Reviewing Posts

“Am I a monster?” Confessions of a Sociopath, M. E. Thomas

“Am I a monster?” Confessions of a Sociopath, M. E. Thomas

Confessions of a sociopathI could sense this was true about life, even at the age of four or so. I could choose to take charge of my life, to leverage my time, talents, and health, and to potentially profit or die trying. (p.76)

I think it’s more interesting why I chose to buy a house for my closest friend, or gave my brother $10,000 the other day, just because. I recently got an e-mail from a friend with terminal cancer, saying I give the most thoughtful and useful gifts and how she is so grateful to know me. I am considered a very helpful and considerate professor and am consistently rated one of the best in the school. I am devoutly religious. I am functionally a good person and yet I am not motivated or constrained by the same things that most good people are. Am I monster? I prefer to believe that you and I simply occupy different points on the spectrum of humanity. ( p.24)

Memoirs are popular. Memoirs are fashionable to write. Memoirs sell well. (Tough to say if they are fiction or the truth, but that is a never ending debate.) I like reading memoirs. They tell you about the person, more about their socio-cultural context. Or at least what the person chooses  to tell you about their life. Confessions of a Sociopath is a chilling account by a successful lawyer and professor. She is a Mormon, who is well respected and good at her work. I found the memoir disturbing (and gripping). It is a frightening realisation that there are such cold-hearted, emotionless and manipulative people in the world who on the face of it are charming individuals. There are no violent incidents documented in M.E. Thomas’s life. Nothing extraordinary. It is merely the cold, heartless, calculating and precise manner in which she documents her life that takes one’s breath away. I was unable to read it from beginning to end at one go. I had to keep pausing and resume my reading. I was left struggling with the question — how candid is she in this memoir? Or is she manipulating the reader’s emotions as she does with people around her? Frankly I am not surprised that this book has become a success.

M. E. Thomas Confessions of a Sociopath: A Life Spent Hiding in Plain Sight Crown Publishers, Pan Macmillan, Great Britain, 2013. Pb. pp. 310 £12.99

 

Fun and fantastic reads!

Fun and fantastic reads!

Steampunk-An-Anthology-of-FaThree collection of short stories by three different publishers — Walker Books, Hot Key Books and Bloomsbury —  that I have thoroughly enjoyed in recent weeks are on steampunk fiction, the fantastic and unnatural creatures and witch stories. I have absolutely loved the collections. Taken my own sweet time to read them, dip into them and enjoyed the stories tremendously. Read them if you can. Under my Hate, Tales from the Cauldron, Hot Key Books

Unnatural Creatures, short stories chosen by Neil Gaiman

 

 

 

 

 

Ed. by Kelly Link and Gavin J. Grant Welcome to Steampunk! Fun anthology of fantastically rich and strange stories Walker Books, London, 2012. Pb. pp. 420 £7.99

Ed. Jonathan Strahan Under my Hat: Tales from the Cauldron Hot Key Books, London, 2012. Pb. pp. 420 Rs 350 

Neil Gaiman, stories chosen by Unnatural Creatures Bloomsbury, London, 2013. Hb. pp. 465. Rs. 499

“Girls of India” series

“Girls of India” series

A Mauryan Adventure, Subhadra Sen GuptaPuffin, an imprint of Penguin Books India, launched the  “Girls of India” series. The idea is to introduce young readers to history, make it come alive and accessible, without confining it to history textbooks where history is dry, dull and boring. Far from it! The first three titles in A Chola Adventure ( Anu Kumar), A Harappan Adventure (Sunile Gupte) and A Mauryan Adventure ( Subhadra Sen Gupta) are the adventures of twelve-year-olds, Raji, Avani and Madhura in 990 CE, Tanjore; 2570 BCE, Bagasara village, Harappa and 3rd Century BCE, Pataliputra, India respectively. Well-told tales that immerse you immediately into the stories, the period and the antics of the girls. Of the three, Subhadra Sen Gupta’s A Mauryan Adventure is the finest, evident in the ease with which the story is told, details of the story come together and so do the facts from history– but then she has years of experience in making history accessible for children through tales.

I am delighted to see historical fiction being made available for younger readers. It definitely has its uses for the sheer pleasure of reading or being introduced as supplementary readers in schools, thereby giving trade publishers access to an age group of readers who usually fall of their radar, since exams and textbooks hog all their attention, only to re-emerge as readers in their early twenties. In fact Prof Narayani Gupta wrote “It is very important to have teachers use this as well as referring to dauntingly clever theses. My husband [ well-known historian Prof. Partha Sarthi Gupta] used to recommend specific Sherlock Holmes stories for European diplomatic history!” ( A comment she sent via email upon reading my article on Historical Fiction — https://www.jayabhattacharjirose.com/jaya/2013/03/26/on-historical-fiction-my-article-published-in-hts-brunch-9-march-2013/  )

