I will be moderating a panel discussion on the “Challenges of Translation” on Saturday, 23 Jan 2021, 4:15-5:15pm IST.
Romain Rolland Prize Challenges of Translation with Emmanuel Lebrun-Damiens, Diplomat. Counsellor for Education, Science and Culture at French Embassy in India / Ambassade de France en Inde & Director of @IFInde / French Institute in India, Maina Bhagat, Director, Oxford Bookstores & Apeejay Kolkata Literary Festival, Chinmoy Guha, translator, Christine Cornet, Attachée Débat d’Idées et Livre, Institut français India/Embassy of France with Jaya Bhattacharji Rose.
Followed by the announcement of the winners of the prize with Emmanuel Lebrun-Damiens, Virginie Corteval, Consul General of France in Kolkata, Maina Bhagat and Chinmoy Guha.
This AKLF event is in association with Institut Francais and Alliance Du Bengale.
As soon as the link of the recording will be available, I will post it here as well. But it will be LIVE on all the @AKLF social media platforms. Details are in the poster.
Satadru Mukherjee is a photographer, a multi-media whizz and a talented marketing professional, currently working in the corporate sector. Good Morning India is his first picture book. It has been published by Scholastic India.
Good Morning India is a simply told tale of a little girl waking up early in the morning looking forward to her day at school. The unnamed girl is chirpy, her happiness is infectious, as she greets everyone on her way to school. She describes the journey narrating how Abdul Chacha and Pandit Ji are off to their mosque and temple for the day. It is a happy time as she looks forward to spending the day with her friends the super smart Kasheef, the ever joyful Christina and prankster Aman as they board the school bus:
As we play together
Beneath a sky so blue,
We promise to live our lives
Bound by friendship so true.
It is a beautiful book filled with light and joy as emphasised by the bright colours used. It also conveys the message of peace with the symbolic presence of a white dove in every frame of the story. What is truly remarkable about this book is that there is nothing out of the ordinary in the description. The slice of India portrayed in Good Morning India is present all around us. It is not confined to a particular region or locality. There are many ways of seeing but we just have to see India for what it is and not with a prejudiced mind. Good Morning India is heartwarming little picture book which will be appreciated by young and old readers, alike!
Satadru Mukherjee agreed very kindly to write a short note on why and how this book came to be written. Here it is:
I grew up in Kolkata at the turn of the century, waking up to the sound of the Azaan every morning. (I still do! Now I stay in Delhi with a mosque quite close by my home.)
go to school (the 140+ years old Calcutta Boys’ School) each day and sing
hymns, and start off the day with The Lord’s Prayer. Some of my best friends in
school (we played football together) were from different religions. We
went out pandal hopping during Durga Puja and stayed over at each other’s
places. We were all invited for a Biryani feast during Eid celebrations at our
Muslim friends’ homes. We are still the closest of friends.
I was best friends with a gang of boys from the basti (jhuggis as they
call them in Delhi) behind out house till the time I was in North Kolkata (till
I was 9), and in fact got embroiled in a fist fight with boys from another
basti group, till my dad arrived at the scene, caught hold of my ear and
dragged me back home.
college I used to save five rupees every day of my pocket money as our weekly
treat was at a Muslim eatery called Qayum’s deep in the heart of
central Calcutta, where you could get a plate of biryani for fifteen rupees!
Throughout my life, in spite of being brought up in a somewhat orthodox
Brahmin family, my brothers and I always saw people and not what religion they
When discussing this book with my publisher, we both agreed, given the current political scenario of aggressive polarization in the country Good Morning India should be a book that talks to young children about how all of us, irrespective of religion, can peacefully coexist. While writing this book, and working closely with the illustrators — my brothers Saswata and Susruta, — we really wanted to depict this sense of peaceful coexistence and equality that is the defining trait of India, to the young reader.
Good Morning India is scheduled to be released in mid-February 2019.
“I attend literary festivals to meet authors, to see another dimension to their life, listen to the heated conversations, introduce my four-year-old twin sons to famous people, and inculcate a sense of reading culture in them,” says Umesh Dubey, first-generation entrepreneur who takes his family to attend the Jaipur Literature Festival (JLF) for the entire week.
