translation Posts

Meeting Arundhati Roy at The Bookshop, Jor Bagh, New Delhi, 25 Aug 2017

On Friday 25 August 2017 The Bookshop held a lovely interaction with award winning writer Arundhati Roy. The Bookshop is a warm space that magically transforms a literary evening into an electric engagement. Personal invitations had been sent to the select audience. There was no structure to the event which was a pleasure.

Arundhati Roy plunged straight into a conversation. She began the evening remembering the late owner and legendary bookseller K. D. Singh. She then read a long passage out of her novel The Ministry of Utmost Happiness . Hearing an author read out from their own novels is an unpredictable experience but in this case turned out to be extraordinary. Despite the novel being varied and politically charged in many places, reading it alone, a reader tends to respond to the text. Listening to Arundhati Roy narrate it last night was revelatory as she has a soft lilt to her voice which brings out the rhythm and structure of the storytelling, softpedalling to some extent the political punch, but never undermining. Hearing her read out aloud was like being lulled into a level of consciousness where the magic of storytelling overtook one and yet once it is was over it was the politically charged experience of the episode from Kashmir which she chose to narrate that lingered on. It probably would be worth getting the audiobook which the novelist has recorded herself. On the left is a picture taken by Mayank Austen Soofi and tweeted on 17 May 2017 by Simon Prosser, Publisher, Hamish Hamilton, Penguin Random House.  On 24 August 2017 a digital companion to the novel was released called the Re: Reader. It is being hosted on a website of its own. According to the report in the Hindu, “The Re:Reader can be accessed on a smart phone by logging on to its website. The visitor is greeted by a ‘floating menu’ of different chapters, each with its own set of animated icons, sound effects, music, and a carefully chosen excerpt.

“Re:Reader has snippets of text from the 12 chapters of the book. Animations show the text in a new light; music brings the period to life, and with portions read by Arundhati Roy, it makes for a dreamy, heady ride. But none of these bits of ‘media’ are presented as ‘content’ for independent consumption. They are there to tempt, to intrigue, to transport the viewer to the Utmost world, not to reveal or substantially replace it.” Later this innovative reading experience may be converted into an app.

At The Bookshop interaction Arundhati Roy mentioned how when she writes fiction she does not let anyone, including her literary agent David Godwin, know that there is a work in progress as she is unable to handle the questions about when it will be ready for submission. Also knowing full well that once she hands over a manuscript there is frenzied activity and she needs to be prepared for it. Interestingly when the manuscript of this novel was finally completed to her satisfaction she lay down on her couch and wept for hours.

Given the small group sitting in a circle around and at the feet of the author made for a lovely intimate gathering allowing for conversation to flow easily. Sure there were many in the audience who were awe-struck by the celebrity they were enagaging with and yet the vibes were peaceful. It was an evening where Arundhati Roy shared insights about her writing and editing process, some of which I scribbled down in my edition of the novel.

There are many parts of the book which need a book of their own. 

This book is fiction as much as my first novel The God of Small Things was. I use every part of myself to write fiction. Experience informs your writing. Fiction is trying to create a universe which if it were unreal what would be the point of creating it? 

When asked if it was an “autobiographical novel” she said “What is an autobiography? These questions do not matter if this autobiographical or the truth. The character in fiction is more real and eternal than the real person.” 

While writing fiction my body feels very different. With non-fiction there is a sense of urgency. In fiction I am just at my own speed. It is almost like cooking — it takes as much time as it takes. 

When asked about editing her manuscripts she replied “ I don’t draft and redraft sentences which some people attribute to arrogance. I think of structure and characters take their own time to deepen. These are people I want to be able to spend rest of my life with. I don’t write sequentially. I already have a sense of it. It is a combination of control and release.” 

On the structure of this novel she said: “This book is much more complexly structured. It is like a big metropolis in the fluid world. It has its old parts and its pathways. It has its democracy. The crowds have faces in it. When you see the narrative as a city then you are going down blind alleys.”

On writing: “The way things are here and now I would not want to write it scared. Just write.” She added ” Factual knowledge has to be charged. My instinctiveness works the best for fiction.” 

On the parallels being drawn between Anjum and Mona ( made famous by Dayanita Singh’s photographs), she said “Anjum is not Mona but she is in Mona’s situation. Mona is definitely not a political person unlike Anjum.

Arunava Sinha, journalist and established Bengali to English translator, posed an interesting question to Arundhati Roy. He asked if she had had any interesting questions from her translators. Apparently the Polish translator has been flummoxed by sentences such as “evil weevil always make the cut” whereas the French translator has found the “Acknowledgements” the toughest such as “who queered my pitch”. As for the Hindi and Urdu translations she is working upon them line by line.

While discussing her author tours as was done over summer she says she felt as if she herself was a tourist living in Jannat for she visited 20 cities in the space of 24 days. Surprisingly she returned home with no jet lag whatsoever! The reception to her book has been tremendous and she has been reading and promoting the book to packed audiences. In Buffalo, for instance, she was to address a 1000-strong audience and surprisingly not a single copy of the book was sold at the venue since every single member of the audience was carrying their very own dog-eared copy of the novel. Another anecdote was about Kashmir which forms a large part of this novel since “you cannot tell the story of Kashmir in a footnote”.  She has recently returned from a visit to the state where she met Khan Sahib, an old friend, who had scribbled in his copy of the book extensively with comments trying to figure out the references in the book. What was even more incredulous were the visitors she had coming by all night asking her to autograph their editions of the book.

All in all it was a fabulously magical gathering.

26 August 2017 

 

India’s Women Writers, from the Early 20th Century to Today

I wrote a long essay on India’s women writers from the early 20th century to today for Bookwitty. Here is an extract from the essay:  

India has a tradition of fine women writers, and some of the earliest established names among them were also pioneers in fields beyond literature. Roekya Sakhawat Hossein (1880-1932) was a leading Bengali feminist in at the turn of the 20th century. Her sci-fi utopian novella, Sultana’s Dream (1905), was decades before her time and is a delight to read even now. Cornelia Sorabji (1866-1954) was both the first woman to read law at Oxford, and the first Indian national to study at a British university. During her career as the first female lawyer in India, she advocated for women in purdah and children. She wrote a dozen books including her memoirs, India Calling (1934). Sarojini Naidu (1879-1949) known as the “Nightingale of India,” was not only a poet, but also the first female governor of an Indian state, and the first woman president of the Indian National Congress. Her debut collection of poetry, The Golden Threshold, was published in 1905.

Https%3a%2f%2fs3.amazonaws.com%2fuploads.bookwitty.com%2fa43991b7 4453 4607 ab48 c9b60e498d5b inline original.jpeg?ixlib=rails 2.1
Sarojini Naidu with Mahatma Gandhi

at the 1942 All India Congress Committee Session

Despite our strong tradition of women writers in the early 20th century, to my mind it was the 1974 publication of the “Towards Equality” Status of Women in India Report that marked a watershed moment for women’s movements, and in turn, women’s literature. Though Indira Gandhi, the first woman prime minister, had been in power for years, it was the Report that gave more women a voice and an opportunity to express themselves.