While I am all for encouraging young girls to be readers too, I do have reservations about restricting the series to “Girls of India” or having girls on the book covers. These are books that will be enjoyed by both boys and girls. Given that they are targeting the 12+ age-group, this is a very sensitive lot of youngsters. Details like making the book covers more amenable to girls for reading can quite easily deter the boys from picking up these titles. It is a fine balance to be achieved.  In March 2013, Dame  Jacqueline Wilson had commented upon publishers stopping the pink tide, of creating books dressed up in pink to lure young girls as readers. Her argument was based on the premise that “a boy is going to have to feel really quite confident if he is going to be seen in front of his mates with a book that is bright pink because it is immediately code for this being ‘girlie’.” ( http://www.telegraph.co.uk/culture/books/10039848/Dame-Jacqueline-Wilson-challenges-publishers-to-halt-the-pink-tide.html ) A valid argument for accessing boys as readers, I think, holds true here as well.

Bottomline. My verdict for the series. A thumbs up. Read. Recommend.

Girls of India Series, published by Puffin, Penguin Books India. June 2013.

17 Sept 2013

One to One: Jaya Bhattacharji Rose, Vol. No. 7, No. 8 & 9, Jul – Aug 2013

One to One: Jaya Bhattacharji Rose, Vol. No. 7, No. 8 & 9, Jul – Aug 2013

PubSpeak, JayaMr S.K. Ghai, Managing Director, Sterling Publishers (P) Ltd is responsible for the Institute of Book Publishing and Publishing Today, A monthly of the book industry and its professionals. In Vol. No. 7, No. 8 & 9, Jul – Aug 2013 ( http://www.ibpindia.org/p/Publishing-Today-July-August-2013 ) he interviewed me. This is what he wrote in his introduction: “For One to One I have interviewed Jaya Bhattacharji Rose, International publishing and literary consultant, there are a very few professionals who write on publishing regularly and she is one of them and having a regular column in Business World. She is quite active on social media and had over 250,000 visitors in less than a year.” I am c&p the interview below. 

