At Jaipur Literature Festival 2019, I was in conversation with author Daman Singh about her novel Kitty’s War at Jaipur Literature Festival 2019. It is historical fiction set within a railway colony at the time of World War II. It is about the Anglo-Indian community told through the eyes and experiences of Katherine Riddle or Kitty, as she is more popularly referred to.
Kannan Sundaram, Publisher, Kalachuvadu, was invited by Neeta Gupta, Founder, Jaipur BookMark, to participate in the JBM Copyright Roundtable.T
It was held at Diggi Palace and the keynote was delivered by Michael Healy. The other participants were Aditi Maheshwari Goyal, Alind Maheshwari, Arpita Das, Claudia Kaiser, Kannan Sundaram, Maggie Doyle, Michael Healy, Phillipa McGuinness, Prashasti Rastogi, Safir Anand and Urvashi Butalia, moderated by Naveen Kishore.
The cue given to the panelists by JBM was: Copyright underpins everything we do as an industry and without it all opportunities quickly recede. The principle of copyright is threatened at a global level and to a degree we have never seen before. This is true in India as it is in many countries. This session is a call to publishers, literary agents, rights managers, lawyers, authors and international book fair organisers for the protection of copyright.
Kannan Sundaram gave a short speech putting forth the concept of nationalising prominent Indian writer’s works rather than restricting them to a copyright life arguing that this had been done for Tamil poet Subramania Bharathy. Whereas in the case of Bengali poet Rabindranath Tagore the copyright period had been extended by a decade so that Visva-Bharathi University, the main benefactors of Tagore’s literary estate could continue to earn royalities for a few more years.
Here is the complete text of Kannan’s speech delivered at Jaipur BookMark. It has been published with permission.
you JBM, Neeta Gupta for this opportunity to share my views.
will be making a few remarks on copyright issues in Indian languages in general
and Tamil in particular.
premise of this panel that copyright is facing a threat in contemporary times
is not entirely true of many Indian languages. I would not generalize the
publishing context of all Indian languages. Every Indian language publishing
has its own eco system. However, in most languages the adherence to copyright
has never been strong.
I know that Malayalam market is an exception. There could be other languages where copyright is adhered to but that is not the overall picture of Indian language publishing. In Tamil copyright has been an option not a rule. It may have been extended to popular authors, authors who would fight it out, but not to most authors who had no clear understanding of copyright acts. In Tamil publishing adherence to copyright regulations is improving only now. Writers are fighting back using social media and prime time debates in television on copyright are happening. And there are publishers who appear on TV and argue why they cannot pay royalty!
copy left is an idea and an aspiration for many in the world, in the state of
Tamil Nadu it has been practiced legally in some instances for some decades now.
This is a practice that is unique to the state of TN. So we have had an opportunity
to access copy left in practice.
over 60 years now the government of Tamil Nadu purchases copyright of an author
by paying a lump sum money to the copyright holder and then puts it out in the
public domain. This process is referred to as ‘nationalization’.
This practice was initiated after a
controversy surrounding the rights of our national poet Mahakavi Subramania
Bharathy. Responding to public demand that no one can own the rights of a poet
who was perceived as belonging to the people, first the Tamil Nadu government
bought the rights of Bharathy’s works in 1949. Then in the mid-fifties it was
nationalized, that is gifted to the people. (If you want read this story I
recommend the book ‘Who owns the Song?’
by A.R. Venkatachalapathy).
would like to quickly compare this to the story of a nationally treasured
writer Rabindranath Tagore. Visva-Bharathi University had an iron clad hold
over Tagore’s copyright through the term and then succeeded on extending
copyright for 10 years!
up on the new tradition established for Bharathy, various Tamil Nadu governments
over the years have nationalized the works of over 130 writers. It started as a
trickle and then became a sludge. When any of the governments in India decide
to patronize culture, it usually starts well but the rot quickly sets in and
then it typically goes to the dogs. What started as a process of national
honour to outstanding personalities of Tamil literature has now gotten
entangled in nepotism, patronage and corruption. I would not be able to
recognize the names of a quarter of the nationalized writers!
are the pros and cons of this nationalization process?
Tamil writers do not bother to assign copyright when they create a will for
their belongings and property. It not valued by them or their families since it
typically brings in little money. Therefore, posthumously it often becomes
complicated for any publisher that wants to publish them. Nationalising a
writer’s works clearly this all up nicely. The family gets some money and the
publishers are free to publish the works. This as far as I can see is the only
pro of this process. The honour is not there anymore since writers are
nationalized with little discrimination.
cons are many.
is a bestselling author, there is a price war between publishers undercutting
quality of the books published drastically.
the books of authors that have been nationalized remain out of print. This
obviously is because their works are not valued turning the process of
nationalizing their works irrelevant. Also if the author is a slow and steady
selling, thena publisher with exclusive rights might do limited editions but
when there exists the possibility that somebody else too might publish it and
eat into the limited market, then there is little initiative to publish it.
copyright goes, no one exerts moral rights of work. This may not be the legal
position but that is how it works in practice. This means publishers take
liberties with the text. They feel free to edit, delete, change, condense and
adapt the text in any way they like.