Another literary turning point came in 1984, when Indira Gandhi was assassinated and thousands of Sikhs were massacred in retaliation. For the older generations, this violence brought back memories of the 1947 Partition of India; young writers and social activists including Urvashi Butalia began recording their stories. Butalia eventually wrote a seminal book, Other Side of Silence (2000), based on these oral histories as well as her own family’s story of moving to India from Lahore, now in Pakistan. Around the same time Ritu Menon and Kamla Bhasin’s groundbreaking Borders and Boundaries (1998) was published, documenting women’s experiences of Partition, about which until then it seemed a collective amnesia had existed.

To continue reading the essay please visit:  “India’s Women Writers, from the Early 20th Century to Today” , published on Bookwitty ( 3 August 2017) 

10 August 2017 

“Mahabharata”

DK India has published an incredibly sumptious edition of the classic epic Mahabharata. It was put together by a large in-house team working along with well-known mythologists and Mahabharata experts. It has resulted in this extraordinarily beautiful edition, impressive design, detailed page layouts where the text and illustrations complement each other well and incredible layers of information. In a sense the publishers have achieved practically the impossible of transfering the layered and embellished narrative style of oral storytelling into the fixed printed form.

The story is told through the 18 parvas as is in the familiar arrangement of the oral epic. As far as possible the structure of the oral narrative tradition has been adhered to in this print version. Every page a small portion of the story is narrated in simple English making it accessible to other cultures too. To accompany the text every page has been specially designed with different elements relevant to that particular context. These could vary from boxes on cultural details, mythology and folklore associated with the particular story, prayers and rituals passed through the ages, references to the versions of the epic/characters in art and literature, photographs of modern-day dance and theatre interpretations of the stories and a liberal sprinkling of historical artefacts and monuments that may help illustrate the text.

I interviewed Alka Ranjan, Managing Editor, Local Publishing, DK India who led the team which put together this book. Here follow edited excerpts of an interview published by Scroll.in on 20 August 2017:

1. Which version of the epic did you refer to?
We were keen to tell the entire story of the Mahabharata, including the Harivamsa, and, wherever possible, dip into the regional versions as well. To be true to the classical version, we referred to Bibek Debroy’s ten volumes of the Mahabharata, from where came some of the details of the stories and also the quotes. Ultimately for DK India it was the visual rendering of the epic which was more important, something that was not attempted before, and something that makes our book unique, setting it apart from the other books available in the market.

2. How long did this project take to execute from start to finish?
It took us almost 8 months to put together this book. To this we could also add 3 months of production. The entire team, including the technical members, reached 15, in some stages of the book.

3. Does DK have other religious texts illustrated in a similar fashion? Was there anything unique as a publishing experiment in this book?
DK has brought out the Illustrated Bible in the past. This book is in the same series style. Unlike our other reference books which work mostly like non-fiction with their dry, neutral tone, our version of the Mahabharata is yet another retelling of the epic. It was a challenge for the editorial team to adapt their skills to storytelling, to ensure the text flowed like a tale, weave in dialogues wherever needed, and inject drama to create impact.

4. It seems to be meant for the general market but the stories are easily told that a child too can read them. If that is the case then how did you manage such a gentle and easy style?
Our aim was to keep the stories accessible for a large readership, and in a lot of ways that is DK style. While we segregate our books in adult and children categories, depending on subject matter, comprehension level, interests, so on and so forth, the text for the adult ones is almost always aimed at ages 14 and above.

5. If you could have a section on “Mahabharata in art” why not have a section on the history of texts through the publication of this epic through the ages?

We could have done so many things with our book, but because it was going to be a visual retelling we decided to focus on art, showcasing the pervasive reach of the epic in our daily lives, and which made more sense, although a lot of our “boxes” talk about the different versions of the epic, including drawing parallels with Greek mythos.

6. This epic has been translated in other languages. Why not have images of those texts at well?

It was not always possible to get all images that we wanted, but we have used a couple of book covers to make the point about translations or different takes on the epic – mostly for latter. I can think of a book on Yudhishthira and Draupadi by Pavan K Varma which we used to discuss their relationship. We also used Mrityunjaya’s cover (Shivaji Sawant’s much celebrated book on Karna) on Karna’s profile. The choice of other retellings of Mahabharata invariably depended on the context of the stories we wanted to tell and the point we wanted to make and not the other way around. Some of the other books that find mention in ours are:

Kalidasa’s Abhijnana Shakuntalam
Tagore’s Chitrangada (with cover image)
Pavan K Varama’s Yudhisthira and Draupadi (with cover image)
Krushnaji Prabhakar Khadilkar’s play Kichaka-Vadha
Dinkar’s Kurukshetra and Rashmirathi
Shivaji Sawant’s Mrityunjaya (with cover image)
Bhasa’s play performance by Japanese students – Urubhangam

7. It would have been fascinating if a chapter on myth-making in this epic had been included as a standalone chapter rather than inserting boxes in various chapters. Why not address myth-making?

I take your point, and it would have been certainly interesting to have such a chapter now that you point it out. However, when we conceptualized the book, we were sure that we wanted the focus of the book to be on retelling the epic and layering them by adding side stories in boxes. We also wanted to have a few chapters/spreads on Hindu gods and goddesses, and philosophies, mainly to facilitate the understanding of the non-Indian readers, people not familiar with our cultural ethos.

8. How did you standardise the spelling of the names? What’s the back story to it?
We wanted us to use the more common spellings of the popular characters (Draupadi instead of Droupadi), although we did finally add the vowel sound at the end of some names, for instance “Arjuna” instead of “Arjun”, “Bhima” instead of “Bhim”, which takes the names closer to their Sanskrit pronunciation, but stuck to “Sanjay” not “Sanjaya” because it was a more common spelling.

9. Does the text of the books mentioned conform to the original text or have some creative license liberties been taken to retell it for the modern reader?

While most of our stories came from the original, classical text, we also dipped into the regional versions to borrow a few. For instance, Iravan’s story (A Human Sacrifice) came from the Tamil Mahabharata. Few other stories borrowed from regional versions are : Pururava’s Obsession

Draupadi’s Secret, Gaya Beheaded, Divine Vessel, News of Home, The Talking Head

10. Would you be creating special pocket book editions of relevant chapters? For instance I see potential in the section on women. If you had to resize it to a pocket edition with an introduction +original shlokas, the sales would be phenomenal.

Thank you so much for the suggestions. The book does lend itself to several spinoffs, and we have thought of a few. However, we wanted the current book to run its course before bringing out another one.

20 August 2017

“Vegetarians Only: Stories of Telugu Muslims” by Skybaaba

I read Telugu writer and Telengana activist Skybaaba’s short stories rapidly. They give an insight into the lives of ordinary Telugu Muslims living in the Deccan and the challenges they experience — loneliness, communal prejudices, casteism, love, hostility, living in penury etc. The English translations done by a team of translators are functional but make a valid contribution to Indian literature by highlighting the diverse cultures we have in India. This collection of stories was published by Orient Black Swan a couple of years ago and has been a steady seller. In fact The Little Theatre group did a dramatised telling of the stories.  

