Madeleine Thien Posts

Jaya’s newsletter 3 – 11 November 2016

( Please feel free to write with suggestions and comments: jayabhattacharjirose1 at gmail dot com )

Hello!

On 8 September 2016, the demonetization of Rs 500 and Rs 1000 was announced by the government of India. Newly designed currency, freshly minted with embedded chips will be brought into circulation. It is a move to counter black money in the country but it would be interesting to know how this impacts many of the publishers and booksellers in India, many of whom deal predominantly in cash. For now it is impossible to tell.

New Arrivals

  • Jorge Carrion Bookshops (MacLehose Press)
  • Cecilia Ahern Lyrebird ( HarperCollins India)
  • Jeff Kinney Diary of a Wimpy Kid: Double Down ( Puffin, PRH India)
  • Twinkle Khanna The Legend of Lakshmi Prasad ( Juggernaut)
  • Bina Shah A Season for Martyrs ( Speaking Tiger)
  • Ritu Menon Loitering with Intent ( Speaking Tiger)
  • T.J.S. George Askew ( Aleph)
  • Anthony Horowitz Magpie Murders ( Hachette)
  • Jeffrey Archer This was a Man ( Pan MacMillan India )

Jaya Recommends:

  • Rajelakshmy, a physicist by training who published these extraordinary “feminist” stories in the weeklyimg_20161111_102225 Mathrubhumi and monthly Mangalodayam. She committed suicide in 1965 but the stories and the incomplete novel have been compiled together for the first time as A Path and Many Shadows& Twelve Stories  (Translated from Malayalam by R.K. Jayasree, Orient Black Swan)
  • oddny-eirOddny Eir’s incredibly stunning Land of Love and Ruins.  It is a semi-autobiographical reflection on nature, literature, philosophy and commerce. Oddny Eir has also written songs for Bjork.  (Translated from the Icelandic by Philip Roughton, Restless Books)
  • Seirai Yuichi’s magnificent Ground Zero, Nagasaki : Short Stories . These22329531 chilling stories set in contemporary Nagasaki are about the  minority community of Japanese practising Catholicism and trying to survive the endless trauma of the atomic bomb. (Translated by Paul Warham. Columbia University Press)
  • Raina Telgemeier’s absorbingly brilliant graphic novel Ghosts. It is about ghostslittle Catrina who has cystic fibrosis and celebration of Dia de los Muertos or the Day of the Dead. It is to be released at the Comic Con, Bangalore. (Scholastic India)

Book Events

11 Nov: Sahitya Akademi symposium on Rajelakshmy at 5:30pm

11-13 Nov: Kathakar, Children’s Literature Festival, IGNCA New Delhi followed by 14 November at the IGNCA Bengaluru and on 17 November at the CSMVS, Mumbai

12-13 Nov: Comic Con, Bangalore

14 Nov: Simon & Schuster India will be celebrating 5 years in India (By invitation only)

15 Nov: Shauna Singh Baldwin will be in conversation with Amrita Bhalla to discuss the diasporic writings about shaunas-conversationSouth Asian life and culture and will also talk about and read from her latest book “Reluctant Rebellions”.

People & Jobs 

Rahul Dixit has been appointed Sales Director, HarperCollins India. He was earlier with PRH India.

gillon-aitken-and-v-s-naipaul

Gillon Aitken with V.S. Naipaul, Amer Fort, Jaipur. (C) Patrick French

A few days ago legendary literary agent, Gillon Aitken, passed away. Patrick French posted a short tribute on his Facebook page along with some marvellous photographs. Republished with permission.

A one-year vacancy of the books editor at The Caravan Magazine has been announced.

