Puffin India Posts

Book Post 24: 6 – 19 January 2019

Every Monday I post some of the books I have received in the previous week. This post will be in addition to my regular blog posts and newsletter. Today’s Book Post 24 is after a gap of two weeks as January is an exceedingly busy month with the New Delhi World Book Fair and literary festivals such as the Jaipur Literature Festival.

In today’s Book Post 24 included are some of the titles I received in the past few weeks as well as bought at the book fair and are worth mentioning.

21 January 2019

In conversation with Namita Gokhale on her “Lost in Time”, Times of India LitFest, New Delhi ( 26 Nov 2017)

Lost in Time: Ghatotkacha and the Game of Illusions is Namita Gokhale’s first young adult novel, published by Puffin India but not her first publication for children – a few years ago she published the hugely successful Puffin Mahabharata.

Lost in Time: Ghatatkacha and the Game of Illusions is the story told in the voice of young Chintamani Dev Gupta who is sent packing to a birding camp near Sat Tal lake. Chintamani, AKA Chintu Pintu, is inexplicably transported to the days of the Mahabharata. Trapped in time, he meets Ghatotkacha and his mother Hidimbi. The gentle giant, a master of illusions and mind boggling Rakshasa technology, wields his strength with knowledge and wisdom, and imparts the age old secrets of the forest and the elemental forces. In his company, Chintamani finds himself in the thick of the most enduring Indian epic – the Mahabharatha. A tender look at a remarkable friendship as well as the abiding riddles of time , this visual treat of a book casts light on the first born son of the Pandavas, – one who finds rare mention in the fading pages of myth and legend. But there’s more to the story. Aided by Dhoomavati, the mistress of smoke and secrets, Chintamani returns to his own time – our time – and urban life in Gurgaon, AKA Gurugram. The rhythm of modern urban life, and his passion for football, cannot erase the memories of his incredible encounter with the past, and his friendship with Ghatotkacha which defies the barriers of time.

It is a lovely book about a minor but significant character of the Mahabharata. Namita Gokhale in her story has told the story tenderly, focusing not just on the legend of Ghatotkach but placing it well within the context of the major episodes of the epic. Yet there are two elements in the book that are baffling. One is the illustration of Ghatotkach. According to legend he is given the name that he has because of his bald pate shaped like a ghada/ an urn. Yet the illustrations on the book cover and accompanying the text show him to have beautiful long hair. The second was the promotion for the Puffin Mahabharata written by Namita Gokhale ten years ago. Chintamani after returning to modern India is intrigued by the epic and goes to his bookshelf to locate it. He recalls his mother buying this particular version of the epic and then proceeds to quote the book blurb. Curious way of promoting the previous book given it has already been mentioned in the opening pages of Namita Gokhale’s publications.

All said and done it is a beautifully written book especially the stunning passages of the milky way, playing with the sunlight and weaving a hammock out of cobwebs. Absolutely gorgeous!

On Sunday, 26 November 2017, at the Times of India LitFest, New Delhi, Namita Gokhale’s book was launched. After which I was in conversation with her. Watch the event here:

28 Nov 2017 

 

Theme of Independence in children’s literature in India

(The following article was commissioned in 2015 by Sarah Odedina for the Read Quarterly. With her permission I am posting it here.  On 15 August 2017  India celebrates it’s seventieth anniversary of independence from the British. )

15 August 1947 India won its independence from the British. It had been a long freedom struggle. Mohandas Karamchand Gandhi, “Father of the Nation”, is recognised as one of its leaders especially with his non-violent method of protest. His birthday, 2 October, is a national holiday. When the British decided to leave the subcontinent they did so after partitioning it into two nations—India and Pakistan.

The uprising of 1857[1] was influential in instilling in the Indians “a rudimentary sense of national unity” that when a genuine Indian freedom movement began within a few decades later it inspired the leaders with the hope that their British masters could be defeated. Significant highlights were the Partition of Bengal, new words such as Swaraj ( “self-rule”), Swadeshi (self-reliance) and Boycott ( of all foreign goods and products), Satyagraha, Jallianwala Bagh ( massacre of peaceful protestors by General Dyer in Amritsar), Chauri Chaura ( burning of a police station, killing 22 policemen on duty), rise of communalism with “parties based on religion like the Muslim League, the Hindu Mahasabha and the Rashtriya Swayam Sevak Sangh …these parties only cared for their own communities, it was to their advantage if they could divide the country around religion.”[2]The Dandi March or the salt satyagraha, the Civil Disobedience Movement, Quit India Movement, and Independence.

It is now nearly 70 years since Independence, three generations removed from the momentous events. The freedom struggle still exists in living memory as it is not too far back in time. Yet for children, history is a mish-mash in their minds — the Harappan civilisation, the Mughals, Mauryan Empire and British India/freedom struggle are a blur. This is where literature plays a crucial role in offering perspectives.

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Globally children’s literature is understood to include fiction and non-fiction, a category distinct from literature used as textbooks and supplementary readers in schools. In India these fine lines are blurred. For the toddlers and primary school students there is variety of material available – fiction, folktales, mythology, non-fiction. As the pressure of school curriculum increases on students the focus shifts from reading for pleasure to textbooks. Till recently this attitude was deeply ingrained in society. Now the slow shift to reading for pleasure is perceptible. It is a coalescing of multiple factors –an increase in income of parents allowing disposable income available for purchase of books, a rise in publishing and retailing for children, establishment of specialist bookshops, increase in direct marketing efforts by publishers like book fairs and book clubs in schools and growth in popularity of children’s literature festivals like Bookaroo[3] has made the category of children and young adult book publishing the fastest growing and lucrative category in India. (It also helps when the target audience/market of less than 25 year olds constitutes 40% of the 1.3 billion Indians.)

Children’s literature with the theme of independence is found in school material and trade lists. In the 40s (actually from 30s onward if not earlier) the best children’s literature came out in Bal Sakha – a Hindi Magazine brought out by Bengalis settled in Allahabad, Uttar Pradesh. Some of the best writers, including Premchand, were first published here. This magazine dealt with the issue of independence, presenting it to children in what still seems a fairly contemporary way[4]. In 1957 two publishing houses were established – National Book Trust ( NBT) [5]and Children’s Book Trust ( CBT)[6]. According to Navin Menon, editor, CBT, every year in August Children’s World “publish[es] content related to Independence either written by children or stories/ articles contributed by adults.” Amar Chitra Katha (ACK)[7], specialise in comics, usually the first introduction to children on folktales, Indian mythology and stories about the freedom struggle published its first title on freedom struggle, Rani of Jhansi[8] on 1 Feb 1974, around the 25th anniversary of Independence. Historical accounts by writer and niece of India’s first prime minister, Jawaharlal Nehru, Nayantara Sahgal’s The Story of India’s Freedom Movement (1970) continues to be in print[9]. As she told me in an email, “The freedom movement is part of our modern history. Obviously it is important for young people to know their country’s history.”