I interviewed Skybaaba after locating him online. He very kindly agreed to do the interview. It turned into an interesting process. He can read and understand English but is most comfortable responding in Telugu. So even if I had to chat to him via Facebook Instant Messenger to get clarifications, I would pose my questions in English and he would reply in Hindi using the Roman script. When I sent the Q& A he replied in Telugu on the document which then a friend of his, Dr. Jilukara Srinivas, Department of Telugu, University of Hyderabad, translated into English. 

Here are edited excerpts: 

Interview with Skybaaba about ‘Vegetarians Only’ Stories of Telugu Muslims

  1. How long did it take you to write these stories?

I took 11 years to write these stories. Initially I wrote poetry. But as feminism, Dalit movement in literature Muslimvadam had to be discussed  in the mainstream I began to write stories. Muslimvadam got recognition as an identity movement as feminism and “Dalitism” did in Telugu literature.  In that process I have played an important role. I have edited many poetry anthologies, stories collection ‘Vatan’, and Mulki, a special issue on Muslims. I had to spend lot of time and had to face a lot of pain. I lost my secured life for completing these works. I think it’s the first time in the history of Indian literature that a hundred muslim writers have come together and created an identity movement for Muslim community.  To make it a ‘movement’ I have maintained a continuous interaction with many Muslim writers who have been engaged in writing lives. In 1998 I compiled many wonderful poems by Muslim poets as Zalzala. It was ground-breaking poetry, first of its kind powerful poetry in Telugu. It was the time in which Muslimvadam came up significantly. There were doubts and uncertain conditions at that time. An opportunity was there to brand Muslimvada literature as a fanatic and religious one. We tried to make it clear that Islam is a religion and the word ‘Muslim’ is a social nomenclature as Dalit. Zalzala, as a poetry collection, was an effort with this understanding.   Dalit poetry has not received any opposition because it was considered as a problem of “Hindu” society. Its not the same with Muslimvadam. It can be branded as “other”. Not only that, there was a possibility that it could be termed as terrorism. I was ready to face all the charges and hardships. The poems in Zalzala criticise the Islamic and Hindu fundamentalists equally. There are multiple dimensions to the anthology. I say this collection of poems is a milestone in the literary history of India and Telugu literature too. Zalzala (1998) and  Aza (2002) were two anthologies consisting of poets of two states Telangana and Andhra.  A few poems of Zalzala were translated into English and Hindi. In 2002 along with another poet Anwar I also published poetry on Gujarat genocide titled Azaan. After both were received well, I started working from 1999 to 2004 and collected 52 Muslim stories from 39 different writers and published the first ever Muslim stories compilation titled Watan. Around that time, I started writing stories and started weaving my stories from different angles of Muslim life.

  1. At times it seems these stories particularly those about migration read more like reportage than fiction. Was that the intention?

I depicted realism of lives. I think you can’t write aesthetics when life is ending in pathetic situation. My stories in fact very have a colourful beauty in terms of content, weather, language and narrating style. All my stories end sadly. Lives are same too. In reality, most of the lives are like that. I tried to portray the lives as they are with such detail which enables the reader to find alternative solutions –that is the crux of my writing.

The two ways of finding solutions are — One, create a space in the story for the reader to engage and in understanding and let him find a solution to the problem pictured in it. Second, a solution can be suggested by author to a reader. I prefer the first way. Let readers have an opportunity to find their ways in resolving issue.

  1. How did the translation come about? Why were there so many translators for the stories?

Translation came really well but  the team of translators and editors worked extra hard to achieve it. Because my language is special. It belongs to me too. I created my story language. I am a pro-active muslim. I belong to Telangana. Our household speaks Urdu. Street language is Telangana Telugu. But the language of educated belongs to coastal Andhra who dictated for quite long time. Even language of every magazine is costal Andhra dominated. Hence I consciously chose the language I was raised in and speak which is a mix of Urdu and Telangana Telugu.

Telangana Telugu is different from Andhra Telugu. Telangana language was dishonoured by Andhraites. I use to write Urdu words like Aapa, abbajan, bhaisaab and etc. I kept Urdu sentences for dialogues. For the nativity I used familiar Urdu words at the outset of story. It was to suggest that dialogues are going on in Urdu. “Zaldi Zaldi Jani is going towards Edgah” – it’s a line in a story. Zaldi, Zaldi, Edgah, and Jani are Urdu words. Telangana words like dikk’, nadustundu, Jebatti, Adaada, and chestunnay are mixed with Urdu words to form beautiful sentences.

So it came out as special language. Translators had a hard time translating my stories into English. Similarly, editors had to edit it precisely to get the feel of the language and content. They had to consult me also many times on that. My stories have depicted vulnerable conditions of Muslim woman. These characters will haunt after reading. For this reason editors have selected 5 famous women translators who have fabulously grasped the feelings of women characters in the stories. This was a big project which took three and a half years to complete.

  1. Why did you include a glossary in the book instead of including the meaning of the words within the context of the story, as is largely practised now in modern translations?

Muslimvada literature has started a trend in using Urdu words. Readers will look towards the Muslims in their neighbourhoods with curiosity. So we came to a conclusion that meanings of Urdu words should not be given immediately We thought this method will create interest among readers. We followed the same for English version too but publishers asked us to provide at the end.

  1. Were you involved in the translation process? If so did you work on the stories for the English version or do they all remain true to the original stories in Telugu?

I’m not acquainted with English language. Complete rendering of my stories has been carried out by the translators and editors. They have discussed with me about the atmosphere, context in which words are used and sense of the certain Urdu terms too. I feel the translators have done a tremendous job and have exceeded my expectations.

  1. Are any of the stories autobiographical? I get the sense that the story about the young couple house-hunting as well as “Urs” are about you. I may be wrong.

Your perception is correct. Many of the stories are made out of my experiences. It means many of my stories are autobiographical — “Jani Begum”, “The Wedding Feast”, “Sheer Khorma” , “Life in Death” , “Urs” and”Vegetarians Only” too. My wife and I, in fact, have experienced all the situations while searching to rent a home. “Vegetarians Only” which is about a young married couple house hunting but constantly being denied accommodation as the landlords did not want beef-eating tenants and preferred vegetarians. Ultimately it was a dalit family willing to rent a tiny room to the couple. I wrote this story as a reflection of the prejudices Muslims experience on a daily basis.  Now this story is being taught as part of the post-graduation syllabus for 400 students in Kakatiya university.

  1. Why did you choose the pen name “Skybaaba”?

I’m Shaik Yousuf Baba. When I was in school I would write my name as “Skybaba”. “Sk” from Shaik, “Y” from Yousuf which made it sky and then I added “baba” to it. I introduced myself as “Skybaba” to literary friends. My first poem was published with this name. From then it has been my name. many have suggested me to keep Yousuf. But I like Skybaba. You know, when I tried to use it for Facebook, and for a blog, it was not available. So, I have added a syllable “a” making it “Skybaaba”. Now nobody can use it in social media as a name for a profile. We used the same in translation too. In two Telugu states, people will recognize me with “Skybaaba” only.