Prizes

  • The Order of the Rising Sun – Gold & Silver Ray, the highest civilian award by Imperial manorama-jaffa-2-japan-award manorama-jaffaMajesty of Japan, was conferred on Manorama Jaffa in recognition of her contribution to children’s writing in India. After Prof. Brij Tankha, Mrs. Jaffa is the second Indian to have been honoured.
  • SPARROW Literary Award 2016: The SPARROW panel of judges (N Sukumaran, Kannan Sundaram and Ambai) for SPARROW-R Thyagarajan Literary Award decided to choose the category of translation for award this year. Translations from one Indian language to another and direct translation from a foreign language (other than English) to Tamil were taken for consideration. The SPARROW-R Thyagarajan Literary Award 2016 will go to Kulachal S M Yoosuf for his translations from Malayalam to Tamil, Gowri Kirubanandan, for her translations from Telugu to Tamil and Sridharan Madhusudhanan for his translations from Chinese to Tamil.
  • French-Moroccan writer Leïla Slimani won the Goncourt, France’s top literary prize. The former journalist is only the seventh woman to have won the Goncourt in its 112-year history. The novel has been a best seller — more than 76,000 copies have been purchased so far.
  • Madeleine Thien’s Do Not Say We Have Nothing won the Giller Prize ( $100,000)
  • Lynne Kutsukake’s The Translation of Loves won the 2016 Canada-Japan Literary Award (English category). And Genevieve Blouin’s Hanaken: Le Sang des Samourais won in the French category.
  • orhan-pamukOrhan Pamuk won the 1million rouble (US$15,715) Russian Yasnaya Polyana Literary Prize, based at Leo Tolstoy’s estate. Pamuk’s novel A Strangeness in My Mind  translated into Russian in 2016, won in the “Foreign literature” nomination of the award, which aims to support both the traditions of classical literature and new trends in contemporary writing. ( http://bit.ly/2fnbDxT ) The Russian translator of Pamuk’s novel, Apollinaria Avrutina, receives a prize of 200,000 rubles (US$3,143). The Yasnaya Polyana Literary Prize was founded in 2003 by Samsung Electronics and the museum and estate of Leo Tolstoy in Tula. According to the jury chairman Vladimir Tolstoy, Leo Tolstoy’s great grandson and cultural advisor to the Russian president, the award is meant to help readers find their way in the world of Russia’s literature and international contemporary books—a universal reply to the question “What to read?”

Meanwhile PEN America has released a revised version of its modified contract for literary translations . It is worth looking at.

Miscellaneous

walking-bookfairsBookshops: In Lucknow the iconic Ram Advani’s bookshop closed down on Sunday, 6 November 2016 as there was no one left to run it after his death. But there was good news with the resurrection of Walking Bookfairs, Bhubaneswar, Odisha. After the book shack was demolished the founders Satabdi Mishra and Bahibala Akshaya built a new bookstore saying “Bookstores around the world are closing down. And we are opening a new one. Because we are madly in love with books and bookstores. Long live bookstores!”

reemLondon-based publisher, Reem Makhoul, of Ossass gave a tremendous interview to Marcia Lynx Qualey, ArabLit on children’s literature where Reem says they wanted to give the children what they are familiar with, so began creating beautiful books in colloquial Arabic.  Amazon too seeing the potential of a reading habit has launched an app for children – Amazon Rapids Recently the Financial Times listed a series of smartphone reading apps or a mobile library such as The Pigeonhole, Alexi and Oolipo.

11 Nov 2016 

Jaya’s newsletter – 2

(Thank you for the response to my inaugural newsletter. Please feel free to write: jayabhattacharjirose1 at gmail dot com )

westland-332pxThe biggest news in terms of business deals has been the acquisition of TATA-owned publishers Westland by Amazon. (http://bit.ly/2fjVVCP) Earlier this year Amazon had a bought a significant minority stake in Westland but last week they bought the company for a purportedly Rs 39.8 crores or approximately $6.5 million. ( http://bit.ly/2fzdfrJ ) Westland has a history of over 50 years in retail, distribution and publishing. It is an amalgamation of two companies, Westland Books and EastWest Books (Madras). “Amazon’s roots are in books and we are excited to be part of that team in the next phase of our journey,” Westland CEO Gautam Padmanabhan said. The publishing list of Westland, its imprints Tranquebar and EastWest, and imprint extension Mikros, include bestselling authors Amish Tripathi, Ashwin Sanghi, Rashmi Bansal, Rujuta Diwekar, Preeti Shenoy, Devdutt Pattanaik, Anuja Chauhan and Ravi Subramanian, among others. This deal highlights the growing significance of India book markets — the third largest English language and with each regional language being of a substantial size too. It will also have an effect on how publishers realign themselves to create strategically good content which makes for good cultural capital but also astute business sense.