4 Sept 2013 

SKG You have been interviewing publishers, authors; is it the first time that you are being interviewed? 
JBR No. Not at all. Some of the interviews that come to mind are by Samit Basu in 2006  (http://samitbasu.com/2006/07/03/jaya-bhattacharji-interview/) and by Anupama Krishnakumar in 2012 (http://www.sparkthemagazine.com/?p=4379).SKG When, how and why did you choose publishing as a career?
JBR I cannot even recall when I fell in love with books. But I wanted to delve in to publishing from as long as I can remember.SKG You were once selected in the editorial team of Penguin, but you decided not to join. Any reason? 
JBP Yes I was. This was immediately after I had completed my BA (Hons) English from Jesus and Mary College. David Davidar had interviewed me, Renuka Chatterjee called offering me the job. But I refused since I decided to pursue my MA (English) at St. Stephen’s College.SKG You prefer to be freelancer as compared to being in a regular job. Any reason?
JBR I prefer being a freelancer since it allows me to balance my time between professional commitments and bringing up my daughter Sarah Rose. Plus the independence it brings allows me the freedom to comment on the industry, without any bias. It can be challenging at times, but I certainly prefer it.SKG I remember meeting you briefly at Zubaan. How long did you work there and any memorable experiences or incidents that you would like to share?
JBR I joined Zubaan the day it rose from the ashes of Kali for Women. I was there for more than 4 years, but those were the formative years. It was during this time that the significant books like Baby Halder’s A Life Less Ordinary, Anil Menon’s The Beast with a Million Feet and Kunzang Choden’s The Circle of Karma were published. I enjoyed working on various projects. Some that come to mind immediately are creating a mini author website for Kunzang Choden. It was done at a time when such intiatives were still rare. (http://www.zubaanbooks.com/circleofkarma/) I also helped in the branding of Zubaan by circulating monthly newsletters, creating a database, conceptualising and  launching the official website (zubaanbooks.com); inheriting the womenwriting.com website from the British Council and revamping it (http://www.womenswriting.com/WomensWriting/AboutProject.asp); curating the visual history of the women’s movement in India via posters called PosterWomen (http://posterwomen.org/Posterwomen/ ) ; helping out with the Words of Women series at the India Habitat Centre and lots more. It was definitely a packed and exciting schedule.There are so many memories to share, but difficult to choose one.SKG You also worked for Routledge and then Puffin for a short while – any special memories ? 
JBR I worked as Editorial Manager, South Asia, Journals for Routledge, Taylor and Francis and as a Consultant Editor, Puffin Books India. Both the assignments were very different to each other. The journals assignment was an eye opener since it taught me a great deal about academic publishing, especially the methodical manner in which journals are published.Whereas with Puffin Books the joy of working with children’s and YA literature was thrilling. It is a genre that I have worked with ever since the 1990s, from the time I was asked to be the Guest Editor for the Special issue of The Book Review. It was an issue published every November. I expanded the focus to include literature from South Asia and got publishers to send in review copies from abroad. All this was done before the internet and emailing was possible. I remember even getting the third volume of Harry Potter. It was mailed from London and arrived a couple of weeks after it was released. Yet the review copy reached me a few months before it was released in India. A far cry from when the last volume in the series was released. It had a simultaneous release in India and UK.SKG You have interviewed many publishers – national and international CEO’s like Naveen Kishore-Seagull, Liz Calder-Bloomsbury, Peter Booth- Wiley. Any unique experience you would like to share?
JBR With every publishing professional I meet whether from India or abroad, I enjoy my interactions. It is learning, sharing of experiences and understanding how the business works. Many times I continue to be astounded at how the basics of the business remain the same. It is only the technology of production and communication that changes. Of the three you mentioned I learned a great deal about translations from Naveen Kishore; from Liz Calder what it takes to be a woman publisher, setting up Women in Publishing, co-fouding Bloomsbury Publishing, how her firm discovered J K Rowling, establishing the Paraty festival in Brazil etc; with Peter-Booth Wiley it was discovering how a successful family business operates and continues to be ahead in the game of publishing. He is the sixth generation of the Wiley family who is managing the business, 200 years after it was founded.SKG When you assess and recommend manuscripts to publishers, what are the points you generally highlight? 
JBR It really depends upon the genre and style of writing. It is very difficult to comment in general terms. But I think it has to be a fine balance between what is a good story/narrative and whether it will work in the market.SKG Your comments on the recent amendments to the copyright act?
JBR The recent amendments to the copyright act were mostly in favour of the music industry except for the clause about the use of photographs and images. The parallel imports clause too that was causing much concern in India has now been referred to a Parliamentary committee for review.SKG Your comments on the highlights/missing points in the recently formulated India’s National Book Promotion Policy? 
JBR I wrote about this in my column. Here is the link: https://www.jayabhattacharjirose.com/jaya/2013/08/01/national-book-promotion-policy-where-are-we-nov-2011/SKG What are your views on India’s digital publishing and how do you think they can monetize ? 
JBR I don’t think anyone really has a clear answer to this. Digital publishing, IMHO, should be seen as a unifying factor in publishing. It allows publishers to streamline operations and access various markets that hitherto were inaccessible. Monetization will happen depending upon the publisher’s requirement and an understanding of the market. For now there is a lot of experimentation in the business models of publishing particularly in academic publishing. Trade publishers are as yet to figure out what works for them. If the latter had a system of impact factors as is in journal publishing, probably they would be able to strategically explore and execute alternative streams of revenue generation.SKG You review books regularly. What are your comments on ‹The art of book reviewing›?
JBR Read, read, read. Review books without any biases, but with knowledge, honesty and fairness. All criticism must be constructive, whether positive or negative. Also never damn a book however annoying it may have been to read. The book is an author’s baby. Be kind. And if it has been a pleasure to read, be balanced in your assessment rather than packing your review with hyperbole.SKG Many publishing professionals have godfathers in the industry; do you have one or consider some one who helped/guided you? 
JBR Hmm. I am not sure if I have had a godfather. Mentors certainly. Many of them women. I have always been passionate about publishing. But I was fortunate to have been given opportunities to explore publishing by Uma Iyengar and Chandra Chari of The Book Review; Urvashi Butalia of Zubaan; Ritu Menon of Women Unlimited; and Gordon Graham, former Chairman, Butterworth Publishers and Founding Editor, Logos.SKG Where you would like to be after five years?
JBR A successful international publishing and literary consultant and columnist.SKG You know the publishing industry inside out. How do you see the future of book publishing given the current scenario of digital verses print? 
JBR I do not see it as a digital versus print game in the publishing industry. I see the entry of digital technology as a game changer that will encourage publishing to evolve to the next level. Initially it will be viewed as a disruptive element since the traditional modes of production, publication and dissemination have been working very well for generations. But to survive in the future, it is important to adopt and adapt.The future of book publishing is not bleak especially for those professionals who are smart about taking up challenges and capitalising upon opportunities. But today there is no scope for complacency. Unfortunately the truth is that to commission, create and produce high quality books you need to have time and be methodical about it. It is a process that cannot be hurried. Yet the consumption patterns of readers are changing so rapidly that publishers need to strike a balance between the two arms of business — commissioning/editorial and marketing/selling. There are many ways to do so. Most importantly exploring new opportunities for revenue generation. It will come from selling the books in innovative ways, accessing new markets but also focusing on good, reliable content, ensuring that the long tail of business continues. Also never forgetting that the core of the business of publishing are the authors. So it is important to manage author relations, irrespective of their being on the A, B or C lists.SKG You are very active on social media networks- Facebook , Twitter, LinkedIn and writing blogs. How useful do you find social media what would be your suggestions for young publishing professionals? 
JBR Social Media is an integral part of one’s life now. In order to access, network with like-minded professionals you need to know how to use these platforms. I use them only professionally. But it requires strategy and learning every single day.I started a blog sometime ago focused on publishing and literature. On 27 Aug 2012, I installed a visitor counter. Today, 9 Aug 2013, it shows 2,61,563 visitors. All of these are real digital footprints since I have a SPAM blocker. I am told that it is an “extremely impressive” count.My advice for young publishing professionals is to be passionate about publishing, always be alert and receptive to new ideas, think out of the box, do a bit of homework every single day and definitely use and explore the social media platforms. But by merely plonking stuff on to a platform, without understanding and updating it, will be insufficient. You have to challenge your limits.SKG What are your hobbies? 
JBR Cooking/Baking, listening to music – it used to be gardening, painting and playing with my dogs, but no more. No time for the first two and I no longer keep dogs. And I have to add, reading. I actually love it.SKG How would you describe a good book? 
JBR Fiction or non-fiction – it has to be one that sustains the reader’s interest till the very end. It cannot be a book where the author polishes the first fifty pages and then forgets about the rest.SKG Apart from manuscripts, do you get the time to read & what do you like to read?
JBR I make the time. Carpe diem is my motto. My reading is eclectic. It can range from periodicals, short stories, fiction, non-fiction, young adult and even picture books. Anything and everything to do with words.SKG In fiction, what makes a bestseller? 
JBR Tough question. Does anyone really have an answer to it? If it is the Rs 100 novel or commercial fiction that is extremely popular today in India, then I would attribute it to the conversational style of English used by the authors. The readers are able to comprehend and understand and respond well to the content. But it is not a given that a consumer of a Rs 100 novel can be termed as a “Reader”, one who reads substantially, not necessarily voraciously. For literary fiction it is the quality of the work, the complexity that lies in the treatment of the story. Similarly other genres like translations, science-fiction, children’s literature, YA literature, thrillers, etc will have their own peculiar characteristics that help in determining its viability in the market. Probably the standard for all would be the content should be good, the treatment by the author/translator above par. Technicalities like editing, production quality, distribution, price points also play a crucial aspect in the rapid consumption of the book. If it is a “good” book but unavailable and unaffordable, the whole point of investing time and patience in producing it will be defeated.