One publisher who publishes only nationalized books dedicates all the books to his mother. After sometime this publisher realized that the readers do not understand that he is dedicating all the books to his mother but wrongly assume that all writers are dedicating their books to their own mothers. So now the dedications are accompanied by photographs of his mother! A very commendable sentiment but ethics of it is debatable. Since no one can represent a nationalized book or can sign a contract, essentially any possibility of translation becomes very slim.
I interviewed the French Ambassador to India, Alexandre Ziegler, at the Jaipur Literature Festival 2019. The interview has been published in the online news portal Scroll. The text of the interview has been c&p below while the original url is here.
Alexandre Ziegler, the French Ambassador to India, was at the Jaipur Literature Festival this year to announce the winner of the 2019 Romain Rolland Book Prize. Recognising the best translation of a French title into any Indian language, including English, the Indo-French jury takes into account the quality of the translation and the publication itself while selecting the winner.
The award comes with an invitation to the Paris Book Fair 2019 in March for the publisher of the work and an invitation for the translator to attend a one-month residency in France.
This year, the longlist included essays as well as fiction and a very strong contribution from Indian languages apart from English, with four translations into Malayalam, two into Hindi, and one each into Tamil and Bengali. The winning title was The Life of an Unknown Man by Andrei Makine, published in France by Le Seuil, in India by Kalachuvadu, translated into Tamil by SR Kichenamourty.
The Romain Rolland Book Prize is just one of the actions of the French Institute in India to support translations of French books in India. It runs the Tagore Publication Assistance Programme and also launched a special training programme for translators this year. The first step was a one-day translation workshop focused on Indian regional languages, which took place on January 22 at the Centre for French and Francophone Studies, Jawaharlal Nehru University, and brought together more than 60 participants from various universities in Delhi. Ros Schwartz, the acclaimed translator, conducted the workshop. The long-term translation programme is part of the roadmap leading up to, on the one hand, the Paris Book Fair 2020, where India will be the focus country, and on the other, the New Delhi Book Fair 2022, where France will be the guest of honour.
Ziegler, who has been the Ambassador of France to India since 2016, spoke at the Jaipur Literature Festival about these initiatives. Edited excerpts:
Why was the Romain Rolland Prize instituted and what is its main focus? Does France have similar prizes in other countries too? The Romain Rolland Book Prize is a translation prize that aims to support publishers and translators involved in the translation of French titles into Indian languages. The purpose is to find the best book and to be able to negotiate for it on best possible terms while also promoting texts in translation. My feeling is that we speak about strategic and economic partnerships, of which both are growing well but we still have to invest more in culture.
In this age of machine translations, we often forget the human touch of a translator is critical. Translators are at the very core of the relationship between books and the world. What we have realised through our interventions is that it is not just texts in English and Hindi but we got very good texts from other languages like Bengali, Marathi, Tamil and Malayalam, too. It makes one realise that languages are very crucial to reaching out to other cultures, not necessarily in entire diversity of language. This is very reassuring for us.
The second Romain Rolland Book Prize is being awarded because of the quality of text. Creating the prize happened organically through the ongoing Tagore programme to recognise translations. We wanted to reinforce the initiative. As a result we are also co-organising a translations workshop with the Jawaharlal Nehru University. The first one happened in January with acclaimed translator Ros Schwartz.
France has an active book trade, bookstores and book fairs. How receptive are the French to literature from India? Recently you released Over & Underground, a joint production between French and Indian writers and illustrators. How successful are such literary experiments? Does the cross-pollination of such cultural experiences help foster bilateral relationships, not necessarily confined to the literary domain? Translation of the work of Indian authors in France has experienced several waves. Today there is a renewed interest among the French public for Indian authors. The dynamism of Indian publishing, its diversity and India’s international outreach have created a new curiosity for India and its authors and thinkers. The example of Over & Underground shows the combination of creativity between Indian and French authors, poets and illustrators. These co-publications need to be further encouraged and that is what we are working on.
Cross pollination of cultural experiences is exactly what we strive for to strengthen the ties between India and France. Books and other expressions of cultural diplomacy are a significant part of fostering bilateral relations.
