Today, my eleven-year-old daughter woke up much earlier than her usual time. She had had a nightmare. She dreamt that she was in 1939 Nazi Germany. She was in a classroom and then opened a door to go elsewhere. Then, to her horror, she was packing her precious belongings and needed to run. She did not know where she was running but she was and she was terrified. While narrating the incident, she looked alarmed and began wringing her hands in nervous fear. She kept using the collective pronoun “we”, but when asked over and over again, who else was with you, she finally admitted to the singular “I”.
The trigger for this dream in all likelihood have been the books and documentaries about World War Two that she has immersed herself in. She recently read a YA novel, based on a true story, of a Catholic girl who saved a family of thirteen Polish Jews. And much else. Much of it is driven by interest and partially by her school curriculum.
The point of this anecdote is that Art is powerful. It serves multiple purposes. If employed correctly, it operates more than Art for Art’s Sake. Most importantly, it allows the artist to use their creative sensibilities to observe, record, comment and preserve events in collective memory, lest we as a race forget the horrors that have been perpetrated.
Poet Tishani Doshi’s latest collection A God at the Door ( HarperCollins India) serves this purpose admirably. The seething rage and at times, a sense of helplessness, that she feels as an individual witnessing the systematic violence, communalism and the boxing in of women into their homes, are noted in her poems. “The Stormtroopers of My Country” that is an ode to the decimation of a beautiful country is extremely powerful. It is a country that will vanish rapidly if we allow it to happen. The poem ends with a firm belief in our abilities to survive the most violent of assaults.
with the pogrom atrocity death march love march no such thing as a clean termite to burn is to purify oh our culture so ancient so good we’re in the thick of the swastika now no brow beating will divide us together we must stick
The importance of the artists and writers in turbulent times can never be under estimated. They have the immense ability to imprint searing words upon the reader’s mind that are hard to shirk. Such as:
History too has a hard time remembering the black waters they crossed, … …History tries not to be sentimental, although letters give things away. ( “Many Good and Wonderful Things”)
There comes a point in the battle when the last international watchdog is forced to leave the country. Reader, I know you’re prone to anxiety. This is when it happens. The lagoon, the ambush, Bullets raining down in a no-fire zone. Quick, into my echo chamber. ( “Instructions on Surviving a Genocide”)
… I found a village, a republic, the size of a small island country with a history
of autogenic massacre. In it were all our missing women. They’d been sending proof of their existence —
copies of birth and not-quite-dead certificates to offices of the registrar.
What they received in response was a rake and a cobweb in a box. (“I Found a Village and In It Were All Our Missing Women”)
Forget where you came from, forget history. It never happened, okay? We need soldiers on the front line. Of course we can coexist. We say potato, they say potato. We give them their own ghetto. (“Nation’)
Say the words ‘Bay of Bengal’ and ‘Buchenwald’ one after the other, and they sound beautiful, just as ‘landfills does. And then imagine it: (“Do Not Go Out in the Storm”)
The poems in this collection are crying to be performed by multitudes of people. There is no other way to describe this but there seems to be a strong force at the core of these poems that is urging the reader to read these out aloud and share them with more and more people. It is as if when read out aloud, the truth these words enshrine will hit home hard and perhaps embolden us to push back. It is an incredible experience to read poetry that much of the time is a wail of pain and anger intermingled and yet gets transferred seamlessly to the reader and co-opt them into this collective grief. The desire to act can only happen if the personal will is strong enough to turn it into a political act. Perhaps by immemorialising contemporary events, the poet urges a mass awakening to fight against the ills.
My head hurts. And yet I find myself going over and over and over these poems. Soon, my daughter will be able to read and understand these poems. I hope she does. I hope she will convey them to her peers and in time, future generations. These poems/stories/ moments-in-history should not be forgotten.
Collegiality and Other Ballads: Feminist Poems by Male and Non-Binary Alliesis a unique experiment. Inviting people who do not identify themselves as of the woman gender but feel strongly on women-related issues offers a searing perspective on how feminism/women’s movements have impacted civil society. There is a collective anger evident in many of the poems at many of the injustices women face regularly. It probably stems from the sensitive understanding, empathy and the recognition on the part of the poets, many of whom belong to marginalised communities of society. Majoritarian discourses are blind or completely oblivious to the daily struggles of these individuals who are mostly left to battle an unequal social system. By bringing together these diverse genders, many of whom still inhabit a niche space in society or focussed LGBTQA+ imprints in mainstream publishing, Shamayita Sen ( editor) and Hawakal publishers have in Collegiality created a well-defined platform that may lend itself to more literary explorations in future.
Bessie Smithby Jackie Kay, Scotland’s National poet is a biography of a legendary blues singer. It is also a fascinating account of the history of blues, jazz, and what is today the popular form, Chicago Blues when the male musicians hijacked the scene with their acoustic guitars. Jackie Kay develops the scene brilliantly by pointing out that the blueswomen sang whatever they wanted to. They were ruthless while talking about men. These women were like a band of travelling musicians. They belonged to troupes. The most famous being Ma Rainey. All the women had “Smith” as a surname to give them some legitimacy as well as anonymity. These women were like a sisterhood that was powerful and knew they were good at what they did — singing. They also had no qualms being open about their sexuality even if they had male partners. They made lots of money and shared it generously. Their songs were the equivalent of modern poetry. They were also the first to adopt new technology like gramophones and made recordings.
Bessie Smith signed a lucrative eight-year contract with Columbia Records between 1923-1931. She recorded 160 songs, twenty a year! On 15 February 1923, the Queen of Blues, recorded ‘Downhearted Blues’ and ‘Gulf Coast Blues’. She arrived at the studio ‘tall, fat and scared to death’. It took her many attempts to make the wax recordings. She was probably nervous or stone cold sober. As Jackie Kay speculates, “She possibly mistrusted the whole technological thing, such as it was then. She might have felt that she was being had. But she soon got the hang of it. Humphrey Lyttelton says, ‘The singing that was transmitted to wax was, from the outset, mature, steeped in harsh experience and formidable commanding.'”
The sales of ‘Downhearted Blues’ — three quarters of million copies in six months — far exceeded the sales of any other blues record. The black public were eager to purchase records through mail-order catalogues, record stores in black neighbourhoods or even through the Pullman porters. The blues sold both in the North and in the South and became part of the record companies’ ‘race records’ series. These were issues directed solely to the black purchaser. By the end of 1922 Race records were being distributed in many Northern cities and as far south as Alabama.