ONE TO ONE with Jaya Bhattacharji RoseInternational publishing and literary consultant who also has a monthly column, “PubSpeak” , in BusinessWorld online. Her blog https://www.jayabhattacharjirose.com/jaya/ has had over 2,50,000 visitors in the 11 months since the visitor counter was uploaded.

 

Robin Sloan, “Mr Penumbra’s 24-Hour Bookstore”

Robin Sloan, “Mr Penumbra’s 24-Hour Bookstore”

That is super-depressing. If I made five million dollars selling books, I’d want people to carry me around in a palanquin constructed from the first editions of The Dragon-Song Chronicles. (p.99 )

Mr Penumbra's 24-Hour Bookstore
Web-designer Clay Jannon is a victim of the recession, desperate for a job when he discovers Mr Penumbra’s 24-Hour Bookstore. The management is looking for a clerk to manage the musty and mysterious bookstore on the night shift. It suits Clay perfectly little realising what he is committing himself to. From there unravels a fabulous, charmingly told, rich with details and imaginatively narrated, a story about a young man’s quest in unravelling the mysteries of the bookstore where he works. It is a delicious and intoxicating mixture of good fiction, fantasy, mystery, and most definitely about contemporary publishing, its history and the impact of technology over time. There are delightful conversations about bookstores, technology in print and publishing, ebooks and print books. For instance:

“I was under the impression they [young people] read everything on their mobile phones.”

“Not everyone. there are plenty of people who, you know– people who still like the smell of books.”

“The smell!” Penumbra repeats.”You know you are finished when people start talking about the smell.”

p.65

Robin Sloan wrote this novel while working as Media Manager at Twitter. It was inspired by a friend’s tweet that read ““Just misread a sign for a 24-hour book drop for 24-hour bookshop. My disappointment is beyond words.” He wrote it down and it became a 6,000 word short story a few months later. He published it on his website http://www.robinsloan.com/ . Eventually it was the prototype for this novel, a 2012 New York Times Bestseller title.

It is a satisfying read because the storytelling is intelligently done. It is an absorbing account of a secret society called the Unbroken Spine that has a cult following. Its members are determined to unravel the 500-year-old “Founder’s Puzzle”. Unbroken Spine was established by Aldus Manutius, fifteenth century publisher, who “believed there were deep truths hidden in the writings of the ancients– among them, the answer to our greatest question…– How do you live forever?” Upon his death Manutius left behind a book called Codex Vitae — book of life. It was encrypted and the key was given to only one person: his great friend and partner, Griffo Gerriszoon. A book that lingers with you for a long time afterwards is a treasure, Mr Penumbra’s 24-Hour Bookstore is one of those. 