Writing for children about the independence movement began to pick up pace in the early 1980s when CBT published writers like Nilima Sinha’s Adventure before Midnight[10]. In 1984 after the assassination of the prime minister, Delhi saw terrible communal clashes. It led to writers like Urvashi Butalia, Ritu Menon and Amitav Ghosh drawing parallels between their experiences with that of Partition. In the 1990s preparations for the fiftieth anniversary celebrations of Indian independence began. To commemorate it there were a deluge of books. For instance, Shashi Deshpande’s novel The Narayanpur Incident and Macmillan published The First Patriots (series editor, Mini Krishnan) consisting of short illustrated biographies[11]. Biographies, bordering on hagiographies, are the most popular genre for introducing children to this period in history. These books sell extremely well since it supplements school textbooks. Scholastic India with its Great Lives[12], Puffin India with Puffin Lives and Hachette India with What they did, What they Said? series have profiled freedom fighters registering steady sales too. Gandhi is a popular subject of biographies. From picture books ( A Man Called Bapu and We call her Ba on his wife, Kasturba), standard biographical accounts, profusely illustrated with photographs like DK India’s Eyewitness Gandhi and graphic novels like Gandhi: My Life is my message ( Gandhi – Mera Jeevan Hi Mera Sandesh). [13] An unusual book is Everyone’s Gandhi by Subir Shukla[14] which looked at Gandhi from children’s point of view. It asked provocative questions. It was syndicated in some 75 newspapers (English and regional languages) and the author used to get 500 postcards every week from children across the country, proving that it is possible to approach independence in a manner that generates serious response. Paro Anand, writer and founder, Literature in Action[15] says “I loved this book because it brought me closer to Gandhi. It took the capital letter out of it because made me see him like a human being who I could be not a saint or god who I could never aspire to be. I have used the book often with kids urging them to be a Gandhi for 5 minutes every day, in a single act of kindness or a single act of care. To me empathy is a very important component of kid lit.”

Now there are a variety of books available in terms of writing styles and formats. For instance late Justice Leila Seth’s fabulous book on the Preamble of the Indian Constitution – We, The Children of India[16]; graded readers with pictures like Bharati Jagannathan’s movingly told One Day in August[17], Nina Sabnani’s heart-warming animation film (later book) based on a true story Mukund and Riaz [18]and Samina Mishra’s Hina in the Old City[19] — all focused on Partition and Ruby Hembrom’s award-winning picture book Disaibon Hul on the Santhal Rebellion of 1855[20]. Young adult fiction inevitably has the story of one person caught up in the dynamics of the movement. So the author tries to take a micro level view and build upon that. For instance, Chitra Bannerjee Divakurni’s Neela: A Victory Song[21], Jamila Gavin’s Surya trilogy — The Wheel of Surya (1992), The Eye of the Horse (1994) and The Track of the Wind (1997)[22], Irfan Master’s A Beautiful Lie[23],[24] Siddharth Sharma’s award-winning debut novel The Grasshopper’s Run[25] which focuses on the Kohima war and Mathangi Subramanian’s Dear Mrs. Naidu[26] about a young girl who corresponds with Sarojini Naidu through her diary. Forthcoming is the retelling in English of Khwaja Ahmad Abbas’s Bharat Mata ke Paanch Roop ( Urdu) by his niece Syeeda Hameed[27]. Award winning historian-turned-writer, Subhadra Sen Gupta has written a clutch of biographies, historical fiction, picture books and nonfiction titles with the freedom struggle as the literary backdrop[28]. Roshen Dalal has published India at 70 ( 2017) chronicling the seven decades since Independence.

Some other examples of literature are listed by writer Deepa Agarwal, “Subhadra Kumari Chauhan’s popular poem Jhansi ki Rani and Makhanlal Chaturvedi’s Pushp ki Abhilasha. Outstanding historical novels on patriotic themes were written by Manhar Chauhan, like Lucknow ki Loot (The looting of Lucknow) and Bihar ke Bahadur (Brave men of Bihar) both published by National Publishing Company in 1978. His series of sixteen novels about British rule Angrez Aaye aur Gaye (The British came and went) is a monumental work with each book standing alone and yet connected with the others. In Urdu Allama Iqbal’s collection Hindustani Bacchon ke Qaumi Geet and Zakir Hussain’s Abbu Khan ki Bakri are on the theme of freedom. Pandit Brij Narain Chakbast’s patriotic poems,  Hamara Watan dil se Pyara, Watan Ko Hum Watan Humo Mubarak, from the collection Subhe Watan were meant for children. In Marathi V.H. Hadap wrote patriotic stories ranging from historical to modern times; his Sattavanachi Satyakatha is about the heroes of the 1857 revolution like Mangal Pande, Tatya Tope and Rani Laxmibai. In fact the centenary … was celebrated in 1957 with many books for children about the people who participated. Vasant Varkhedkar’s Sattavancha Senani is a novel on the life of Tatya Tope.” In Telugu Komuram Bheem: A children’s Novel on a Tribal Hero by Bhupal is about the tribal rebel from Telengana, published by Vennela Prachuranalu (Telugu)[29]. CBT also has a book on Gunda Dhar/ Bhumkal revolt of the Bastar tribal area.

Apart from written literature in India oral histories play a very important role too. Target, a popular children’s magazine, started a comic strip in the mid-eighties called “Freedom’s Children”, where a freedom fighter was profiled based upon extensive interviews. Prominent writers and illustrators collaborated for this project. At the end of each strip a photograph of the actual person was published. Now some schools organise interactions between grandparents with students to recount their memories of independence movement. Many times it is discovered that the children are unaware of the trauma the older generation experienced as if the elders want to protect the younger generation from the horrors they witnessed.