  1. In the introduction it is mentioned that your father was well-read but most of the women were uneducated. I am struck by how educated your father was and how many stories he read. How did this disparity in education levels between him and his wife come about? I ask since some of the women you have in the stories are educated even if it means fighting for the space.

My father studied up to 9th standard but he was able to read in Telugu, Urdu and Hindi.  He read many novels in the three languages. I use to listen him while he narratied the stories to my mother. I also use to listen to my mother tell the very same stories to the neighbours. In my father’s generation  there was no opportunity to get education for woman. You cannot see the identity movements at that time. I mean that social justice and equal rights to backward classes, untouchables and minorities. It was a result of awareness. It does not mean that opportunities have come to me. But the Muslim community has received something like Muslim reservation out of my struggle.  In Telugu, it was started before our generation. Like me, many of us have reached this stage because of identity movements. It is the reason behind keeping our stories as lessons to the students and reason for conducting researches on our literature.

  1. There is a reference to the anthology of 52 Telugu Muslim stories Watan: Muslim Kadhalu ( 2004) by 39 Muslim writers. Is this available in English?

No. It’s not available. It is as yet to be translated.  It was a result  out of my five years hard work. It contains 400 pages. For this I travelled two Telugu states and met Telugu Muslim writers to persuade them to submit their stories. I compiled it with good stories after editing and making writers to rewrite some stories. With this collection of stories even the movement of Muslimvadam was received well and its situation got changed. A lot of change occurred in the expression of stories. A lot of people appreciated it. One of my critics told me to keep the book available in the market always. So that non-Muslims can learn the lives of Muslims who are the equal sufferer of poverty, violence and humiliation as other marginalized sections. By reading this book, the hatred which is propagated against Muslims will reduce.  Misconceptions like Muslims are anti-nationals, terrorists and foreigners will be erased from the psyche of masses.  People will realize that Muslims are their friends. Muslims like any other community experience poverty, unemployment, love and affection.

  1. Please tell me more about how you came to be a writer. I know this is a clichéd question but after reading this book and reading the notes in the book I want to know. I am impressed by one of the small jobs you explored was a “book-renting shop” (why don’t you call it a library?), becoming the editor of the literary page of Telugu daily Andhra Jyoti etc.

The  uncompromising nature of my mother, courageous nature of my father, grand mom’s different integrity and commitment, my village Kesarajupally’s nature, my close friend Janardhan’s atheism, Parasharamlu’s experiences with untouched social system, my keen observations, and dedication, extensively reading habit from childhood, stories, novels, poetry of woman’s issues, etc all have shaped my personality and integrity. I have a great respect and sympathy for women’s issues and problems. My love, failure, discontinuity of education, poverty, failures in business have made a good writer. Everyone cried after reading my stories. As an activist I have attended thousands of meetings and visited a lot of villages so that I became mentally strong. In a single word, I stood up because of Sufism which I have internalised  and my inherent nomadic nature.

  1. You have started several literary magazines – “Telugu Dalit Voice” ( 2005-2006), “Mulki” ( 2002-2004), “Chaman” ( 2006-2007) and “Singdi” ( 2010-2011). Why did you feel the need to start a literary magazine? How were they different to each other? How did these magazines find their audiences? What did they contain?

Yes, I have started my literary magazines and encouraged others to start. I have also worked for many small magazines too. For the reason of mainstream media which is not supporting Dalits, Muslims and Telangana issues. Now the situation has become worse. In such a situation, I tried to disseminate the ideas and information to educate the communities. “Dalit Voice” is all about Bahujan politics whereas “Mulki” and “Singidi” is about Telangana Movement. A special issue of “Mulki” and “Chaman” have been brought out to sensitize the readers about Muslim’s issues. As an activist I tried to make them available at public meetings, gatherings and in serious book points. Useful information, interviews and articles for the social movements were given priority in the publications. They helped readers out across the two states of Andhra Pradesh and Telengana.

  1. Is Nasal Kitab Ghar your publishing house? Does it still exist?

Yes, it’s been working. It’s my own publishing house. So far, I have brought 16 books out. They are very valuable as no publishing house came forward to print the Muslimvada writings. Even NGOs were not agreeable.  So, I have established Nasal Kitab Ghar. Isn’t it great to record a victim’s version? Is it not valuable? I have recorded diversity of Muslim community and its social and economic situation. I know some of the issues like burkha, parda, caste structure among Muslims which I recorded in anthologies will not be received well even by our own community. Yet these stories have their relevance in Telugu literature. Nasal Kitab Ghar will be there till my last breath. I will bring wonderful books forward.

  1. Why did you feel the need to have a strong Muslim identity to define your literary activities such as Muslimvada poetry and the short-lived Muslim writers’s forum Marfa ( 2003-2004)? Is the Telengana writers’ forum Singidi ( 2010) which you co-founded also with a strong Muslim identity?

From 1995 feminism and the Dalit movement came forward with a strong ideological base and argument. I and some other Muslim writers were inspired by these movements. We launched Muslimvadam. I worked very hard for the movement. All the important collections of writings have been published by me only. We have provided a view to look into and understand the Indian majoritarian social order. It is Muslim view point. We tried to educate Muslim community to think in terms of social and political. We also sent a message to mingle with other communities which are struggling for justice. We made them to realize that all the SC, ST, OBC, MBC literary movements are brotherly things to Muslims. ‘Haryali’ Muslim Writers Forum, ‘Marfa’ Muslim Reservation Movement intended to do the same. As a founder and leader of these organizations I worked as a key person. Unlike feminist and Dalit movement there was no support readily forthcoming for Muslimvadam. I had to bear the brunt of all the burden. I had to put my security at risk. There were threats to me from Hindutva groups but I persevered and worked steadily for years.   I worked in Singidi as a Muslim representative among SC, ST, BC and women representatives. Singidi was a collective voice of oppressed sections. Dalit, BC, Tribal and Muslim literary movements have an understanding that all these communities have same roots and divided from one stem. It’s an indigenous perspective. It’s the base for these movements. It extends the concept of brotherhood among victims.

  1. What is the Nilagiri Sahiti group?

I see Neelagiri Sahiti as a “mother” institution since it was instrumental in shaping me as a poet. It taught me what literature is. I attended its inaugural meeting and then after I worked as a secretary for five years. Dr. Sunkireddy Narayana Reddy was its founder who was a Telugu lecturer. He is a famous poet, critic, cultural historian of Telangana. He founded many literary organizations.. He is my literary mentor. With his vision and support I have become an uncompromising writer as  I have my commitment towards oppressed communities. I know there are many opportunities for the writers and activists who surrender to the state. I never thought of working with the State which denies the basic human and civil rights to Muslims , Dalits, OBC and Tribes. So, I was branded as a stubborn and headstrong poet.  I may be branded in any manner but I will not abandon interests of my communities. We have organized number of programmes which have helped me grow as a powerful writer.   I learnt many ideological issues from debates, conferences and talks organized by Nilagiri Sahiti. Eminent poets, writers, and intellectuals were invited to monthly and weekly meetings.

