Publishing Posts

Kannan Sundaram, Publisher, Kalachuvadu’s intervention on copyright at Jaipur BookMark, Jan 2019

Kannan Sundaram, Publisher, Kalachuvadu, was invited by Neeta Gupta, Founder, Jaipur BookMark, to participate in the JBM Copyright Roundtable.T

 It was held at Diggi Palace and the keynote was delivered by Michael Healy. The other participants were Aditi Maheshwari Goyal, Alind Maheshwari, Arpita Das, Claudia Kaiser, Kannan Sundaram, Maggie Doyle, Michael Healy, Phillipa McGuinness, Prashasti Rastogi, Safir Anand and Urvashi Butalia, moderated by Naveen Kishore.

The cue given to the panelists by JBM was: Copyright underpins everything we do as an industry and without it all opportunities quickly recede. The principle of copyright is threatened at a global level and to a degree we have never seen before. This is true in India as it is in many countries. This session is a call to publishers, literary agents, rights managers, lawyers, authors and international book fair organisers for the protection of copyright.

Kannan Sundaram gave a short speech putting forth the concept of nationalising prominent Indian writer’s works rather than restricting them to a copyright life arguing that this had been done for Tamil poet Subramania Bharathy. Whereas in the case of Bengali poet Rabindranath Tagore the copyright period had been extended by a decade so that Visva-Bharathi University, the main benefactors of Tagore’s literary estate could continue to earn royalities for a few more years.

Kannan Sundaram, Publisher, Kalachuvadu

Here is the complete text of Kannan’s speech delivered at Jaipur BookMark. It has been published with permission.

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Thank you JBM, Neeta Gupta for this opportunity to share my views.

I will be making a few remarks on copyright issues in Indian languages in general and Tamil in particular.

The premise of this panel that copyright is facing a threat in contemporary times is not entirely true of many Indian languages. I would not generalize the publishing context of all Indian languages. Every Indian language publishing has its own eco system. However, in most languages the adherence to copyright has never been strong.

I know that Malayalam market is an exception. There could be other languages where copyright is adhered to but that is not the overall picture of Indian language publishing. In Tamil copyright has been an option not a rule. It may have been extended to popular authors, authors who would fight it out, but not to most authors who had no clear understanding of copyright acts. In Tamil publishing adherence to copyright regulations is improving only now. Writers are fighting back using social media and prime time debates in television on copyright are happening. And there are publishers who appear on TV and argue why they cannot pay royalty!

While copy left is an idea and an aspiration for many in the world, in the state of Tamil Nadu it has been practiced legally in some instances for some decades now. This is a practice that is unique to the state of TN. So we have had an opportunity to access copy left in practice.

For over 60 years now the government of Tamil Nadu purchases copyright of an author by paying a lump sum money to the copyright holder and then puts it out in the public domain. This process is referred to as ‘nationalization’.

 This practice was initiated after a controversy surrounding the rights of our national poet Mahakavi Subramania Bharathy. Responding to public demand that no one can own the rights of a poet who was perceived as belonging to the people, first the Tamil Nadu government bought the rights of Bharathy’s works in 1949. Then in the mid-fifties it was nationalized, that is gifted to the people. (If you want read this story I recommend the book ‘Who owns the Song?’ by A.R. Venkatachalapathy).

I would like to quickly compare this to the story of a nationally treasured writer Rabindranath Tagore. Visva-Bharathi University had an iron clad hold over Tagore’s copyright through the term and then succeeded on extending copyright for 10 years!

Following up on the new tradition established for Bharathy, various Tamil Nadu governments over the years have nationalized the works of over 130 writers. It started as a trickle and then became a sludge. When any of the governments in India decide to patronize culture, it usually starts well but the rot quickly sets in and then it typically goes to the dogs. What started as a process of national honour to outstanding personalities of Tamil literature has now gotten entangled in nepotism, patronage and corruption. I would not be able to recognize the names of a quarter of the nationalized writers!

What are the pros and cons of this nationalization process?

Most Tamil writers do not bother to assign copyright when they create a will for their belongings and property. It not valued by them or their families since it typically brings in little money. Therefore, posthumously it often becomes complicated for any publisher that wants to publish them. Nationalising a writer’s works clearly this all up nicely. The family gets some money and the publishers are free to publish the works. This as far as I can see is the only pro of this process. The honour is not there anymore since writers are nationalized with little discrimination.

The cons are many.

  1. If it is a bestselling author, there is a price war between publishers undercutting quality of the books published drastically.
  2. Most of the books of authors that have been nationalized remain out of print. This obviously is because their works are not valued turning the process of nationalizing their works irrelevant. Also if the author is a slow and steady selling, thena publisher with exclusive rights might do limited editions but when there exists the possibility that somebody else too might publish it and eat into the limited market, then there is little initiative to publish it.
  3. When copyright goes, no one exerts moral rights of work. This may not be the legal position but that is how it works in practice. This means publishers take liberties with the text. They feel free to edit, delete, change, condense and adapt the text in any way they like.

One publisher who publishes only nationalized books dedicates all the books to his mother. After sometime this publisher realized that the readers do not understand that he is dedicating all the books to his mother but wrongly assume that all writers are dedicating their books to their own mothers. So now the dedications are accompanied by photographs of his mother! A very commendable sentiment but ethics of it is debatable. Since no one can represent a nationalized book or can sign a contract, essentially any possibility of translation becomes very slim.

Thank you!

3 Feb 2019

An extract from “Indian Genre Fiction”

Indian Genre Fiction: Pasts and Present Futures (eds. Bodhisattva Chattopadhyay, Aakriti Mandhwani and Anwesha Maity) is a fascinating collection of essays. There are articles on popular fiction in late colonial Tamil Nadu, to novels of Urdu, 19th-century Bengali chapbooks, science fantasy of Leela Majumdar and Sukumar Ray, Hindi pulp literature, retelling of the Mahabharata in Krishna Udaysankar’s The Aryavarta Chronicles and Amruta Patil’s Adi Parva. But the essay that I read and re-read was Ira Pande’s tremendous “Hearts and homes: A perspective on women writers in Hindi”. Being the daughter of the very popular Hindi writer Shivani and a fluent speaker in English and Hindi, Ira Pande shares her fascinating perspective on inhabiting the Hindi literary world and what it means being bilingual.