In the South the blues sold to black and white people; in the more ‘liberal’ North, they just sold to black people. It was possible to have been white in the North in the 1920s and never have known that blues records even existed. This is because in the North, advertising of so-called ‘Race records’ was restricted to the black press, and the distribution of the records took place only in black areas. Southerners, though, became part of the ‘race market’. White and black people, though segregated, crowded into those tents to hear the blues.
During the Columbia period, Bessie Smith worked alongside some of the best musicians of her day: Fletcher Henderson, Louis Armstrong, Fred Longshaw, Jack Teagarden, James P. Johnson, Coleman Hawkins, and Joe Smith. But the most exciting combination musically was Bessie Smith and Louis Armstrong, in those sessions they recorded on 14 January 1925. ‘Reckless Blues’, “Cold in Hand Blues’, ‘Sobbin Hearted Blues’, and ‘You’ve Been A Good Ole Wagon’ were all recorded that day. It has turned out to be the most memorable dates in the history of blues.
Singers at that time were never paid a royalty but paid as usable side. These amounts varied depending on the musician’s popularity but Bessie Smith could earn as much as $250. She was the best paid of all the classic blueswomen. The women singers who came after her like Billie Holiday and Ella Fitzgerald were known as Jazzwomen who sang a different kind of music. Five of Bessie Smith’s records were on the market, and her reputation had grown beyond all expectations. But success would not last. After the Wall Street Crash of 1929 and the Depression, a new combo style of blues became fashionable. ‘Urban Blues’ or ‘Chicago Blues’ then dominated the scene from the mid-1930s through the 1940s. The likes of Muddy Waters and Howlin’ Wolf took off; the classic blues singers were replaced by men with acoustic guitars.
In the 1920s she who loved to party, participated in many ‘rent parties’ or parlor socials. This was home entertainment. You could get into any of them from 10 cents to a dollar. The other guests were ordinary, working-class people: tradesmen, housemaid, laundry workers, seamstresses, porter, elevator ‘boys’. But writers and artists and singers loved to go along too. On a Saturday night in Harlem, the music pounder out of the open windows. There was always an upright piano, a guitar, a trumpet and sometimes a snare drum. Rent parties originated in the South, where rents were so high that people had to organise such socials to pay their landlords. You needed no social standing to throw a rent party. All you needed was a piano player and a few dancing girls. Drinks were bathtub gin and whiskey. Food was fried fish, chicken, corn bread etc. Music was played by some of the masters and students of Harlem stride piano. Dancing — the Charleston, the black bottom, the monkey hunch, the mess around, the shimmy, the bo-hog, the camel, the skate and the buzzard — went on till the break of day. You were not regarded as much of a jazz pianist unless, wherever else you appeared, you played the rent-party circuit. You earned your spurs not only by sending the dancers into flights of ecstasy but also by ‘cutting’, or outperforming, rival piano players. Duke Ellington, Bill Basie — not yet Count— a young Fats Waller and Bessie Smith enjoyed these rent parties. One of Bessie’s best-known songs, ‘Gimme a Pigfoot’, written by Leola ‘Coot’ Grant and Wesley Wilson and performed with Jack Teagarden and Benny Goodman in 1933 is about rent parties.
Bessie Smith wrote blues for herself to reflect the experience of ordinary working-class people. The blues she sang and the blues she wrote often contained elements of burlesque, music hall and vaudeville which reflected her background as a young girl who had first joined a travelling troupe in 1912. A lot of her blues were raunchy, bawdy, double-entendre-filled, sexy sings, as well as tragic, painful and depressing. Bessie’s blues moved people.
According to Jackie Kay, “Her voice just got to them. Perhaps she reminded them of the past, of losses, of longing. Something in her voice went way back into a deeper past. Her voice seemed to contain history, tragedy, slavery, without self-pity. It had the ability to stretch beyond even the lyrics of her blues into something more complex. Her blues were universal, but also deeply personal. They allowed her to express the whole range of her complex personality– the wild promiscuous drunken side and the depressed, insecure, lonely side.”
Bessie Smith became poorer when the blues that she knew began to die. Columbia Records dropped her on 20 Nov 1931. Jackie Kay uses terms like hedonistic and self-destructive for Bessie Smith which are probably apt descriptors given her alcoholism, temper and impetuous nature. Nothing fazed her. She did exactly as she pleased. Once she confronted the Ku Klux Klan single-handedly. In July 1927, Concord, North Carolina, she was performing in a tent when her musicians discovered that the Ku Klux Klan had removed most of the tent stakes. Her prop boys ran away seeing the white-sheeted men, but Bessie Smith blasted the Ku Klux men:
“I’ll get the whole damn tent out of here if I have to. You just pick up those sheets and run.” The Klansmen, shocked, stand and gawp whilst the Empress shouts obscenities at them until finally they disappear into the darkness. “I ain’t never heard of such shit,” says the Empress, walking over to the prop boys. “And as for you, you ain’t nothing but a bunch of sissies.” Then she goes right back into that same tent for her encore.
Bessie Smith died as a result of the injuries she got in a horrific road accident. She had thousands of mourners at her funeral. Yet her pallbearers were hired. None of the people she had helped over the years came forward. Her ex-husband, Jack Gee, siphoned away her money and despite there being two fund raisers for the specific purpose in 1948 and in the early 1950s he let her remain in an unmarked grave for 33 years. Then in 1970, Columbia Records reissued her five albums. They won two Grammy awards. At this time, it was asked by the public if Bessie Smith could have a headstone now. So, another fund raiser was organised. But it took only two phone calls to get the money. One donor was Bessie Smith’s former cleaning girl, now a rich woman, Juanita Green, who owned two nursing homes and the singer Janis Joplin. Coincidentally, Janis Joplin died of a drug overdose on 4 Oct 1970, the date of Bessie Smith’s funeral.
Bessie Smith is utterly fabulous. It is an excellent example of a biography. Jackie Kay hero worships Bessie Smith but as a professional poet herself recognises the challenges and joys of being an artist. Jackie Kay describes Bessie Smith as a strong woman associated with style, glamour, freedom, strong woman, a real queen, she drank, she cussed, she spent money, she partied, she fought, she was beaten up regularly by her second husband, and was a bisexual. She lived life on her own terms. Money just became another expression of her impulsive, party-loving, binge-drinking generosity. She spent money liberally on her friends and family but was not known to treat her musicians kindly.
There are so many ways in which the author’s and the subject’s professional and personal interests intertwine. Bessie Smith is written brilliantly. At the same time, it is an excellent historical account of blues. Faber Books imprint that focuses on music publishes excellent stuff. No wonder they once had hired Pete Townshend of The Who as Commissioning Editor. This is book is a fine example of this excellent list.
