jaya Posts

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

 

Guest post: Gouri Dange, “What not to do at a book launch”

Guest post: Gouri Dange, “What not to do at a book launch”

Gouri Dange is a writer, editor and counsellor. She blogs at http://gouridange.blogspot.in/ . We have been friends on Facebook for a while now. I read this post she had uploaded last week. With her permission I am publishing it on my blog.) 

 

Gouri Dange

What not to do at a book launch

(PS: for the vast majority of interested, interesting and graceful attendees at book launches, what you will read below is for your amusement, and not aimed at you at all.)

At the recent launch party at the Serpentine Gallery in London’s Hyde Park for Jonathan Franzen’s new novel, Freedom, someone snatched the novelist’s glasses from his face and ran off – leaving behind a ransom note asking for $100,000 for their return.

This piece of news finally made me reach for my keyboard and type out a long overdue list – of things that attendees at a book launch are well-advised not to do. No doubt, making off with the writer’s glasses straight from his nose would head the list, but there are other torts and misdemeanours that people would do well not to indulge in.

This list is not just a compilation from my own experiences, but of the experiences of several writers and writer-friends.

First, when we send you the invitation, don’t immediately mail back querulously questioning a) the venue that we have chosen/ are stuck with b) the date that we have arrived at after much intricate planning c) the choice of personality who has agreed to read from and release the book. Of course it could have been at a better place, better time, better season, with a celeb who you particularly like… and we’re sorry for disappointing you on all scores, but we don’t conjure up book launches by twirling a tinsel wand, we put them together after mental, physical, social and financial contortions of the most fantastic kind. So shut up and tell us in time if you’re coming or not, is all that is expected of you.

We writers, forced to be our own marketers and PR persons, are constantly trying to find the fine line between sending you the invite well in advance so that you can plan to come, but not sending it so early that you will forget about it. So whatever day we choose to send you the invite, do not expect us to continue playing secretary to you. Do have the grace to mark the day on your own, in your own calendar/similar device, and don’t expect us to remind you closer to the time. Some of you tend to snap at us when we do remind you. We can’t seem to get it right on this score, so be a little kind and less imperious.

Another constant see-saw that we are trying to work is this: We writers-in-launch-mode realise that your Blackberry gags at attachments, so our anxiously designed elaborate e-invitations end up irritating you. This is why we put the gist – place, date, time – in the body copy of the text. Surely that is considerate enough? So desist from writing to us in an offhand way from your wretched devices instructing us to put it all on SMS format for you so that you can send it to your friends. We understand the good intention, but it’s a pain, and why don’t you do it for us if you really love us? As for jpeg, pdf, corel and other such formats, we would love to pander to your every whim about what format you would like the invitation in, but deal with it, whatever format we send you.

If you really do intend coming for the event, stop groaning about traffic and distances, and plan how you will get there. Keep the address with you – either on your phone or scribbled on your palm (the body part or the device), or on paper or in your head. Do not, and this bears repetition, do not call the writer an hour before (sometimes half hour, or 5 minutes, even) the event itself, and ask for directions. And really, this is just not the time to provide a fresh insight into how the venue and day is all wrong and that parking is such a bitch in your city, and all that jazz. We writers do not personally arrange for your city roads to be such a bitch on any given evening.

Once you have made it to the venue, we really do not want to hear about what a hard time you had getting there, how you had to ditch your car somewhere and hoof it, how you went to the wrong store, and how the cabbie didn’t give you change. On any other day we would have some mindspace for this – today, we don’t.

Once the event begins, it would be nice if you would switch off your phone, and also not keep a fake engaged look on your face while you jab at your phone keys. Really, we don’t want just your bodies there, we want your minds, such as they are, present and participating.

Do not bring your own book that you just published to our book launch and hawk it. It’s plain lousy manners. As for working the crowd with your business card, please…I mean really. Some of you also tend to ask questions in the interactive part of the reading/launch, that are only a verbal vehicle to tell people who you are and how you’re so good at what you do. Stop. Just stop. Go do it somewhere else.