With the permission of the publishers, Routledge, Taylor & Francis Group, here are two extracts from this brilliant essay. (pps. 94-95 and 96-97)

Allahabad in the ’60s was home to some of the greatest writers of those times. Harivansh Rai Bachchan had left Allahabad for Delhi by then, but there were other more famous chhayavad poets still around (Sumitranandan Pant, Mahadevi Verma and Nirala), Firaq Gorakh-puri, Amrit and Sripat Rai (Premchand’s sons, both writers and publishers), Ilachandra Joshi, VDN Sahi and Usha Priyamvada, to name just a few. And of course, there was Shivani. However, along with others of her tribe, such as Salma Siddiqi and Mannu Bhandari, her kind of writing was passed off as romantic fluff or domestic sagas that housewives ordered by mail as part of a gharelu (domestic) library scheme. The very popularity of these women writers became a weapon to use against their literary output. To the supercilious self-styled critics who pronounced judgment on what was to be considered accept-able as literature, this space was only meant for those who wrote for a different audience, one that had a sophisticated palate developed on the ‘modern’ fare of European and contemporary American fiction. Certain subjects were taboo in this high-minded world: romance and bourgeois lives headed this list.

Somewhere by the ’70s, then, the small town became an object of ridicule: it was valourised in romantic literature and cinema but actually hated and mocked at in the real. Small wonder then, that its inhabitants (who suffered from a crippling form of low self-esteem since birth) ran into hiding and tried to ape the big-city culture by writing, speaking and dressing like the metropolitan sophisticates they yearned to become. When this happened, the country lost all those delightful rivulets that fed the creative river of the Grand National Dream. The homogenisation of culture took over: slogans replaced feelings. The joy went out of fun as its definition changed into something wrought by high-minded nationalist agendas. Political correctness has a lot to answer for.

Upon reflection, it appears to me that Shivani’s most prolific literary output and some of her most memorable and popular novels date to the years when Hindi magazines were avidly read across North India. Among these, Dharmyug (edited then by the formidable Dharmvir Bharati, a widely respected novelist and dramatist) occupied pride of place. Published by Bennett and Coleman (referred to henceforth as B&C), its owners (Sahu Jain and Rama Jain) promoted creative writing and later endowed the Gyanpeeth Award, the first privately endowed prestigious literary award for writers in various Indian languages. The Bennett and Coleman Group (later known as the Times of India group) also brought out a clutch of other magazines. Among these were Sarika (contemporary Hindi writing, edited by Kamleshwar) and Dinaman (a political and economic weekly, edited by Agyeya), both respected for their content and editorial gravitas. Filmfare, a film magazine, and the Illustrated Weekly of India were their popular English-language publications. The Hindustan Times group, owned by the Birlas, published Saptahik Hindustan (as a rival to Dharmyug), Kadambari (as an alternative to Sarika) and vied with each otherto publish serials by the most popular Hindi writers of those days. Throughout the ’50s and ’60s, there was not a single library or reader in North India that did not subscribe to these magazines.

Almost all of Shivani’s novels – certainly her most popular ones – were first published as serials in one or the other magazines mentioned above. Her most well-known novel, Krishnakali, published as a serial in Dharmyug in the ’60s, was later published as a novel by Gyanpeeth (the publishing house run by the B&C group). In addition to these magazines, two others (Navneet and Gyanoday) I can recall from then were modelled on the popular American publication, Reader’s Digest. Shivani’s travelogues, essays and memorial tributes were regularly published in these Hindi digests.

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Naturally, the serialised novel had its own effect on the writing it spawned. Fans wrote furious letters to Shivani when she betrayed their hopes (such as by killing off a character) or when she did not spend enough time on a particular strand of the narrative. This close bond between writer and reader was perhaps what contributed to the intimacy that readers developed over the years with their favourite writers. My sister Mrinal Pande (who edited Saptahik Hindustan in the ’90s) recalls how typists vied with each other to type out Shivani’s (always) handwritten manuscript when she sent in a fresh instalment so that he/she would be the first to read it! The circulation of magazines jumped by as much as 55 per cent when her novels were being serialised and siblings fought with each other to grab the magazine to read it first when it was delivered to private homes. Often they tore the pages out so that they could share it among themselves.

What gave this genre its enormous reach and popularity was that these stories were significant documentaries. I would say that that it was reality fiction based on real-life characters and episodes and invisible to the writers based in our up-and-coming metros who consciously distanced themselves from these provincial lives to become more acceptable to a wider, international literary world. This is a fact often overlooked when tracing the evolution of Hindi writing. As Vasudha Dalmia’s book on fiction and history reveals, novels located in Allahabad, Agra, Aligarh, Banaras or Lucknow give us an insight into the social landscapes that were shaping middle-class lives in the ’50s and ’60s.2 Beneath the romantic tales of young women and men were rich subplots that reveal the gradual breakup of orthodox joint families, the effect of education on the emancipation of women in provincial India and the effect of migration from small towns to industrial cities. The language of everyday conversation in middle-class homes and amongst families, the social terms of exchange between men and women, workers and employers are important markers of a world we seek today and cannot find because it no longer exists. What are often dismissed as kitchen tales and romantic fiction stood firm on a foundation because it was supported by religion and ritual, food and taboos, folk remedies and aphorisms that nourished clans and villages. In the tightly packed houses of our old shahars that were separated by narrow lanes, the smells and sounds that travelled across neighbours became rich lodes of narratives that had the authenticity of real lives. The bonds between Hindu and Muslim homes, or between upper- and lower-caste settlements were strong threads that wove the fabric of our social communities. A deep suspicion of the other community was balanced by an equally strong love for individual men and women. Look for these common narrative strains and you will find them in all writers who lived and thrived in little India.

3 Feb 2019

French Ambassador Alexandre Ziegler explains: An interview with the ambassador about plans for translations of French literature into Indian languages and collaborations at books fairs.

I interviewed the French Ambassador to India, Alexandre Ziegler, at the Jaipur Literature Festival 2019. The interview has been published in the online news portal Scroll. The text of the interview has been c&p below while the original url is here.

What’s brewing between Indian and French publishing? French Ambassador Alexandre Ziegler explains
The Ambassador of France to India, Alexandre Ziegler at the Jaipur Literature Festival 2019.

Alexandre Ziegler, the French Ambassador to India, was at the Jaipur Literature Festival this year to announce the winner of the 2019 Romain Rolland Book Prize. Recognising the best translation of a French title into any Indian language, including English, the Indo-French jury takes into account the quality of the translation and the publication itself while selecting the winner.

The award comes with an invitation to the Paris Book Fair 2019 in March for the publisher of the work and an invitation for the translator to attend a one-month residency in France.

This year, the longlist included essays as well as fiction and a very strong contribution from Indian languages apart from English, with four translations into Malayalam, two into Hindi, and one each into Tamil and Bengali. The winning title was The Life of an Unknown Man by Andrei Makine, published in France by Le Seuil, in India by Kalachuvadu, translated into Tamil by SR Kichenamourty.