What is the size of the French book market ? What are its characteristic features such as which genre sells the most, are print books preferred to ebooks, what is its growth rate etc? Is digital publishing making inroads with French readers? The French publishing market is worth 4 billion euros, 300 million of which is in e-books. Overall, the French reader prefers printed books but there is a real growth in e-books. For consumer books, it represents only 3% of the market but for the B2B and books on law or medicine, this market reaches 9% with an annual growth of 10%. The e-book is also directly linked to the presence or absence of bookstores. E-books sell better where bookstores are not available.
The time of traditional reading has decreased but a recent survey conducted in November 2018 shows that 69% of the French population is connected: they read online but not necessarily literature! Each day, the French spend an average of 33 minutes on a computer and 52 minutes on a mobile phone. Reading is therefore omnipresent on other platforms but basically there is an attachment to the printed book in France: an average 5000 copies are printed but real successes vary between 200,000 and 300,000 copies. This is the case of [Michel] Houellebecq’s latest book, which will reach 400,000 copies. The trend is also to publish more titles each year. The number of prints is hence lower today than it was ten years ago.
France is known for its robust independent booksellers. Globally independent bookstores are finding it difficult to thrive but not necessarily in France. It is a remarkable success story. Do you have any interesting case study/report to share about how these independent bookstores have managed to continue? There are about 1,000 independent bookstores in France. All those located in city centres are working well with an annual growth rate of 0.8%. This is a stable figure. Since 1981, the single price of the book has also allowed these bookstores to diversify. 37 countries, including 11 European countries, are currently applying the single price on books.
Recently the French Book Office (FBO) participated in the New Delhi World Book Fair (NDWBF). What was the response from the locals to your participation? Did the FBO gain significant learnings from its presence at the fair? The French Institute in India invited four publishers of children’s literature and social sciences, and organised four professional panels. The exchanges between Indian and French publishers were very constructive but the NDWBF is not the ideal place for professional meetings. On the other hand, the invitation of a French author whose work has been translated in India and invited for a dialogue with an Indian author would allow exchanges with a wider audience. But our four publishers were very satisfied with their discovery of the Indian market and the prospects for collaboration in social sciences and children’s literature.
In 2003 I attended the Salon de livre Jeunesse at the invitation of the French government. It was extraordinary to see the throngs of children attending the book fair and buying books. I would be curious to know if the children’s book fair continues to be as popular. If so what are the kinds of books for children and young adults that are trending in France? Would you consider collaborating on projects for children’s and young adult literature with Indian publishers? The Salon du livre et de la presse jeunesse in Montreuil attracts a large number of visitors each year. In 2018, for the 34th edition, there were no less than 179,000 visitors in 6 days, 4,000 more than in 2017. So I think we can say that children’s publishing is a booming sector in France. The dynamism of publishers and all those involved in books and reading contributes greatly to this success. Access to the fair was free for a good number of visitors and it is a real desire for cultural democratisation. As well as the multitude of actions that take place throughout the country and throughout the year around reading: meetings, workshops, debates, readings, competitions, prizes, etc.
Children’s literature in France is a market that knows how to renew itself, to question itself and, finally, to innovate. Thus, the early childhood segment develops real nuggets with sounds and materials to touch. The album is full of creativity with an incredible diversity of illustrators. The documentary is now close to coffee-table books by offering books that appeal to adults and children alike, whose aesthetics are so neat that it gives one pleasure to open and read them. As for fiction, from its first readings to “young adult” literature, publishers are increasingly perfecting their skills by offering books of high quality, covering all the themes that may interest young readers.
Would you consider instituting a prize similar to the Romain Rolland Book Prize for children’s literature as well? We are in fact planning to consider children’s books as potential winners of the Romain Rolland Prize. This will be discussed in Jaipur with the jury members.
How well are translations of world literature received in France? How have you fostered and continue to manage a cross-pollination of literary traditions in France and India? The French market is also influenced by Dan Brown and other Anglo-Saxon authors. But the phenomena of great success such as Elena Ferrante (Italian) or Arundhati Roy also shows that the French readership is open to world literature beyond Anglo-Saxons. This is why we believe that Indian authors have their rightful place in the French market.
Do you have any details that may be shared publicly of a road map planned for the 2020 Paris Book Fair where India is the guest of honour? What are the significant features of such an extraordinary event? We are hoping to select many writers including children’s and young adult writers, across genres, as well as initiating new translations. We do not want only established writers to be invited to the festival. We would prefer to have a range of outreach programmes too. For instance, conferences, debates, collaborations with libraries, bookstores, universities etc.