Vatsala Kaul-Banerjee, Publisher, Children & Reference Books, Hachette India says, “General response to these books is quite good. Our children take their cues from USA/ UK, so they do not look at India too much. … I do not think there is enough experimentation in children’s writing to create fiction in this area, so far.” Tina Narang, publisher, Scholastic India adds “Since this is a period in our recent history for which a wealth of detail is available, relevant research material is easy to come by for authors[30] who have written Independence-themed stories. But that I think is the biggest stumbling block. Most such stories tend to become stereotypical in their portrayal of that period and of independence as a valiant struggle by a group of noble and brave souls. There is little or no independent analysis of this struggle or attempt to question the motives, methods or outcomes (partition included).” Sudeshna Shome Ghosh, (then) Editorial Director, Red Turtle echoes this, “We do need to do more books that present a more diverse view of  the independence movement and that talks about the role of women or tribals or gives other kinds of alternate views.” Radhika Menon, founder, Tulika Books agrees, “Now we would like to do something that includes the contemporary discourses on the freedom struggle. Something that reflects a more inclusive idea of the freedom struggle with all its complexities so that the reader is urged to think and question rather than be left with certainties about history in her/his mind which tend to be rigid. The challenge is of course to make such a book reader friendly for the pre-teen age group.” Ruby Hembrom, publisher, Adivaani is clear when she says, “If we were to do a book on this period, I wouldn’t feature the Indian Nationalists who have been done to death in textbooks first and have hijacked the ‘independence’ space. I would do Jaipal Singh Munda and his eclipsed role in the constituent Assembly for example.”

Writing about Indian independence and the freedom movement for children is a tricky area since it raises more questions than helps map it. There is an apparent shift in the styles of writing over the generations of writers. From the writer like their subject (usually evident in biographies) have a sense of pride at being an independent and self-reliant nation to contemporary writers whose fiction is based research for using history to comment upon the present politics and social status of marginalised groups. Disaibon Hul is ostensibly about the revolt as mentioned in the book, the introduction refers to “outsiders”, and the story is about the fight against the British. It concludes with “Almost 160 years have passed since the Hul. We are alive but still not the owners of our lives? What will it take for us to be really free?” The term “outsider” is left open-ended. Siddhartha Sharma says he wrote The Grasshopper Run because “I wanted to explain how the Assamese and Nagas got along earlier, unlike today. To contemporary Indians, I wanted to show what the people of the region are like, and how history turned out for us.” [31] Mathangi began writing Dear Mrs Naidu when working in government schools and angadwadis and discovered Sarojini Naidu whose letters she was reading. Mathani realised that Naidu was so human compared to the “demigods of independence” students learned about. She adds, “I think there is a lot of literature on the theme of independence that focuses on a couple of the male freedom fighters, and I’d like to see this change. History is such a powerful force: it shapes the way we think about ourselves, and the way we think about the possibilities for our futures. I want to see more histories of women freedom fighters, and freedom fighters who were not elite. I want to see more literature that helps children understands that heroes are just people with a lot of guts and passion, and that everyone has the capacity for greatness.”[32]

I asked eminent historian Romila Thapar, “What are the events/perspectives and aspects of the freedom struggle that you would recommend are also included in the narratives of the freedom movement?” She replied via email, “You have posed a difficult question. My reaction would be that we need to acquaint children with situations that went into the making of what one may call a ‘wholesome’ society. Not the stories that encourage divisiveness and violence but stories that underline in subtle ways the values of a plural society that we once were. This is disappearing fast and it will be an uphill task to retrieve this as we shall have to do in future years. The goal of the national movement was such that communities came together for a cause and set aside what separated them. It is these moments that need to be remembered in the present times. Often they can be more easily seen in activities related to regional and local history. It may be worth doing a little investigation into how people in rural areas and small towns remember the recent past.”

This observation gains significant urgency when a Muslim man is lynched by a mob on the outskirts of Delhi for his food habits[33]. Noted Hindi journalist Ravish Kumar’s who met a young man, Prashant, at the site says he showed no remorse at the death of Akhlaq, “Instead, he asked us that after the partition, when it had been decided that Hindus will stay here and Muslims will go to Pakistan, why did Gandhi and Nehru ask Muslims stay back in India?… These are the typical beliefs that keep the pot of communalism boiling.” Ravish says he lost the heated argument and could only wonder dismayed, “Who are those people who have left young men like Prashant to be misled by the purveyors of false histories?” Ironically this happened on 2 October, the birthday of Mahatma Gandhi, a man recognised worldwide for his belief in nonviolence.

[1] In A Children’s History of India Subhadra Sen Gupta refers to the events of 1857 and the widespread anger that ensued being an eye-opener for the British “who believed that they were ruling over a peaceful society reconciled to British rule”.

[2] – ibid-

[3] Bookaroo Children’s Literature Festival 

[4] Email correspondence with Subir Shukla, Principal Coordinator, IGNUS-erg and formerly associated with NBT. He wrote a few books at this time too.

[5] National Book Trust (NBT), India is a part of the Ministry of Human Resource Development, Government of India. It was established in 1957 and publishes in English, Hindi and some other Indian languages. It also organizes the annual World Book Fair, New Delhi to which publishers gravitate from around the world and country.  NBT and CBT between them have published many books, many continue to be in demand such as The Story of Swarajya by Vishnu Prabhakar (Hindi), Jawaharlal Nehru by Tara Ali Baig, Stories From Bapu’s Life by Uma Shankar Joshi (Gujarati), Jallianwala Bagh by Bhisham Sahni (Hindi), Bapu by FC Fretus and How India Won Freedom by Krishna Chaitanya. Email from Rubin DCruz, Editor, NBT. He has also put together an invaluable annotated catalogue of select children’s books in India, Children’s Books 2014, published by National Centre for Children’s Literature, NBT.

[6] Children’s Book Trust ( CBT) established by cartoonist Shankar in 1957. Its objective is the promotion and production of well-written, well-illustrated and well-designed books for children at prices within the reach of the average Indian child. CBT publications include an illustrated monthly magazine in English, Children’s World. Shankar also set up the Association of Writers and Illustrators for Children (AWIC). Shankar started the Shankar’s International Children’s Competition in 1949, and as a part of it, the Shankar’s On-the-Spot Painting Competition for Children in 1952. He instituted an annual Competition for Writers of Children’s Books in 1978. Some of the CBT titles are Netaji Subhas Chandra Bose by Dr. Lakshmi Sahgal  & Col. P.K. Sahgal, Adventure before Midnight  by Nilima Sinha, The Return Home by Sarojini Sinha, The  Treasure Box by Sarojini Sinha, Kamla’s Story: The Saga Of Our Freedom by Surekha Panandiker, Ira Saxena, & Nilima Sinha,  A Pinch Of Salt Rocks an Empire by Sarojini Sinha and Operation Polo by A. K. Srikumar and the 12 volumes on freedom fighters Our Leaders or Mahan Vyaktitwa ( English and Hindi). Some of the original titles in Hindi are Aprajita, Hamare Yuva Balidani and Barah Baras ka Vijeta. Email sent by Navin Menon