Publisher Kannan Sunadaran, Kalachuvadu. Jury member Chinmoy Guha with R. Cheran, poet.
Jury members Annie Montaud, Renuka George, Michèle Albaret

The Romain Rolland Book Prize is just one of the actions of the French Institute in India to support translations of French books in India. It runs the Tagore Publication Assistance Programme and also launched a special training programme for translators this year. The first step was a one-day translation workshop focused on Indian regional languages, which took place on January 22 at the Centre for French and Francophone Studies, Jawaharlal Nehru University, and brought together more than 60 participants from various universities in Delhi. Ros Schwartz, the acclaimed translator, conducted the workshop. The long-term translation programme is part of the roadmap leading up to, on the one hand, the Paris Book Fair 2020, where India will be the focus country, and on the other, the New Delhi Book Fair 2022, where France will be the guest of honour.

Ambassador Alexandre Ziegler and Jaya Bhattacharji Rose, Jaipur Literature Festival, Diggi Palace, 25 January 2019

Ziegler, who has been the Ambassador of France to India since 2016, spoke at the Jaipur Literature Festival about these initiatives. Edited excerpts:

Why was the Romain Rolland Prize instituted and what is its main focus? Does France have similar prizes in other countries too?
The Romain Rolland Book Prize is a translation prize that aims to support publishers and translators involved in the translation of French titles into Indian languages. The purpose is to find the best book and to be able to negotiate for it on best possible terms while also promoting texts in translation. My feeling is that we speak about strategic and economic partnerships, of which both are growing well but we still have to invest more in culture.

In this age of machine translations, we often forget the human touch of a translator is critical. Translators are at the very core of the relationship between books and the world. What we have realised through our interventions is that it is not just texts in English and Hindi but we got very good texts from other languages like Bengali, Marathi, Tamil and Malayalam, too. It makes one realise that languages are very crucial to reaching out to other cultures, not necessarily in entire diversity of language. This is very reassuring for us.

The second Romain Rolland Book Prize is being awarded because of the quality of text. Creating the prize happened organically through the ongoing Tagore programme to recognise translations. We wanted to reinforce the initiative. As a result we are also co-organising a translations workshop with the Jawaharlal Nehru University. The first one happened in January with acclaimed translator Ros Schwartz.

France has an active book trade, bookstores and book fairs. How receptive are the French to literature from India? Recently you released Over & Underground, a joint production between French and Indian writers and illustrators. How successful are such literary experiments? Does the cross-pollination of such cultural experiences help foster bilateral relationships, not necessarily confined to the literary domain?
Translation of the work of Indian authors in France has experienced several waves. Today there is a renewed interest among the French public for Indian authors. The dynamism of Indian publishing, its diversity and India’s international outreach have created a new curiosity for India and its authors and thinkers. The example of Over & Underground shows the combination of creativity between Indian and French authors, poets and illustrators. These co-publications need to be further encouraged and that is what we are working on.

Cross pollination of cultural experiences is exactly what we strive for to strengthen the ties between India and France. Books and other expressions of cultural diplomacy are a significant part of fostering bilateral relations.

What is the size of the French book market ? What are its characteristic features such as which genre sells the most, are print books preferred to ebooks, what is its growth rate etc? Is digital publishing making inroads with French readers?
The French publishing market is worth 4 billion euros, 300 million of which is in e-books. Overall, the French reader prefers printed books but there is a real growth in e-books. For consumer books, it represents only 3% of the market but for the B2B and books on law or medicine, this market reaches 9% with an annual growth of 10%. The e-book is also directly linked to the presence or absence of bookstores. E-books sell better where bookstores are not available.

The time of traditional reading has decreased but a recent survey conducted in November 2018 shows that 69% of the French population is connected: they read online but not necessarily literature! Each day, the French spend an average of 33 minutes on a computer and 52 minutes on a mobile phone. Reading is therefore omnipresent on other platforms but basically there is an attachment to the printed book in France: an average 5000 copies are printed but real successes vary between 200,000 and 300,000 copies. This is the case of [Michel] Houellebecq’s latest book, which will reach 400,000 copies. The trend is also to publish more titles each year. The number of prints is hence lower today than it was ten years ago.

France is known for its robust independent booksellers. Globally independent bookstores are finding it difficult to thrive but not necessarily in France. It is a remarkable success story. Do you have any interesting case study/report to share about how these independent bookstores have managed to continue?
There are about 1,000 independent bookstores in France. All those located in city centres are working well with an annual growth rate of 0.8%. This is a stable figure. Since 1981, the single price of the book has also allowed these bookstores to diversify. 37 countries, including 11 European countries, are currently applying the single price on books.

Recently the French Book Office (FBO) participated in the New Delhi World Book Fair (NDWBF). What was the response from the locals to your participation? Did the FBO gain significant learnings from its presence at the fair? 
The French Institute in India invited four publishers of children’s literature and social sciences, and organised four professional panels. The exchanges between Indian and French publishers were very constructive but the NDWBF is not the ideal place for professional meetings. On the other hand, the invitation of a French author whose work has been translated in India and invited for a dialogue with an Indian author would allow exchanges with a wider audience. But our four publishers were very satisfied with their discovery of the Indian market and the prospects for collaboration in social sciences and children’s literature.

In 2003 I attended the Salon de livre Jeunesse at the invitation of the French government. It was extraordinary to see the throngs of children attending the book fair and buying books. I would be curious to know if the children’s book fair continues to be as popular. If so what are the kinds of books for children and young adults that are trending in France? Would you consider collaborating on projects for children’s and young adult literature with Indian publishers?
The Salon du livre et de la presse jeunesse in Montreuil attracts a large number of visitors each year. In 2018, for the 34th edition, there were no less than 179,000 visitors in 6 days, 4,000 more than in 2017. So I think we can say that children’s publishing is a booming sector in France. The dynamism of publishers and all those involved in books and reading contributes greatly to this success. Access to the fair was free for a good number of visitors and it is a real desire for cultural democratisation. As well as the multitude of actions that take place throughout the country and throughout the year around reading: meetings, workshops, debates, readings, competitions, prizes, etc.

Children’s literature in France is a market that knows how to renew itself, to question itself and, finally, to innovate. Thus, the early childhood segment develops real nuggets with sounds and materials to touch. The album is full of creativity with an incredible diversity of illustrators. The documentary is now close to coffee-table books by offering books that appeal to adults and children alike, whose aesthetics are so neat that it gives one pleasure to open and read them. As for fiction, from its first readings to “young adult” literature, publishers are increasingly perfecting their skills by offering books of high quality, covering all the themes that may interest young readers.

Would you consider instituting a prize similar to the Romain Rolland Book Prize for children’s literature as well?
We are in fact planning to consider children’s books as potential winners of the Romain Rolland Prize. This will be discussed in Jaipur with the jury members.

How well are translations of world literature received in France? How have you fostered and continue to manage a cross-pollination of literary traditions in France and India?
The French market is also influenced by Dan Brown and other Anglo-Saxon authors. But the phenomena of great success such as Elena Ferrante (Italian) or Arundhati Roy also shows that the French readership is open to world literature beyond Anglo-Saxons. This is why we believe that Indian authors have their rightful place in the French market.