What are the events planned at the 2020 Paris Book Fair? Anything exciting that the Indian publishers and readers should be aware of? The Syndicat National de l’Edition and the National Book Trust have just signed the partnership agreement on 22 January 2019 for Livre Paris 2020. This book fair is a meeting place for the French public and Indian authors. We would like to organise panel discussions between French and Indian authors. For example we could have our two Nobel Prize winners in Economics enter into a dialogue. We also wish to encourage translation of Indian authors who have not yet been translated into French in order to introduce the French public to new young authors from all over the Indian Union. We also hope that this meeting will foster professional exchanges between Indian and French publishers. Several steps are planned. Pre-meetings in March 2019, a breakfast networking at Frankfurt between French and Indian publishers; invitation of French publishers to Jaipur 2020 and a professional training session on publishing that we would like to organise in India at the beginning of 2020. Not to mention the translation training programme that we recently launched with Jawaharlal Nehru University.
It is a keynote speech worth reading. Naveen Kishore is a publisher who is utterly brilliant but in this speech it is apparent he lives his craft. He plays with words. His theatre life where he specialised in controlling the lights has undoubtedly influenced his writing. To me the very act of writing for him is like a performance meant to enrich the experience not only for himself but for those who read/listen to him. So when he talks about the role of a publisher facilitating good writers to be heard while underplaying his own voice, I wonder. He definitely underplays it but is also very much in control. It is like the person in charge of lights in the theatre. Critical role. To give the desired effect, atmosphere, experience and impact of performance , the lights are crucial. Likewise with writing, writers, translators, publishers. It’s a creative act which is underpinned by many other considerations and this has to be recognized.
In January 2017, the Australian Council for the Arts will be leading a delegation of publishers to India. They will also be attending the Jaipur Literature Festival ( 18-22 Jan). A B2B roundtable has also been organised in New Delhi.
The delegates from Australia include:
1. Australia Council representative
Dr Wendy Were, Executive Director, Strategic Development and Advocacy
Australia Council for the Arts | www.australiacouncil.gov.au
One month before the 10th anniversary of South Asia’s largest and most renowned literary festival, Jaipur Literature Festival founder and co-director Namita Gokhale (with William Dalrymple) sat down with Jaya Bhattarcharji Rose to talk about her latest, and eighth novel Things to Leave Behind. It is a multi-generational story set between 1840-1912 in Nainital and Sat Tal, Kumaon, part of the Himalayas.
How did Things to Leave Behind come about?
A tangle of memories about a time I sensed and knew. I had accessed a rich treasure of information through Mountain Echoes, the book of oral biographies I had compiled and transcribed. Then there was Clever Wives and Happy Idiots, folktales that had been recorded in the memoirs of Russian spy and adventurer, Ivan Minayev, which we at Yatra Books [a Delhi-based publishing house specialising in translations where Gokhale works as director] published and I wrote the introduction to. I wanted to give voice to this, to record and to remember those days, those stories.
In your acknowledgements you mention how this novel was inspired by your grandfather’s text –The History of Kumaon?
I did not have the good fortune to meet Badri Dutt Pande but he was an inspirational figure, who helped rid Kumaon of the infamous British ‘begaari ‘ system of unpaid labour. His book The History of Kumaon, originally written in Hindi with the title Kumaon ka Itihas gave me deep insights into the past.
How much does family and memory, especially of the hills, play a role in your writing? How have those shaped the subjects you write about?
I grew up in a beautiful house called ‘Primrose’, which finds fleeting mention in the novel. Many of the stories and episodes have their source in family history, including the tale of the royal physician Jeevan Chandra Vaidya.
How is writing about the mountains a different experience from writing about anything else —for instance in the context of your other books like the very successful Paro and Priya.
Urban novels have a different edge to them. The city has a very different character and atmospherics from the mountains.
Why adopt the British Raj spelling when the story is told from an Indian perspective?
The story is told from several perspectives. The old ‘Raj’ spellings were in use and authentic to the times, so I used them, especially in the early parts. The language and spellings I employ become slowly ‘modern’ in the course of the narrative.
Your first book was commissioned by the legendary editor, Carmen Calil when she was at Chatto & Windus. This was at a time when it was not so easy to access London-based publishing firms. As a publisher and writer yourself what are the transformations you have seen evolve in publishing?
Publishing has changed in terms of markets. India has its own readers, writers and publishers, and this strong internal market is growing. We are the third largest English publishing market in the world, after the US and UK. My first novel struck a chord and succeeded. I was very young and I learnt a lot, including how to cope with subsequent failures.
Your fascination for literature is evident in the local publishing history of the late 19th century to the early 20th century that you blend into the story. Is this your fascination as an author or a publisher?
I am fascinated by the power of books and ideas, in transforming how every age views itself. I wanted to describe the books people were reading, disputing, talking about. My fascination was as a reader as well as a publisher.
How did the title Things to Leave Behind come about?
I had spent five weeks at the Bellagio Center [residency program] at Lake Como. I was working on In Search of Sita and also this novel. When I was to leave, I struggled with the packing and made out a list of Things to Leave Behind and realized that this was to be the title of my book.
