions, including ecological, genetic, social, economic, scientific, educational, cultural, recreational and aesthetic, to sustainable development and human well-being.

Winged Fire -Photo Credit Dhritiman Mukherjee

Winged Fire -Photo Credit Dhritiman Mukherjee

Winged Fire -Photo Credit Nirav Bhatt

Winged Fire -Photo Credit Nirav Bhatt

To commemorate this day, I am posting pictures of some of the wildlife books that I have enjoyed. The absolutely scrumptious trilogy published by renowned wildlife conservationist Valmik Thapar lead the list. The books are– Tiger FireWild Fire and Winged Fire. These are a “must have” not only for the stupendous production, quality of photographs but also for the amount of research that has been presented. It is probably the first time such an ambitious task has been undertaken in India wherein an extensive selection of historical accounts in writing and paintings, brilliant photographs with never before seen images of wildlife ( much like the pioneering work done by Jacques Cousteau’s photo-documentation of ocean life) and an overview of the conservation efforts made by governments with an informed and critical understanding by Valmik Thapar.

Winged Fire -Photo Credit Arpit Deomurary

Winged Fire -Photo Credit Arpit Deomurary

 

 

Jim Corbett

Jim Corbett 2

 

 

 

 

 

 

 

Speaking Tiger too has republished a couple of books by Jim Corbett.

Last year Hachette India published Vivek Menon’s IMG_20160303_103545incredibly detailed guide to Indian Mammals which even game wardens consider as their Bible! A fact we discovered while on a trip to a wildlife sanctuary last year. It was being sold at the entrance of the park and the guides were encouraging the tourists to buy it for its authentic and accurate information.

There are also a bunch of books for children discussing wildlife conservation by not demonising the unknown, instead respecting other species and learning to live in harmony. ( Finally!) We need many more books like these given how there are hunts organised as new tourism packages. I am posting pictures of a few examples from National Book Trust ( NBT) and Puffin but there are many more available in the market now.

Arefa Tehsin

IMG_20160303_103608

 

 

 

 

 

 

 

 

3 March 2016 

Press Release: HACHETTE INDIA TO RELEASE HARRY POTTER AND THE CURSED CHILD PARTS I & II SCRIPT BOOK

HachetteHACHETTE INDIA TO RELEASE

HARRY POTTER AND THE CURSED CHILD

PARTS I & II SCRIPT BOOK

 

Little, Brown Book Group announces today that they will publish the script book Harry Harry PotterPotter and the Cursed Child Parts I & II, an original new story by J.K. Rowling, Jack Thorne and John Tiffany, a new play by Jack Thorne written to be enjoyed on stage. The Special Rehearsal Edition of the script book (hardback, £20) will be published at 00.01 on 31st July 2016, following the play’s opening on 30th July, bringing the eighth Harry Potter story to a wider, global audience. The script eBook will be published simultaneously with the print editions by Pottermore, in collaboration with Little, Brown Book Group in the UK, and Scholastic in the US and Canada.

David Shelley, CEO of Little, Brown Book Group said: ‘We are so thrilled to be publishing the script of Harry Potter and the Cursed Child. J.K. Rowling and her team have received a huge number of appeals from fans who can’t be in London to see the play and who would like to read the play in book format – and so we are absolutely delighted to be able to make it available for them.’

About the book/play:

The eighth story. Nineteen years later.

Based on an original new story by J.K. Rowling, Jack Thorne and John Tiffany, Harry Potter and the Cursed Child, a new play by Jack Thorne, is the first official Harry Potter story to be presented on stage. It will receive its world premiere in London’s West End on 30th July 2016.

It was always difficult being Harry Potter and it isn’t much easier now that he is an overworked employee of the Ministry of Magic, a husband, and father of three school-age children.

While Harry grapples with a past that refuses to stay where it belongs, his youngest son Albus must struggle with the weight of a family legacy he never wanted. As past and present fuse ominously, both father and son learn the uncomfortable truth: sometimes darkness comes from unexpected places.

 

  1. The Special Rehearsal Edition of the Harry Potter and the Cursed Child script book will comprise the version of the play script early in the production’s preview period, several weeks prior to the opening performances. The preview process allows the creative team to rehearse changes and/or to explore specific scenes further, in front of a live audience, before the official opening performances on Saturday 30th July. As such the script is subject to change after the Special Rehearsal Edition is published, which is why this edition will only be available for a limited time, to be replaced by the Definitive Collector’s Edition at a later date. More details about the Definitive Collector’s Edition will be announced in due course.