Do you have any details that may be shared publicly of a road map planned for the 2020 Paris Book Fair where India is the guest of honour? What are the significant features of such an extraordinary event?
We are hoping to select many writers including children’s and young adult writers, across genres, as well as initiating new translations. We do not want only established writers to be invited to the festival. We would prefer to have a range of outreach programmes too. For instance, conferences, debates, collaborations with libraries, bookstores, universities etc.

What are the events planned at the 2020 Paris Book Fair? Anything exciting that the Indian publishers and readers should be aware of?
The Syndicat National de l’Edition and the National Book Trust have just signed the partnership agreement on 22 January 2019 for Livre Paris 2020. This book fair is a meeting place for the French public and Indian authors. We would like to organise panel discussions between French and Indian authors. For example we could have our two Nobel Prize winners in Economics enter into a dialogue. We also wish to encourage translation of Indian authors who have not yet been translated into French in order to introduce the French public to new young authors from all over the Indian Union. We also hope that this meeting will foster professional exchanges between Indian and French publishers. Several steps are planned. Pre-meetings in March 2019, a breakfast networking at Frankfurt between French and Indian publishers; invitation of French publishers to Jaipur 2020 and a professional training session on publishing that we would like to organise in India at the beginning of 2020. Not to mention the translation training programme that we recently launched with Jawaharlal Nehru University.

3 February 2019

Author speak: Satadru Mukherjee on his debut picture book, “Good Morning India”

Satadru Mukherjee is a photographer, a multi-media whizz and a talented marketing professional, currently working in the corporate sector. Good Morning India is his first picture book. It has been published by Scholastic India.

Good Morning India is a simply told tale of a little girl waking up early in the morning looking forward to her day at school. The unnamed girl is chirpy, her happiness is infectious, as she greets everyone on her way to school. She describes the journey narrating how Abdul Chacha and Pandit Ji are off to their mosque and temple for the day. It is a happy time as she looks forward to spending the day with her friends the super smart Kasheef, the ever joyful Christina and prankster Aman as they board the school bus:

As we play together

Beneath a sky so blue,

We promise to live our lives 

Bound by friendship so true. 

It is a beautiful book filled with light and joy as emphasised by the bright colours used. It also conveys the message of peace with the symbolic presence of a white dove in every frame of the story. What is truly remarkable about this book is that there is nothing out of the ordinary in the description. The slice of India portrayed in Good Morning India is present all around us. It is not confined to a particular region or locality. There are many ways of seeing but we just have to see India for what it is and not with a prejudiced mind. Good Morning India is heartwarming little picture book which will be appreciated by young and old readers, alike!

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Satadru Mukherjee agreed very kindly to write a short note on why and how this book came to be written. Here it is:

I grew up in Kolkata at the turn of the century, waking up to the sound of the Azaan every morning. (I still do!  Now I stay in Delhi with a mosque quite close by my home.)

I would go to school (the 140+ years old Calcutta Boys’ School) each day and sing hymns, and start off the day with The Lord’s Prayer. Some of my best friends in school (we played football together) were from different religions. We went out pandal hopping during Durga Puja and stayed over at each other’s places. We were all invited for a Biryani feast during Eid celebrations at our Muslim friends’ homes. We are still the closest of friends. 

I was best friends with a gang of boys from the basti (jhuggis as they call them in Delhi) behind out house till the time I was in North Kolkata (till I was 9), and in fact got embroiled in a fist fight with boys from another basti group, till my dad arrived at the scene, caught hold of my ear and dragged me back home. 

During my college I used to save five rupees every day of my pocket money as our weekly treat was at a Muslim eatery called Qayum’s deep in the heart of central Calcutta, where you could get a plate of biryani for fifteen rupees!

Throughout my life, in spite of being brought up in a somewhat orthodox Brahmin family, my brothers and I always saw people and not what religion they belonged to.

When discussing this book with my publisher, we both agreed, given the current political scenario of aggressive polarization in the country Good Morning India should be a book that talks to young children about how all of us, irrespective of religion, can peacefully coexist. While writing this book, and working closely with the illustrators — my brothers Saswata and Susruta, — we really wanted to depict this sense of peaceful coexistence and equality that is the defining trait of India, to the young reader.

Good Morning India is scheduled to be released in mid-February 2019.

21 January 2019 

Publishing & GST: Making the book fair & square

My article on “GST and publishing” has been published in the Economic Times on 12 January 2019. The original url is here. I am also C&P the entire article below. I had first written about the impact of GST and publishing within a week of the new taxation system coming into effect on 1 July 2017. My article was published on 8 July 2017. Here is the link.

Publishing is part of the creative economy. Books are made by transferring knowledge, information, data and ideas into a defined valuable product. According to Nielsen, the Indian book market is worth $6.7 billion. It is the third-largest English language market in the world, and many regional language markets are thriving.

It is broadly categorised into school publishing, academic (books and journals), trade (fiction, general non-fiction, graphic novels, etc) and children’s literature publishing. From independent players to large MNCs with varying business models — traditional, self-publishing and hybrid publishing —there is a broad spectrum of publishing firms.

No industry that sells its products commercially can be indifferent to costs. But in book publishing, the input costs are so high that everyone in the supply chain (from publishers to distributors and booksellers) operates on slim profit margins. In some cases, even these don’t exist, as the idea in the book becomes more important to publish.

On July 1, 2017, the goods and services tax (GST) came into effect in India. Many taxes imposed in previous systems have continued under GST, but new taxes have also been introduced. Asignificant one is the 12% tax on author’s royalties that has to be deposited as part of the reverse tax mechanism by the publishing firm on behalf of the author with the income-tax authorities. Unfortunately, publishers do not get any benefit in this arrangement, since most authors do not have GST certificates.

Other input costs, too, have increased, as GST has to be deposited on all invoices raised by vendors to whom publishing services are outsourced. There has been an effective increase of cost across the board of about 12-18%. Given that publishers don’t benefit from input tax credit as books are not taxed, some of the increased costs have had to be passed on to readers by increasing the price of books, which have increased by 10-15% since GST was imposed.

Overhead costs like rents, travel and communication have also increased from 15% to 18% due to GST. Those firms that can afford to pay for extra manpower to contend with the extra paperwork and monthly filing have hired extra staff to ensure smooth operations. But this monthly filing of returns impacts the cash flow of smaller companies badly, at times even bringing publishing to a momentary halt.

Every age of mechanisation has produced more texts, and with it a stupendous growth in reading. First, it was the invention of the moveable type that made ‘books’ easily available and a ‘reading public’ was created for the first time. Then, with the Industrial Revolution, mechanised printing presses sped up publishing dramatically. Currently, we are in the middle of yet another major dislocation: the Information Age.