[7] Amar Chitra Katha (ACK) founded by Anant Pai or Uncle Pai specializes in publishing comics. These comics are usually the first introduction to children about stories of the freedom struggle stories. The ACK titles are Rani of Jhansi (date of publication, 1 Feb 1974), Subhash Chandra Bose (1 March 1975), Chandrashekhar Azad (15 August 1977), the Rani of Kittur ( 1 July 1978), Bhagat Singh ( 15 March 1981), Rash Behari Bose ( 15 May 1982), Veer Savarkar ( 15 May 1984), Mangal Pande ( 1 June 1985), Jallianwala Bagh ( 1 June 1986), Beni Madho and Pir Ali (1st Sept.1983), Velu Thampi (1st May 1980), Senapati Bapat ( 1 February 1984), Surjya Sen (October 2010), Vivekananda (15th October 1977), Rabindranath Tagore (20th may 1977), Babasaheb Ambedkar (15th April 1979), Lokmanya Tilak (1st August 1980), Lal Bahadur Shastri (1st October 1982), Mahatma Gandhi – The Early days (1st June 1989), Jayaprakash Narayan (15th January 1980), Jawaharlal Nehru (November 1991), Subramania Bharati (1st December 1982), Deshbandhu Chitaranjan Das         (1st November 1985), The Story of the Freedom Struggle (August 1997)

[8] Rani Lakshmibai was one of the leaders of the uprising of 1857. She also became a symbol of the resistance to British Rule.

[9] Nayantara Sahgal The Story of India’s Freedom Red Turtle, an imprint of Rupa Publications, New Delhi, 2013. First published 1970.

[10] Midnight refers to the coming of Freedom and this book describes the events that preceded it. It is about a group of teenagers who participated in the Quit India movement and tried to hoist the tricolour in Patna. It was selected for the International White Raven List for libraries.

[11] Tipu Sultan, The Rani of Jhansi, Kattabomman (the rebel of Pudukottai), Pazhassi Raja (Kerala) and Bhagat Singh. The idea for these series was to write about various legendary heroes and heroines who played a pioneering part in the un-enslaving of the country. According to biographer Shreekumar Varma, “Pazhassi Raja Kerala Varma was one of the earliest such freedom fighters. He fought the marauding armies of both the British and Tipu Sultan. His story is full of adventure and thrill, intrigue and treachery, a case-book of bravery. The book is profusely illustrated. It was heavily researched. The surviving members of the Raja’s family were interviewed at Pazhassi and information was gathered from many books and historical records. The text in the book is but a fraction of the material actually obtained.”

[12] Aditi De’s Mohandas Karamchand Gandhi and illustrated by Pooja Pootenkulam in the Great Lives series published by Scholastic India has been released this month.

[13] Gandhi: My life is my message by Jason Quinn, illustrated by Sachin Nagar. It is available in English and Hindi. The translator is Ashok Chakradhar. It is part of Campfire Graphic Novels’s  Heroes Series that introduces readers to historical figures who led lives worth knowing, and whose stories are true life adventures.

[14] It is available freely for circulation since “Mahatma Gandhi cannot be any one person’s property, there is no ‎copyright of this publication.” First edition 1997.

[15] Literature in Action is a programme started by Paro Anand that seeks to bring young people and books together.

[16] It was co-authored by her writer-son, Vikram Seth and illustrated by the late Bindia Thapar, published by Puffin India ( English) and Pratham Books ( Hindi).

[17] Published by Pratham Books

[18]  In an email Nina Sabnani wrote, “Mukand and Riaz was initially an animated film that later became a book. It is a true story about my father Mukand and his friend Riaz. There were several things that brought this project together. My father told me the story of his life very late, close to his death. I wanted to share this with my siblings so I just wrote it up like a story and shared it with them and some friends. My friends persuaded me to think about it as a film. I was quite disturbed by the frequent riots in Ahmedabad that happened and me as a designer did not respond in any way. I thought it maybe  my way of protesting. But protests always forget children. So I wanted to reach children. Fortunately I also received some funds at NID as students were working towards making films on the rights of children for a UNESCO Israel project, Big Small People. Since my father had repeatedly said how much he missed his best friend and how the partition separated them, I thought I would create a film that focused on the rights to home and friendship. I also had a fond hope that if the film was made and Riaz happened to see it he would contact my dad. Of course that did not happen but my father was able to see the film one week before he passed away. I used cloth because he worked in the Textile Mills and was passionate about fabric and prints.” Mukund and Riaz  is published by Tulika Books.

[19] The reader shares moments with 10-year old Hina who lives in Purani Dilli, the walled city of Delhi. She comes from a family of zardozi embroiderers. This exquisite craft is, however, slowly dying as craftspeople find fewer takers for their work or are forced to compromise on care and quality to meet the prosaic demands of the times. Along the way, we get glimpses of life in Old Delhi – its lanes, its ancient mohallas which have seen the pain of Partition. Hina loves where she lives, and warm colour photographs take us right into her world. Guides for projects / discussions and a reading list are provided at the end as further avenues for exploring.

[20] To me it is an example of using history to comment on the present. It is ostensibly about the revolt (and the story calls it a revolt too whereas an uprising would be more accurate given it is written from the perspective of the adivasi), the introduction refers to the “outsiders”, the story is about the fight against the British and then it concludes with “Almost 160 years have passed since the Hul. We are alive but still not the owners of our lives? What will it take for us to be really free?” The term “outsider” is left open-ended. Ruby is the founder-publisher of Adivaani, a publishing house that focuses on  producing literature for an by the adivasis.

[21] Neela: A Victory Song is published by Puffin Books India.

[22] Jamila Gavin’s Surya Trilogy is published by Egmont.

[23] Beautiful Lie was published by Bloomsbury

[24] A book review article I wrote on Partition and Children’s Literature and I interviewed Jamila Gavin and Irfan Master.

[25] The Grasshopper’s Run was first published by Scholastic India and worldwide by Bloomsbury.

[26] Dear Mrs Naidu ( 2015) is a Young Zubaan publication.