There is a link that I came across. It is an online space about everything and anything related to the novel. http://readingmapofpenumbras24hourbookstore.wordpress.com/about-the-author/

Robin Sloan Mr Penumbra’s 24-Hour Bookstore Atlantic Books, Great Britain, 2013. Pb. pp. 290

1 Sept 2013

 

Ashim Choudhury’s “The Sergeant’s Son”, Review, publ in The Hindu Literary Supplement

Ashim Choudhury’s “The Sergeant’s Son”, Review, publ in The Hindu Literary Supplement

The Sergeant's Son, Ashim Choudhury( My review of Ashim Choudhury’s The Sergeant’s Son has been published in the print edition of the Hindu Literary Supplement today. Here is the link: http://www.thehindu.com/todays-paper/tp-features/tp-literaryreview/narrow-little-lives/article5080469.ece . The review is also given below.)

There came a time when the Biswas children were tired of living in Miltry Camp, particularly after Ashok and Nimmi moved out to another part of the camp, far away from where they lived. After that Major Xavier was posted out, taking with him Peter and Benny, the only officers’ children whom they played with. … By now they were among the oldest residents of the camp, but with so many newcomers they sometimes felt like strangers.

The Sergeant’s Son is exactly what the title suggests; the story of Kalu, Sergeant Samar Biswas’s son. Narrated by Kalu, the third of four brothers, the book details his life from his birth in Barrackpore till his departure to Kanpur to join the Air Force as a Radio Telephone Operator. The book, set between mid-1960s and 1977, is about an ordinary life in the Air Force. The children study in the nearest school; their mother, Basanti imposes a strict routine supervising their grooming, meal times, and homework every single day and insisting on prayers every Thursday evening. Their dour father is the disciplinarian whom they dread since he is not averse to beating the sons mercilessly, especially the renegade eldest Taposh or Borda, with a “shoe that was handy or a leather belt that been specially ordered for the purpose.”

The story documents the narrow little lives that the Biswases share with the other “migratory birds” of the Air Force station. A bunch of characters waft in and out of the book, never to appear again — many of the playmates at the station, other personnel like Corporal Dhar and his wife, Kakima, Mathew Uncle, the Vermas, the Anglo-Indian family called Sampios or the teachers like “Blanch teacher” and “Karachi teacher”, and the women who clean the bathrooms. Kalu even describes the few early sexual encounters with Bimla Devi, the maid who seduced him when he was alone at home and with his classmate Amit. Later the Std. IX geometry teacher, Mr. Shankar, assaults Kalu in a drunken stupor.

For someone who speaks and writes English well, a fact acknowledged even by his teachers, Kalu’s obsession with the language is trying. His discomfort presumably stems from the fact that his competence at the language masks his social class but his origins still make him insecure. In Bombay, Kalu and his siblings feel inferior to the five Sampio children even though they never went to school. Since they “spoke the Queen’s Language no one could think poorly of them.” In Allahabad, Kalu “was never truly part of the English-speaking gang. He hovered on its periphery — a low-caste pretending to be a Brahmin; or more appropriately, a soldier’s son trying to mix with officers’ children. The gang mostly consisted of defence officers’ children.” But he realises that his ability to speak fluent English “gave him a passport”, probably to improve his status in life.

A first novel tends to have autobiographical elements in it but the preoccupation with that seems to be the trademark of much Indian fiction in English, with the writer inevitably getting absorbed in minute details. The Sergeant’s Son is no different but it is a story told competently.

1 Sept 2013 

Prof. Alok Rai, writer and translator

Prof. Alok Rai, writer and translator

Alok Rai 2Prof. Alok Rai, Ex Faculty, Department of English, University of Delhi.

Born and bred in Allahabad, Prof. Alok  Rai grew up in an affluent Hindi – Urdu environment which explains his strong linguistic background. He holds a graduate degree in modern English literature and became a Rhodes Scholar at Oxford. At, the University College of London, he had written a Ph.D. dissertation on George Orwell and later he has also published books on the said author while also writing on the formation of modern Hindi. As a translator his translation of Nirmala was published by Oxford University Press many years ago. He has been involved with the business of writing, with language in society. His interests include, Modern English Literature; cultural processes in modern North India, with particular reference to issues of language and literature.

He is also the grandson of the legendary Hindi writer Premchand. Years ago when I was guest-editing the special issue of Children’s and Young Adult literature of The Book Review I asked him for a review of series of biographies that had been published in Hindi by Children’s Book Trust. ( Chirsmaraniya Mahaan Vyaktitva Vol 1-9, Illustrator: Sahana Pal Children’s Book Trust, 2001) I no longer have the bibliographical details with me but I discovered that the review had been posted online. ( http://www.orchidapps.com/goodbooks/node/5968#.Uhs0T5Jgdsl ) . I am reproducing the review as is. 