Remember, it’s about the book. So questions about finances, advances, and other intricacies of the book business can perhaps be asked of us on our email ids, but certainly not at the book launch. You are more than welcome to ask and tell about what you liked or didn’t like about the book. But asking after the health of my wealth? No.

When it is time to buy your copy and get it signed from the writer, do not leak out of the door empty-handed. Maybe you don’t want to wait in line for a signed copy and that’s fine. But do buy a copy. Well this isn’t a hard and fast rule…but it would be nice if you’d buy one.

If you do come up to our table for a signed copy, do not use this time to catch up on your/our offspring, parents, pets. This is not the time. And this is certainly not the time to tell us about how you had to make elaborate parking/babysitting/office arrangements to be there. Present the book, have it signed, say nice things, and let the queue move.

At launches where there are things like salmon or oysters on toast served, kindly do not eat the tidbit and leave the toast behind. (This is a well-documented occurrence.) This causes the waiters to walk about with just the dry toast pieces on a platter, and less canny guests end up having to eat those; they then become moody and sulky and tend to leave without buying any books.

Do not walk up to us writers after the launch and ask things like “But where’s the media? No media?” This may come as a shock to you, but a) journos don’t show up for most launches – their story is usually that ‘evenings are hellish at the office’ b) you may have not read them, but we do have reviews and interviews out there; it’s just that you may not see a real live journalist at our readings/launches c) it really is more important for a book to have actual readers present than the media, whatever anyone tells you.

Lastly, if you did not attend our reading/launch, do not appear on gmail chat or SMS two days after the event saying ‘How did your thing go? It was when?’ The answer doesn’t really matter to you, and we both know it. Our fingers can tap out only that many things in one lifetime, and telling you ‘the launch was awesome’ or ‘missed you there’ or some such thing is a waste of taps, which we want to save for our actual writing.

26 Aug 2013

(C) Gouri Dange

Guest post: Arundhati Deosthale writes about her collaboration with Julia Kaergel

Guest post: Arundhati Deosthale writes about her collaboration with Julia Kaergel

Arundhati Deosthale, co-founder A&A Book Trust, writes about her experience in translating the Mimi series into Hindi and her collaboration with award-winning German illustrator Julia Kaergel. 

 

aa-book-trust-logoA & A Book Trust feels privileged to have had this opportunity to introduce two extraordinarily talented women in children’s literature. In 2009, I met Doris Dorrie in Munich. All those who know German cinema know her as a maker of off-beat film maker, a novelist and a teacher in film institute. It was a pleasure to discover that she writes books for children too. She presented me copies of her Mimi picture books series illustrated by Julia Kaergel, and the rest is history. I had till then seen Julia’s work in children’s libraries and had heard about the various prizes she had been honoured with… Mimmi

Mimi series just couldn’t have gone to any other illustrator other than Julia, her insights into child-psychology, her uncanny skills to go beyond the text, and sense of fun have contributed brilliantly to the success of the series in Germany, Switzerland and also in India. Mimi came in to Hindi directly from German, as a part of the ‘Girl- child’ special picture books project and went on straight to the villages through Room to Read libraries in 8 Indian states, including Uttaranchal. The acceptance of Mimi across the cultures; especially the interiors of India, among the first generation to see the picture books speaks of the vividness and universal appeal of Julia’s art. We did have to make two minor changes though, namely deleting the two references to pork and beef, when Mimi shops with her mother. But Julia accepted these willingly, appreciating the sensitivities of two communities in India. Chirag, an NGO working for education and rural development, runs a primary school in Shitala, a cluster of villages in the Nainital district of Uttaranchal. The Chirag school kids picked up Mimi for play-acting. It was such a pleasure watching the children draw and make paper pyjamas and a la Mimi to wear these upside down on their heads. They raised some really interesting questions for Julia and Doris, the makers of this series like Mimi who keeps things from parents for quite some time, is that OK?

How come that her parents don’t seem to be minding her being such a menace?

And

Is she a ‘good’ girl or a ‘naughty’ one?

These were the questions which made the teachers and parents think aloud on the difference in parenting and schooling between our two respective cultures. One could say that the children were a bit envious of Mimi whose imagination runs amok in both the books, and parents surely did some learning playfully. And this surely is an amazing response to a picture book!!