27 July 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 

Ashok Shahane and Arun Kolatkar

Speaking Tiger Books has recently published the South Asia edition of Anjali Nerlekar’s Bombay Modern: Arun Kolatkar and bilingual literary culture . In the long term it will prove to be a seminal book for its analysis of not only Kolatkar’s contribution to modern Indian literature but also for its context of Indian publishing. Marathi publishing has been a vibrant space for a long time. In fact Bombay Modern discusses at length about the importance of little magazines and their critical influence upon writers by providing a new space for literary writing. Significantly Anjali Narlekar points out:

The writers and editors of little magazines in Marathi and English not only moved in a shared cultural and literary space but were aware of the work done ni the other Indian literatures by the little magazines. One way to examine these interlinks is to look at the network of pathways at the core of regional, national, and international influences. 

A connection of common influences arcs across the English-Marathi divide between many of these poets. If Mehrotra brought Pound and Ginsberg to bear upon the newly independent Indian society in his English poem, Kolatkar also translated Ginsberg’s “Kaddish” into Marathi for Shahane’s Aso in 1963… .Three prominent examples from the period will illustrate the interconnection across the two worlds. The first is the close literary collaboration between the Beat writers and the Bombay poets. It is a known fact that Ginsberg and Peter Orlovsky read their poetry on Alkazi’s terrace in 1962 on their visit to Bombay, but the Beat poets were also interacting with both the English writers and the vernacular writers in Bengal and in Maharashtra, like Ashok Shahane and Kolatkar in Bombay. Shahane published Ginsberg’s poetry in English and in Marathi translation in Aso as well as the work by Orlovsky in its original English. Shahane also wrote a poem in the little magazine Timba where he mocks the rabid fervor generated by religious personalities like the Shankaracharya. Shahane trivializes such religious zeal with a seemingly frivolous comparison and connection with the Beats and with Hollywood:

the world is a dream

the Shankaracharya has said

as Allen reported

Arjun was the last man

and maybe also Burt Lancaster

“Allen” here refers to Allen Ginsberg, and in this poem, Shahane self-confidently accepts the long way home when he states that he learned Shankaracharya’s teaching through hearsay from Ginsberg. It shows the defiant refusal to accede to claims of monolingual affiliations. It is also  a little-known fact that Ginsberg’s poem “September on Jessore Road” first appeared in Bombay, published by Ashok Shahane. When the Bangladesh War began in 1971 and Ginsberg wrote the poem, Shahane printed and distributed copies of it and gave the proceeds to Bangladesh aid committee set up in Bombay. Followed closely, such circuits of the global invariably lead to the space of the local. 

The poets Arun Kolatkar (Left) and Raghu Dandavate (second from Left) and Shahane (third from Left) were part of a group that would meet every Thursday afternoon for its kattas.

The second example is Arun Kolatkaris Jejuri, which includes poems that traverse repeatedly across linguistic lines. The poem “The Priest” from Jejuri appeared in Marathi on pages 88-89 of the 1977 special issue of Rucha on Kolatkar even as a book of poems in English, published by the small Clearing House Press, won the Commonwealth Poetry Prize that year. The history of this book of poems manifests the entangled nature of the multilinguistic sabottari worlds. Initially one of the poems from the Jejuri collection appeared in the English little magazine Dionysus ( edited by Abraham Benjamin and Shirish Pradhan) , which promptly lost the manuscript of the collection of poems.  It was then rewritten in English and appeared in full in A.D. Gorwala’s Opinion Literary Quarterly in 1974, then was apparently shown to Arun Khopkar ( who published a poem from it in Rucha in 1977, when the English book of poems was published), adn eventually appeared in a Marathi book of poems posthumously in 2011. Dilip Chitre’s work demonstrates a similar catholicity in its publishing spaces: his translations from the French poets appeared in the Marathi Satyakatha ( December 1963), his translations of the Marathi poet Mardhekar in the English little magazine Poetry India ( 1966), and translations of the Marathi Tukaram in Mehrotra’s English little magazine fakir ( 1968). 

Aso

A crucial third way in which the little magazines provided a mixed space for writers emerges when one considers the presence of Dalit writers and editors in the sabottari years. The iconoclastic philosophy of the little magazines borrowed its energy from the foundational rage of the Dalit writers in its refusal of tradition in most of its manifestations, be it in vocabulary, imagery, poetic structure, or representative realisms. The little magazine movement was clearly influenced by the Ambedkar revolt in the 1950s and the subsequent Marathi publications of writers like Shankarrao Kharat and Baburao Bagul in the early 1960s when the first Marathi little magazines started appearing at the same time ( Shahda in 1955 and Aso in 1963). the little magazines also provided a space for many rising Dalit writers to showcase their work. There is a synergy between the two movements  that is important to note. The sabottari poetry is notable for its emphasis on the material as well as the textual. The angry materialism seen in the poems of Chitre or Kolatkar is comparable in terms of literary technique with much of Dalit literature’s emphasis on the body. 

Ashok Shahane, HASHIM BADANI FOR THE CARAVAN

There is much, much more to discover in this fabulous book. Interesingly enough Caravan magazine’s July 2017 issue has published a magnificent profile of Ashok Shahane. It is worth reading for its insight into little magazines the weekly meetings of the Bombay poets and how as Shahane a close friend of Kolatkar was entrusted with the manuscript of Bua. ( “The Man Who Wrote (Almost) Nothing” Ashok Shahane’s deep imprint on Indian modernist literature )

Kolatkar also gave Shahane a warning: “He said to me, you will probably have to wait 30 years — a generation — so that the intolerance outside decreases, before you can publish it. Now 12 years have passed, and the intolerance has increased, not decreased.”

” I don’t think society will be able to accept it now,” he said. “Conservatism has increased. And from conservatism has come intolerance, and from that various things. Now, how many years I’ll have to wait I don’t know.” 

There is a story Shahane likes to tell about the medieval Marathi saint-poet Dnyaneshwar, regarding the relationship between the word and the world. Dnyaneshwar said that when we look for the sliver of the moon, the branch of a tree becomes useful as a guide to our eyes. Words are that branch, not the sliver of the moon itself. 

“What is literature? Literature has nothing to do with the real world. I mean, at the same time it has everything to do with the real world,” he said. “You need readers who can maintain this balance. Literary matters will stay in literature, and the interpretation will stay in your mind. You won’t come out and fight in the street. At least this much I expect. But I don’t think I can expect that. Someone will take offence, and then, things will unravel.” 

18 July 2017 

 

 

Geronimo Stilton: The publishing phenomenon it is in India ( and worldwide)

My article on Geronimo Stilton has been published in Scroll on 11 June 2017. It is entitled “Even children who don’t read are addicted to this series of books about a mouse. Why?” I also interviewed Claudia Mazzucco, CEO of Atlantyca SpA. who publish and translate the books as well as Neeraj Jain, Managing Director, Scholastic India who distribute the series locally. 

The Geronimo Stilton series is an incredible phenomenon in children’s publishing in India. In the five years since this series – starring the eponymous mouse who is a bestselling writer and the editor of The Rodent News – was launched here by Scholastic India, one million copies have been sold already. The immense popularity of the books – which have been translated from Italian into English – has actually transcended the realm of regular book fairs and book stores, with the pull coming from even stationary and toy stores.