 

  1. J. K. Rowling is the author of the bestselling Harry Potter series of seven books, published between 1997 and 2007, which have sold over 450 million copies worldwide, are distributed in more than 200 territories and translated into 79 languages, and have been turned into eight blockbuster films.

She has written three companion volumes in aid of charity: Quidditch Through the Ages and Fantastic Beasts and Where to Find Them in aid of Comic Relief; and The Tales of Beedle the Bard in aid of her children’s charity Lumos.

In 2012, J.K. Rowling’s digital entertainment and e-commerce company Pottermore was launched, where fans can enjoy her new writing and immerse themselves deeper in the wizarding world.

Her first novel for adult readers, The Casual Vacancy, was published in September 2012 and adapted for TV by the BBC in 2015.  Her crime novels, written under the pseudonym Robert Galbraith, were published in 2013 (The Cuckoo’s Calling), 2014 (The Silkworm) and 2015 (Career of Evil), and are to be adapted for a major new television series for BBC One, produced by Brontë Film and Television.

J.K. Rowling’s 2008 Harvard commencement speech was published in 2015 as an illustrated book, Very Good Lives: The Fringe Benefits of Failure and the Importance of Imagination, and sold in aid of her charity Lumos and university–wide financial aid at Harvard.

In addition to J.K. Rowling’s collaboration on Harry Potter and the Cursed Child Parts I & II, an original new story by J.K. Rowling, Jack Thorne and John Tiffany, a new play by Jack Thorne, she is also making her screenwriting debut with the film Fantastic Beasts and Where to Find Them, a further extension of the wizarding world, due for release in November 2016.

Avanija Sundaramurti, Head of Marketing: avanija.sundaramurti@hachetteindia.com

Nupur Kumar, Marketing Executive: Nupur.kumar@hachetteindia.com

Shobhita Narayan, Marketing Executive: Shobhita.narayan@hachetteindia.com

10 February 2016

Saikat Majumdar, “The Firebird”

LR

LR

(Saikat Majumdar’s second novel, The Firebird, was published recently by Hachette India. I enjoyed reading it. Saikat and I exchanged a few emails. With the author’s permission, I am publishing an extract from the correspondence.) 

Dear Saikat,

I realised in my mail of the morning I did not specify how much I enjoyed reading your novel. I liked it for the sparing use of words but just enough to keep the story moving on. Yet it was packed with sufficient information to create an atmosphere. I would be careful not to use the word ‘detail’, since it does not have much, only that which is required. The story is evocative. And for many of us who may not have lived in Calcutta but were familiar with the Naxal movement and rise of the Communist Party, it does bring memories of stories conveyed by eyewitnesses. I particularly liked the way you wove in a decaying theatre with the determination of a young actress to work. Obviously given the set up at home there was no crying urgency for her to step out. Women were looked after. But I liked the steely resolve of this woman to step out every evening to perform, irrespective of the comments made at home, snide remarks directed at her in public and later the interference of the party members. She was trying to do the balancing act with no help from her husband. He really comes across as a weak man. In the slim novel, you take one through a range of conflicting emotions. I was not even very sure at the end whether to feel sorry or plain angry at the madman who strangled the young girl. I did feel very sad for the young girl and empathised with the young man when he left his mother’s apartment, years later. As for the father and aunt, no chance. Painful creatures.

It is a sad, sad novel with a claustrophobic air to it. But it gets the spirit of Calcutta and Bengali families ever so well. While reading it, my senses were tickled. I could get the smell and visualise much of Calcutta, even though it was not etched in as many words by you.

And yet, it is a wonderful story. Memorable.

One day, you must tell me more about it. How did you begin to write it? What inspired it? 8 years is a long time to spend writing it. Did it involve a lot of research?

I hope it sells well.

Warmly,

JAYA

Dear Jaya,

Thank you so much for your lovely words on The Firebird! It means the world to me! I wrote it after having done a novel and a book of criticism, as it were, getting the ‘firsts’ out of the way, after which I felt ready to write the ‘first’ real book! It sounds strange, but if you have read my first novel, Silverfish, you will perhaps know what I mean. I’m happy I wrote Silverfish and yet it obviously feels like a first novel now, and no, not one of the magical first novels that some writers produce either!