[27] Forthcoming by Pratham Books is Khwaja Ahmad Abbas’s Bharat Mata ke Paanch Roop ( The Five Forms of Bharat Mata) which are character sketches of five ordinary women whom he considered as the true faces of the Bharat Mata trope. These are originally in Urdu but have been done for us by his niece Syeda Hameed. According to Manisha Chowdhury, Editorial Head, Pratham Books “we see this as a good way to introduce the idea of subaltern narratives to children and expand the idea of history.”

[28] For instance, Saffron, White and Green: the amazing story of India’s independenceA Flag, A Song and a Pinch of Salt: Freedom Fighters of IndiaPuffin Lives: Mahatma GandhiLet’s Go Time Travelling; fictional biographies of Jahanara and Jodh Bai; a short story collection called History, Mystery, Dal Biryani and a novel called Give us Freedom and most recently the bestseller, A Children’s History of India, published by Red Turtle. Email from Subhadra Sen Gupta.

[29] There is also a book on Alluri Seetharama Raju in Telugu.  He led the ill-fated “Rampa Rebellion” of 1922–24, during which a band of tribal leaders and other sympathizers fought against the British Raj. He was referred to as “Manyam Veerudu” (“Hero of the Jungles”) by the local people

[30] It explains why authors like Deepak Dalal and Nandini Nayar have been able to write historical fiction set in 1857. Research is easy to come by. Deepak Dalal’s historical fiction set in the time of 1857 Sahyadri Adventure series – Anirudh Dreams and Koleshwars Secret. He says, “I have received good feedback about the books. Demand is ok, but nothing to thump my back about. We are into the 3rd edition now. Schools love the books and many have used them as readers. But then most of my books are picked up as readers.” Nandini Nayar’s When children make history: Stories of 1857 is a novel about two Indian children who befriend an English boy who considers India his real home. The three of them chance upon a bunch of soldiers making rotis and help them. So, basically, the novel ends with the beginning of the Uprising. In an email to me she wrote, “I wrote the book [since] I was reading a lot about 1857 and the British Raj and began thinking about how it would be if some Indian children were to befriend an English boy. “ The book was first published as an ebook, then print and has recently been translated into Malayalam by Mango Books, the children’s imprint of DC Books.

[31] In an email to me.

[32] In an email to me.

[33] According to rumours that spread like wildfire, fifty-year-old Akhlaq had stored beef (cow’s meat) in his fridge. The cow is sacred to Hindus. A mob gathered and lynched him and injuring many members of the family. On 2 October 2015, two days after the incident in a village in Dadri, 35 kms from Delhi, Ravish Kumar went to report. “A Sewing Machine, Murder, and The Absence of Regret”  (Published and accessed on 2 Oct 2015)

15 August 2017 

Ruskin Bond

Last year I spotted Ruskin Bond at a literary festival but it was impossible to see him clearly. It was also the first time I saw an author in India encircled by large security men, more like bouncers seen outside clubs. They not only towered over Ruskin Bond but were very well built and were an extraordinary sight to behold. A testimony too the fan following Ruskin Bond has in India. He needed protection from his fans. Children flocked to him in droves. Parents prostrated themselves in front of the literary festival oragnisers to allow their children into the hall even though it was filled to capacity. Astounding indeed when you realise that Ruskin Bond prefers his solitude, tucked away up in his beloved hill town of Mussorie.

On 19 May 2017, Ruskin Bond turns 83. To celebrate it his publishers have scheduled a bunch of publications. Puffin India has released Looking for the Rainbow — a memoir he has written for young readers describing the time he spent with his father in Delhi. It was during the second world war. His father was with the Royal Air Force ( RAF), stationed at Delhi. Ruskin Bond’s parents were divorced and his mother was about to get married for the second time. His father decided Ruskin Bond could stay with him for a year in Delhi where he had some rooms rented — at first off Humayun Road and then later nearer to Connaught Place. Ruskin Bond remembers this time spent in Delhi fondly even later when he was sent off to boarding school in Simla. In fact decades later he recalls with a hint of sadness that Mr Priestly, his teacher, did not approve of young Ruskin poring over his dad’s letters so suggested he keep them away for safekeeping. At end of term when Ruskin Bond went to ask for his letters his teacher was clueless. Now in his eighties forgiving and generous as is his want Ruskin Bond remarks that Mr Priestly probably “meant well” but all that remains of that pile of letters is the one that the young boy spirited away — and still retains all these years later. Looking for Rainbow is a beautiful edition made richer by Mihir Joglekar’s illustrations.

Looking for Rainbow serves as a wonderful introduction and is probably the slim pickings of the larger project memoir Ruskin Bond will eventually publish with Speaking Tiger Books. It is as his publisher, Ravi Singh, told me the longest book Ruskin Bond has ever written — nearly a 100,000 words. It is “hugely readable. Moving, too, in parts.” Lone Fox Dancing is scheduled for June 2017. Earlier this year Scholastic India released a biography of his written by Shamim Padamsee in their Great Lives series.

 

His long-standing publisher, Rupa, with whom Ruskin Bond has a special relationship for decades now has also brought out two volumes of his works. The Wise Parrot is a collection of folktales retold by Ruskin Bond. He says in the introduction:

I may be no Scherazade, and that is a relief, for it would be rather difficult for me to think of stories knowing my head may be chopped off the next day, yet I have found some ancient legends that are as enthralling as hers and presented them here. There are creatures who have lived in our collective imaginations for ages. There are stories of wit and stories of immense stupidity. And in all this, what shines forth is the power of human imagination that has thrived for millions of years. From the first cave paintings, to today’s novels, the thrill of telling a story has never died down. And here’s wishing that it may live long, bringing people, animals, fairies and ghosts to life forever. 

The Elephant and the Cassowary is an anthology of his favourite stories about wild animals and birds and the jungle. The title story is a perennial favourite and is utterly delightful. A master storyteller and a voracious reader like Ruskin Bond when become a brand name like no other have the luxury of also being tastemakers. As well-known prolific scifi writer and anthologist Isaac Asimov says in his splendid memoir I.Asimov : [An anthology] performs the same function as a collection does, bringing to the reader stories he may be glad to have a chance to read again or stories he may have missed altogether. New readers are able to read the more notable stories of the past.” Another anthology that Ruskin Bond has put together and is being released this week  by Viking, an imprint of Penguin, is Confessions of a Book Lover. Both these anthologies between them contain previously published works by writers such as Rudyard Kipling, F.W. Champion, Henry Astebury Leveson, Joseph Conrad, Laurence Sterne, H.G. Wells, William Saroyan, Stacy Aumonier, and J.B. Priestley. Anthologies are a splendid way to discover new material even though some people think otherwise. Ruskin Bond has it right with these two eclectic anthologies. They jump centuries but the underlying principle of a good story is what matters. It is no wonder then to discover the delightful publishing connection between legendary publisher Diana Athill and Ruskin Bond. She gave him his first break as a writer while still at Andre Deutsch. She certainly knew how to spot talent!