We gave this beauteous book to our daughter as a Christmas present. She loved it. Squealed with delight. She loves poetry. She loves painting. She loves nature. This is a splendidly elegant and quiet mix of all the elements. It gives one immense pleasure, peace and happiness reading it.
For me, the poem and gorgeous illustration of a daisy chain brought back memories of my childhood. My mother had taken my twin and me to the hill station Dalhousie. She had been instructed by my grandfather to pack up his childhood home, Snowdon and Shantikunj, as his mother had recently passed away. It was a bittersweet experience but mum made it memorable by taking us for long walks through the forest, instructing us to keep the doors bolted at night in case the panthers arrived and of course waiting out the tremendous racket the langoor raid created on our tin roofs. A particularly precious memory was seeing mum get very excited when she came across a patch of daisies by the road winding through through forest. So we plonked ourselves in the grassy-daisy patch, by the roadside and strung daisy chains, while madly waving to passers by. It was a fun, fun day.
Jackie Morris and Robert Macfarlane have the incredible gift of making magic together. In their own right they are astonishingly talented souls but together their creativity sparkles and this shines in The Lost Spells ( Hamish Hamilton). They are also very fortunate in their publishers being very generous and supportive in the book production. Little details beginning with the gold foiling on the cover to the richness of colours used, pocket size of the book that is unheard of nowadays as it is not an economically viable size to produce, the gold bookmark stitched into the spine and the sumptuous spread of illustrations is an utter delight to behold.
It is such a precious book at all times but particularly during the pandemic. We could do with such moments of joy!
Shimmering Spring ( Hawakal Publishers) is an interesting collection of poems and prose edited by Kiriti Sengupta. 39 contributors from around the world but mostly Indians. It is refreshing to see the arrangement of poets is alphabetically and not necessarily according to some perceived hierarchy of established and upcoming voices. A beautifully produced edition with very bright paintings by Pintu Biswas. The layout is generous and respectful to every single poet featured in the book. It is the kind of book that makes you want to read the poems over and over again till you zone in completely to what the text is saying and shut out the world. It works. My only quibble is the manner in which at times the text has been plonked on to the page, trickling into the artwork and thus disrupting the reading experience. Nevertheless, an edition that many will return to for the extraordinary variety of poetry.
It is not very easy to read while the lockdown is on but I have managed a wee bit. The following are only some of the books I managed to read in April. Many others that I read I wrote about in separate blog posts. As always it is an eclectic collection.
Stephen and Lucy Hawking’s The Universe: Everything you need to travel through Space and Time is a brilliant collection of essays about the universe. It begins with a beautiful but very brief essay by Professor Stephen Hawking, “The Creation of the Universe” where he simply and clearly tries to explain the origins of Universe, packing it with concepts too. The contributors to the volume consist of eminent scientists, some Nobel Prize winners too, and a school student, Nitya Kapadia. The range of topics is extraordinary — understanding the origin of life, the Big Bang theory, idea of Space, travelling through the Universe, the idea of Relativity, from the solar system, the planets, speculating about life in space, Zero-Gravity Flights, Time Travel, wormholes, the Goldilocks zone, the geographical structures on Earth, Artificial Intelligence, Robot Ethics, 3D Printing, Internet Privacy, Quantum Computers etc. The template set by the late Prof. Hawking is the blueprint for the subsequent essays in the book. It makes science so easily accessible for young and adults alike. ( Confession time: My 10 yo daughter and I have been taking turns to read this book as both of us are fascinated by complicated subjects explained ever so simply!)
Scientific discoveries do not necessarily happen always in a staid manner, in controlled laboratory conditions. S D Tucker’s fascinating book Forgotten Science attempts to uncover the backstories of some of the extraordinary scientific applications that we take for granted in modern times. For instance, figuring out the circulatory system within an individual and the effect of medication if taken orally or injected directly into the bloodstream was discovered after experimenting upon dogs. These experiments were conducted by Robert Boyle (1627-91), often described as “the father of chemistry”, and Sir Christopher Wren (1632-1723), the anatomist, architect and designer of St Paul’s Cathedral to test William Harvey (1578-1657), court physician to Charles I, hypothesis about the circulatory system of various living creatures. Another equally bizarre and immoral experiment was carried out by Nazi doctor, Dr Sigmund Rascher ( 1909 – 45) to test the effects of high altitude and how to recover from hypothermia. Taking advantage of his close proximity to SS Head Heinrich Himmler ( 1900-45), Dr Rascher got permission to conduct experiments upon prisoners in Dachau concentration camp. In 1942 Rascher was given a pressure chamber and began locking prisoners inside to simulate the effects of high altitude upon Nazi airmen and parachutists. By altering pressure changes quickly or slowly, Rascher could mimic both gradual ascents and total freefall, and see what such states did to the human body. The effect upon the prisoners varied from exploding lungs, while others began to rip their own hears apart with bare hands due to the unbearable stress they felt inside their skulls. He killed about eighty prisoners in this ghastly manner but dismissed it as saying they were ‘only’ Poles and Russians. Some of his other experiments were on hypothermia, discovering the blood-clotting agent called Polygal and developed the cyanide capsule which later even Himmler took to avoid capture by the British. Ultimately Rascher too was incarcerated at Dachau for publicising the falsehood that he had extended the childbearing age of women and as proof he said his wife, touching fifty, had given birth to three babies, when in truth they had been kidnapped. Rascher was shot in April 1945. Several scientists who had worked with Rascher ended up working at NASA.
The next three books belong loosely to the category of science fiction — The Flight of the Arconauts by Sophia Khan ( steampunk fiction); The Sin Eaters by Megan Campisi and Analog Virtual by Lavanya Lakshminarayan. The Flight of the Arconaut is written at a nice pace. Neat dialogues. Interesting attempt at blending names to denote cultural melting pots. But it seems to have been heavily influenced by contemporary scifi young adult literature. It is also very desi in its telling by cramming the main narrative with so many stories and backstories. I see no reason why all must exist in the forefront. It is also inexplicable why must SpecFic, or in this case Steampunk Fiction, be so obsessed with conservative social rankings especially along gender lines? Why not break free? Also why is birth and regeneration such a massive preoccupation. It is as if it is impossible to think beyond the writing of H G Wells, Aldous Huxley et al. Sophia Khan’s saving grace is the packed dialogue and a superb grasp of the English language — LOVE IT! The second volume in this trilogy should be fun.