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Arundhati Deosthale and Julia Kaergel will be in conversation on 29 August 2013 @ Jumpstart. Julia Kaergel will also be conducting an illustrator’s masterclass on 30 Aug 2013. Details available at http://www.jumpstartfest.com/home

(C) Arundhati Deosthale 

23 Aug 2013

Guest post: Arunava Sinha on translating for children and adults

Guest post: Arunava Sinha on translating for children and adults

 

When I heard that Arunava Sinha would be attending JumpStart as a panelist. I wrote him immediately. I was curious to know if he changed his methodology when translating for different kinds of readers or did the story remain a story for him.  So he sent me this short note about his experiences at translating for children/YA as opposed to translating for adults.

Arunava has published with many publishers. He has also translated stories from Bengali for children ( Puffin) and written an introduction to a translation (Hachette India). Arunava Sinha, the Rhythm of Riddles

This is what Arunava had to say:

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I do not translate children’s or young adult’s literature differently from adult literature. As a translator, my mission is still to be true to the original text and uphold the intention of the writer (at least, my perception of the intent). I trust the writer to have taken care of the factors involved in writing for children – directness, choice of words and phrases, subject, voice, and so on. I do not tailor the text in any way for the readership. If the writer makes certain demands of the young reader, or has certain assumptions about what they know already, so do I. I do not intervene to make things more easily digestible for the reader of the translation because she or he happens to be young.

Reading children’s literature in translation is, arguably, no different from reading adult literature in translation. Unfortunately, not enough literature for children or even young adults seems to be available in translation. As readers in two, maybe three, Indian languages, most of us are deprived of the variety of writing for children in India and elsewhere in the world. And so are our children. Logo

Arunava Sinha will be on the panel discussion “Speaking in Tongues”, 29 Aug 2013 @ 16:30 pm. The other panellists will be Urvashi Butalia, Rubin D’Cruz, Sampurna Chattarji and Shobha Vishwanath. Some of the issues that they will be addressing: “Translation is tricky. Dialogue is difficult. How can we know that a book that works in one language will work in another? Which stories travel? Which ones ‘stick’? Why are there so few children’s books translated from one Indian language to another? Are illustrations just as culture-bound as words?”

For more information about Jumpstart, registeration details etc: http://www.jumpstartfest.com/home

Jaya Bhattacharji Rose  is an international publishing consultant and columnist.

Twitter: @JBhattacharji

22 Aug 2013

Arunava Sinha on translating Buddhadeva Bose’s classic “Tithodore” and the future of translations.

Arunava Sinha on translating Buddhadeva Bose’s classic “Tithodore” and the future of translations.

 

( This was an interview with Arunava Sinha, translator, that I did in 2011 for the Hindu. The original url is here: http://www.thehindu.com/features/magazine/leave-nothing-out-add-nothing/article2539907.ece )

 

Arunava Sinha: A window for translation. Photo: Special Arrangement
Arunava Sinha: A window for translation. Photo: Special Arrangement

Arunava Sinha on translating Buddhadeva Bose’s classic Tithodore and the future of translations.

Arunava Sinha is an award-winning translator of classic and contemporary Bengali fiction. His “day job” is as an internet professional. He won the Vodafone-Crossword award (2007) for Chowringhee, which was also short-listed for the Independent Foreign Fiction Prize, UK (2009). He recently translated Buddhadeva Bose’s masterpiece, Tithodore (1949) as When the Time is Right. In this interview, Arunava talks about translating Tithodore, BB, and the future of translations.

Why and how did you get into translating Bengali writers?

I started with short stories in the late 1980s for a city magazine Calcutta Skyline. But the whole process gathered steam when Penguin published my translation of Chowringhee — which I had actually done at the author’s behest in 1992 -— 14 years later, in 2006.

On what basis do you make these selections?

The primary appeal is subjective: do I love the book and do I want my friends to read it? The only reason not to translate a book that passes these parameters is if it’s so rooted in a local culture and geography as to lose its richness when read in a different cultural context, as translations are.

When did you begin translating Tithodore?