On principle, GST is a destination based tax that aims to build better cash flows and working capital management for proprietors. Ultimately, it is also meant to help the consumer by reducing the tax burden on the product at point of sale. Unfortunately, the benefits of input tax credit can only be gained if the book is taxed.

Printed books are a non-taxable commodity primarily to make education affordable. For now, there is an uneven taxation policy on the different forms in which books are made available: print books (0%), e-books (5% if it has aprint component) and audiobooks and journals (18%). But, in India, the primary consumed product is the printed book. Survival of firms will depend on how much financial stress they can bear. Perhaps levelling a minimal GST on books across all formats will help contain the financial burden on most publishers. Ironically, technological advancements will further propel the divide. For, only those readers who can afford books — in any form — will be able to access information.

Both publisher and reader have been affected by GST. The question is whether publishing houses on all sides of the tax issue can sort out their differences, and present a united alternative to GoI —one that preserves the key benefits of GST, but removes its unintended side-effects.

12 January 2019

Scholastic India stand at the World Book Fair, New Delhi ( 5- 13 Jan 2019)

Scholastic India ( Hall 7, stalls 76-90) at the ongoing #worldbookfair#PragatiMaidan#NewDelhi. It is a stall bustling with crowds which is unsurprising given the fantastic collections of #childlit and #yalit available. Some of the international stock has been made exclusively available for duration if the fair and is NOT available anywhere else. Their selection of fiction and nonfiction international and local titles are worth looking at particularly #Ahimsa#Horror#GrasshoppersRun#Puu#JalebiJingles and #NoTouch. So are the selection of #gradedreaders#picturebooks, briliant collection of #graphicnovels and #educational material for schools. Also on sale are fantastic #homelibrary kits for young readers. Besides this magnificent selection are the usual favourites of which no child or #schoollibrary can ever have enough are #GeronimoStilton#DavPilkey‘s #DogMan#LizPinchon‘s #TomGates, and #Clifford — perennial favourites!

The #bookfair is on for THREE more days. It concludes on Sunday, 13 Jan 2019.

A Note on “The Women’s Courtyard” Translation by Daisy Rockwell

Here is the entire note by the translator, Daisy Rockwell, from her recent translation of Khadija Mastur’s Aangan, translated as The Women’s Courtyard. It has been published by Penguin Random House, 2018. 

The note has been excerped with the publisher’s permission. 

The Women’s Courtyard has been translated before as The Inner Courtyard, by Neelam Hussain, and published by Kali for Women in 2001. Retranslation is still a rarity in the context of modern South Asian literature but the practice enriches the field of translation, offering readers different prisms through which to read a text. When I choose to retranslate a work, it is usually because I feel I have something substantially different to offer from the previous translator or translators. All the same, I draw comfort and inspiration from the work of previous translators, who may have seen things differently than I did and send me scurrying back to my dictionaries and expert friends for more information.

Khadija Mastur’s writing style is spare and elegant. Unlike many Urdu authors she does not favour heavily ornamented writing and turns of phrase full of literary allusions. I felt inspired to reproduce this clarity in English, after seeing that Hussain’s translation struggled with this quality, attempting to elevate the language to a more formal register of English than was used in Urdu. See, for example, Mastur’s description of Safdar Bhai, and the two contrasting translations, below:

Mastur: Safdar Bhai kitne vajīha magar kaisī maskīn sūrat ke the.

Rockwell: Safdar looked so handsome, but so meek.

Hussain: How tall and well built Safdar Bhai had been and yet how diffident his mien.

Not only does Hussain divide descriptive adjectives into phrases, but in the case of the second phrase, maskīn sūrat ke, she introduces a flowery and somewhat archaic-sounding descriptor, ‘how diffident his mien’.

These embroideries of the original, in which Hussain seeks to somehow augment the original text, stretch even to ordinary narrative sentences, such as the following:

Mastur: Dūr kahīñ se ghaṛiyāl ke gyārah bajāne kī āvāz ā rahī thī.

Rockwell: From somewhere far off came the sound of the bell striking eleven.

Hussain: A distant clock struck the hour. The sound of its measured strokes rolled over her. It was the eleventh hour of the night.

Here, Hussain’s rendition conveys a breathless dramatic tension that is absent from the original, which merely alerts us to the passage of time.

Hussain also occasionally inserts new ideas into the text, such as below, where she actually adds foreshadowing to the original sentence that describes Aliya worrying about her sister Tehmina Apa:

Mastur: Rāt kā qissā bār bār yād ātā aur voh anjām ke khauf se ek lafz bhī na paṛh saktī thī.

Rockwell: She kept thinking about what had occurred the night before, and was so fearful of what might happen she couldn’t read a single word.

Hussain: The inexorable end of Apa’s fated love was before her eyes and she was unable to concentrate on her work.

Mastur merely writes of Aliya’s ‘anjām kā khauf,’ her fear of the outcome, whereas Hussain announces to us that Tehmina’s ‘fated love’ is coming to an ‘inexorable end’. This embellishment on the original text both spoils the suspense of the story and romanticizes Tehmina’s love for Safdar by referring to it as a ‘fated love’.

Strangely—perhaps by accident—a pivotal passage is missing from Hussain’s translation. I can attest as a translator that it is far too easy to drop bits of a text in the course of translation. The phone rings, the dog must be let out, one’s attention is divided—and there goes a paragraph. Usually these mistakes can be rectified in editing, when one notices that something is missing or when a transition between paragraphs makes no sense. An extra set of eyes helps too. In this case, the passage in question is Jameel’s first physical assault on Aliya. Aliya has been reading about the horrors of Ghengis Khan and his army, when Jameel comes to speak with her. She tries to make him go away, or stick to the topic of her exams, when he grabs her and kisses her (or more—the text is not entirely clear on this point, but it reads clearly as sexual assault). After this she feels shaken and defiled.

Finally, language changes, cultural norms change and politics change. All great works deserve multiple translations, and English can only be enriched by multiple versions of classic South Asian texts. With this fresh translation, a new generation of readers will be introduced to The Women’s Courtyard, and perhaps a few who know some Urdu will take the plunge and try reading the book in the original.

3 January 2019

Julia Donaldson in India, Jan 2018

Julia Donaldson

Universally adored children’s writer Julia Donaldson toured India in January 2018. The reception she received was heartwarming. Wherever she went there were crowds of excited children and parents. Even at the specially organised event by Scholastic India of school librarians and teachers there were many who while learning from Julia Donaldson’s performance were completely star struck — you could see it in their eyes and later when innumerable group photographs were being clicked. It was an incredible experience to witness.