It took me about five and a half years to write this novel. I started this in August 2010, after abandoning about 80 or so pages of a novel that I realized was not going to work. Also, this was the period when I wrote most of Prose of the World, my book of criticism, so my attention was somewhat divided, especially during the early part of this period.

I think the most important that happened between my first and second novels is that I learnt, or rather unlearnt, the shadow of the intellectual, the metafictional, all that clever stuff that stays with us from our engagement with much 20th century fiction. Silverfish was similar to The Firebird in setting and even time period, but for all its attempt to evoke the local, there was something ethnographic about it, which is why, I think, the emotions did not pack the punch they should have. This one came out more viscerally, with more raw, physical power, almost beyond my control. However,  I worked hard to get the ‘spareness’ that you point out so well. I’ve always been a descriptive writer, something of a sensualist, but in The Firebird I learnt to achieve effect with minimal words, a hard lesson for a writer who grew up on Joyce and Woolf. Sometimes the narrative instinct and the descriptive instinct, I think, work against each other – one moves through time and the other through space – and description can slow down narrative. One of the most satisfying things about this novel for me is narration and description seems to have found a mutual equilibrium, and one has not hindered the other. People seem to be taking from it what they like. While most say they are gripped by the narrative, there are also those who have told me that the larger arc of the narrative seems – happily – overwhelmed by the fragrance of Chinese food or the odour of rum with Coke, or the blistering dust of burgeoning suburbs, whatever, and they didn’t even care about the narrative at those points. Completely paradoxical reactions, but I’m happy that the novel has evoked both.

Warmly,

Saikat

31 August 2015

Saikat Majumdar The Firebird Hachette India, Gurgaon, India, 2015. Hb. 

Anuradha Roy, “Sleeping on Jupiter”

Anuradha RoyAfter I had finished reading Anuradha Roy’s third novel, Sleeping on Jupiter, I wrote her an email. With the author’s permission I am publishing an extract from our correspondence. 

Dear Anuradha,

I am stunned by your book on many accounts. Primarily because I did not expect this after the first two novels. You caught me off guard. It is a sobering lesson on respecting a writer’s evolution and not necessarily expecting the author to be predictable. Unfortunately given the way publishing is working these days, if an author has been successful with a certain style of writing, not necessarily formulaic, it is assumed the person will continue in a similar vein.

Claire Armitstead, books editor of the Guardian, talking about Sleeping on Jupiter with Anuradha Roy at Asia House, London, April 2015.

Claire Armitstead, books editor of the Guardian, talking about Sleeping on Jupiter with Anuradha Roy at Asia House, London, April 2015.

You took my breath away with this novel. I think it was the violence depicted in the story that rattled me. I know you are a brilliant novelist but I seriously did not expect this from you. It requires great deal of reserves to come up with such a story, detailing the violence, rape, brutality, lynching, hitting the dog etc. You have a wide range of depraved human behaviour depicted in the supposedly peaceful, religious, sleepy town of Jarmuli. It is probably not only the real and physical violence that is chilling but also the pain evident in the conversation of the three women pilgrims from Calcutta — typical women who are old friends feel they can get away by saying anything, sharing secrets, but are very barbed hurtful remarks; the son ( Suraj) not paying heed to his chattering mother, so taken off guard when he spots the elderly women in Jarmuli;  the violence that faithful experience such as the pilgrim rolling on the temple floor leaving bits of pink flesh on the stone; the sad, sad sub-plot of Badal and Raghu — it stung when

Raghu gave Badal a twisted smile and said, “So, that’s how things are, is it? You don’t say!” (p.201)

Even the experience of the girls at the ashram, the Guruji, the adoption process requires immense strength on your part to observe, assimilate and write as you have done. The power of your writing lies in its details. After I had finished reading the book, certain locations such as the layout of the ashram, the hotel room, the tea shack, the beach, the train compartment etc were crystal clear in my head. I kept thinking, this is exactly what Ibsen set out to achieve in 19C theatre, Anuradha has done it with words and the relationship an author develops with the reader. It is a feat not easily achieved. How did you do it? The only explanation I find lies in the tautness of your writing, not a single word out of place, yet it is the display of a master craftsman — the exquisiteness with which you find appropriate words; the sentences and paragraphs befit the emotion, setting, pace of novel and personality of characters; the structure of the novel too is fascinating — with the first five days of journey + being in Jarmuli being 2/3 of the novel, interspersed with the flashback technique and then rapidly you move to the eighteenth day. In a way I keep feeling the novel is like an Aristotlean tragedy ending in catharsis for Nomi. It holds true even for Suraj, Nomi, Toppo, Badal etc.