Happy birthday, Mr Bond!

17 May 2017 

 

 

” Translating the ‘Panchatantra’ ” by Rohini Chowdhury

( Puffin India has recently released a new translation of Panchatantra translated from Sanskrity by well-known writer Rohini Chowdhury. Reproduced below with the author’s permission is her essay included in the book on why she translated these beloved tales. Here is a lovely trailer for the book released by the publishers, Penguin Random House India. They have also illustrated some of the stories as cartoon strips.)   

Those who pay no heed to good counsel are destroyed halfway to their goal.

The fables of the Panchatantra have always been a part of the landscape of my life, and so, when my daughters were born and grew old enough to listen to bedtime tales and ask for them, these were amongst the first stories I told them. It was in searching for more Panchatantra tales for my daughters that I realised the absence of a complete translation for children, and one that maintained the structural integrity of the original work.  Now, one of the most interesting features of the Panchatantra is its story-within-a-story structure – stories contain stories, which contain more

One who anticipates disaster and plans ahead, survives and lives a long happy life

stories, somewhat like a Russian matryoshka doll that contains doll within doll within doll. In every translation and retelling that I could find, though the stories had been charmingly retold and often beautifully illustrated, they had been presented as stand-alone tales without the context or frame-story within which they occur in the Panchatantra. This, I felt, took away from the tales substantially. I therefore decided to translate the complete Panchatantra myself, keeping intact its original form and structure.

The translation went much slower than I had expected; the children

The one who gives a stranger all his friendship while forsaking his own kind, meets an unhappy end.

grew much faster and had soon outgrown these tales. So, for many years, I put this translation aside and became busy writing and translating other books – till a conversation with Puffin India in July 2015 brought me back to it.  I looked at the Panchatantra again, with different eyes, and realised its true significance: not only was it a masterly treatise on politics and government and a manual for conducting our daily lives with wisdom and common sense, but devised to educate the three foolish sons of a king in the ways of the world, it was also a revolutionary, and successful, experiment in teaching young people. Where traditional methods had failed with the princes, the fables of the Panchatantra succeeded – by teaching them practical wisdom, and by awakening in them a curiosity about the world. Within six months, the blockhead princes had become wise and knowledgeable young men. Since then, says the Panchatantra, its stories have been used to educate young people everywhere, a claim that is borne out by the many translations and retellings of this work that are found all over the world, even today.

We know very little about the author of the Panchatantra, except what the introduction to the work itself tells us – that his name was Vishnusharma, that he was a Brahman, exceptionally learned, a renowned teacher, and eighty years of age at the time he composed this work.  Since we have no other evidence regarding Vishnusharma, it is difficult to say whether he really was the author of the Panchatantra or himself a fictional character, invented as a literary device for the purpose of narrating the stories. Some versions of the Panchatantra – from southern India and South-east Asia – give the author’s name as Vasubhaga. Again, there is not enough evidence to confirm his identity or his existence.

The original Panchatantra is in Sanskrit, and has been written in a mixture of prose and verse, in a style that is simple and direct. The work is divided into five parts (hence the name: pancha: five and tantram: parts), each part dealing with a particular aspect of kingship, government, life and living. The stories are narrated mainly in prose, but the lessons derived from the tales are usually given in verse form.  The Panchatantra’s ‘story within a story’ structure—individual stories are placed within other stories, and each individual part or tantra replicates the structure of the work as a whole—serves to keep its audience engrossed as it takes them into a series of stories, deeper and deeper, from one level to the next.

Most of the characters of the Panchatantra are animals that behave, think and speak like humans. In every culture across the world, people have given human characteristics to animals. But the qualities that people see in particular animals vary across cultures. Thus, an owl is considered wise in England, but evil and unlucky in India. The animals of the Panchatantra conform to the ideas held about them in Indian culture. So, a heron is regarded as deceitful and cruel, for he stands still for hours on one leg pretending to be an ascetic doing penance when we all know that he is actually waiting to grab the next unwary fish that swims too close. Similarly, an elephant is noble and proud, a jackal is greedy and cunning, and a lion, though the king of the animals, is arrogant and often easily fooled by a weaker, more intelligent animal. An ox is loyal, a dog is unclean and greedy, and a cobra dangerous and untrustworthy. The audience for which the stories of the Panchatantra were meant would have known these qualities of particular animals, and so would have known instantly what to expect of them in the stories.

The author of the Panchatantra has used one more device to make it easy for his audience to understand the nature of his characters, and that is their names.  He has given his characters, whether human or animal, names that highlight certain aspects of their appearance or behaviour, or give insights into their nature. Thus we have Pingalaka the lion, whose name means ‘one who is red-gold’, named for his fiery coat, Dantila the jeweller whose name means ‘one who has big and projecting teeth’ and immediately gives us a vivid image of the man, Chaturaka the wily jackal whose name means ‘one who is sly and cunning’, and Agnimukha the bedbug, whose name means ‘fire-mouth’ and almost makes us go ‘ouch’ as we imagine his bite!

The appeal of the Panchatantra is not limited only to the young.  Apart from its wonderful stories and ageless wisdom, it is a work that looks at life head-on.  Rather than seeking to present linear solutions where good wins over evil, moral behaviour wins over the immoral or even amoral, it acknowledges that life, love and friendship can be complex, that politics, government, human interactions are not always straightforward, and even right and wrong, truth and falsehood can often be a matter of circumstance, expediency, or what is practical.

As a result, the stories of the Panchatantra became immensely popular, and travelled across the world – in translations, or carried by scholars, merchants, and travellers. Even today, the tales resonate with people of all ages, at different levels, in different ways, everywhere. In its Arabic translation, the Panchatantra became famous as Kalila wa Dimna (after the names of two of the principal characters, the jackals Karataka and Damanaka); in Europe it became known as the Fables of Bidpai. Many of the stories of the Panchatantra can be found in the fables of La Fontaine in the 17th century, and their influence can be seen in the stories of the Arabian Nights, as well as in the fairy tales of the Brothers Grimm. The stories also travelled to Indonesia in both oral and written forms.  Today there may be found more than two hundred versions of the Panchatantra across the world, in more than fifty languages. The oldest recension is probably the Sanskrit Tantrakhyayika from Kashmir; this predates the Panchatantra version available to us today. The most famous retelling of the original work is the 13th century version by Narayana, known as the Hitopdesa.