For more on the significance of such an acquisition read Bharat Anand’s analysis of AT&T & Time Warner merger incontent-trap HBR. (http://bit.ly/2feLlOP ) It is a marriage between content and distribution, organizations and tech companies. “Content is an increasingly important complement for every one of the tech companies.” Bharat Anand is the Henry R. Byers Professor of Business Administration at Harvard Business School, where he’s taught media and corporate strategy for 19 years. He is the author of the recently released The Content Trap: A Strategist’s Guide to Digital Change.

Publishing business strategies will be bolstered by the GOI announcement as part of the Digital India movement that “Handsets mandated to support Indian language keyboards July 1st 2017”  All handsets being manufactured, stored, sold and distributed in India will have to support the inputting of text in English, Hindi and at least one more official Indian language (of 22), and support reading of text in all these languages. (http://bit.ly/2fGxrbb ) In Medianama’s analysis this will speed up the switch in India to smartphones (and featurephones), because they have that capability to use Indic languages using the operating system. ( http://bit.ly/2feSTRG ) In the long run, good news for publishers if their content is gold.

14 November is celebrated as Children’s Day in India. Nearly 50% of the 1.3 bn population in India is below the age of 25 years –a sizeable reading market. As the first-ever Kids & Family Reading Report, India edition by Scholastic India notes that 86% children read the books they select but points out that 71 per cent of kids were currently reading a book for fun. This is the way it should be to create a new generation of readers. (http://scholastic.co.in/readingreport )

Jaya Recommends

ann-patchettAnn Patchett’s incredibly stunning novel of families and the writing experience Commonwealth madeleine-thien(Bloomsbury)

Jonathan Eig’s fascinating account of The Birth of the Pill (Pan Books, Pan MacMillan India)the-birth-of-the-pill

Translating Bharat Reading India edited by Neeta Gupta. A collection of essays discussing the art of translating and what constitutes a good translation. (Yatra Books)

translating-bharatMadeleine Thien’s extraordinary novel Do Not Say We Have Nothing  ( My interview with the author: http://bit.ly/2eX5meG  )

On literature and inclusiveness ( http://bit.ly/2fbp9Ym )

Legendary publisher 97-year-old Diana Athill’s latest volume memoir, a delicious diana-athilloffering Alive, Alive Oh!

Book launches:

Amruta Patil  ( HarperCollins India)amruta-patil

Shashi Tharoor ( Aleph)shashi-tharoor

Ritu Menon’s Loitering with Intent: Diary of a Happy Traveller  on 5th November 2016, IHC (Speaking Tiger)ritu-menon-book-launch

Craig Mod’s book launch in Tokyo: http://kck.st/2fk29Tp

Lit fests: ILF Samanvay: The IHC Indian Languages Festival‎ ( 5-7 Nov 2016)ilf

 

Literary Prize:  Haruki Murakami wins this year’s Hans Christian Andersen Literature Award ($74,000).    The Hans Christian Andersen Literary Award is not to be confused with the Hans Christian Andersen Award (or medal)— often regarded as the “Little Nobel Prize”— instituted in 1956 to recognize lasting contributions in the field of children’s literature. (http://bit.ly/2eC70iI ) In his acceptance speech he warned against excluding outsiders (http://wapo.st/2fjZ31u )

World Literature Today, the award-winning magazine of international literature and culture, announced Marilyn Nelson as the winner of the 2017 NSK Neustadt Prize for Children’s Literature. Awarded in alternating years with the prestigious Neustadt International Prize for Literature, the biennial NSK Prize ( $25,000) recognizes great achievements in the world of children’s and young-adult storytelling.  ( http://bit.ly/2fdIQhX )

jai-arjun-singhJai Arjun Singh’s The World of Hrishikesh Mukherjee has been given the Book Award for Excellence in Writing on Cinema (English) at the Mumbai Film Festival.