I began in September 2009. The first draft took one month, working six hours a day. I translated as if I was “possessed” by the experience and felt bereft when the exercise came to an end. Once it was complete, I revisited it thrice to iron out all angularities of expression, but I firmly believe in the motto of “leave out nothing, add nothing”.

When the Time is Right reads very smoothly. Comment.

It tells an absorbing and dramatic story, marked by Buddhadeva Bose’s seemingly casual voice which is, actually, intensely poetic. Given that he was a notable poet and verse-dramatist himself, Bose seems to have used these skills in prose. While translating, I discovered that Bose’s prose is rich with the cadences and inflexions encountered in poetry. The conversations are never dull, the dialogue and self-expression is honed and always heard. His observations about people are nuanced and layered and his characters are very aware and articulate themselves through casual conversation. Bose understood language deeply and all his choices of word, phrase and form are deliberate.

When do you find the time to translate?  

Whenever I get a window, which could be hours at a stretch or a few minutes. I was lucky when working on Tithodore, in that my day job was not as demanding as it is now, allowing me to work for about six hours a day. Sometimes, I am working on three books in different stages in the production cycle: actually translating one, working on edits of another and proof-reading a third. When it comes to actual translation, it’s usually one book at a time, because once you’ve got a writer’s voice — or think you do — you don’t want it polluted by anything else.”

Have you considered translating poetry?

Considered, yes. But I’m not equal to the task. I’ve tried my hand at a few small poems, but my work with verse is not good enough to be published.

Where you ever trained in doing translations?

No training. Is there even such a thing in India yet? There should be though.

I hear translations are a very expensive and tedious process…

I don’t think a translator who loves the work they’re doing and the book they’re translating would consider it tedious. Expensive yes; you do have to invest plenty of time and energy. But that’s true of any creative effort, surely. The passion of sharing is what starts it off, but once you’re into it, the need to complete the work becomes a living force in itself.

How would you define a “good” translator?

One who is true to everything in the original — content, form, voice, cadences, spirit — and still make the final product as accomplished and effortless a read as the original.

Is it possible to tell a good translation from a bad one, especially if you do not know the primary language? 

Yes it is. Assuming the original title has been chosen well, if the translation reads awkwardly while telling a great story, you know it’s the translation that’s at fault here.

Jaya Bhattacharji Rose is a international publishing consultant and critic. She also has a monthly column on the business of publishing, “PubSpeak”, in BusinessWorld online. 

 

Translations, children’s literature, Jumpstart 2013

Translations, children’s literature, Jumpstart 2013

Vasilisa the Beautiful

 

 

During my childhood I was fortunate to have read many stories published in the former Soviet Union. Some of my favourites were and continue to be  the folk tale Vasilisa the Beautiful  collected by Alexander Afanasyev (1930s); Alexander Pushkin’s verse fairy tale  The Tale of Tsar Saltan, of His Son the Renowned and Mighty Bogatyr Prince Gvidon Saltanovich, and of the Beautiful Princess-Swan (1831) and Nikolay Nosov’s The Adventures of Dunno and his Friends (1954). These were written in Russian and the English translations were made available by People’s Publishing House (PPH). The translations were a delight to read, all the books were richly illustrated, the printing was done on very good quality paper, usually the books were hardbacks and the price points were incredibly low. These books establish for me a high benchmark in terms of what can be achieved in children’s literature. Years later I still possess my copies of these books and now my daughter is beginning to enjoy flipping through the books. (The other day she very grandly announced to me that these are my books. Not yours!) Alexander Pushkin, 1831

The translations were usually done by a wide variety of people around the globe. Inevitably the language used is perfect in the destination language without carrying over any awkward phrases or sentence structures from the source language. ( “Awkward” only if it is impossible to translate a phrase or a sentence accurately in to destination language.) But by focusing on the perfect use of English without compromising on its quality did not take away anything from the original story. There is no doubt that the stories originated in the former Soviet Union as all the details remain the same. Even the illustrations are not adapted, reduced or modified for publication in the destination language. They were reproduced as is. Even if they were unfamiliar and at times challenging for children since they were so far removed from their own culture, it really did not matter. The illustrations accompanying the story were sumptuous and complemented the story well. Even their placement on the page was always done correctly. The text matched the illustration laid on the page. So a young reader would not get unduly perturbed.