We hate poetry, Keats wrote, that has a design on us. This set of short “inspirational” biographies, published by the Children’s Book Trust – with an average of 5 or 6 worthies per each one of nine volumes – goes well beyond design. This is, as the criminal lawyers say, “intent”- as in “loitering – and the intent is deadly serious. Because of course the underlying purpose of the series, indeed of such series, is nothing less than the abduction of the young, seizing their minds well before they have reached the age of consent. Even more crucially, of dissent.

There is a tendency in our gerontocratic civilization to treat matters pertaining to children as being not very important. There is no reason, here, to run through the familiar complaints about the priorities that enable aging gentlemen to acquire toy phalluses at enormous state expense even as they can’t find the funds to provide schools, or meals, or medicines for millions of children. And yes, of course, I know that there is a distinction to be made between the said aging gentlemen and the good men and women who have collaborated in this CBT project of providing these inspirational biographies – and of course I’m joking when I accuse them of “criminal” intent. But there is a serious argument here: what we do to our children, whether with the connivance of the NCERT or without it, is crucially important. And while this CBT series might seem a somewhat modest vehicle to bear the burden of a serious argument, at least there is no danger here of offending Their Lordships, and so understating the seriousness of the issues on which They have pronounced breezy obiter dicta.

But let us get over the grosser matters first. No one can assemble a list that is universally acceptable, and while one may quibble about why X or Y is or isn’t one of the persons chosen for such hagiographic, inspirational treatment, the actual CBT list is, for better and worse, catholic and random. There are sundry 19th century figures – Gokhale, Dadabhai Naoroji, Sir Syed – and lots of the other kind. Muslims? – aforementioned, and Khan Abdul Ghaffar Khan, Kidwai, Azad –and I wouldn’t expect Jinnah here anyway! (No Nehru or Gandhi, either, by the way.)  Women? – Vijayalakshmi Pandit (!), Annie Besant, Kamla Nehru, Ba. Writers – Bankim, Bharati, Iqbal – and scientists – Meghnad Saha, Bhabha, Visweshwarayya. Lots of politicians, of course: whatever would we do without them? More importantly, whatever shall we do with them?  I might have said that the inclusion of Savarkar and Shyamaprasad Mukherji in this august company is surprising – but it isn’t, is it?

It is also not my case that there is no room for inspirational stories in the necessary socialization of the young. Indeed, I would argue that it is the neglect of this essential dimension of education in our schools that is both a cause and a symptom of the coarsening of our society, the rampant desensitization that emboldens a Modi or a Singhal or a Togadia to gloat over the grief of the victims of Gujarat in the hope of reaping an electoral advantage. Persons – and so, a collective, a civilization of persons – is distinguished by the texture of their moral anxieties, by their unique sense of moral occasion, and by the narratives in which the implications of their defining moralities are laid bare. Nothing very complicated, this is Arjuna at Kurukshetra, being lectured to by his charioteer – endlessly kitschified, this still fulfils an essential sustaining function. Just as the moral conflicts that are regurgitated by Bombay melodrama do. We are the kind of people who notice, so to speak, moral conflicts. And that indeed is exactly where my problem with this inspirational gallery assembled by the CBT lies. Quick clarification: whether or not our society is rapidly descending into anomie, into a moral vacuum, is not at issue. The question is, how is this situation to be addressed? Are the self-proclaimed and much-touted doctors really equipped with a cure – essentialized religion, 100% proof ! – or are they themselves only symptoms of the malady, and more likely than not, will only exacerbate the situation by their crude ministrations? My answers to these question are, respectively and respectfully, no, yes, and yes.

Elizabeth Taylor, the well-known philosopher, once said, “The problem with people who have no vices is that generally you can be pretty sure they’re going to have some pretty annoying virtues.”  Well, there aren’t many vices on offer here – but there is a serious danger of OD-ing on virtue!  OK, cut to the chase – obviously, every “life” is a selection – children discover very early on that you can’t even tell a single day in its entirety. So, my problem is not with the fact that the biographies here assembled are selective – but rather with the understanding that motivates the selection. The way I understand it, inspirational narrative works through the common narrative experience of identification: above a certain minimal level of complexity, the reader/listener is enabled to identify with a number of characters or, modishly, subject positions, with good and bad, with high and low, so that one can experience moral difficulty, because it is only out of moral difficulty that one develops a sense of moral complexity. Children’s fables about always  being good and always telling the truth and always always respecting your elders are treated by children with the contempt they deserve.  The trouble with these monsters of goodness is that no one can identify with them – one may be forced to admire them, or one admires them, but one cannot identify with them: they inhabit a mythic realm far above the muddled worlds in which we must live. So, what’s wrong with that? They are models of goodness, towards which we aspire, right?