“Geronimo Stilton as a series is rich with everything that children love in their books. They are replete with humour, they have nail-biting adventures featuring action set pieces in an age-appropriate and non-violent way. There was (and still is) nothing like this in the Indian children’s books category,” said Neeraj Jain, managing director at Scholastic India. The marketing campaign has been unique, he added.

“We waited for a while for the series to develop some word-of-mouth publicity,” Jain said. “Once the buzz grew, we went ahead with an on-air campaign on radio. There have been sustained visibility exercises through displays, character visits and special collaterals across schools that we reach out with to book fairs and book clubs. We carried out The Great Geronimo Tour of India in 2016 where there were character visits and activities at Tier II cities across India. The tour was also amplified on radio and social media.”

Children, many of them not big readers in general, have been lapping up these books and waiting eagerly for the next instalment. According to some retailers, schools are actually beginning to issue directives to book exhibitors not to sell Geronimo Stilton books as children are hooked and refuse to read anything else!

In this talk delivered in 2012, Elizabetta Dami, creator of Geronimo Stilton, said that the idea to create these stories came from her storytelling sessions with patients in a children’s hospital ward. She was clear that while the stories had to grip the child’s imagination, they also had to work at multiple levels like inculcating values and giving the young readers hope. Her own publishing house began to create these stories, after which she joined hands with seasoned publisher Pietro Marietti.

In September 2006, Marietti established Atlantyca Entertainment to forge new business opportunities for the company’s library of entertainment book properties. Since then, as chairman of the firm, Marietti has published over 100 titles in the Geronimo Stilton series. It has generated business worth more than $1 billion.

This growth is also attributed to strategic licence sales, such as bi-monthly comic book magazines, toys, stationery products, as well as a Broadway show called Geronimo Stilton: Mouse in Space presented by Orlando Repertory Theatre (January 2017). Amazon Prime has also committed to two seasons (52 episodes) of an Italian-American-French animated series.

Claudia Mazzucco, CEO of Atlantyca SpA., talked about the series, its origins, and what it takes to keep up the momentum of its phenomenal popularity over generations. Excerpts from the interview:

How did Geronimo Stilton come about? There is no guarantee that an anthropomorphised mouse will be a hit with kids.
The Geronimo Stilton editorial series was initially published in eight titles by the Italian publishing house Dami Editore. Then Elisabetta Dami joined the publishing company Edizioni Piemme as a shareholder and, jointly with the owner Pietro Marietti, they developed the Geronimo Stilton project both on the editorial and the marketing side.

Why did you choose to create the text for children in this manner – multicoloured and diverse fonts?
The “graphisms” in the actual format aim to add an emotional meaning in a funny and witty way to the literal meaning of the word. This helps children to catch the meaning in a blink with the valuable result, among other, to encourage even reluctant readers to read.

Are these texts based on some technical knowledge about creating reading material for younger children? Somewhat similar to Ladybird’s Read It Yourself, Harper Collins’s I Can Read and Dr Seuss books? I ask since these books are poised beautifully in that space between picture books and chapter books but with some characteristics of game books such as those created by Livingstone (1970s). The Geronimo Stilton series definitely helps a child read easily.
This result was achieved little by little at the very beginning of the development of the editorial series in Edizioni Piemme, thanks to the editorial team, the leadership of Mrs Dami and Mr Marietti, and the enthusiastic feedback of young readers.

The rapidity with which these titles are released every month matches the pace of a magazine subscription, but it is actually a book. How does your publishing firm manage it?
The editorial team is a very well-trained engine and they rely upon a big community of illustrators and graphics that have been collaborating for years.

Are some of the titles created specifically for some countries and not for the rest of the world, such as Bollywood Burglary?
The titles are created for a worldwide market. Some themes are suggested by foreign publishers but the books are developed in order to be licensed and distributed all over the world.

What is the turnaround time of a story from conception to publishing?
About five months.

The themes of the stories selected are very modern and at times, topical. How does this come about? Apart from an editorial team does the firm also rely on the feedback from young readers? Are there any special moments or letters that have been memorable?
All over the world, children’s publishers have to be open to changes because their consumers are children – the more flexible, demanding, unpredictable community of the publishing market. The editorial team is even more careful because of the strong ethical commitment of this particular intellectual property. Moreover, a website for children and the related community gives immediate feedback with their comments to books and the marketing initiative.

In contemporary fiction for children, three characters come immediately to mind who have had such huge success – Gruffalo, Peppa Pig and Geronimo Stilton. Do you have any thoughts or insights on why this may have happened? Why now? Of these three only Geronimo is in translation.
We have to make a distinction between properties based on an animated series or movie and those which are based on an editorial series. The first ones derive their popularity from the large-scale awareness that broadcasters can grant. The latter have a different, slower and more resilient evolution. A book-based character and the related brand, once they have reached a level of popularity, can last for years, and can influence generations. In Italy, the first readers of Geronimo Stilton, girls and boys who were eight years old in 2000 when the series was first published, are now grown up. They are parents now and their children are Geronimo Stilton readers.

11 June 2017 

Indian Author Anita Nair on her New Book for Children on Stories from the Qur’an and her Role as an Independent Publisher

( My interview with Anita Nair on her new book, Muezaa and Baby Jaan , and launch of a new independent publishing press, Attic Books, was published in Bookwitty.) 

Award-winning and bestselling Indian author Anita Nair is the editorial director of the recently launched Attic Books, an independent publishing firm focused on making world literature available in English in South Asia. This new responsibility has coincided with the publication of her new book, Muezza and Baby Jaan— a beautifully illustrated (by Harshad Marathe) book for children that retells stories from the Qur’an. The succession of events that birthed this book were Anita’s research for Idris which required familiarising herself with the stories but more importantly it was the equation of terrorism with Islam, which troubled her, and she felt needed addressing. As she says passionately in her preface:

“Acts of terrorism perpetrated by Muslim fundamentalists had already made many non-Muslims wary of the religion. And I thought this was grossly unfair to Islam and what it taught. I had been brought up as a secular individual and felt a calling to clear this misinterpretation in my own way.

No religion preaches hate or violence. No religion condones killing or the taking of human life. However, flawed interpretations do lend a religion a misguided twist that it does not claim in the first place. Those with vested interests manipulate aspects of a religion to justify heinous crimes and the massacre of innocents. And so it had happened with Islam.”

Anita Nair kindly answered questions about her new book and her new job:

Indian Author Anita Nair on her New Book for Children on Stories from the Qur'an and her Role as an Independent Publisher - Image 2

You are a rare kind of writer who has the ability to write books for children and adults. Given the current milieu why retell stories from the Qur’an in Muezza and Baby Jaan for children and not adults?

Three specific reasons why I chose to re-tell stories from the Qur’an for children and not adults are:

I am not an expert of Islam and my understanding of the scripture is at a basic level. I read the scripture for what is it and didn’t want to read sub texts hence, it occurred to me that the Qur’an as I understood it, would be more apt for a child’s reading rather than an adult seeking spiritual guidance.

Any religion is best understood when explained in the form of stories. Children are more receptive to stories rather than adults who seek complexities, twists and justifications.