My translation, a labour of love for my daughters, is my attempt to make this great work available to the young people of today.

Rohini Chowdhury is an established children’s writer and literary translator. Her books can be bought on Amazon.

Copyright © Rohini Chowdhury, 2017.

“The Puffin Book of Hindu Gods and Goddesses”

The Puffin Book of Hindu Gods and Goddesses is a nifty introduction to the prominent gods of the Hindu pantheon. It is a peppy reference to the gods and goddesses one encounters often in Hindu mythology. These are the ones such as Vishwakarma, Brahma, Shiva, Vishnu, Saraswati, Parvati, Lakshmi, Ganeshea, Hanuman, Durga and Kali whom one hears of often. There is a neat catalogue with short descriptions of the prominent gods and their avatars such as Shakti/Sati ( Durga, Kali and Meenakshi); Vishnu ( Matsaya, Kurma, Varaha, Narasimha, Vamana, Rama, Krishna, Balrama, Kalki, Jagannatha ); Shiva ( Rudra, Bhairava, Nataraja, Lingam)  and Ardhanareshwari ( Shiva + Shakti). In the opening pages describing the Vedic gods the authors — Neelima P. Aryan and Ameya Nagarajan — have tried drawing parallels between the gods of Hindu and Greek mythology. For instance, Akash with Zeus — both are considered to be the father of gods. Each description is accompanied by a full-page illustration created in bright colours by Priyankar Gupta that are charming but have done little to break out of the mould created by Anant Pai decades ago.

The Puffin Book of Hindu Gods and Goddesses is the kind of book which will forever be in demand. It is a beautifully produced four-colour book printed on good art paper allowing for rich reading experience in print. A good production will also ensure that despite being flipped through often the book will withstand any rough use. Creating a reasonably priced book as an in-house department product by the Puffin team will definitely ensure a steady stream of revenue for the firm — a classic formula used often by other firms as well. It is also a fine example of sharp commissioning that straddles the hyper-local and diaspora markets.

Having said that there are a few more examples of illustrated books on the Hindu gods and goddesses that have proven to be extremely popular — Bhakti Mathur, Pixar’s Sanjay Patel‘s series, a wonderful series of cut out board books for children by Om Books editorial team and splendid books on Hanuman and Krishna by
Mala Dayal and on Shiva by Subhadra Sen Gupta published by Red Turtle.

Now for some enterprising publishing firm to create books on gods and goddesses of other religions as well. Puffin India, Juggernaut and Om Books have opened the innings with collection of stories from the Quran and the Bible with their retellings. Goodword books creates phenomenal Islamic books for children. In the past Penguin India had also published a beautiful anthology of greatest stories ever told from various faiths edited by Sampurna Chattarji ( 2004). Maybe it is time to revive some of the backlist publications once more.

16 March 2017 

PENGUIN RANDOM HOUSE AND DISNEY INDIA BRING DISNEY’S ICONIC STORIES AND CHARACTERS CLOSER TO INDIAN CHILDREN

 

Penguin & Disney

 

 

PENGUIN RANDOM HOUSE AND DISNEY INDIA BRING

DISNEY’S ICONIC STORIES AND CHARACTERS CLOSER TO INDIAN CHILDREN

 

PRHMarch 08, 2016, Delhi: Penguin Random House and Disney India’s Consumer Products Disney Indiabusiness today announced the launch of Disney books. Penguin Random House will now hold the rights in India for publishing Disney’s iconic Mickey & Friends characters as well as – Aladdin, Peter Pan, Pinocchio, Dumbo and the cast of The Jungle Book.

Published under the Puffin imprint and aimed at young readers, the fully-illustrated books will include readers, storybooks, colouring & activity as well as novelty books.

The first series of titles will be available to consumers March 14, 2016 onwards and will include Dumbo and Aladdin colouring books, Jungle Book, Dumbo and Peter Pan Treasured Classic editions, Peter Pan and Dumbo storybooks and readers Mickey’s Round Up, Donald’s Special Delivery, Minnie’s Rainbow, Minnie Red Riding Hood and Mickey Mouse Flies the Christmas Mail.

“Puffin India has long published some of India’s finest writing for children with generations brought up on books from authors including Ruskin Bond, Sudha Murty and Dr APJ Abdul Kalam. We are delighted to now be working with Disney India to bring their well-loved characters to readers with a specific range of Indian publishing”, said Gaurav Shrinagesh, CEO, Penguin Random House in India.

“Disney is synonymous with storytelling. We all have grown up reading Disney stories and are familiar with Disney characters and classics such as Mickey & Friends, Aladdin, Pinocchio and many more. We are happy to be working with Puffin India to launch a series of Disney books for the new generation of readers in the country,” said Abhishek Maheshwari, VP & Head, Consumer Products, Disney India

 

For further details, please contact:

Caroline Newbury | Penguin Random House | cnewbury@penguinrandomhouse.in

Namita Jadhav | Disney India | namita.jadhav@disney.com

Richa Anand | Disney India | richa.anand@disney.com

 

About Penguin Random House:

Headquartered in New York City Penguin Random House is the international home to nearly 250 publishing imprints, with operations in 20 countries across five continents, publishing 70,000 digital and 15,000 print titles annually and with more than 100,000 eBooks available worldwide. We publish more than 70 Nobel Prize laureates and hundreds of the world’s most widely read authors.

Penguin Random House in India is part of The Penguin Random House Group worldwide. As India’s longest established international publishing company, we are the proud publishers of many of India and the subcontinent’s finest writers and publishing talent. Our authors have won prizes including the Nobel Prize, the Magsaysay Award, the Jnanpith Award, the Sahitya Akademi Award, Pulitzer Prize, Man Booker Prize, Man Booker International Prize, Commonwealth Writers Award, Shakti Bhatt Prize and the DSC Prize for South Asian Literature.

In addition to our Indian publishing program, we also make available over 30,000 of Penguin Random House’s international titles to our readers across India and the subcontinent every year.

Penguin Random House is committed to expanding our role as a cultural institution that serves society not only with the books we publish and investments we make in new ideas, creativity, and diverse voices, but also our belief in the power of books to connect and change lives. Together, our mission is to foster a universal passion for reading by partnering with authors to help create stories and communicate ideas that inform, entertain, and inspire, and to connect them with readers everywhere and across print and digital platforms.