Things to Leave Behind is a novel that is incredibly powerful in its syncretism. Although there is a thriving and lived caste system in the mountainous regions of Almora and Sat Tal a significant portion of your novel dwells upon the arrival of missionaries of different religions such as Swami Vivekananda and the Baptists. Yet you are able to show how people always find the breathing space to live life according to their terms. Were these manoeuvres by the characters an exciting challenge to write?
The story told itself, the characters made their choices and lived out the consequences. That’s all. There was a ferment of ideas; a conflict of identities, then as there is now.
You have painted an unsettling picture of the hierarchies of the caste system operating in the hills. Can you share a little more about this character – Jayesh Jonas – and where he came from? Do you feel things are different in these societies today?
The caste system was rigid and hierarchical in those times. It has changed, but the attitudes and prejudices cast a long shadow. I was a Pant [part of a compound of a North Indian surname of people with a Hindu Brahmin background] before marriage. Jayesh Jonas was based not as a character but in his situation on a branch of my paternal family tree (that had decided, in very different circumstances, to convert to Christianity).
How have these hills affected you as a writer?
I keep going back to that landscape because somewhere in my imagination it provides immense solace. But that’s not all I write or want to write. Let’s see where my muse guides me next.
What do you feel is the one myth about the hills that people have that you’d like to demystify through your work and writing?
I try always to demythify the false romanticism of the simple hill life. People are complex, complicated and cunning everywhere.
( My article on the preview for JLF 2017 was published on Bookwitty.com on 30 December 2016.)
The first time I attended the Jaipur Literature Festival (JLF) at Diggi Palace Grounds, Jaipur it was small enough so that once could drive the car straight up to the main steps of the building. Today, the parking is a fair distance from the palace and the only way to reach the venue is through multiple barricades and a screening counter. Once inside though, there is a wonderful, festive air with an explosion of colours in the décor, the happy buzz of excited people milling about and conversations streaming through various marquees. Termed one of the greatest literary events, it is also a free one. Since it began, the JLF has welcomed 846,000 visitors, 1874 speakers, conducted 1272 sessions and partnered with more than 1400 organisations.
The JLF is also crucial because it is situated in a geographical space that is at the heart of a significant book market. It is planned soon after the Christmas break and a few months after the Frankfurt Book Fair (FBF) so publishing professionals flying in from around the world can follow up on their FBF conversations and combine them with a holiday in India.
In January 2017, it will be the 10th anniversary of the Jaipur Literature Festival. The three directors since its inception are Sanjoy Roy, Namita Gokhale and William Dalrymple. The festival has evolved over the years to include different elements such as Jaipur BookMark – a B2B platform for publishers, a children’s section and a cultural event every evening. The Festival has expanded internationally to host annual events at London’s Southbank Centre (2014 onwards) and Boulder, Colorado (2015 onwards). In 2017 the Jaipur BookMark will launch a new scheme to support emerging writers and budding authors are invited to apply for a New Writers’ Mentorship Programme: The First Book Club.
The Festival has celebrated and hosted writers from across the globe, ranging from Nobel Laureates and Man Booker Prize winners to debut writers, including Amish Tripathi, Chimamanda Ngozi Adichie, Eleanor Catton, Hanif Kureishi, His Holiness the 14th Dalai Lama, Ian McEwan, JM Coetzee, Margaret Atwood, Mohammed Hanif, Oprah Winfrey, Orhan Pamuk, Pico Iyer, Salman Rushdie, Stephen Fry, Thomas Piketty, Vikram Seth and Wole Soyinka, as well as renowned Indian language writers such as Girish Karnad, Gulzar, Javed Akhtar, MT Vasudevan Nair, Uday Prakash, the late Mahasweta Devi and U.R. Ananthamurthy.
This January, the Jaipur Literature Festival expects to welcome over 250 authors, thinkers, politicians, journalists, and popular culture icons to Jaipur. Sanjoy Roy said “Our prime focus is on history of the world, given that it was the 70 years of India’s Independence [in 2016]. In a new collaboration with the British Library they have loaned us a version of the 1215 AD Magna Carta which will be on view at Diggi Palace. A series of sessions on freedom to dream will look at inspiration for the future. We have a new partnership with The Museum of Modern Art (MoMA) that will look at sessions on art and migration.”
Namita Gokhale added that at the JLF “We are always trying to listen in as many languages as possible. This time there will be speakers from all over Europe and more than 20 Indian regional languages will be showcased.”