The Sin Eaters and Analog Virtual are debut novels. Both the writers seem to be voracious readers. Keenly imaginative writers too but not sufficiently confident enough to create landscapes of their own. While theatreperson Megan Campisi creates a parallel reality to Elizabethan England in The Sin Eater to explore the rumours of Queen Elizabeth I having had an illegitimate child. Campisi builds the premise of her story upon the social mobility a Sin Eater has within society and is able to pick up bits of information. So this part-mystery, part-historical fiction, is thrilling to read in parts with the strongest moments in storytelling being different scenes, much like the scenes enacted on stage. Usually the best moments in the novel are when the sin eater is in an enclosed space like a bedroom or a chapel attending a recitation or funeral and there are onlookers, replicating a play being enacted on stage, watched by an audience. Megan Campisi’s forte is theatre and not long fiction. But if she persists at this craft and attempts to write what her heart tells her to, she has the potential to do well. Much of this holds true for Lavanya Lakshminarayan who need to break the shackles of a well-read reader of science fiction and create with the assurance that resides deep within her, an imaginary landscape with its distinctive vocabulary, unique social structures, and a clear inner logic to the society she creates so that any reader coming to it for the first time will fall in love with her story. For now Virtual Analog is competent storytelling but no more. It may also fit snugly on the joint imprint that her publishers Hachette India have with Gollancz but Lavanya Lakshminarayan is capable of much, much more than what is displayed in Analog Virtual. What shines through the books is their keen imagination. They are creative writers whose confidence will soar with their third books. If they persist at this craft and attempt to write what their hearts tell them to, they have the potential to do well.
And then there are the two works of fiction — Meena Kandaswamy’s Exquisite Cadavers and Sarah Ladipo Manyika’s Like a Mule: Bringing Ice Cream to the Sun. Established writers. Controlled writing. Immersive reading experience. Meena Kandaswamy’s Exquisite Cadavers is an extraordinary reading experiment with parallel texts laid out on the pages — the main narrative and the interior monologue of the writer. Fascinating. It is a sophisticated cross between poetry and prose. Such books are meant to be experienced. In the old-fashioned sense. Linger over the pages. Dip into the text. Read along the margins. Shut the book. Mull over what one has read. Imbibe some more. Go back to a few lines. Meena Kandaswamy’s sense of rhythm as a poet has not left the prose. It is gorgeous! Her writings have always been infused with a ferocity that seems tto have been sharpened over the years but there is something special about this novel. Fifteen years down the line Exquisite Cadavers will be used a fine example of a literary text that will be read by the general reader as well as be a prescribed text. This is not a novel that will not be easily converted to an audio book — nor should it be. Likewise Sarah Ladipo Manyika’s novella about Morayo Da Silva, a seventy-five-year old Nigerian, living in San Francisco. She reflects upon her life as an academic, author and a diplomat’s wife. It is also a moving tale about ageing and suddenly being at the mercy of tender and well meaning care of others. Ladipo chooses an extraordinary literary technique of giving every character the first person narrative which at first is confusing but slowly adds up to the variety of perspectives and unsolicited advice Morayo gets upon her hospitalisation. The saddest part in the novel is when her kind young friend decides to tidy up Morayo’s apartment thereby ridding it off a clutter of books. Morayo is understandably upset, a hurt that many are unable to comprehend. It is a novel that criss-crosses continents — Africa, America and Asia. Irrespective of the land she is in, or when nostalgia hits her regarding Africa, Morayo’s levelheadedness always wins. It is a novel that cuts across cultures seamlessly and sensitively. There is never an awkward sense of looking at other cultures as “other”.
Lisa Taddeo’s Three Women and Jess Hill’s See What You Made Me Do are ( to use cliches) — mind blowing books. Both by journalists-turned-authors whose books were written after many years of intensive research and recording testimonies. Both these books will influence women’s writing, women’s movements, and all aspects of feminism in a manner similar to that of Simone de Beauvoir and Germaine Greer’s influence. Lisa Taddeo’s Three Womenis about talking to three women about sex and desire for nearly eight years. It became a publishing sensation. While the subject itself would attract attention, it is the narrative, the confidence with which the subjects explore their own complicated reactions to sexuality. Significantly Three Women marks a watershed moment in contemporary women’s literature on how women talk about their sexual desires and needs. In many ways the strength of Lisa Taddeo’s is very similar to male writing, an unquestionable confidence. Jess Hill won the Stella Prize 2020 for Look What You Made Me Do. A title that probably gets lost as it is very similar to many of yalit and chiklit titles, but this title has a purpose with sinister underpinnings. It encapsulates the blame-game that inevitably every male perpetrator foists upon his female victim, usually said in a manner that fools the victim to believe the falsehood — she is too blame for the violence being meted out to her. In this particular book, Jess Hill focusses on domestic violence and her analysis of it is horrific. She breaks many myths about it being only restricted to certain socio-economic sections . Her profiling of the perpetrators is pathbreaking as she creates categories. Some of the men when they appear in court seem as if they can never hurt a fly and yet the incidents they are involved in are gut wrenching. Much of what she says is familiar to women activists and legal teams such as that violence is not necessarily always physical but emotional, psychological, financial etc. The manner in which the information is presented in Look What You Made Me Do will help this material in reaching to newer audiences. Women who either need help themselves or those close to victims. Both these powerful books are going to be seminal in the field of women/gender studies, human rights, manual for legal and counselling professionals.
The final book is the stupendously magical award-winning Lampie and the Children of the Sea. It has been written and illustrated by Dutch illustrator Annet Schaap. This is her first novel. It has already won the Woutertje Pieterse Prize, the Nienke van Hichtum prize, the Bookenleuw and the Gouden Griffel for the best Dutch children’s book of the year. It has been translated into English by Laura Watkinson. It is also the only translated book to have been shortlisted for the 2020 Carnegie Medal Award. It is a stunning modern fairy tale about a little girl, Lampie, living in a lighthouse with her father. Due to some unfortunate events Lampie is sent off to live in the Admiral’s home where it is rumoured a monster resides. It is a heartwarming tale as it is also a tale of Lampie overcoming prejudices and learning to live on her own terms, overcome hurdles and set goals for herself to achieve. The joy with which this story seems to have been written flows splendidly in the translation. It is truly magical to read it even in the moments when there is deep sadness and unnecessary violence. The imaginative plot matches the wild imagination that children are prone to creating for themselves. Yet Annet Schaap, an adult, an illustrator and a storyteller, pulls her strengths together of — an adult’s perspective on a child’s world sans judgement, creative imagination and a wide-eyed wonder at the power of stories to weave her magic. There are multiple layers to Lampie and the Children of the Sea. Whether the monsters in a child’s life are real or imaginary, they can be confronted and set free. It is a book that will appeal to adults and children alike!