Wrong! In fact, such “heroic” biography has been the staple of fascist pedagogy: larger than life characters who never never do anything wrong, except to draw some significant moral lesson from it, so that their narrated lives are a relentless accumulation of virtue – virtual money in a virtuous bank, so to speak. However, this dread moral lesson works rather paradoxically, because its highly coloured universe succeeds only in communicating not the possibility of virtue for us mere mortals, but its impossibility. The humanist alternative to such fascist “heroic” biography is biography that enables us to identify with the common humanity – common to reader and narratee, to mahaan vyaktitva and child reader – by showing the great man also as being vulnerable to human frailties etc. The possibility of virtue. We are enabled, ideally, to redeem the ordinary life we live by aspiring to live it differently. “Heroic” biography – the mode that I have designated as fascist, both by association and tendency – on the other hand, encourages one to turn to such biographies as necessary and necessarily mythical for a life that is rendered unredeemed and unredeemable. That is the sense in which such simple-minded, direct reaching after unalloyed virtue, through the instrumentality of selective biographies is not just naïve and pointless, it is positively harmful:  even worse than the TV that our poor children would rather watch. And who can blame them?

26 Aug 2013

(C) Prof. Alok Rai

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Prof. Alok Rai will battle it out along with three other renowned experts at the forthcoming JumpStart festival

( http://www.jumpstartfest.com/home ) during the session entitled ” The Great Language Debate”. It promises to be provocative – even revolutionary – ideas about the future of our languages and cultures. Are we building a healthy and sustainable ‘bibliodiversity’ for the next generation? Or are we creating a whole generation of linguistic exiles, neither ‘at home’ in their mother tongue nor in English? Can we move towards a common language without ‘flattening’ culture? 

Chitra Banerjee Divakurni “Oleander Girl”

Chitra Banerjee Divakurni “Oleander Girl”

 

Chitra Bannerjee Divakurni

Chitra Bannerjee Divakurni

Oleander Girl. Chitra Banerjee Divakurni’s latest novel. It is about Korbi, who was orphaned at birth and is brought up by her maternal grandparents in Calcutta. She is a bhodra Bengali, while studying in college meets Rajat, a rich young man. (His parents own a very well known art gallery in the city and in New York.) They are engaged and to be married soon. It all seems to be moving correctly when Korobi’s life is suddenly thrown out of gear. She chooses to investigate her past since she would like to begin her married life knowing the truth. It involves her travelling to America soon after her engagement. A move that does not go down very well with her immediate family but she is determined. Korobi or Oleander (as she is named after the flower) is true to her name– “beautiful but also tough. Also knows how to protect herself from predators.”

Oleander Girl is a very readable novel. At the superficial level it is a love story with its moments of heartache. It is gently and charmingly told by Chitra Banerjee Divakurni. It is set against the backdrop of the Godhra riots and the events of 9/11. Frighteningly these events have an immediate impact on even bhodra families like that of Korobi. These unpleasant events also unmask the prejudices that exist in individuals too. It is an intricate web woven by the author and done without making it seem complicated.

A characteristic trait of all of Chitra Banerjee Divakurni’s novels are the number of women characters she has. The protagonist is always a woman but she is surrounded by women of all shades. Incredibly the author manages to make every girl and woman in the book a strong personality. They are memorable. In Oleander Girl, there is the grandmother Sarojini, Rajat’s mother, his younger sister Pia and Seema Mitra in NYC. Also not forgetting the late Anu Roy, Korobi’s mother. To put it blandly these are women who struggle, make their choices and survive the consequences. But the joy in reading the novel lies in understanding these women better. I am not surprised that Chitra Banerjee Divakurni writes the way she does. Some years ago when I met her she told me of her involvement with Maitri. http://www.friendsofbooks.com/blog/evening-with-chitra-banerjee-divakaruni )

In 1991, Chitra co-founded Maitri (http://www.maitri.org/ ). It is an NGO based in the San Francisco Bay area that helps battered women of South Asian origin. I asked Chitra if her experience at Maitri had in any way influenced her storytelling and the choice of prose. It seems that Chitra first began writing and publishing poetry, but after four years of working at Maitri, she published her first collection of short stories, Arranged Marriage. In fact, one of the stories in it is based on a true incident and so are some of the sketches in the later books. She also realized that writing prose was a far easier medium to communicate and tells stories than poetry. Yet, the rhythm, discipline and diction of poetry did and continues to influence her prose.

Oleander Girl is a must read. Junot Diaz calls Chitra Banerjee Divakurni “A brilliant storyteller”, which she is.

Chitra Banerjee Divakurni Oleander Girl Viking, Penguin Books India, New Delhi, 2013. Hb. pp. 290 Rs. 499

 

“No Child’s Play” Shirshendu Mukhopadhyay

“No Child’s Play” Shirshendu Mukhopadhyay

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“Charming” is how Samit Basu describes No Child’s Play. Charming it certainly is. A novella written in Bengali (1990) and recently translated by Bhaskar Chattopadhyay. It is a simply told sci-fiction novel, something that we would probably bracket in speculative fiction now. It has all the fancy footwork of embedding chips in the brains of foetuses by an evil-minded doctor, so as to control them and create an army of workers. It has all the lovely bits of bad men on the run, a scientist escaping from China and using false passports to reach America in order to help a baby who has been used as an experiment and then the creation of a sensitive robot. Much of this now seems plausible.