Controversies and the JLF also seem to go hand in hand. In 2012 Hari Kunzru, Ruchir Joshi, Amitava Kumar and Jeet Thayil read out passages from Salman Rushdie’s banned book The Satanic Verses and had to leave Jaipur hurriedly before the police arrived to arrest them. Another time the Shell oil company was one of the sponsors, which created a stir since, among other things, it is infamously associated with the tragic execution of Nigerian writer Ken Saro-Wiwa. At the time, the JLF administration said they do not look at the color of money. This year too, there is disappointment already being expressed at representatives of the Hindu fundamentalist group RSS being invited to speak at JLF but as the organizers point out they stand for diversity.
Be that as it may, the 2017 edition of JLF promises to be as exciting as ever. The magnificent line-up of authors includes Paul Beatty, Alan Hollinghurst, Valmik Thapar, Amruta Patil, AN Wilson, Alice Walker, Mark Haddon, Ajay Navaria, Mrinal Pande, Richard Flanagan, Arshia Sattar, Arefa Tehsin, Eka Kurniawan, Tahmima Anam, Chitra Banerjee Divakaruni, Marcos Giralt Torrente, Kyoko Yoshida, David Hare, Margo Jefferson, Deborah Smith, Jeremy Paxman, Hyeonseo Lee, Francesca Orsini, John Keay, Jon Wilson, Kate Tempest, Mihir S. Sharma, Neil MacGregor, Rishi Kapoor, Sholeh Wolpé, Sunil Khilnani, and Vivek Shanbhag. Sessions have been planned on translations, revisiting history, conflict, politics, memoirs, biographies, nature, poetry, spirituality, mythmaking, women writing, travel writing, freedom of expression, children’s literature and book releases.
Some of the prominent sessions are:
Writing the Self: The Art of Memoir: Bee Rowlatt, Brigid Keenan Emma Sky and Hyeonseo Lee in conversation with Samanth Subramanian
Lost in Translation: Francesca Orsini, Deborah Smith, Paulo Lemos Horta and Sholeh Wolpé in conversation with Adam Thirlwell
Migrations: Lila Azam Zanganeh, NoViolet Bulawayo, Sholeh Wolpé and Valzhyna Mort in conversation with Tishani Doshi
The Tamil Story: Imayam Annamalai and Subhashree Krishnaswamy in conversation with Sudha Sadhanand
In Search of a Muse: On Writing Poetry: Anne Waldman, Auður Ava Ólafsdóttir, Ishion Hutchinson, Kate Tempest, Tishani Doshi and Vladimir Lucien in conversation with Ruth Padel
Lost Kingdoms: The Hindu and Buddhist Golden Age in South East Asia: John Guy introduced by Kavita Singh
Before We Visit the Goddess: Chitra Banerjee Divakaruni in conversation with Shrabani Basu
Kohinoor: Anita Anand and William Dalrymple introduced by Swapan Dasgupta
The Dishonourable Company: How the East India Company Took Over India: Giles Milton, John Keay, Jon Wilson, Linda Colley and Shashi Tharoor in conversation with William Dalrymple
Brexit: A.N. Wilson, Andrew Roberts,, Linda Colley, Surjit Bhalla and Timothy Garton Ash in conversation with Jonathan Shainin
Rewriting History: The Art of Historical Fiction: Adam Thirlwell, Alan Hollinghurst and Shazia Omar in conversation with Raghu Karnad
Civil Wars: From Antiquity to ISIS: David Armitage introduced by Raghu Karnad
The Biographer’s Ball: A.N. Wilson, Andrew Roberts, David Cannadine, Lucinda Hawksley, Roy Foster and Suzannah Lipscomb in conversation with Anita Anand
Ardor: On the Vedas: Roberto Calasso in conversation with Devdutt Pattanaik
Things to Leave Behind: Namita Gokhale in conversation with Mrinal Pande and Sunil Sethi
That Which Cannot be Said: Hyeonseo Lee, Kanak Dixit, Sadaf Saaz and Timothy Garton Ash and in conversation with Salil Tripathi
The Art of the Novel: On Writing Fiction: Adam Thirlwell, Alan Hollinghurst, NoViolet Bulawayo and Richard Flanagan in conversation with Manu Joseph
Footloose: The Travel Session: Aarathi Prasad, Bee Rowlatt, Brigid Keenan, Nidhi Dugar and Simon Winchester in conversation with William Dalrymple
Since the last newsletter it has been a whirlwind of book releases, literature festivals and fabulous conversations. For instance a lovely evening spent at the Canadian High Commissioner, H. E. Nadir Patel’s residence for the launch of Indo-Canadian writer, Shauna Singh Baldwin’s essays — Reluctant Rebellions. Shauna read out an extract comparing the freedom women had in different geographies. She added that writing non-fiction was akin to being naked. There is no literary device as there is in fiction to hide the author’s true sentiments. Dr Shashi Tharoor spoke at the event too.