Krishnan worked with Macmillan India (1980-2000) and with Oxford University
Press (2001-2018) to source, edit and promote translations into English of
works by Indian writers from 13 languages many of which won national prizes and
are included in study courses both in India and in universities overseas.
She is currently co-ordinating multiple publishers to build a programme of Tamil-English translations. This is an initiative designed by the Tamil Nadu government and located in their Textbooks and Educational Services division.
1.How did you begin your career as an editor of texts translated from Indian languages into English?
it is fair to say that it began as both an accident and an affinity for things
Indian long submerged by training in English Literature! I always felt a vague
dissatisfaction with the texts I was reading / studying but had no clear idea
of how to access materials written by Indians. Nor how to relate them to what
seemed to be important intellectual tools gained in UG and PG degrees in English
Literature. In the late 1960s-early 70s when I was a student, books were not
that easily available. Because my father was with the Deccan Herald (Bangalore) I got to read the books he received for
review and that was about all. My college and university libraries did not
stock books by Indian authors.
after my post-graduation I got an opportunity to freelance with Macmillan India
in Madras. I was put to work on anthologies of prose, poetry, fiction and so
on. Quite dull work really but I kept asking my editor why she couldn’t include
some Indian writers other than Nehru, Sri Aurobindo and Tagore. “The members of
Boards of Studies do not even consider other Indian writers worth teaching,” she
said. I thought to myself that if I ever got a chance I would campaign for the inclusion
of Indian writers in foundation English courses.
I got my
chance when my editor (Viji Sreenivasan) left, creating a vacuum which I
filled. I was a square peg in a square hole. A week later the Kerala Sahitya Akademi
and Macmillan India signed agreements to produce a two volume publication
titled Comparative Indian Literature
edited by KM George; with 16 chief editors and 200 contributors, it was a
stupendous work. The entire chronology of Indian literature was catalogued and described.
Ancient Poetry (all the languages recognized at that time) Modern Poetry.
Ancient Theatre, Modern Theatre. Fiction. Short and Long. And so on and so on.
It was 4000 pages and took five years to push into shape. I worked on nothing
might all those Indian language works, described in this publication be
accessed? Only a very small number of them were available in English
translation. So, since fools rush in, I designed a project of modern novels
from eleven Indian languages and tried to persuade Macmillans to invest in the
idea. They were astounded. They were textbook
publishers and I was their golden goose publishing for the school and college
market. Why waste editorial time and money on translation? So I set about
looking for support outside Macmillans. If I secured funding I would be allowed
to do the project. For seven years I went from door to door trying to convince
powerful institutions to part with some money for Indian literature. Mind you I
had nothing to show anyone as a promise of what might be possible. Only a
single failed translation by V Abdulla of Malayatoor Ramakrishnan’s Verukal.
Finally, in March 1992, my friends Valli Alagappan, her father, Mr AMM
Arunachalam and her aunt Mrs Sivakami Narayanan who jointly ran the MR AR
Educational Society of Madras agreed to fund me. I still do not know why they
decided to help me. I had nothing to recommend me but my enthusiasm and
determination. I received a letter saying that they would set aside Rs 80,000
per book for 50 books.
No one was more surprised than my highly commercial management but there
was trouble. Though my Vice President R Narayanaswamy supported me, my Managing
Director Sharad Wasani was unwilling to let me spend a lot of time on what he
saw as an unsaleable project. When he received the forms seeking his approval
he refused to sign. I wrote him, “You are the only person in the world who will
refuse funding for his country s literature”and closed by offering to resign.
Only two people from that time left — Jayan Menon and Sukanya Chandhoke—
who will remember this.
Anyway, after Wasani changed his mind, I invited eleven eminent writers to be the chief editors for the languages I had selected for the project ( Tamil, Telugu, Kannada, Malayalam, Gujarati, Marathi, Oriya, Bengali, Urdu, Hindi and Punjabi) and they helped to make up lists of five post-Independence novels from their respective langauges. Because I had been dealing with 16 chief editors on the C.I.L volumes I didn’t think this strange at all but anyone who discussed the project with me was astonished at the volume of work I had undertaken. It didn’t seem like work at all to me ! At last I was getting to do what I had really wanted to do when I entered publishing 12 years before.
Many important works were published in full for the first time in English: Brushte ( Outcaste) by Matampu Kunhukuttan, Randamoozham ( Second Turn) by MT Vasudevan Nair, Bharathipura by UR Ananthamurthy, Danapani (The Survivor) by Gopinath Mohanty, Subarnalatha by Ashapurna Debi, Ponniyin Selvan by Kalki and Karukku by Bama.
In all, between 1996 and 2000 when I left Macmillans I published 37 volumes. They went out of circulation a year or two after I left the company and the C.I.I.L Mysore bought the whole project including unsold stocks in 2007 with a view to republishng the entire list. It never happened because the Director (UN Singh) whose dream it had been, left the Institute.
2. What were the languages you first worked on? How many languages have you worked upon so far?
The first scripts I worked on were translations from Malayalam and Tamil. In all, I’ve worked on translations from Tamil, Telugu, Kannada, Malayalam, Konkani, Marathi, Gujarati, Bengali, Odia, Hindi, Kashmiri, Punjabi, Urdu, and just one from Dogri.
3. How do you select which book is to be translated especially if it is a language you are unfamiliar with?
As I said because of the work I did on Comparative Indian Literature it wasn’t difficult to identify what needed to be translated particularly if the Sahitya Akademi had not already commissioned translations. Then again once the Macmillan project took off I was flooded with advice and suggestions. The difficulty was what to leave out. A great disadvantage is that I could not and therefore did not read the critical material on any of these works. I rely a great deal on the advice of others. But when it comes to translators I use a process of running trial drafts of different kinds of passages from the selected work — one might be a descriptive paragraph, a second something very emotional or lyrical, a third passage would cover conversation – to check the translator’s strengths and where s/he might back off, or skip or be lazy. The editing process can take anything from two drafts to six depending on the competence of the translator and the cooperation between all parties. Long silences, gaps in the process are not healthy for the project nor is impatience or being a speed queen the answer. As for the reception of a translation! Much depends on how well the publisher promotes the finished product. Publishing is only 50% of the responsibility. The other 50% depends on promotion and follow-up.
4. Do you think it is necessary for an editor to be familiar with the source language? If not, how can the editor ensure that the translation is true to the original text?
Of course it is important for the editor to know the source language but then in how many languages can one gain proficiency? The editor/ publisher must appoint reviewers who will read the translation carefully to ensure (as far as possible) that nothing has been left out or distorted. Then the editor can take over and polish in consultation with the translator and author.