Interesting book links:

A Phone Call from Paul , literary podcast for @LitHub done by Paul Holdengraber, NYPL is worth listening to. Here is the latest episode where Paul is in conversation with Junot Diaz. (http://bit.ly/2fxF1p8 )

On the Jaffna library: http://bit.ly/2eC7vtb

Iran and Serbia sign MOU to enhance book publishing: http://bit.ly/2fGykAK

How one Kiwi author is making $200,000 a year publishing romance novels online: http://bit.ly/2fdVQEh

Bengaluru barber popularises Kannada literature: http://bit.ly/2eP8N6X

Literary River, Literature vs Traffic installation: http://bit.ly/2f3dpUD

Six wonderful ways feminist publisher Virago shook up the world of books http://bbc.in/2efJYgs

Turkish Government closes 29 publishers http://bit.ly/2f35AhE

3 November 2016 

‘It isn’t autobiography, but it’s a daughter’s book in every way’: Madeleine Thien

madeleine-thien(My interview with award-winning author Madeleine Thien was published in Scroll on 29 Oct 2016. Here is the original url: http://scroll.in/article/819960/it-isnt-autobiography-but-its-a-daughters-book-in-every-way-madeleine-thien . I have c&p the interview below. )

‘It isn’t autobiography, but it’s a daughter’s book in every way’: Madeleine Thien

The author talks about her extraordinary novel ‘Do Not Say We Have Nothing’.

Madeleine Thien is the author of the story collection, Simple Recipes, and three novels, including Dogs at the Perimeter, which was awarded the Frankfurt Book Fair’s 2015 Liberaturpreis. It is, of course, her most recent novel, Do Not Say We Have Nothing, which was shortlisted for the Man Booker Prize. The youngest daughter of Malaysian-Chinese immigrants to Canada, Thien lives in Montreal. Excerpts from an email interview with Madeline Thien, conducted before the prize-winner was announced:

Please tell me more about the title – Do Not Say We Have Nothing?
The title comes from a line of music – the Chinese translation of a Russian translation of Eugène Pottier’s original French lyrics of The Internationale – which has resonated across 20th century China. The French line, “Nous ne sommes rien, soyons tout” (“We are nothing, let us be all”) became 不要说我们一无所有 (Do not say that we have nothing). The translation is by Qu Qiubai, a Communist Party leader, tragically executed in 1935, who is said to have sung The Internationale as he walked to his death. The anthem was also sung by the students in the early morning hours of June 4, 1989, as they left Tiananmen Square while the massacre was still unfolding.

Of all the composers why did you choose Glenn Gould’s recording of Bach almost like a chorus in your novel? How does Beethoven fit into the spectrum of Soviet composers you choose to mention – Prokofiev, Tchaikovsky and Shostakovich?
Between the composer, Sparrow, who is the conscience of the novel, and me, this was the piece of music that anchored us. It’s a set of 30 variations and canons, all derived from a very simple theme in the opening aria, found not in the melody but in the bass line; and the entire piece begins and ends with the same aria, though by the time we arrive at the end, we have journeyed across timescapes. The Goldberg Variations are just one example of Bach’s extraordinary compositions which are built from strict form and structure, and yet somehow give rise to astonishing freedom, individuality, polyphony and range. In other words, they break you open and remake you.

The musicians in Do Not Say would have had ready access to the works of the Russian composers, as well as to Russian musicians and teachers, up until the Sino-Soviet split in 1960, so they would be foundational to the life and work of Sparrow. Beethoven’s renown in China is a separate story, and a fascinating trajectory, recently told by Sheila Melvin and Jindong Cai in their new book, Beethoven in China.

How long as the book been a part of you? How many drafts did it take to write?
Once I began writing, it took about five years, and probably 8-10 drafts, and that is quite little for me. The first third was, in some ways, the most challenging because of the foundation that needed to be created, and the strength (physical, artistic) to set a relatively large object into motion. I think the book has been part of me since childhood.

Somehow I had an inkling this was the case. The manner in which the story has been written and details mentioned suggested you had been thinking about it a lot, probably well before the book began its life as a manuscript. Also there was a sense that the book was like a witnessing. As if it was crucial for you to share your experiences in this manner with the younger generations who are probably not as well-informed about the transformations wrought to Chinese society.

In a way, I think of it not necessarily as a book written for younger generations, but as a book written to the older one. It isn’t an autobiographical novel, but it is a daughter’s book in every way. It tries to say that the daughter has grown older, and in living her life, with all its joys, heartbreaks, betrayals, wonder, has finally come to understand something of what her parents lived.