If inclusiveness and tolerance need to be part of our psyche it needs to begin from childhood and I thought it important that our children learn about Islam through the stories from the Qur’an so as to accept it as another scripture that like all scriptures advocate only peace and love.

If inclusiveness and tolerance need to be part of our psyche it needs to begin from childhood…

Is there any reason why you selected these particular stories to retell?

During the course of my research I discovered the stories of the ten blessed animals and wanted to build my stories around these animals for they brought in accounts about various Prophets. Some are familiar names from the Old Testament, which furthered my cause that all religions are the same to a great extent, and also it helped me follow a certain chronology in the telling.

Today communal intolerance particularly towards Islam is on the upswing globally. Do you think by this pushback of sensitizing children to Islamic stories will help to create a secular future?

I certainly do believe sensitizing children to Islamic stories will help in creating a secular world, where a person is judged by what they do and not what religion they follow.

Why did you opt to anthropomorphize the cat and the camel to share the Qur’an stories rather than merely retell them yourself?

Apart from wanting to open up the Qur’an for general reading I wanted to bring alive Islamic lore and it seemed to me the best way to do so was by anthropomorphizing the two protagonists of the book namely Muezza the cat and Baby Jaan the camel. When they voice our thoughts, be it on friendship, prejudice, peace or trust, the characters strike a chord in our hearts and we immediately start relating to the stories on a very personal level

As a successful writer yourself you have been published worldwide but why have decided to launch a publishing house: Attic Books? Who else is on the team?

The reason I decided to start a publishing house is because we are all exposed to literary giants and Nobel laureates writing in languages other than English but we are oblivious to all other wonderful writing from around the world. Attic Books was conceived to be a small boutique-publishing house that will focus on a small number of books from spectacular authors that the Indian reader has yet to encounter. I want to bring these authors the readership they deserve.

As of now, we are working with only international fiction. But we hope to expand to international non-fiction as well and one work of translation from an Indian language. The only Indian fiction we will be publishing at this point is the anthology of short fiction drawn from my creative-writing mentorship programme in Bangalore, Anita’s Attic. The plan is to keep to the promise of what an Attic holds: Hidden treasures and surprises so as the curator of the list, I may decide to mix up fairy tales with crime with lit fiction to travel. I do hope we can acquire rights to unpublished works but given that we have no angel investors, commissioning an original translation of international fiction may be an expensive prospect.

Indian Author Anita Nair on her New Book for Children on Stories from the Qur'an and her Role as an Independent Publisher - Image 3

Our 2017 list comprises of Evald Flisar’s literary novel If I Only Had Time (Slovenia), Suchen Christian Lim’s literary romance The River’s Song (Singapore), Andres Neumann’s literary novel Talking to Ourselves (Argentina/Spain), Bei Tong’s LGBTQ novel Beijing Comrades (a translation by Scott Myers) and I. M. Batacan’s crime novel Smaller and Smaller Circles (Philippines).

I am in the process of acquiring books for 2018. There are so many good books out there but I don’t want our list to repeat themes and I have to be diligent about the list we are putting together. Attic Books is a partnership between Anita’s Attic (which is a company made of Anita Nair and a digital agency, *ConditionsApply) and Logos – a Malayalam language publisher based in Kerala.

Given the range of genres you publish in, will there be any overlaps with your plans for Attic Books?

No, I am very certain that it will not clash with my own work, which will always be housed as it always has been in publishing houses where I have a sound editor to work with. I value the role of an editor in my writing process and wouldn’t want to lose that objectivity and editorial input.

Does your personal experience of being published by others inform the business of establishing your own publishing firm?

Business-wise the decision to try and turn publisher ranks along with that of Don Quixote tilting at windmills. Nevertheless, one cannot help but admire the old knight for trying to keep alive the romanticism of a period even though it may seem delusional to everyone else. However, over the years I have drawn my own insights on what makes publishing exciting and would like to see if they are really true.

How do you find time to balance writing, mentoring and now publishing?

Honestly, I don’t have an answer to that. I guess I just don’t stop. And that what I am doing is exciting makes me put in long hours without thinking of it as a job to be done.

Is there space for another publishing firm in India?

Yes and no. Yes, if one can move away from the traditional confines of publishing. No, if one is seeking to replicate what is already there and available.

Will you focus only on print or also digital? How do you plan to distribute your books?

We will be only be focusing on print. One of our visions for Attic Books is to help people put together a library of their own at home. Books that people will read, keep, and read again and pass on hopefully to their next generation; hence, the stringent process of choosing who we publish.

Distribution will be through select bookstores and online sales. And we have created Attic Club, which is a subscription model where a reader can take an annual subscription at a fabulous price that will bring the books to their homes and will also put them on a list to the exclusive book events we will host.

25 February 2017 

“Mohanaswamy” by Vasudhendra: a First Collection of Gay Stories Translated from Kannada

( My review article on Vasudhendra’s fantastic short story collection, Mohanaswamy, was published in Bookwitty.) 

Recently translated into English, Mohanaswamy, by the Kannada-language author Vasudhendra, is a collection of short stories that revolve around the central character, Mohanaswamy, who is gay.

Vasudhendra, who has published more than 12 books on a variety of subjects with impressive print runs of 12-18,000, had never before written openly about homosexuality. Mohanaswamy is his first collection of gay stories, which, he admits, was a courageous act that he undertook while tackling depression. It took him more than three years to write, but turned out to be therapeutic. He said, “I am very happy these days that I wrote Mohanaswamy. It was a kind of liberation for me. No other book has given me such joy.”

Over five years ago, Desha Kala, the Kannada literary magazine edited by noted writer Vivek Shanbhag, ran a 6,500-word story titled “Mohanaswamy” by an author whose pseudonym was ‘Shanmukha S’. In an article that appeared in the Hindustan Times, Shanbhag says the story was fascinating, and not because it spoke of gay love. “The central aspect of ‘love and longing’ was well beyond the social and anatomical construct in the story. Its emotional energy was very high because it was deeply autobiographical,” he said. Several years later Shanmukha S revealed himself to be Vasudhendra.

Vasudhendra quit working as a software professional to become a full time writer. He also founded a publishing house called Chanda Pustaka which has developed a formidable reputation for encouraging new writing in Kannada. So far, Chanda Pustaka has published more than 70 books garnering more than 100 literary prizes, including the National Academy of Letters Sahitya Akademi award, in the process.

Mohanaswamy is a young man from a village in Karanataka who has been considered a misfit since his childhood when he preferred playing with his sister and her friends than with boys his age. The stories are not arranged chronologically but roughly cover the lifespan of Mohanswamy from early adolescence to middle age.