5. What are the kind of guidelines you think an editor of translations should be bear in mind while working on a manuscript?
Listen very carefully to the voice of the author. Does it chime with the
translator’s? It helps to have someone read out the original even if you do not
know the language while you follow the English in a parallel reading. You
cannot but help hear the inflexions and emotions as the reading proceeds.
Be respectful. Very important to gain the confidence of the translator. Make suggestions tactfully. Once the translator is convinced you are not out to destroy his work or appropriate it, he will breathe easy and work and redraft willingly. It helps to read other works from the same period and familiarize oneself with the language – bank of that time. You need to enter that world emotionally through images and atmosphere not just intellectually through words.
6. What is your definition of a “good translation”? What are the qualities it must have?
This is something I have been trying to figure out for 30 years! Sometimes a smooth read will fail to capture the imagination of the reader. Sometimes even if a translation is jerky and appears to be rushing along, it will work. I think it is a combination of inspiration and zeal on the part of the translator and very patient work on the part of the editor. The qualities? The language must bring the author alive. It must make you think “If XY had written in English instead of in Marathi this is how he might have phrased it”. Now it is all very well to say this to ourselves but to someone who is not Indian, this might still not work at all. Basically I think we should be translating first for our Indian market before trying to reach spaces and minds outside India.
7. When you began translating texts into English for the Indian market, at the time, most publishing houses ignored translations. Today the reality is very different. Most publishing houses have dedicated translation lists and even the local literary awards are recognising translators. What in your opinion are the pros and cons of this deluge of translations in the market — locally and globally?
It is extremely encouraging to see the increased interest in translations and the care with which they are produced but a worrying feature is the way publishers are responding to criteria laid out by the big literary bursaries and prizes for translation. There is a growing tendency to ignore works published more than 20 or 30 years ago and no one seems to want to do a fresh translation of a classic. Then there is the secret craving on the part of publishers to promote a translation as not a translation. So the translator’s name disappears from the cover page, a most unfair practice. I put this down to the second-classing of translations—as if they are something inferior and not worthy of being viewed as works of art in themselves.
8. Recently machine translations such as Google’s neural technology are making an impact in the space of translation. How do you feel about the impact of machine translation in the literary sphere?
Any technology which helps the human translator will be of enormous help I’m sure but I doubt whether it can supplant imagination and nuanced word choices. For mundane passages for instance this interview can be processed by Google translation but — a poem full of feeling and fire? I doubt it. An approximation would surely be possible but would it be good enough? I’ve always maintained that the translator is as much an artist as the writer of the original work.
9. Your name in Indian publishing is synonymous with translation evangelism. You have been responsible for kick-starting many notable projects. The current one being the Translation Initiative of the Thunchath Ezhuthachan Malayalam University (TEMU). Please elaborate more on this project.
Actually I did not initiate the TEMU project. That was designed by K
Jayakumar the first VC of the University. It was a simple plan: an advisory
committee selected works, I commissioned the translations and marketed the idea
with multiple publishers. In some cases, the publishers already had scripts on
hand; in other cases, I found the translators and did some light editing before
handing over to the concerned group. The University signed agreements with the
publishers to buy 300 copies at a discounted price and the publishers agreed to
carry the logo and mission statement of the University in the selected works. I
did not initiate any project other than the Macmillan list. In OUP I enlarged
and diversified an already extant list which had not — till I began work in
2001— published a single woman writer. Nor had Dalit or Adivasi writers been
considered. That was an arm I grew for OUP India and it has done well.
For a year now, I’ve been working with the Tamil Nadu Textbook Educational Services on a Tamil- English translation project modelled on the TEMU plan. Our collaborators in the first phase are OBS, Niyogi, OUP, Ratna Books, Harper Collins and Vitasta.
10. Can the art of translation and editing a translation be taught or is it a lived experience?
Commitment, determination and passion are crucial to sustained work in
this area. To find a forgotten work, to convince people that it must appear in
English, to struggle with the translator at its rebirth and to learn that a
major publisher in the language of the original work decided to reprint the
book (which had lain in a rabbit – hole for four decades) —- that is the best
thing an editor of translations can hope to enjoy.
Strategies in translation can certainly be taught. Translator training is certainly possible and necessary but finally the translator is on her own except for her editor and together they complete the phantom work. It might succeed. It might not. It might succeed as an aesthetic product and bomb in the sales department. But then that is the fate of any human product which is judged by both ignorant people and by those who know far more than you do. No amount of reading about tennis or watching it on television can help you to be a good player on the court!
11. Translations are most often construed as being undertaken as a labour of love with little financial resources being available for underwriting the costs involved in the task. What are the economics of publishing translations in India? What has been your experience?
Love is great but it won’t put food on the table. Translations need financial support either from a patron or from another line of books from the same publisher who sets aside resources for the translations list.
12. What do you think is the future of literary translations in the world of publishing?
The world literary mart is only just waking up to the hidden power of translations and what they do to cross-pollinate creativity across cultures and civilizations. Consider all the talk about world peace! How can this happen if cultural understanding isn’t an organic process? One way to ensure this is to expose children and young adults to writing from different parts of the world at an impressionable time in their lives. Translation can help the humanities to make a brilliant comeback in a global sense. Comparative literature is impossible to teach without discussing the central role of translation. If we are to survive all the artificially orchestrated hatred and violence and misunderstandings created by politicians and power –mongers, venues of mutual understanding need to be very deliberately developed. Cultural competence, soft –skills — these are words one hears very often but what are we doing to build that theatre of human understanding? I think that if literary translations can be included in academic programmes and introduced into high-interest professions like management, finance and public policy it would help humanize these professions and give publishers the big print runs and inflow they need to keep doing what only they can do.
Note:Women Writing in India edited by Susie Tharu and K Lalitha (OUP) was a reprint of the Feminist Press publication, 1993, NY and not commissioned or developed by Oxford University Press.
Krishna in Rhymeis a fabulous retelling of the story of Krishna by Kairavi Bharat Ram and Ananya Mittal, published by Scholastic India. It is in couplets. Ishan Trivedi’s sumptuous illustrations fit so beautifully with the text, making the reading experience magical. Gift it now. Gift it in Diwali hampers. It is a book for children and adults to read, whether already familiar with the stories or not, is immaterial.
He is always remembered for the fun he had, For being a playful god, beyond the good and the bad.
He represents the child in us, who enjoys life and is free, He’s the balance between fun and responsibility.
He taught us that to your fate you are bound, This idea’s called karma, what goes ’round comes around.
The Gita is perhaps his most famous speech, In this all about duty and dharma he does teach.