How much research and fact-checking did it involve?
A great deal, about history and music and mathematics and language, and about simply paying attention to life and living. But very few things, perhaps nothing, ever feel to me like pure research. Thinking about the world of the novel was my life, and so reading, asking questions, travelling, wandering, listening to music, and just being in China, was my life. It was expansive and challenging and also joyful, and of course, at times, it was devastating. The middle of the book, which slows down into the summer of 1966, was very difficult for me, and I had to stop writing for a few months after those sections were written. I had to come back to myself so that I could eventually return to the characters.

The pain you describe in the story and then acknowledge having found it tough to contend with makes absolute sense. Writing those words could not have been easy. Even as a reader I had to keep pausing as it was devastating to read the descriptions.
I’m so glad to hear that you paused, Jaya. Sometimes what the writer can’t work into the text are these spaces, pauses and rests, the moments that haven’t quite run their course even though the text had reached the end of the line.

Parts of the story ring true. Did you record oral histories and testimonies for this or referred to some archival material?
No, I didn’t record interviews. I had a lot of conversations, but they ranged from hanging out with composers to unexpected encounters on the street to visiting the small memorial at the Shanghai Conservatory of Music, wandering in and out of practise rooms, going overnight into the desert in Gansu province, visiting my grandfather’s village in southern China, or just returning, year after year, to Tiananmen Square and Chang’an Avenue, and trying to absorb all the details. I read widely (the unrelated books are sometimes as important as the related ones) and travelled widely, and I just took the time I needed, as slow as it sometimes seemed. Being in China was humbling, provocative, and life changing.

Did you often make trips to China while working on this manuscript?
Yes, many trips, some longer (several months) and some brief (a couple of weeks). I was fortunate in that, for six years, I was coming to Hong Kong once or twice a year to teach a week-long workshop, and so could regularly add time in China. I was also writer-in-residence at Nanyang Technological University in Singapore for one semester, which allowed me to make frequent trips to China.

Do you think this book will be sold in China?
Yes. Not in the present moment, one day in the future that we can’t yet foresee.

I recommended your book to a couple of friends currently in China and Japan and both replied, “Sounds fascinating but we are not very sure if it will be available.”
I hope a translation will be possible sooner than we think. The untranslated book (UK edition) is available in Hong Kong and Japan, but not China.

How do you feel having written it?
As if I have been given something by the book itself. It allowed me to live in ways I could never have imagined on my own.

Why is there no genealogy tree or a timeline of events in the novel? Why are the annotations not starred?
There will be a family tree in the US edition of the novel, but it was never something that came up for the Canadian and UK editions. As a work of literature, a reader comes to know the characters or, to put it another ways, comes to live in the world the characters know. As the pages turn, the circle of that world expands. The annotations are not starred because, for me, the endnotes are a part of the literary work itself. Do Not Say is a book of books, and the endnotes continue the story. They are all open doorways within the novel, because no book exists in solitude.

Interesting that the US edition will have a genealogy. How did that decision come about?
The US publisher requested one. They did a beautiful job, and the design reminds me of notes on a stave.

Is this pure literary fiction or is it a cross between memoir and historical fiction? Why did you choose a writing style that sometimes seems to lapse into a meticulous historical account rather than fiction?
This is literature, in the sense that the novel is a relatively young form, and its borders are still contested. The world exists in storytelling just as storytelling exists in the world; I wouldn’t know how to extricate one from the other. For me, and perhaps this is an artistic failing of mine, I don’t think of it as meticulously historical. We are always with the characters, in their diction and register, in their conflict between public expression (Zhuli’s arguments with herself as she tries to align her thoughts with Chairman Mao’s discourse on the dangers of art for art’s sake) and private expression – in other words, between public and private languages, and public and private selves. All I can say with any confidence is that this is not memoir, as it has almost no overlap with my own family’s history; but I do think of it as a novel of intimacy.

After sending you this question I read that you had categorically denied this is a work of historical fiction. So my apologies. But I do love your description of it as a “novel of intimacy”.
Please don’t worry at all! I’m not sure I’m super categorical about it, but have lingering questions about what we mean by a work of historical fiction, how far back is the historical, etc. I don’t feel that we would call a work partially set in 1960s New York a work of historical fiction.

Madeleine Thien Do Not Say We Have Nothing Penguin, 2016. Pb. pp. 

3 November 2016