A literary festival can be defined as a space where writers and readers meet, usually an annual event in a city or as “literature in performance”. Must-have elements include panel discussions with a healthy mix of new and seasoned writers, Q&As with the audience, author signing sessions, workshops related to writing and publishing, book launches, bookstores, a food court, and entertainment in the evenings. And – hopefully also – intellectually stimulating conversations, a relaxed ambience, picturesque setting, good weather (no dry days!), and networking possibilities.
In India, literary festivals came into vogue with the astounding success of Jaipur Literature Festival, which began in 2006 . The timing was right, soon after the Christmas holidays/ winter break, in January, when Rajasthan is a favourite tourist destination. To organise a festival in the Diggi Palace Grounds, chatting with authors most readers have only admired from afar while sipping the hot Diggi chai in earthen cups, basking in the warm winter sun, listening to crackling good conversations and at times heated debates, and as darkness descends, preparing to hear the musicians who will perform… it made for quite a heady experience. And if at any point you get weary of the crowds and the conversations, it is easy to step out for a jaunt as a tourist and explore Jaipur. This basic template has begun to be emulated across the country.
According to the Jaipur Litfest producer, Sanjoy Roy, the intention is to create “a democratic access system of first-come-first-seated where we treat everyone as our guests and do not make a fuss over VIPs. The colour and design create a sense of an Indian mela.” Of course prior to JLF, India did have a fair share of literary “festivals” like Ajeet Caur’s SAARC Literature Festivals, or those that were organised at the Sanskriti Anandgram in Delhi or even the early editions of the Katha festivals, but admittedly none were on a fabulous scale, nor were they open to the public. According to Maina Bhagat, director, Apeejay Kolkata Festival, “The city is the biggest player in the festival”.
So what explains the runaway success of today’s literature festivals? Says poet K. Satchidanadan, “There is a whole urban and semi-urban middle class youth eager to meet authors and listen to them in a festive atmosphere. The publishers are interested in releasing their books there and having their authors on the platform. The authors are interested in meeting other authors and also readers. Cities also get to be on the literary map of India with such celebrations.” Ananth Padmanabhan, senior vice-president, sales, Penguin India, says, “With social media dominating mind space, festivals are a great place to sit back and connect readers to writers; such an engagement opportunity was lacking.” In fact, festival-hopping has resulted in a modern-day phenomenon of the festival junkie: People who move from festival to festival.
Of late the Indian economy may have been in the doldrums but there is no denying that post-liberalisation, more and more people have disposable income, they do want to invest in culture and what better way than to make it a family outing? It is a democratic patronage of the arts. It is also a reflection of how much India is becoming a writing culture rather than a reading culture.
Arshia Sattar, who through Sangam House organises Lekhana Literary Weekend (an extension of the Sangam House international writers’ residency programme that is run outside Bangalore) and is also jury member, DSC Award for Literature 2014, says, “My concern is that we are moving further away from ‘literature’ and closer to writing. I think if we had fewer ‘festivals’ and if they had a focus rather than being all things to all people (which is probably what their sponsors want in terms of ‘footfalls’) . . .we might see people stepping out to literary events with dedication.”
Thomas Abraham, CEO, Hachette India, says, “There is not a single real benefit any festival brings to a publisher. And there are a number of cons – it costs a lot to get your author up there for almost no returns on investment, and zero promotional benefit. Yes, if you switch off the business aspect, for the audience it’s a great platform to see your favourite authors, and for authors a great platform to cross-commune with other writers. For editors it’s a good networking and ideas engagement opportunity. But in terms of sales or author brand building, go back to every single festival and put down the authors and their titles and see the impact of either media coverage or sales, and you’ll see not one has moved beyond their earlier levels. Some very successful (read great stage performances) sessions do result in immediate brisker sales at the venue bookshop, but even those are minimal – anything between 30 copies to 100 copies.” Adds Diya Kar Hazra, publisher, trade, Bloomsbury, “There are so many literary festivals these days – sometimes two or three in one city. The writer is expected to do more than just write these days – they blog, they tweet, they have pages on FB. They appear at festivals and events reading from their books and having conversations with fellow writers. The reader–writer relationship has changed, as a result. Authors are much more accessible than they ever were.”
Author Shovon Chowdhury who released his debut novel, The Competent Authority, earlier this year says that attending literary festivals “feels good. You feel special. I’m not jaded yet, so I enjoy it. I also love meeting lots of interesting people, including some super-intelligent ones. It gives me a dose of much needed perspective and humility. Plus there’s free meals.”