Logo At the annual JumpStart event  ( 29-30 Aug 2013) translating children’s literature or “Speaking in Tongues” is going to be the theme. The speakers are a wide variety of publishing professionals from India and abroad. They consist of publishers, designers, translators, educators, authors and illustrators. They will be sharing their experiences and discussing the significance of words, illustrations, languages and cultures and how they help shape/influence young minds. Also addressing issues such as “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?” These are sessions I would like to attend. Hear what are the challenges of producing children’s literature across cultures, the successful experiments/collaborations that have happened recently etc. For more details http://www.jumpstartfest.com/home gbo-white

Jaya Bhattacharji Rose is an International Publishing Consultant and columnist.

Twitter: @JBhattacharji

20 Aug 2013 

Jumpstart, “Speaking in Tongues”, 29-30 Aug 2013, New Delhi

Jumpstart, “Speaking in Tongues”, 29-30 Aug 2013, New Delhi

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Jumpstart is an annual platform provided in India by the German Book Office (GBO) that is targeted specifically at professionals within the children’s book industry, bringing together authors, publishers, illustrators, designers, booksellers and retailers, teachers and librarians. It began in 2009 with a small workshop for professionals. But over the years it has blossomed into a two-day event that is clearly demarcated by open sessions that include panel discussions and workshops/master classes. Each event revolves around a theme that is encapsulated well in three words — “Join the Dots” (2010); “Out of the Box” ( 2011); “Off the Page” (2012) and this year it is “Speaking in Tongues”. The event is scheduled to be held on 29-30 August 2013, the India International Centre, New Delhi. Since last year the Book Souk, matchmaking between publishers and authors, has become a key aspect of the festival too. Key publishers such as Scholastic India, National Book Trust, HarperCollins, Hachette, Young Zubaan, Tulika, Tara, Karadi Tales, Pratham, Eklavya and others have participated in past Jumpstart festivals with direct, positive outcomes. For instance Pratham Books has recently acquired the publishing rights to five books by the French artist Herve Tullet who participated in 2012.

Herve Tullet, signing a book for my daughter, Sarah Rose. Aug 2012

According to Prashasti Rastogi, Director, German Book Office, Delhi “This year we will focus on language. The festival is organised by the German Book Office New and Frankfurt Academy with support from the Federal Foreign Office, Germany. Our partners are Pratham Books as are our Knowledge Partners along with India International Centre and CMYK Book Store. Pratham Books is partnering for a session with language teachers and librarians.”gbo-white

The focus on publishing children’s literature in different languages, the challenges and the thrill of doing so are what are to be discussed at the end of August. One of the panel discussions during the open session will be “Translation is tricky. Dialogue is difficult.” Some of the questions being raised are “How can we know that a book that works in one language will work in another? Which stories travel? Which ones ‘stick’? Why are there so few children’s books translated from one Indian language to another? Are illustrations just as culture-bound as words? ” The other Open Sessions that sound fascinating are “Art as language, designer as author” where award-winning illustrators Julia Kaergel, Emily Gravett will be co-panelists with publisher Arundhati Deosthali and Dorling Kindersley Design Director Stuart Jackman; “What is your bhasha? What is your language?” A workshop for teachers and librarians where panel of speakers who have experiences to share about the teaching and learning of different languages and its impact on learning as a whole. Authors will share experiences on why they choose to write in a particular language and their own experiments with it. To the right is a photograph that I took last year from the open session when Herve Tullet was on stage. 20120823_104202

Such an event is important given that of 1.1 billion people in India, only 2 per cent are able to read and write English. The number of young people below the age of thirty is 550 million who are not only literate in English, but prefer to communicate in the language . The per capita number of book titles published in India is around 8 per 1,00,000 population. This number is much lower in comparison to those of the countries like the United Kingdom, the United States of America, France, and Germany. According to Rubin D’Cruz, Asst Editor, Malayalam, NBT, in terms of languages, the per capita number of titles published per 1,00,000 persons is 6.3 in Bengali, 6.2 in Gujarati, 5 in Hindi, 4.8 in Kannada, 4.2 in Telugu, 3.9 in Urdu, and 7.7 in Assamese (the highest). The publishing industry in Tamil and Malayalam are extremely active and although the Assamese speaking population is relatively low, the publishing industry in Assamese is a lot more active than it is in Marathi, Bengali, Telugu, Gujarati or Kannada. Some of the statistics from 2012 are:

• Hindi (422 million)
• Bangla (83 million)
• Telugu (74 million)
• Marathi (74 million)
• Tamil (60 million)
• Urdu (51 million)
• Gujarati (46 million)
• Kannada (38 million)
• Malayalam (33 million)
• Oriya (33 million)
• Punjabi (29 million)
• Assamiya (13 million)

From the National Youth Readership Survey, National Book Trust, 2010:
1. Of 1.1 billion people in India, only 2 per cent are able to read and write English.
2. 42% of India’s book-buyers are habitual readers; per capita consumption is Rs 80
3. Literate youth=333 m (2009) = 27.4% of total Indian pop or 73% of total youth pop. Signif: Rural (62%; 206.6m) and Urban (126.1m)
4. Pop of literate youth (2001-9) has grown 2.49% higher than the overall pop growth (2.08%)
5. Growth more rapid in Urban (3.15% p.a) than Rural (2.11% p.a.) areas.
6. Hindi is the principal medium of instruction, however as the youth go for higher education the proportion of Hindi as the medium of instruction declines.
7. Approx 25% literate youth read books for pleasure, relaxation and knowledge enhancement; more females read (27%) for leisure than males.
8. Schools are imp for readership development. 59% developed a reading habit in schools. Peer influence is also an important factor.

Actually publishing in India is exciting. As long as you understand the peculiarities of India like the multi-lingual character of the territory, the reverence Indian readers have for the written word. There exists a thriving middle class; increasing amounts of disposable income coupled with a disposition to read for pleasure rather than to clear an examination (a noticeable shift in recent years). Earlier the inclination was to buy books for children, but slowly between the ages of 8+ till graduation from university the casual reader disappeared, so there were no books available for this segment too. Today there is still a considerable vacuum in this age-group, but the market is slowly being transformed as is evident by the appearance of at least three new imprints for young adults in the past year – Inked (Penguin India), Red Turtle (Rupa Publications) and Scholastic Nova (Scholastic India).

As the first Prime Minister of India, Jawaharlal Nehru, also patron of Sahitya Akademi, said in a speech he delivered extempore in 1962. “…to think that a language is crushed or suppressed by another language, is not quite correct. It is enriched by another language. So also our languages will be enriched the more they get into touch with each other … .” (p.319-320 Best of Indian Literature 1957-2007, Vol 1 Book 1, Sahitya Akademi. Eds, Nirmal Kanti Bhattacharjee and A. J. Thomas.)

If the previous editions of Jumpstart are anything to go by, Jumpstart 2013 sounds very promising. I am definitely going to attend this year too!

Jumpstart: http://www.youtube.com/watch?v=FpK_38mScEg
Website and registeration: http://www.jumpstartfest.com/home

18 Aug 2013

Jaya Bhattacharji Rose is an international publishing consultant. She has a monthly column on the business of publishing called “PubSpeak” in BusinessWorld online. 

Twitter: @JBhattacharji

 

“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.

Idris Ali: Daftari ( Bookbinder)

Idris Ali: Daftari ( Bookbinder)

Idris Ali, bookbinding

(Guest post by Prof. Aloke Kumar. Reposted with his permission. 10 Aug 2013. )

IDRIS ALI : Daftari

With Id passing away I missed Idris Ali, my father’s Daftari. For a very selfish reason. He used to bring a ‪‎Biryani‬ of Dumba Sheep on the Id day to celebrate the festival. Dumba sheep is a delicacy. This sheep has an extra fat pack on its tail beginning, adding extra oil and lanolin. Idris’s wife would prepare the Biryani but the preparation for the presentation was an elaborate affair. Idris would come in the morning with his son and prepare a ‘rasoi’ in the corridor, far from the kitchen as my grandmother would not allow entry of food cooked by Muslims to enter home.. Bricks were laid in a triangular formation with gaps and clay applied to seal them together. Then preparation would be made for a wood fire, without lighting it, just to throw in an ember. Then in the afternoon he would arrive in a rickshaw with a huge cauldron of Daccai Biryani with Dumba meat. This itself was a meal. What a feast. There would be enough for the neighbours to join in.