To attend the Tata Literature Live! Festival in Mumbai was award winning Australian author, Geoffrey Moorhouse. He is known for his historical fiction such as on the League of Nations. During a quiet lunch at the Australian High Commission, New Delhi, it was incredible to hear Moorhouse describe the research involved for the books. He had thought it would take a few weeks but he spent nearly four years in the Geneva archives. Mostly he was the only person reading the documents.
On 17 September 2016, H.E. Syed Muazzem Ali, High Commissioner, Bangladesh released the gently told but vivid memoir of haemotologist-oncologist Dr Fazlur Rahman. It charts mostly the journey of the doctor from a village to Texas in 1969 with some insights into his experience as an oncologist, caregiver and in setting up hospices. But as the high commissioner pointed out it is in exactly such literature that the history of the subcontinent will be mapped and preserved. During the panel discussion Dr Rahman stressed the importance of empathy for the patient and caregiver and the significance of medical, physical and spiritual sustenance.
The Times Lit Fest (26-27 Nov 2016) was a tremendous success. It was a crackling good mix of speakers and the panel discussions were well curated. Everything ran with clockwork precision even though there were tremendous crowds to be seen everywhere. To discuss her elegant new novel, Things to leave Behind, I was in conversation with Namita Gokhale, writer and co-director of Jaipur Literature Festival. This multi-generations novel is set in the Himalayas, in the Nainital and Sat Tal region, putting the spotlight on socio-economic relationships, independence of women, spread of religious philosophies and the rigid caste system.
As the year draws to a close some significant literary prizes / longlists have been announced.
Shakti Bhatt First Book Prize was won by Akshaya Mukul for Gita Press and the Making of Hindu India
Tata Literature Live! Awards were presented with Amitav Ghosh getting the Lifetime Achievement Award and Kanishk Tharoor winning for his stupendous debut collection of stories.
Jorge Luis Borges and Osvaldo Ferrari Conversations ( 1 & 2) , Seagull Books
Being a Dog by Alexandra Horowitz ( Simon and Schuster)
Amba by Laksmi Pamuntjak ( Speaking Tiger Books)
Uttara: The Book of Answers translated by Arshia Sattar ( Penguin Random House)
Bestselling author Stephanie Meyer’s new book is a thriller called The Chemist ( Hachette India)
White Mountain: Real and Imagined Journeys in the Himalayas by Robert Twigger ( Hachette India)
Publishing News and links
Nineteen years after working at PRH India, Udayan Mitra, Publisher, has quit.
The two week long Dum Pukht residential workshop with facilitators Anil Menon, Pervin Saket, Akshat Nigam and special guest Amit Chaudhuri premieres at Adishakti, Pondicherry this Monday, 5 Dec 2016. The workshop also features one-day talks / sessions by poet Arundhati Subramaniam and historian Senthil Babu.
Utterly fabulous BBC Documentary on UK-based feminist publishing house, Virago Press
Two centuries of Indian print. A British Library project that will digitise 1,000 unique Bengali printed books and 3,000 early printed books and enhance the catalogue records to automate searching and aid discovery by researchers.
…more and more I took refuge in books, not serious or significant books but books that offered an escape from myself, and it was these books, or rather our shared love for them, that bound me to the few friends I had…
Garth Greenwell’s debut novel What Belongs to You is about a nameless American schoolteacher who is based in Bulgaria. Funnily enough even though the narrator remains nameless the two cultural landscapes that influence him are very much fixed in a period —the Republican conservative homophobic Kansas and Bulgaria emerging from the Soviet era, detritus of which are still visible in the dilapidated buildings and in the attitude of the people. The novel is divided into three parts — Mitko, A Grave and Pox. In fact “Mitko” won the Miami University Press Novella Prize. What Belongs to You begins with the narrator looking to have sex and comes across Mitko in a public bathroom and from then on they forge a curious relationship. The second section is about the narrator receiving news about his father’s hospitalisation and the flood of memories it unleashes. The final section is about his mother’s arrival in Bulgaria and due to a concatenation of events primarily the fleeting return of Mitko in the narrator’s life, there is a sudden unyoking of himself from his past–immediate and childhood. It is an epiphany that liberates him paradoxically leaving him in despair too. It seems to happen subconsciously while recalling his experience of a severe earthquake.
…the first time I had known that absolute disorientation and helplessness, the first time I had felt in that incontrovertible way the minuteness of my will, so that underlying my fear, or coming just an instant after it, was total abandon, a feeling that wasn’t entirely unpleasant, a kind of weightlessness.