Here is an article I wrote about Julia Donaldson’s trip in January. It was written days after her departure from India but never was published till today. It was an honour to meet Julia Donaldson for her humility shone through as did her vast amounts of experience in inculcating the love of reading in children. She was keen on telling a good story to the children and infecting them with the joy of reading. While being a fantastic storyteller she also shared her experience of working on the technically-sound phonetic books like the Oxford Reading Tree ( ORT) books that are introduced as part of school curriculums worldwide. According to her it was a big learning curve for it taught her how to focus on telling a story within the limited number of consonants prescribed for a particular level without losing her trademark touch of creating rhyming and play books. 

Note: Follow the links embedded in each title and it leads to the book page on Amazon India. 

Julia Donaldson MBE and former UK Children’s Laureate is to the world of picture books what Stephen King is to horror stories and both have an enviable fan base. Like Ed Sheeran, Julia too began her career busking. She enjoys performing and always has a repertoire in mind before going on stage but willingly adapts if the occasion demands it. As Julia says “audiences and moods vary depending on whether you are performing in a bar, a street or in schools.” She usually performs with her husband Malcolm who accompanies her on the guitar. Their thorough professionalism at managing crowds was evident after a performance ended when Malcolm picked up his guitar and sang while going up and down the queues of eager yet restless folks awaiting their turn to have their books autographed by Julia.

When Julia Donaldson’s tour of India was announced excited adults squeaked “Her picture books are fabulous! The illustrations! AndGruffalo…Will he be there as well?” Chirrups of delight from the children who became eager volunteers at every performance! She would call upon children from the audience to come up on stage to play minor roles in the stories she enacted such as SuperwormThe Ugly Five,and What the Ladybird Heard. Ideally Julia prefers it if her audiences have read some of her “play books” in advance as it enriches the experience. This fear was put to rest in India. Whichever city she visited the enthusiastic crowds of children and adults alike sang with her. It was like being at a pop concert where the  hysteria of the audiences upon seeing Julia Donaldson in flesh was worth witnessing.

The crowds in India were far larger than any she has performed before anywhere else in the world. Yet the warm, cuddly, grandmotherly figure with a radiant smile that lit up her already twinkling eyes remained unperturbed. She performed happily even though some of her little extras decided to plonk themselves on stage to read the pile of picture books placed in a pile rather than participate in the sing-along!  Despite battling terrible bronchitis Julia Donaldson managed to mesmerise folks with her storytelling. Certainly she had sophisticated props; mostly recognizable characters sketched by her long time illustrator Axel Scheffler, yet she relied mostly upon vast dollops of imagination to make her stories come alive.

Julia Donaldson’s magnificently magical storytelling is technically perfect in using rhythm and wordplay. She demonstrated to teachers that while sharing light-hearted stories with new learners it is easy to convert a simple classroom into a vibrant one with music and colour. A happy child learns fast. The importance of reading is critical to her and has always been — she taught her younger sister to read! Of the nearly 200 books Julia Donaldson has written the bulk are phonic readers; requiring her to blend vowels and consonants precisely according to early learning rules of phonetics. This is in keeping with her fascination for sound patterns and letter stories.

Julia Donaldson grew up in a home filled with music and poetry with her grandmother instilling a lifelong passion for Edward Lear’s nonsense language —in The Giants and the Joneses Julia invented Groilish! (Later to her delight she was commissioned to write a sequel to Lear’s “Ówl and the Pussycat”.) Age 5 she was presented by her father, a still treasured edition, of The Book of Thousand Poems inculcating in her a dream to a poet/lyricist. Her mother would play a version of “antakshri”, encouraging her daughter to find a word beginning with the last syllable of a word she had uttered. All of which helped Julia while writing her books in blank verse.   

In the 1970s she worked in a publishing firm while contributing songs and plays to radio. One of these was A Squash and A Squeeze which an editor recollected two decades later persuading Julia to turn it into a picture book.

Julia Donaldson’s fascination lies in experimenting with well-known folktales. In the Gruffalo it was the retelling of an ancient Eastern tale where a little girl goes into the forest and tames a tiger that follows her meekly home. But Julia was stuck for an appropriate rhyming word for “tiger” so used “Grrr… “ Rest they say is history! She recalls fondly that her sons could never cross a bridge without enacting the Three Billy Goats, now she hears of picnic expeditions that revolve around a Gruffalo hunt!

Her books have sold millions of copies worldwide, translated into many languages. She structures each book carefully paying close attention to her conclusions: “She does not like rosy endings that tell the child that it was all a dream. Sealed endings are not to her liking.” In 2014, 40p of every pound spent on buying picture books in UK, went to Julia Donaldson. It was more than spent on Harry Potter books! On Christmas Day 2017 The Highway Rat premiered on television as an animated film, fulfilling an annual ritual of converting a Julia Donaldson picture book into film since 2012 when Room on the Broom was nominated for an Academy Award. ( For Christmas 2018 it will be Zog and for Christmas 2019 The Snail and the Whale are to be adapted.) 

Running on the Cracks is the only young adult novel she has written. It has her characteristic gentle empathetic touch without underplaying hard issues such as immigrants, mental health, sexual predators and runaway kids. Even so “she would rather make picture books that allow her the freedom to play with words that get made in a shorter time than writing a novel which takes some effort.”

Ultimately Julia Donaldson firmly believes that children should read a variety of genres including comics – give them anything that appeals to them!

And yes, Gruffalo came. Many selfies were taken!

8 Dec 2018


Times Lit Fest, Delhi, panels on “Cultivating the passion of reading in children” and “What India Reads”

The Times LitFest Delhi ( 1-2 Dec 2018) was organised at the India Habitat Centre, New Delhi. I moderated two sessions with the both panel discussions focussed on reading.  The first panel was on how do cultivate the love of reading amongst children.

TOI, 2 Dec 2018

My co-panelists were Saktibrata Sen, Programme Director, Room to Read India Trust; Manisha Chaudhry, co-founder Manan Books; Sonya Philips, Founder, Learning Matters Foundation and is a reading specialist and Shailendra Sharma, Principal Advisor (Hon) to the Director Education, Government of NCT Delhi, India. The freewheeling conversation was on ways to promote reading. Every panelist spoke about their strengths and initiatives. From being a part of the government as is Mr Sharma and realising that it is critical to have a reading corner in every class and every section. So much so that the Delhi government has now allocated a handsome budget of Rs 10,000 / section to buy books.