When you do what you must, things will always be okay, Following your heart will never lead you astray.
We hope this epic story you all have understood, Remember this forever: evil never beats good.
Universally adored children’s writer Julia Donaldson toured India in January 2018. The reception she received was heartwarming. Wherever she went there were crowds of excited children and parents. Even at the specially organised event by Scholastic India of school librarians and teachers there were many who while learning from Julia Donaldson’s performance were completely star struck — you could see it in their eyes and later when innumerable group photographs were being clicked. It was an incredible experience to witness.
Here is an article I wrote about Julia Donaldson’s trip in January. It was written days after her departure from India but never was published till today. It was an honour to meet Julia Donaldson for her humility shone through as did her vast amounts of experience in inculcating the love of reading in children. She was keen on telling a good story to the children and infecting them with the joy of reading. While being a fantastic storyteller she also shared her experience of working on the technically-sound phonetic books like the Oxford Reading Tree ( ORT) books that are introduced as part of school curriculums worldwide. According to her it was a big learning curve for it taught her how to focus on telling a story within the limited number of consonants prescribed for a particular level without losing her trademark touch of creating rhyming and play books.
Note: Follow the links embedded in each title and it leads to the book page on Amazon India.
Julia Donaldson MBE and former UK Children’s Laureate is to the world of picture books what Stephen King is to horror stories and both have an enviable fan base. Like Ed Sheeran, Julia too began her career busking. She enjoys performing and always has a repertoire in mind before going on stage but willingly adapts if the occasion demands it. As Julia says “audiences and moods vary depending on whether you are performing in a bar, a street or in schools.” She usually performs with her husband Malcolm who accompanies her on the guitar. Their thorough professionalism at managing crowds was evident after a performance ended when Malcolm picked up his guitar and sang while going up and down the queues of eager yet restless folks awaiting their turn to have their books autographed by Julia.
When Julia Donaldson’s tour of India was announced excited adults squeaked “Her picture books are fabulous! The illustrations! AndGruffalo…Will he be there as well?” Chirrups of delight from the children who became eager volunteers at every performance! She would call upon children from the audience to come up on stage to play minor roles in the stories she enacted such as Superworm, The Ugly Five,andWhat the Ladybird Heard. Ideally Julia prefers it if her audiences have read some of her “play books” in advance as it enriches the experience. This fear was put to rest in India. Whichever city she visited the enthusiastic crowds of children and adults alike sang with her. It was like being at a pop concert where the hysteria of the audiences upon seeing Julia Donaldson in flesh was worth witnessing.
The crowds in India were far larger than any she has performed before anywhere else in the world. Yet the warm, cuddly, grandmotherly figure with a radiant smile that lit up her already twinkling eyes remained unperturbed. She performed happily even though some of her little extras decided to plonk themselves on stage to read the pile of picture books placed in a pile rather than participate in the sing-along! Despite battling terrible bronchitis Julia Donaldson managed to mesmerise folks with her storytelling. Certainly she had sophisticated props; mostly recognizable characters sketched by her long time illustrator Axel Scheffler, yet she relied mostly upon vast dollops of imagination to make her stories come alive.
Julia Donaldson’s magnificently magical storytelling is technically perfect in using rhythm and wordplay. She demonstrated to teachers that while sharing light-hearted stories with new learners it is easy to convert a simple classroom into a vibrant one with music and colour. A happy child learns fast. The importance of reading is critical to her and has always been — she taught her younger sister to read! Of the nearly 200 books Julia Donaldson has written the bulk are phonic readers; requiring her to blend vowels and consonants precisely according to early learning rules of phonetics. This is in keeping with her fascination for sound patterns and letter stories.
Julia Donaldson grew up in a home filled with music and poetry with her grandmother instilling a lifelong passion for Edward Lear’s nonsense language —in The Giants and the Joneses Julia invented Groilish! (Later to her delight she was commissioned to write a sequel to Lear’s “Ówl and the Pussycat”.) Age 5 she was presented by her father, a still treasured edition, of The Book of Thousand Poems inculcating in her a dream to a poet/lyricist. Her mother would play a version of “antakshri”, encouraging her daughter to find a word beginning with the last syllable of a word she had uttered. All of which helped Julia while writing her books in blank verse.
In the 1970s she worked in a publishing firm while contributing songs and plays to radio. One of these was A Squash and A Squeeze which an editor recollected two decades later persuading Julia to turn it into a picture book.
Julia Donaldson’s fascination lies in experimenting with well-known folktales. In the Gruffalo it was the retelling of an ancient Eastern tale where a little girl goes into the forest and tames a tiger that follows her meekly home. But Julia was stuck for an appropriate rhyming word for “tiger” so used “Grrr… “ Rest they say is history! She recalls fondly that her sons could never cross a bridge without enacting the Three Billy Goats, now she hears of picnic expeditions that revolve around a Gruffalo hunt!
Her books have sold millions of copies worldwide, translated into many languages. She structures each book carefully paying close attention to her conclusions: “She does not like rosy endings that tell the child that it was all a dream. Sealed endings are not to her liking.” In 2014, 40p of every pound spent on buying picture books in UK, went to Julia Donaldson. It was more than spent on Harry Potter books! On Christmas Day 2017 The Highway Ratpremiered on television as an animated film, fulfilling an annual ritual of converting a Julia Donaldson picture book into film since 2012 when Room on the Broomwas nominated for an Academy Award. ( For Christmas 2018 it will be Zogand for Christmas 2019 The Snail and the Whaleare to be adapted.)
Running on the Cracksis the only young adult novel she has written. It has her characteristic gentle empathetic touch without underplaying hard issues such as immigrants, mental health, sexual predators and runaway kids. Even so “she would rather make picture books that allow her the freedom to play with words that get made in a shorter time than writing a novel which takes some effort.”
Ultimately Julia Donaldson firmly believes that children should read a variety of genres including comics – give them anything that appeals to them!
Alice’s rabbit hole began when she entered her father’s library and picked up one of the books she was forbidden to read. In it, the words were flavoured with anger and terror and beauty and everything she hadn’t tasted yet in her young life. People revolting, war, famine, anger at the aristocracy, compassionate philosophers writing famous ideas and wild theories.
Wonderland emerged when Alice found her love for reading, and even better, acting on what she read. …
She scorned the idea that young ladies of that time should not do what she did. Make change and make waves and create a world more equal for everyone that lives in it. She was more concerned about making a change and in every little way she could find, she would.