An attractive feature of a literary festival is the free entry. This requires the festival management to scour for private sponsors, funds and collaborations that will help in putting together the extravaganza and these could be either in money or in kind. In many case, corporate house are willing to assist with sponsorship for the brand visibility and media coverage. Recently tourism departments and state governments have partnered with festivals which is understandable given the positive impact festivals can have on the local economy. For instance, in a dipstick survey the JLF management did last year, it was estimated that approximately Rs 20 crores of additional spend could be attributed to JLF in Jaipur on account of accommodation, restaurant and shopping. Even this is set to change. The inaugural edition of the Pune International Literature Festival had ticketed entry. Comic Con too proposes to sell tickets in 2014.
Much of the success of the festivals depends on the programme created, parallel sessions, selection of the moderators and if necessary, themes selected. It is also heavily dependent upon the curation, storyboard to the chemistry between the panelists. Altaf Tyrewala, Director, Chandigarh Literature Festival, says “The organizers and I were struggling to think of how CLF could be different from other literary festivals. We realized that in the circus, we often lose sight of the book, the very foundation of literature! So we decided that CLF would showcase the book, and nothing but the book. We decided to let active literary critics nominate that one book that had stayed with them over the past decade. There was a general agreement on what constituted a good book. Naturally, the discussion between the author and the nominating critic was focused entirely on the book in question. It made every session riveting, and more importantly the invitees realized that their presence was crucial to the festival’s format.” It helps to do some thinking in advance to avoid embarrassing incidents as happened at a recently concluded festival. The moderator was informed just before stepping on to the stage that the authors lined up were commercial-fiction authors. The response, the moderator shuddered and said, “I would never read such authors!”
The buzz around festivals is tremendous. But the bubble may soon burst as has happened with book launches. People will weary of them if they happen too often. They will lose their charm for various reasons. As writer Ravi Subramanian points out, “The divisions between the literary and commercial authors are becoming apparent at these festivals.” Second, most of the festivals are conducted predominantly in English, though slowly this too is changing, to reflect and represent the local languages and the international participants. There are writers who have begun to feel bored and disillusioned with these festivals that often sustain and strengthen the hierarchies among writers, dividing them into “stars” and ordinary writers. Even the most ordinary Indian English writers acquire “stardom” while the best of language writers are often time-fillers invited most often to show that they too are represented.
Over the years the festivals have come to align themselves before and after the December/Christmas holidays, making it easier for authors to mark their presence at more than one event. The length and dates of the festivals are also determined by collaborating partners. In fact Surya Rao, director, Hyderabad Literary Festival, says, “We avoid a clash of dates with other major lit festivals because we check the dates of other fests. The Jaipur fest happens to be the closest to us.”
Maybe Indian festival organisers will collaborate with each other as happens in other countries like Australia.
A possible “classification” of literary festivals.
There are so many literary festivals being organised in India that one has to create some sort of “classification”. For instance, festivals that have stood the test of time of a minimum period of three years, grown in popularity (as measured by the increasing audience participation), established a brand in their name and proven to be sustainable in terms of the sponsorship would probably be at the top of the list. These would be the major milestones in the festival calendar – Jaipur ( Jaipur Literature Festival), Calcutta (Apeejay Kolkata Literary Festival and Kolkata Literary Meet) , Chennai (Hindu Lit for Life), Mumbai (Kalaghoda, Times of India festival), Hyderabad Literary Festival and the Sahitya Akademi’s Festival of Letters.
Then there is what could be termed as a “sub-genre” – that is, equally strong brands, dealing with genres of literature which are not necessarily given sufficient space for intense engagement, such as Bookaroo (children’s literature) organised in Delhi and in Pune (in collaboration with Sakaal Times), ComicCon (comics and graphic novels), Samanvay (Indian languages) in collaboration with the India Habitat Centre,, Cultures of Peace: Festival of the Northeast (Women and Human Rights) organised by Zubaan, Poetry with Prakriti (poems), Mussoorie Writers Festival (mountain and travel writing) organised by Stephen Alter and Lekhana (a long literary weekend).
Finally there are the relatively new festivals that are as yet to establish themselves, but people are already familiar with them – Bangalore, Kasauli, Shillong, Agra, Lucknow, Benaras, Patna, Bhubhaneshwar, Chandigarh, Pune, and Kovalam. And there are still more being organised.