I like the way you said in an interview you can only write once it is clearly visual in your head. “…made up places make me feel free to wander and in my head I can see every bend and building in Jarmuli”. ( All though I have no idea why the interviewer was being polite when referring to the rape scenes “loss of innocence”. It makes your novel sound so Victorian which is far from the truth!)

The link between materialism, religion and exploitation is so real, to place it in a made up place does not in any way mitigate the shocking reality. Godmen and their ashrams are mushrooming all over India like a bad rash. Frighteningly being endorsed by powers that be. There was a time when one heard of Osho, Waco, Aum Shinrikyo etc as stray cases but now with religious fundamentalism on the rise and religion continuing to be an opiate of the masses, exploitation cannot be far behind. Hats off to you for not describing the “faith” Guruji ascribes to. Making him so “universal”, the character can be true to any ideology.

Given the wide variety of literature (printed and digital formats) being produced on women and violence, this particular novel shines. I am very glad you wrote it, however hard it may have been on you. It is a novel that has to be read at one go, otherwise the horror depicted will be so overwhelming it would be easier to abandon the book than persist in reading it.

There is a quiet strength and determination in your writing that is admirable. It is as if the ills evident in society are not being addressed sufficiently. Instead you have converted the pent up anger in you to constructively portray it in fiction. Hopefully this magnificently disturbing storytelling will have the desired effect.

Oh, this is a book I am going to recommend for a long time to come.

Thank you for writing it.

With warm wishes,

JAYA

7 May 2015 

Anuradha Roy Sleeping on Jupiter Hachette India, Gurgaon, India. Hb. pp.260 Rs 499

Rabih Alameddine, ” An Unnecessary Woman”

An Unnecessary WomanWhen I read a book, I try my best, not always successfully, to let the wall crumble just a bit, the barricade that separates me from the book. I try to be involved. (p.100)

Mine are translations of translations, which by definition means that they are less faithful to the original. (p.104)

I understood from the beginning what what I do isn’t publishable. There’s never been a market for it, and I doubt there ever will be. Literature in the Arab world, in and of itself, isn’t sought after. Literature in translation? Translation of a translation? Why bother? (p.107)

Rabih Alameddine’s novel, An Unnecessary Woman is primarily about translator Aaliya Saleh. She lives alone in her apartment in Beirut, quietly translating novels from English and French into Arabic, only for her pleasure. Once done, she puts the manuscript in to a crate, seals it and pastes the English and French editions on either side of the box, lest she forget the contents of the box. In this manner she has translated thirty-seven books over a period of fifty years. It is an eclectic collection of books, consisting of Tolstoy’s Anna Karenina, Danilo Kis’s The Encyclopedia of the Dead, and W.G.Sebald’s Austerlitz and is contemplating whether to translate Roberto Bolano’s unfinished novel 2666 but is “nurturing doubts”. Divorced at a very young age, Aaliya continues to live in the apartment that her ex-husband and she had rented. It is mostly to the generosity of her landlady, Fadia, that Aaliya has been able to live peacefully, despite Aaliya’s mother and brothers clamouring for it. They are unable to understand why a single woman needs so much space to herself, little realising it is stocked with books.

The story of An Unnecessary Woman may revolve around Aaliya Saleh, but it seems to be equally about the women in her building — Fadia, Marie-Therese and Joumana; her mother; her niece, and Hannah — the woman who nearly became Aaliya’s sister-in-law, instead with the untimely death of her brother-in-law, Hannah became the daughter “their” mother-in-law never had! All these women come across as strong, colourful, lively, outspoken and determined women but remain “unnecessary women” to the people in their families, usually it is because these women do not seem to conform to rules set by society. In short, they are independent. At the same time, the plot of An Unnecessary Woman is a brilliant excuse to write an ode to literature. Rabih Alameddine does it well. Hence it is not surprising earlier this week, the novel was longlisted for the 2015 PEN Literary Awards in America.