Wild Embers, pp. 68-69
Nikita Gill is a British-Indian writer and poet living in the south of England. With a huge online following, her words have entranced hearts and minds all over the world. Wild Embers (2017) was her first book. I discovered the hugely popular Instapoet poetry in print, not on social media. It were the print editions that caught my attention primarily because her book publicists sent the beautifully designed editions of Wild Embers and Fierce Fairytales & Other Stories to Stir Your Soul. Strong poetry that is a pleasure to read for its sharply articulated ideas and representation of strong, independent, and thinking women characters especially in the retelling of the age-old fairytales. In fact Fierce Fairytales was whisked away by my young daughter as her own! I was a little surprised at her action as I was not sure how much of the poetry she would understand. Yet she surprised me pleasantly by getting the gist of the stories. She may not have got the layered meaning but she got the gist. It speaks volumes of Nikita Gill’s skill as a poet to be able to connect across generations. Unsurprisingly she has a legion of followers on social media: Facebook (109k), Instagram ( 478K), Twitter ( 26.6K) and Tumblr
Hachette India helped faciliate this email interview.
1. How and why did you decide to become a poet?
When I was 13 years old, I was introduced to the work of Robert Frost through English class. There was something incredible in capturing such a wide span of emotion inside a single poem that rattled my soul and I felt a deep connection with it. Soon after, my nani (maternal grandmother) gave me my very own copy of Sukhmani Sahib and the hymns and verses there made me realise how poetry and prayer were not dissimilar, each one crafted from air to create something beautiful in and of itself. This was what made me fall in love with and want to write poetry.
2. How long does it take you to write a poem?
Genuinely speaking I am never done writing my poems. I think it was Da Vinci who said, “Art is never finished, only abandoned.”, and I resonate with that deeply. I frequent my old journals often, and rewrite pieces that I wrote years ago. I have a fondness for visiting an old thought with a fresh mind and a newer heart. I edit my manuscripts over and over again until I have to give them up. On a good day, a first draft will take about 6 hours, and rewrites take longer.
3. You are a huge success on social media. You are one of the few Instapoets who is known worldwide with a celebrity following too. But traditionally publishers are hesitant to publish poetry for the book gets easily read in a store or can be easily copied. How do you manage your poetry posts online from being plagiarized or shared without acknowledgement?
There are battles you can fight and battles you can’t. Plagiarism is a difficult thing to battle when your intellectual property is out on the internet. People get inspired by things, when we are finding our voices, our work tends to be clichéd. The easiest way for me is to write new things which I’m not seeing done around me right now. Fairytales verse retellings, writing about my very specific experiences with Partition and being Kashmiri and Punjabi, and my love for the night sky. The point is to keep reinventing yourself and keeping your head above the water. It’s also the only way to become a better creator.
4. Your primary audience are on social media. Do you find writing poetry for publication on paper is any way different to putting out posts in cyberspace? How does it affect your style of poetry? Would you say that writing for an online audience is predominantly performance poetry but it’s tone has to change for consumption in print? Do you edit the poems before the print publication or do you publish the poems as was first put out on social media?
It’s interesting because I always thought my primary audience was on social media. But my sales figures show an even split between bookstores and internet sales. Social media is also a very different realm than to paper. You’re fostering a community there. Thoughts, ideas, friendships – also there is close interaction with your audience which you don’t get with a book. I have always said that the community in the comments section is the most magnetic thing about posting your work, unfiltered, online. I wouldn’t call it performance simply because performance poetry is such a beautiful craft in and of itself (the poets on Button who are powerhouses for instance). I would call it “confessionalist bite-sized poetry” which exists to cause a reaction, a thought, a feeling. When I write for a book, the work is edited and reedited many times before I am happy with the story it tells, whereas on the digital platform, I predominantly share excerpts or aphorisms.
5. Do you find that interacting regularly with your readers on social media influences your poetry as well as selection of themes?
I think I have a huge responsibility towards my readers to ensure my platform remains a safe space for them to share their experiences. My first allegiance is to marginalized people and survivors of trauma and I ensure posts contain trigger warnings. I don’t let it affect my work for the simple reason that the people who follow me only follow me because they enjoy the work I already put out. I need to be true to myself to be true to them. I don’t post at any particular time of the day or daily. Just when I have a fleeting thought to put something up or create something. It’s all so much more organic that way.
6. Who are the poets who have influenced you the most?
I have a fascination for the works of Emily Dickson, Maya Angelou, Sharon Olds, Lucille Clifton, Rabindranath Tagore, Amrita Pritam, Walt Whitman, Anne Carson, Emily Berry – this list is non exhaustive. I think the more older poetry we read, the better we learn how to truly see that poetry is a very vast subject and means very different things for different people.
7. What are the forms of poetry you prefer to read and write in?
I like to read every form of poetry – there are so many genres to enjoy and such a rich world of poets to discover. Recently, I’ve been experimenting more and more with lyric poetry and moving away from free verse which has been my form for so long. Lyric poetry is far more based on regular meter and it’s teaching me a lot to try and learn how to write it.
8. Your poems seem to be in free verse with a “fludity” about the stories. Do you “work” at this craft or does it evolve on its own when you are writing?
It does evolve on its own. I have to often stop myself from rhyming but the poem does exactly what it wants to do without permission from me. I’ve found that it is best not to fight it, fighting it leads to writers block. So I just go with it instead. And then edit like I am own worst critic (because truly, I am. I don’t know anyone who has ever sworn or yelled at me as much as my inner critic has.).
9. Jesuit priest and poet Gerard Manley Hopkins was very clear that his poetry was meant to be meditative and it is the reason why he developed the inscape technique. It forces the reader to engage with the poems. Whereas your poetry is far easier to read but the ideas of love, feminism and independent women that you share are powerful. Do you, like Hopkins, wish for something equally transformative wrought in the reader after engaging with your poetry?
Absolutely, but I do think that will take time. I am still young in my writing journey and discovering my voice. To be truly transformative is to not only find your voice but have complete of command over it. Whilst I have discovered what I want to say, what messages I want to put out, I feel like I am just at the very beginning of honing my craft. I feel like language shouldn’t be something that is overly difficult to read, but it should make the reader feel changed when they have read a thought a certain way.
10. How did wonderfully sharp and witty Fierce Fairytales & Other Stories to Stir your Soul come about?
I think Fierce Fairytales was something I was always meant to write. The idea within the book all germinates from a single thought: the incredible magic we seek in our environments, in other people, is already within us, and we must seek it out. This idea has been within all my books but with Fierce Fairytales I got to explore it, and tell the stories of the villains who I genuinely believe have so much more to say than just “we are evil people doing evil things”. I enjoyed writing this book thoroughly, so much so that it has been the seeds for multiple new projects which are presently in development.