About Puffin India:

Puffin Books India is the children’s imprint of Penguin Books India. Started in 1939, today Puffin is one of the largest, most diverse and successful children’s brands both in India and abroad. With an award-winning range of best-selling titles, Puffin’s ever expanding publishing list spans picture books, fiction, poetry and non-fiction. With a winning combination of literary classics and appealing commercial fiction, Puffin remains a children’s books innovator and perennial reader favourite.

Some of Puffin India’s finest writers include Dr APJ Abdul Kalam, Ruskin Bond, Sudha Murty, R.K. Narayan, Anita Desai, Satyajit Ray, Devdutt Pattanaik, Jerry Pinto, Payal Kapadia, Anita Nair, Chitra Banerjee Divakaruni, Subroto Bagchi, Derek O’ Brien, Paro Anand, Subhadra Sen Gupta, Ranjit Lal.

About Disney India’s Consumer Products Business:

Disney is the largest retail character licensor in the world with US$45 billion in character merchandising retail sales globally in 2013. The Consumer Products business includes: Toys; Fashion & Home; Food, Health & Beauty (FHB); Consumer Electronics; Stationery; Publishing and Retail Sales and Marketing. The Consumer Products business plays a critical role in providing Indian consumers a chance to bring a piece of the Disney magic home through a wide range of creative and locally appealing merchandise.

 

Today, Disney-branded products are available across a million retail locations in India. Disney-branded products are present in close to 500 retail touch points including hypermarkets with more than 3,000 SKUs across categories. Working with over 150 licensees across categories, Disney India’s Consumer Products retail branding, such as the unique Disney-branded corners in prominent retail outlets including Hamley’s and Big Bazaar, continue to reach more and more consumers across the country. Disney-branded products are available across all the key online portals with branded pages on Amazon and Flipkart and with strategic presence in portals like Myntra, Jabong, Snapdeal and more.

About Disney Publishing Worldwide:

Disney Publishing Worldwide (DPW) is the world’s largest publisher of children’s books, magazines, and apps, igniting imagination through storytelling in ever-inventive ways. DPW creates and publishes books and magazines both vertically in-house and through an extensive worldwide licensing structure. As a leader in digital products, DPW creates best-selling eBook titles and best-in-class original apps. DPW is also committed to the educational development of children around the world through Disney Learning, which includes Disney Imagicademy, as well as Disney English and other Disney-themed learning products. Headquartered in Glendale, California, DPW publishes books, magazines and digital products in 85 countries in 75 languages. For more information, visit www.disneypublishing.com.

Caroline Newbury

VP Marketing and Corporate Communications

Random House India

Penguin Random House

 

7th Floor, Infinity Tower – C

DLF Cyber City, Gurgaon 122002, Haryana

P +91 124 4785600

F + 91 124 4785606

Vikas Khanna – two books

In the past few months I have received two books related to Vikas Khanna, an award winning Michelin starred Indian chef. One is a picture book, The Magic Rolling Pin, and the second is Shaken & Stirred — a collection of 101 non-alcoholic blend recipes. In India he has also acquired a fantastic fan following among children ever since he was a judge on MasterChef Junior, India. He comes across as an affable and a pleasant presenter, whose warmth radiates from the television screen or in still photographs circulating on the Internet.

Vikas Khanna, DK, April 2015Shaken & Stirred is a collection of 101 recipes of cooling drinks. The book’s release has been timed well with the onset of summer in North India. Reading some of the recipes such as “Sassy Peach Karat”, “God’s Own Drink” made with lemongrass stalk and coconut milk, “Orange Pepper Samba”, “Rose Sunrise Refresher” and “Kokum Granita” makes you want to sip them immediately. The food photographs accompanying the recipes are outstanding. ( Indian publishing has come a long way from producing insipid pictures in recipe books. Instead the pictures in this particular DK book have a razzmatazz that is magical. Most of the photo credits go to Vikas Khanna.) But I have my reservations about many of these recipes. They seem exotic and many of the ingredients seem impossible to get locally or available at an exorbitant price. It is interesting that for a man hailing from Punjab, who learned his cooking from his grandmother, there is not a single recipe with mango given. At a time when chefs like Jamie Oliver make cooking seem so easy and are not averse to being influenced by flavours worldwide, I cannot help but feel that Vikas Khanna’s recipes are much like what the Indian authors of the diaspora are doing with literary fiction — their memories of their time spent in India are sharp but are being recreated with a panache using words, acceptable to an international palate. Vikas Khanna is doing something similar with cuisine.

Speaking of his grandmother, The Magic Rolling Pin, is a hagiographical picture book recounting Vikas Khanna’s childhood. The images areCrossword-InorbitMalad-VikasKhanna-TheMagicRollingPin-14Nov2014 computer created showing a happy young boy intrigued by the kitchen, his Biji bustling about cooking and later their involvement in the langars organised at the Golden Temple, Amritsar. But it is a complicated picture book since the reason for its publication does not seem to be the target audience, instead it is capitalising on the success of Vikas Khanna. As an idea it is worth considering, only if the book had been produced with care, focusing on the quality of illustrations, providing accurate information ( a reference to “golden clothes for Baisakhi” is accompanied by an illustration of the boy wearing red clothes) and being technically sound in laying of text involving repetition of words and using phonetics. There is far too much emphasis on the young boy in the illustrations making the text unidimensional, with little detail in the page layouts making it difficult for a child to get involved with the story, since a young reader clamours with comments like, “Show, show”; “Look, look” and “Did you not notice the detail before? I did!”. A good example of picture books that are technically sound and use bland computer illustrations are the Ladybird “Read it Yourself” series. Maybe these could have been emulated in the production and design of The Magic Rolling Pin, otherwise it is an excellent opportunity lost of introducing children to reading via an idol they admire.

Having said that, both books will remain with me for a long time since they are a good insight into Vikas Khanna, the chef, the humanitarian and restauranteur.

Vikas Khanna The Magic Rolling Pin Puffin Books, Delhi, India, 2014. Hb. pp.40 Rs 299

Vikas Khanna Shaken & Stirred: 101 non-alcoholic blends to lift your spirits DK, Penguin Random House, New Delhi, India. Hb. pp. 250 Rs 899

11 May 2015 

Literati – Kids and reading ( 1 February 2015)

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

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

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

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

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

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

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

31 January 2015

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

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

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

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

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

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

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

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

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

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

I agree. I read it slowly. Savoured it.

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

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

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

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

29 Dec 2014