It is like reading a Gene Roddenberry story now. At the time of publication it must have been amazing to see how the imagination works, and the possibilities that lie with science. For instance his descriptions of the doors opening automatically when a person approached. Now such technology is common. So when many of the things that they describe come to pass it no longer seems extraordinary. Yet the story does not lose its charm. It remains a good story. Likewise with No Child’s Play.

As for the translation. It is done competently but “Indianisms” like “dicky” (instead of “dickie”) are retained in the English translation. Instead of translating it as the trunk or the boot of the car, the word “dicky” is used. It left me wondering how many allowances can we make in a translation transmitting a culture too. Do we aim for perfection in the destination language or make concessions for such words?

Shirshendu Mukhopadhyay No Child’s Play Translated from the Bengali by Bhaskar Chattopadhyay Harper Perennial, HarperCollins, Delhi, 2013. Pb. pp. 130 Rs. 250.

Of women travellers and writing

Of women travellers and writing

All the Roads are Open

In recent weeks I have read three books. All the Roads are Open: the Afghan journey by Annermarie Schwarzenbach (translated by Isabel Fargo Cole); The Nanologues: 10,000 kms across India in the world’s cheapest car by Vanessa Able and Almost Intrepid by Anjaly Thomas. Except for All the Roads are Open, the other two are contemporary accounts by women travellers — Vanessa’s account of travelling in a Nano across India and Anjaly Thomas backpacking across the world. As for Annermarie Schwarzenbach, she travelled in a new Ford across Afghanistan with Ella Maillart from 1939-1940. The translated text contains snippets of her writings and dispatches to various newspapers describing the country, the exquisite gardens, the reception that they received etc. A comment made “In the garden of the beautiful girls of Qaiser” is about the “young King Ammanullah, upon returning from a trip to Europe, had instituted hasty reforms in Afghanistan, attempting to follow Turkey’s example in particular. He had moved too quickly. More than anything else he was reproached for emancipating women. For a few weeks the chador had fallen in the capital of Kabul; then the revolution broke out,women returned to the harem, to their strictly cloistered domestic life and from then on they could not show themselves on the street without a veil.”

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For Vanessa Able travelling in her Nano, whom she affectionately refers to as “Abhilasha”, winding her way through India, its crowds, is a frank account of her drive through India. It is a challenge to be a driver on the roads of India, but to be a woman and a foreigner at that, can be a challenge indeed! Vanessa Able braves it well, making some good friends along the way, but also getting a firsthand experience of they way men view/treat women. For instance, the young men loitering on the streets or the cab drivers misbehaving. At times she would worry about the fast roads and the sanitised lodgings were killing the spirit of the journey, but then the images of the Ambassadors and the over-zealous chaperones would remind her of the reasons for being on this trip. When Ratan Tata met her, he remarked that it was very enterprising of her to have driven the Nano through India. But Nanologues is a mixed bag of a traveller’s account with plenty of anecdotes, all though it could have done with a few photographs. Though she did blog regularly – http://www.nanodiaries.com/ and http://www.vanessaable.com/

Almost Intrepid
Anjaly Thomas’s comes across a feisty young woman, who is game for any sort of adventure. All her trips have been impulsive decisions. She has travelled through Tanzania, Papua New Guinea, Cambodia, Indonesia, and India. Her account is of the kind that would be useful for women to use as a checklist, also take a leaf or two from her book of being fiercely independent, determined and focused about her goals. The common fears/questions that would prey upon any woman traveller’s mind came to her often. Such as afraid of being robbed/mugged/raped? did she have her parents approval? did she sleep alone in the hotels? how did she cope with female issues of dealing with her periods to washing underwear? where did she get her money from? did she ever get any help? was she scared of being labelled? She comes to the conclusion that these questions, including that of danger lurking, can even happen to a woman comfortably ensconced at home. It really depends upon the individual and the circumstances. To her surprise and relief she actually found a lot of help on the road. A few lessons she learned from travelling solo were confidence, self-dependence, patience, responsibility, love and compassion, prioritizing, letting go, and dreaming.

Women travelling alone is not a new feat. It has been done umpteen times before. Many wrote about it too. Lady Mary Whortley Montague and Alexandra David-Neel come immediately to mind, but there were many more. Yet the fascination that travellers hold, definitely when they are women, always make for captivating accounts.

19 July 2013

Annermarie Schwarzenbach All the Roads are Open: the Afghan journey Translated by Isabel Fargo Cole. Seagull Books, Calcutta, 2011. Hb. pg. 140.

Vanessa Able The Nanologues: 10,000 kms across India in the world’s cheapest car Hachette India, Delhi, 2013. Pb. pp. 324. Rs. 399

Anjaly Thomas Almost Intrepid Konark Publishers, New Delhi, 2013. Pb. pp.220 Rs. 299

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