At Jaipur Literature Festival 2016, Colm Toibin said while researching for The Master, his novel/tribute on/to Henry James, he realised gay fiction was a 21st century phenomenon. He also observed that “fiction contains many mansions” a comment apt for Garth Greenwell’s debut novel. What Belongs to You is much more than a fine example of gay fiction with its extraordinarily bold voice; it is a Künstlerroman, a narrative about the artist’s growth to maturity. What Belongs to You is in the same category as James Joyce’s Portrait of the Artist as a Young Man or even Alison Bechdel’s graphic memoir, Fun Home. It is evident in the experimentation of form in “A Grave” such as the long unbroken paragraphs sometimes running on for pages and pages that fit snugly with the literary device of interior monologue. The lyrical prose of “A Grave” is structured as magnificently as Isabel Archer’s reflection in Henry James’s Portrait of a Lady. In both novels the interior monologues by the central characters are pivotal not only to the structure of the plot but also to the radical transformation they wrought in the narrator and Isabel and to the chain of events to follow.
At one level What Belongs to You is reading a story about a young man living in a new land and yet it is also recognising what belongs to you are who youare, what you make yourself. This could be by rejection such as the narrator’s complicated relationship with his father or by accepting new influences as the narrator says by “thinking it half in Bulgarian and half in my own language, which I returned to as if stepping onto more solid ground.”
Garth Greenwell is a boldly confident youthful writer who writes extraordinarily beautiful prose with panache. Hopefully one day the following writers will be together on a panel discussing the art of blending truth and fiction, writing a memoir-novel: Damian Barr, Paul McVeigh, Sandip Roy, Roxane Gay, Garth Greenwell and Alison Bechdel.
What Belongs to You is a debut that will be talked about for a long time to come!
Garth Greenwell What Belongs To You Picador, an imprint of Pan Macmillan, London, 2016. Hb. pp. 196. Rs 550
Bollywood actress, Kajol, and Ashwin Sanghi unveiling the book cover of “The Sialkot Saga” at Jaipur Literature Festival 2016.
Some animals hunt. Others hide. And a few hunt while they hide.
Ashwin Sanghi’s latest novel The Sialkot Saga will be released on 5 April 2016. It is a greatly anticipated thriller whose cover was unveiled with great fanfare by the Bollywood actress, Kajol Devgn, at Jaipur Literature Festival 2016. The Sialkot Saga is a retelling of modern Indian history through the lives of a Muslim Mumbai underworld don, Arbaaz Sheikh, and a Hindu Calcutta Marwari businessman, Arvind Bagadia. Basic premise being money matters, nothing else — it is a dhanda after all. As is the fashion nowadays in modern novels a family saga spread across at least two generations is a must and is evident in Sialkot Saga too. There are neat historical details beginning with Partition interspersed with brutal violence and unscrupulous plans to gain money. Politics, land deals, hawala, narcotics, films etc. Anything as long as there is a healthy profit margin to be made. There are some descriptions of violence particularly horrifying since they challenge the boundaries of ethics. But the acts described are so very plausible that the horror is compounded manifold. It strikes a sense of fear. Surprisingly the boldness of these criminal minds also makes one chuckle. 300-odd pages into the novel it begins to seem like a manual on the rise of corporate India. It becomes a little convoluted with its business descriptions. An account of the birth of companies like Reliance, Satyam, Infosys to the formidable place they hold today as the gems of Shining & Incredible India. The chorus of the opening pages soon to be forgotten as the plot builds is “Some animals hunt. Others hide. And a few hunt while theyhide.”Attention does begin to flag but every writer writes from their strong point and being a successful businessman is one of Ashwin Sanghi’s strengths.
The second is his avatar as a modern mythographer. It is evident in the tenuous tale he weaves about the sanjeevani. It seems a bit convenient but once again it is Ashwin Sanghi’s forte to pull together myths and present them in a modern setting. It is his trademark. And one that his many readers will be waiting for. ( Till date he has sold over a million units of his previous books.)
Here is the link to the book trailer: https://youtu.be/1qv_tk5i9kM . It is a wonderfully edited movie clip but is not true to the book at all.
Undoubtedly Ashwin Sanghi’s “Sialkot Saga” is immensely readable for its tremendous insight into the Indian brand of businessmen. There is no word for their inventiveness in their greed for money and this is matched by the phenomenal storytelling of the novelist. It is quite remarkable. Setting his story in the historical backdrop of modern India proves that irrespective of political ideologies and government policies, money always wins. Having said that there is a lot of testosterone flowing through this book with the few women characters taking on fairly conventional roles. Even the breakaway character of Alisha as an example of the millennial generation does not quite live up to promise. I am not even going to nitpick about historical accuracy since it does not purport to be a historical novel. It is just a great story.
Ashwin Sanghi The Sialkot Saga Westland, Chennai, 2016. Pb. pp. 584. Rs 350