L-R: Manisha Chaudhry, Shailendra Sharma, Sonya Philips, Saktibrata Sen and Jaya Bhattacharji Rose

Fact is that even today few families can afford to buy newspapers, magazines, let alone books. So the first time many children particularly in the government primary schools hold a book is their school textbook. Few have any role models in the adults and older children in their immediate environment and as Principal Advisor to the government, Mr Sharma’s job is to introduce the love of reading. Both Mr Sharma and Mr Sen were of the view that reading is a lifeskill that is critical and needs to be learned beyond just being able to identify your name in whatever written script the individual is familiar with. Mr Sen, representing Room to Read, is involved in setting up partnerships with the governments to set up libraries. In India the Room to Read India Trust is working with 11 state governments. Ms Philips stressed on how till Grade 2 a child learns “how to read” but after that the emphasis is on “learning to read”. Ms Chaudhury with her many years of experience in publishing, looking at multilingual publishing and the critical need for children to have books in their own languages rather than only in English is what spurs her on to create new material every single day. She has recently launched two new magazines in Hindi called Mithvan and Chahak, the latter is meant for the early grade reader.

Everyone was of the agreement that it is important to create the joy of reading and align it as closely as possible to the child’s lived experience rather than alienate him/her from using complicated language in the written word. This was illustrated beautifully by an anecdote Mr Sharma shared about the complicated language used in a Hindi textbook to describe food which was a far cry from what is commonly used at home on a daily basis. Manisha Chaudhry spoke of her earlier initiatives to publish in tribal languages.

Alas we ran short of time otherwise it was promising to become a wonderful conversation on how to cultivate the joy of reading in children.

Join Sonya Philip, Manisha Chaudhury, Shailendra Sharma and Jaya Bhattacharji Rose in conversation with Saktibrata Sen – brought to you by Room to Read in the session, 'Cultivating the Habit of Reading in Children' at #TLFDelhi

Posted by Times Lit Fest – Delhi on Saturday, December 1, 2018

L-R: Ranjana Sengupta, Parth Mehrotra, Jaya Bhattacharji Rose, Udayan Mitra and Himanjali Sankar.

The second panel discussion was on “What is India reading?”. The panelists consisted of commissioning editors of four prominent publishing houses — Himanjali Sankar, Simon & Schuster India; Ranjana Sengupta, Penguin Random House India; Parth Mehrotra, Juggernaut and Udayan Mitra, HarperCollins India. Once again a freewheeling, adda-like, conversation about trying to figure out what India reads. The role of a commissioning editor has changed quite a lot in recent years. Traditionally commissioning editors were responsible for forming reading tastes but as Udayan Mitra pointed out that at times now the editor has to commission based on events and trends too. It is a kind of commissioning that did not exist earlier.

Today readers are accessing books through multiple platforms and in various formats — ebooks and audio books. It becomes increasingly difficult to ascertain how and what anyone is reading, let along a sub-continent like India where so many languages abound and there is rich regional literature too. Measuring reading tastes as Juggernaut is doing with their app and also because they are able to control their production pipeline while platform is something few are able to do even now. Most editors and publishing houses rely on print products that once released into the market are impossible to track. Some may be sold through brick-and-mortar stores, others through online spaces and yet other copies get sold as remaindered copies and secondhand books.

Listen to the conversation. So much was said. Many important bases within the Indian publishing landscape were touched upon. So much to think about.

What is India Reading? watch the conversation live at #TLFDelhi with Udayan Mitra, Himanjali Sankar, Ranjana Sengupta and Parth Mehrotra talking to Jaya Bhattacharji Rose.

Posted by Times Lit Fest – Delhi on Saturday, December 1, 2018

All in all two fantastic conversations that I was glad to be a part of.

2 December 2018 

Zainab Priya Dala’s “What Gandhi Didn’t See: Being Indian in South Africa”

Like a white net veil worn over a red saree, or an ivory satin gown sleeve that borders ornate paisley mehndi patterns, the people of Indian origin in South Africa evolved from holding tightly onto the shreds of Indian culture that they came with inside locked boxes and sewn into hemlines. But, like all migrants, or perhaps refugees the world over, evolution is the Holy Grail, the ability to blend into the current social strata. The result became the South African Indian. A mix of names formed and re-formed, and clothing worn and then not worn, and eventually as apartheid was abolished, an identity searched for and still to be found. 

South African writer Zainab Priya Dala’s What Gandhi Didn’t See: Being Indian in South Africa is a collection of essays that are a mix of memoir, sharing opinions on the changing political landscape and the growth of Dala as a writer. These essays are sharply written detailing the complicated histories South African citizens of Indian origin have to contend with on a daily basis. It informs their identity. Even details such as if their ancestors came as “indentured labourers” or as “passenger Indians” makes a world of difference to their sense of identity in a foreign land. Zainab Priya is of mixed parentage as her father is a Hindu and her mother a Muslim. Later she married in to a well-established Muslim business family who had come to South Africa relatively recently but she regularly encounters variations between the families in their habits and living styles.

What Gandhi Didn’t See: Being Indian in South Africa is a slim collection of powerfully written essays. These essays by a South African Indian reflecting upon multiple aspects of her existence is much like this book being the sum of many parts of her life — mother, wife, daughter, writer, activist, migrant, political awakening etc ( and not necessarily in the given order of importance). Fact is the moment you are aware of your personal histories the complexities of one’s ancestry become evident and it is no longer quite as simple to speak of genealogies in puritanical terms or of political action in black and white terms of “us and they”. Zainab Priya Dala is sharply articulate about these complex inheritances and is very aware of the fine negotiations it demands of her on a daily basis which is a given way of life. And it is precisely these day-to-day exercises in living that also sharply bring home to her details in society that Gandhi was blinded by. The South Africa in which he honed his political activism was primarily aimed at the racist modes of governance and not necessarily at recognising the microcosm of South African or South African Indian society and its distinct threads of identity. Curious that Gandhi who otherwise was so very sensitive missed these finer distinctions of identity especially since he and the author both have links to the Gujarati community. Yet for Gandhi it was apartheid of far more importance and it remained so till the 1990s when many of the South African social structures were realigned. In the new era it is not so much as race governing lines of social separation but money. With money becoming the defining factor of ancestries and communal make-up become even more acutely apparent. And as in the jungle, it is the survival of the fittest, same holds true for civil society. Those who survive in the new socio-economic terrain are also confident of their identity while aware of their historical, soci-political and genetic inheritances — a fact that Zainab Priya Dala is clear she will spell out for her children.

What Gandhi Didn’t See: Being Indian in South Africa  is a sharp commentary on contemporary South Africa. It must be read. The thought-provoking essays will resonate with many readers especially women, across nations. Also for how smartly it puts the reader under the scanner and forces them to question and understand their inherited narratives better.

Read an extract from the book used with permission from the publishers — Speaking Tiger Books.