Read it.

Rabih Alameddine An Unnecessary Woman Corsair Press, an imprint of Little, Brown Book Group, London, 2014. Pb. pp. 300. Rs. 399 ( Distributed in India by Hachette India) 

20 March 2015

Literati – Kids and reading ( 1 February 2015)

Jaya Bhattacharji RoseMy monthly column, Literati, in the Hindu Literary Review was published online ( 31 January 2015) and will be in print ( 1 February 2015). Here is the url http://www.thehindu.com/books/literary-review/literati-a-look-at-the-world-of-books-publishing-and-writers/article6842119.ece. I am also c&p the text below. )

One day a mother asked me how she could get her sons to read. I wondered if the children were off picture and pop-up books too. The mother said, “They are too old for pop-up books! They are in kindergarten.”

In January, Scholastic Inc. published Kids & Family Reading Report (Fifth edition) based on a survey conducted in the US.., but some of the results are valid worldwide. Reading out aloud to children regularly kindles an interest in books, unleashes their imagination, makes them curious and introduces them to a variety of cultural indicators. Children aged six and above began to show signs of easing away from reading for pleasure. A possible reason is that adults want the children to be “independent readers” and so stop reading out aloud. Eighty-three per cent of children across age groups say they love(d) or like(d) being read to a lot — the main reason being it was a special time with parents. With an older age group of children (ages 12-17) who are frequent readers, it was noticed that they read a book of choice independently in school, relied upon e-reading experiences, had access to a large home library, were aware of their reading level and had parents involved in their reading habits.

Ninety-one percent of children aged 6-17 say, “my favourite books are the ones that I have picked out myself.” The majority of kids aged 6-17 (70 per cent) say they want books that “make me laugh.” Kids also want books that “let me use my imagination” (54 per cent), “tell a made-up story” (48 per cent), “have characters I wish I could be like because they’re smart, strong or brave” (43 per cent), “teach me something new” (43 per cent) and “have a mystery or a problem to solve” (41 per cent). While the percentage of children who have read an e-book has increased across all age groups since 2010 (25 vs. 61 per cent), the majority of children who have read an e-book say most of the books they read are in print (77 per cent). Nearly two-thirds of children (65 per cent) — up from 2012 (60 per cent) — agree that they’ll always want to read books in print even though there are e-books available. Heartening news for publishers!

At Digital Book World Conference 2015 (January 13-15, 2015), New York, Linda Zecher, CEO, Houghton Mifflin, said, “You can’t serve content to children, you have to curate.” Mixing a variety of books for younger readers is important — picture books, pop-up books or even explosive pop-up books and poetry. Sudeshna Shome Ghosh, Editorial Director, Red Turtle, says, “With simple words that may have repetitions or rhymes and pictures, these books are easy to reread and even remember by heart. Even as a child grows older, trickier concepts are easier introduced through picture books (where do babies come from, how people/things are same and different, concepts of diversity, human emotions etc.)”. Imprints that specialise in graded reading are Puffin India, Hole Books/Duckbill Books, Read it yourself with Ladybird, Banana Storybooks/Egmont Publishing, Usborne Young reading, Let’s read!/Macmillan, I Can Read!/Harper, Step into Reading/Random House, and Scholastic Reader.

In India, children are fortunate to be exposed to a multi-lingual environment. It is not always easy to locate a single publishing list that will whet all appetites. Instead it has to be “curated” from the moment infants are given cloth and board books and flash cards. Some books for all ages that “work” splendidly are the late Bindia Thapar’s Ka Se Kapade Kaise (Tulika Books); Anushka Ravishankar, Sirish Rao and Durga Bai’s One, Two, Three! (Tara Books), Devdutt Pattanaik’s Pashu: Animal Tales from the Hindu Mythology, Puffin Books; H.S. Raza’s Bindu with Ritu Khoda and Vanita Pai (Scholastic India); What a song! A Bundelkhandi Folk Tale (Eklavya Publication); Rabindranath Tagore’s Clouds and Waves (Katha); Ruskin Bond’s Tigers for Dinner: Tall Tales (Red Turtle) and Nury Vittachi’s The Day it Rained Letters (Hachette India).

As adults we like books that have “pictures”. Few like to admit to the truth. So we disguise it with our preference for heavily illustrated books, photo books, coffee table books and to some extent graphic novels. So why is it with our children we are in a hurry for them to read books that border on the “educational”?