The collection opens with a heartrending story, ‘The Gordian Knot’. Mohanswamy has been living with Karthik for five years when he discovers unexpectedly that Karthik is getting married to a woman and moving to another city. Another powerful story is, “Bed Bug” which explores the challenges of being gender fluid and the devastating consequences of trying to live one’s true identity in a firmly patriarchal world. When the protagonist, Shankar Gowda, a childhood friend of Mohanaswamy’s, disappears from his village, it transpires that Shankar was a victim of an honor killing carried out by his father and brothers. The title does not hint at the tragedy to come but when the story ends it’s easy to draw a parallel with the discomfort a bed bug causes and the similar effect Shankar’s presence has on his family. The story is even more powerful when one discovers that the character is based on a real-life classmate of Vasudhendra’s. The anguish a gay Indian male lives is once again illustrated when Mohanaswamy, while struggling to come to terms with his own sexuality in college, hardly ever discusses homosexuality with other students. He chooses not to reveal his true self, fearing “that would give rise to unnecessary doubts in his friends’ minds. So when gay sex did come up in their conversations, he would pass a snide remark as a defence mechanism.”

Story after story addresses a different challenge of being gay while living in a conservative, patriarchal society such as India. It is worthwhile to note that the Delhi High Court, in 2009, decriminalized homosexuality between consenting adults, to the joy of the LGBTQ community. Ironically, on December 11, 2013, the day the original Kannada edition of Mohanaswamy was published, the Supreme Court overturned the previous judgement of the Delhi High Court, leaving the matter of amending or repealing the Act to the Parliament. It has yet to be resolved.

Mohanaswamy is a remarkably bold debut collection not only for writing explicit scenes of gay sex in India but also for a wise commentary via fiction of how homosexuals are perceived and treated in India. There is a quiet dignity in the tenor without a shrill activist voice. The arrangement of the stories with the carefully selected titles is admirable in marking the life of Mohanaswamy from adolescence to middle age, repeatedly facing social ostracization, his exploration for love, and coming to terms with the transition from lust to companionship. Mohanaswamy is an extraordinary collection of fiction which will hopefully travel far especially if it helps speak to parents of the LGBTQ community and farther.

Jaya’s newsletter 8 ( 14 Feb 2017)

It has been a hectic few weeks as January is peak season for book-related activities such as the immensely successful world book fair held in New Delhi, literary festivals and book launches. The National Book Trust launched what promises to be a great platform — Brahmaputra Literary Festival, Guwahati. An important announcements was by Jacks Thomas, Director, London Book Fair wherein she announced a spotlight on India at the fair, March 2017.  In fact, the Bookaroo Trust – Festival of Children’s Literature (India) has been nominated in the category of The Literary Festival Award of International Excellence Awards 2017. (It is an incredible list with fantabulous publishing professionals such as Marcia Lynx Qualey for her blog, Arablit; Anna Soler-Pontas for her literary agency and many, many more!) Meanwhile in publishing news from India, Durga Raghunath, co-founder and CEO, Juggernaut Books has quit within months of the launch of the phone book app.

In other exciting news new Dead Sea Scrolls caves have been discovered; in an antiquarian heist books worth more than £2 m have been stolen; incredible foresight State Library of Western Australia has acquired the complete set of research documents preliminary sketches and 17 original artworks from Frane Lessac’s Simpson and his Donkey, Uruena, a small town in Spain that has a bookstore for every 16 people  and community libraries are thriving in India!

Some of the notable literary prize announcements made were the longlist for the 2017 International Dylan Thomas Prize, the longlist for the richest short story prize by The Sunday Times EFG Short Story Award and the highest Moroccan cultural award has been given to Chinese novelist, Liu Zhenyun.

Since it has been a few weeks since the last newsletter the links have piled up. Here goes:

  1. 2017 Reading Order, Asian Age
  2. There’s a pair of bills that aim to create a copyright small claims court in the U.S. Here’s a breakdown of one
  3. Lord Jeffery Archer on his Clifton Chronicles
  4. An interview with award-winning Indonesian writer Eka Kurniawan
  5. Pakistani Author Bilal Tanweer on his recent translation of the classic Love in Chakiwara
  6. Book review of Kohinoor by William Dalrymple and Anita Anand
  7. An article on the award-winning book Eye Spy: On Indian Modern Art
  8. Michael Bhaskar, co-founder, Canelo, on the power of Curation
  9. Faber CEO speaks out after winning indie trade publisher of the year
  10. Scott Esposito’s tribute to John Berger in LitHub
  11. An interview with Charlie Redmayne, Harper Collins CEO
  12. Obituary by Rakhshanda Jalil for Salma Siddiqui, the Last of the Bombay Progressive Writers.
  13. Wonderful article by Mary Beard on “The public voice of women
  14. Enter the madcap fictional world of Lithuanian illustrator Egle Zvirblyte
  15. Salil Tripathi on “Illuminating evening with Prabodh Parikh at Farbas Gujarati Sabha
  16. The World Is Never Just Politics: A Conversation with Javier Marías
  17. George Szirtes on “Translation – and migration – is the lifeblood of culture
  18. Syrian writer Nadine Kaadan on welcoming refugees and diverse books
  19. Zhou Youguang, Who Made Writing Chinese as Simple as ABC, Dies at 111
  20. Legendary manga creator Jiro Taniguchi dies
  21. Pakistani fire fighter Mohammed Ayub has been quietly working in his spare time to give children from Islamabad’s slums an education and a better chance at life.
  22. #booktofilm
    1. Lion the memoir written by Saroo Brierley has been nominated for six Oscars. I met Saroo Brierley at the Australian High Commission on 3 February 2017. 
    2. Rachel Weisz to play real-life gender-fluid Victorian doctor based on Rachel Holmes book
    3. Robert Redford and Jane Fonda to star in Netflix’s adaptation of Kent Haruf’s incredibly magnificent book Our Souls at Night
    4. Saikat Majumdar says “Exciting news for 2017! #TheFirebird, due out in paperback this February, will be made into a film by #BedabrataPain, the National Award winning director of Chittagong, starring #ManojBajpayee and #NawazuddinSiddiqi. As the writing of the screenplay gets underway, we debate the ideal language for the film. Hindi, Bengali, English? A mix? Dubbed? Voice over?
    5. 7-hour audio book that feels like a movie: Julianne Moore, Ben Stiller and 166 Other People Will Narrate George Saunders’ New Book – Lincoln in the Bardo.
    6. Doctor Strange director Scott Derrickson on creating those jaw-dropping visual effects

New Arrivals ( Personal and review copies acquired)

  • Jerry Pinto Murder in Mahim 
  • Guru T. Ladakhi Monk on a Hill 
  • Bhaswati Bhattacharya Much Ado over Coffee: Indian Coffee House Then and Now 
  • George Saunders Lincoln in the Bardo 
  • Katie Hickman The House at Bishopsgate 
  • Joanna Cannon The Trouble with Goats and Sheep 
  • Herman Koch Dear Mr M 
  • Sudha Menon She, Diva or She-Devil: The Smart Career Woman’s Survival Guide 
  • Zuni Chopra The House that Spoke 
  • Neelima Dalmia Adhar The Secret Diary of Kasturba 
  • Haroon Khalid Walking with Nanak 
  • Manobi Bandhopadhyay A Gift of Goddess Lakshmi: A Candid Biography of India’s First Transgender Principal 
  • Ira Mukhopadhyay Heroines: Powerful Indian Women of Myth & History 
  • Sumana Roy How I Became A Tree 
  • Invisible Libraries 

14 February 2017