****

My father, a third generation non-resident Indian, whose grandfather had come from a village near Gorakhpur in Uttar Pradesh, preferred not to talk much about his heritage. But, things changed when he reached sixty years of age. Why? I will never know. But what I do know is that everything about my heritage from my paternal side had been spoken of by others, including my father’s brothers and sisters, not him. Maybe, he suffered the affliction of a love marriage to a woman who was seen as superior to him, and he wanted to delete his inferiority in the eyes of his children. But, I am seeing now how I also do the similar thing to my children. My husband, like my mother,  comes from the big city of Durban, and his heritage is one of the Muslim business class that came to South Africa long after the indentured labourers** and anyway, let me just say it – he is considered higher class than I am, so we tend to appropriate this onto our children. Perhaps my father had done the same for many years.  And, perhaps he decided to speak openly about our mixed up heritage only after my sister and I were safely and happily stowed away into good marriages. Things are sometimes as ugly as that. But speak he did. It became a river that never stopped. One day a year ago we were at a fancy dinner party held by my cousin from my mother’s side of the family – a very rich and successful doctor amongst a family of doctors. He lived in an area we still call today a White Area, which means that before 1994, none of us would have ever dreamed of walking past a house there, let alone living in one. My father was quiet during this dinner, but perhaps a few glasses of expensive whiskey loosened his tongue, and he started talking about his childhood on the farm. My mother tried to quieten him, not because she was ashamed, but because she knew he was about to cry. The room went silent as if a spell had been cast by a mournful farm-accented voice ringing out among the posh “white” accents of my cousins and his friends. But, minutes into his monologue, my cousin’s husband blurted:“Oh really now, Babs, should we get you an audition for another ‘Coolie Odyssey’?” (‘The Coolie Odyssey’ was a play on the indentured labourers written, directed by,  and starring,  Rajesh Gopie, a South African Indian dramatist).

My father fell into silence, and my husband, who is sensitive to the point of extreme protection of my father at most times, ushered him outside. I was carrying my baby son, and looking at these two men, standing next to a Balinese-inspired swimming pool, sharing a cigarette and probably chatting about the price of fuel, it was not lost on me that I was carrying in my arms the actual reality of a class divide.  My son will always have to negotiate this divide and there is nothing I can do to protect him from it. Why would I need to protect him? Well, to put it as succinctly as I can, in South Africa, we let go of the caste system in the bowels of a ship in the 1800s, but we adopted a system that became very insidious. Fellow writers and historians, Ashwin Desai and Goolam Vahed in their detailed opus, Inside Indenture, A South African Story 1860 – 1914, describe these people who dropped their caste into the Indian Ocean as “twice-born.” Here, they refer to the fact that in the shiphold, there was no room for caste or class. An Indian inside there was an Indian who ate and slept alongside all others. But once they arrived at the port, and the documents of demographics were being created, a lower caste could easily take himself up a few notches. Today, in contemporary South Africa, caste is obsolete. We all know enough by now to question the Maharaja and Singh surname with a studied eye for actual refinement in behaviour, language and of course education. This does not mean there are no divisions. The divisions go deep. They are based on religion, economics, language and colour. Of course, I know that these divisions are changeable ones much like dropping your caste at a shipyard, now you can change your religion, think and grow rich, lighten your skin and perfect your English. This malleability scares the ones who wielded class like gold crowns. I admit, my maternal family and my husband’s family are those that did. They are forgiven because they didn’t know they were doing it.

In South Africa, the business class came to the shores of Natal mainly from the villages of Gujarat. My father-in-law describes it well when he tells me in thick Gujarati: “One side of the street is Muslim Desai family. Opposite side of street is Hindu Desai family. Both Desais understand each other and get along better than even Muslim Urdu speakers or Calcuttiah people.”

I don’t look at anything he is saying as derogatory. The reason is that he is not insulting anyone, he is simply stating facts. The Gujarati community aggregated together in a code of business and called  each other “Aapra-wallahs’. They still use this term today. An acquaintance, who is a great-grandson of Mahatma Gandhi,  once came over to my house to collect items I wanted to donate to a family rendered homeless after a fire. I had known him for some years, and had interacted with him many times on charitable or literary correspondence. But, within minutes of the mutual spotting of an Aapra-wallah in the room, I ceased to exist in the conversation. My husband, a Muslim,  and my associate, a Hindu, both spoke Gujarati that went far above my head. I had learned the basics of the language, to communicate with my husband’s family who spoke only Gujarati. My mother’s family were too high class to speak any vernacular, and only the Queen’s English would do. My father’s family spoke a combination of Urdu, Hindi and Bhojpuri. My best friend spoke Afrikaans and the children I grew up playing with spoke Zulu. Add to this mix the terms that each of us reserved for each grouping, which are as derogatory as being called Coolies, and it is no wonder that I cannot sleep some nights.

Indians who left as indentured labourers from the port of Calcutta are called Calcuttiahs, and Indians who left as indentured labourers from the port of Madras are called Madrasis. The Muslim community have their own lines of division and I find that these lines are deeply hurtful. Muslims who arrived in South Africa as indentured labourers are thought to come from Hyderabad. Although many chroniclers say that the majority of the Muslim community in South Africa who are not business arrivals are actually converts to Islam. This is how the Muslim community divide their people – colour and language. It used to be money, but now everyone is keeping up with the Joneses and the famous Gujarati Trust Funds** are running on empty, having cossetted very large and extravagant families for two generations.

The Memon Muslim community is a very small one, but they wield a large economic clout.  They are known to have come from different areas around India, originally from Kathiawar, but finally settled as a community near Porbandar in Gujarat, from where a number of them migrated to South Africa as traders and businessmen. Another batch of Gujarati Muslims came from different villages in Gujarat, and left for South Africa from the port of Surat. They proudly refer to each other as Surtis and use the term “Hedroo,” to describe any other Muslim who is not Gujarati or Memoni. Hedroos, a terrible term, is used to speak of the class of Muslims whom the Surti community look upon as low class and  poor. Inter-marriages between Surtis and Hedroos are still frowned upon. I am reminded of my own wedding day, when my husband’s aunt told me that in the history of the Dala family, it was the first time they had accepted a “mixed” girl for any of their boys. Their bloodline had remained pure Gujarati till 2006, the year of my nikkah. I responded to the aunt by a small nod that day, and replied to her: “Hahn ji.”

***

Footnotes

**Over 100,000 Indians arrived as slaves from the subcontinent in 1684 and lived in Cape Town.  The first Indian indentured labourers arrived on 16 November 1860.The passenger/ trader Indians began arriving around 1875 to meet the need for commercial trade in the community, Black and  Indian as well as  Coloured.

**Gujarati Trust Funds were set up from the mid 1870s by wealthy Gujarati families, to cater for all educational, medical and housing needs of their community. When Gandhi arrived in South Africa, the Gandhi Trust was set up to cater for legal needs and to publish a newspaper called The Indian Opinion.

Zainab Priya Dala What Gandhi Didn’t See: Being Indian in South Africa Speaking Tiger, New Delhi, 2018. Hb. pp. 150. Rs 499

27 November 2018 

 

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