31 January 2015

Zafar Futehally ” The Song of the Magpie Robin – a memoir”

Zafar FutehallyZafar Futehally was a well-known birder, naturalist and writer. He was one of the pioneers of the conservation movement in India and was instrumental in making it an important middle class concern. For instance getting an advertisement for WWF in a popular magazine of those days.

We had no scruples in ‘using’ any of our friends to advance our work; Khushwant Singh was the editor of The Illustrated Weekly of India in those days, and he promised Shama a full-page advertisement for the WWF in the Weekly if she wrote a completely original article on sparrows. Shama wrote it, and we got our first big advertisement for the Indian appeal. It was designed by Alyque Padamsee, and showed a tiger with the caption ‘Born Free, Sentenced to Death’. ( p.138)

Zafar Futehally’s fascination for bird watching began when accompanied Salim Ali on his expeditions. There are some fabulous memories he recalls of those expeditions. This book was written in collaboration with Shanthi Chandola and Ashish Chandola. They persuaded Zafar Futehally to email them short articles/notes recalling his life, especially related to conservation. All though charmingly written and a little uneven, it is a valuable addition to the history of conservation in India. As George B. Schaller says in his foreword:

Wildlife was little studied or appreciated in India during the 1960s, other than along the sight of a gun. But Zafar already had a vision, as he expressed in 1969 in a keynote speech at the General Assembly of the International Union for Conservation of Nature ( IUCN) held in Delhi, an event I also attended. ‘What I came to do is to reflect the concern of the ordinary citizen about our deteriorating environment.’ And he turned this thought superbly into action. With tenacity and tact, he built bridges between organizations, nurturing their conservation efforts, whether it was promoting green areas in Bangalore ( now Bengaluru), establishing the Karnala Bird Sanctuary or other initiatives that revealed his deep concern and respect for the natural world. He knew that unrestricted development would deprive India of a healthy environment and a secure future, a message he delivered persistently and with the quiet authority of someone who was a high-ranking member of every major conservation organization in the country and a Founder of World Wildlife Fund ( WWF)-India. He,  more than anyone in India, helped forge awareness that the environment, with all its species of animals and plants, must be protected. That is his lasting legacy. ( p.xiii)

Zafar Futehally’s wife, Laeeq Futehally, was a notable writer about nature herself. She wrote many books, including co-authoring some with Salim Ali. But A Sahib’s Manual for the Mali of articles edited by her is an all-time favourite of mine. ( http://permanent-black.blogspot.in/2008/08/cricket-music-gardening-new-paperbacks.html )

Zafar Futehally The Song of the Magpie Robin: A Memoir Rainlight, Rupa, New Delhi, 2014. Hb. p.200 Rs. 500

Some of the other books and essays related to Nature that I came across in 2014 were:

1. George Schaller Deki, the Adventures of  a Dog and a Boy in Tibet A lovely, moving and brilliant story about a boy and his dog also an Dekiintroduction to the environment. It is scrumptiously illustrated by an artist from the Tibetan art collective, Gyurmey Dorjee. According to the publisher, Permanent Black, on their blog,

DEKI is a magical book that will have you instantly under its spell. It is a blend of great story-telling and acute observation of nature and animals. As you read it you travel the stark, barren plateau of Tibet and discover its animals, monasteries, birds, nomads. Thrilling chases and cliff-hanger moments decide the battle between good and evil as the book explores the question: freedom or security, which do you choose? ( http://permanent-black.blogspot.in/2014/05/the-story-of-book.html )

I agree. I read it slowly. Savoured it.

It has been jointly published by Black Kite and Hachette India.

Indian Mammals_bookcover_website2. Vivek Menon Indian Mammals: A Field Guide It is described a reference and exceptionally usable guide to the mammals of India. It is four-colour with more than 400 species of both land and water mammals.

3. George Monbiot’s essay “Back to Nature”. The first article in BBC Earth’s ‘A World of View’ series of essays by leading environmental authors. ( http://www.bbc.com/earth/bespoke/story/20141203-back-to-nature/index.html )wild_wisdom_quiz_book

4. The Wild Wisdom Quiz Book published by Puffin India and WWF India. It consists of questions, trivia and illustrations compiled from India’s only national level quiz on wildlife.

29 Dec 2014