Idris came with his family during the ‎partition‬ from East ‪#‎Bengal‬ to settle in Baithakkhana Road. The home of the traditional book binders. My father discovered him in one of his sojourns in the area in search of a Muslim bookbinder. He had these quaint beliefs. Books and Man should be clothed by ‪#‎Muslim‬ ‘‪#‎Karighar‬’. So all his kurtas and books were taken care by them.

Idris Ali was a Daftari by tradition, a book-binder. He was a slim bodied man with a conic beard under his clean shaved upper lip. I always saw him in Pyjama and Kurta with a round Iraqi cap on his head. He reminded me of Tagore’s Abdul Maji who brought in turtle eggs for his brother Jyotirindranath. He wore a watch inside out presented by my father, not because he had no sense of time but on the contrary that he had a sense and continuously asked people the time in order to be punctual. In spite of his simplicity, his overall appearance reflected dignity and self-respect.

He addressed My father as Chachaa ji . My father liked and loved him. He said he was god gifted and could give life to ‘dead’ books. Whenever he came to my place, my father welcomed him warmly. My father was an antiquarian and a great book- lover. He collected rare books, manuscripts on palm leaf or on hand made paper old paper. He took care of these like his own children. Idris Ali helped him in preserving such books with his expertise in binding.

Idris made use of various methods to secure sheets of paper into a secure binding. As part of the process, a bookbinder will also attach front and back covers to the secured pages. With some methods of binding books, the final product includes the creation of a spine for the book. And this is most crucial as it held the book together,just like a human.

Bookbinder may employ several different approaches to creating a finished product. Sewing is the preferred method with hardcover books. With this approach, the bookbinder will sometimes use a process that is known as over sewing. Small holes are punched into the sheets and are then sewn together to create a secure bind. The cover can then be sewn to the pages. While very secure, over sewing does not make it possible to open the book and leave it laying flat on a desktop. It has to be accurate. Bookbinding is an art.

The art and craft of bookbinding originated in India, where religious sutras were copied on to palm leaves ,cut into two, lengthwise, with a metal stylus. The leaf was then dried and rubbed with ink, which would form a stain in the wound. The finished leaves were given numbers, and two long twines were threaded through each end through wooden boards, making a palm-leaf book. When the book was closed, the excess twine would be wrapped around the boards to protect the manuscript leaves. Buddhist monks took the idea through Persia, Afghanistan, and Iran, to China in the first century BC.

Idris developed a relation with our family. He came and collected the old books and wrapped them up in a shawl to carry it to his humble workshop cum home in Baithukhana. Sometimes my father would collect it from him or he would bring it back. He paid him handsomely and became my bone of contention. Why pay more? My father had this philosophy of philanthropy and always took care of the people who touched his life. He would not give alms of small coins to a beggar but parted with fortunes to take care of the education and marriages of many girls, irrespective of their religion. Idris had three daughters and all were married off by my father.

My grandmother was a orthodox Hindu and even did not allow the entry of chicken in our household as she believed they were reared by Muslims. So when her Ramcharitmanas was in tatters nobody could suggest that it be bound . But all the ‪#‎Ganges‬ water did take its toll and it was falling apart. So one day she relented. My father without much ado and wasting time for my grandmother to change her decision called me to take the manuscript to Idris. I went to his shop. It was morning time and he was reading a ‪#‎Urdu‬ newspaper. He looked at me and asked about the work silently by nodding his face upward. I showed him the book. He immediately asked: ‘Ramayan ji?’ Without caring to see the condition of the book or examining it he told me to bring it next week. I did not like, the way he refused to take up the job. I went back home and told my father that he has refused to take up the job. My father could not believe. He asked me to repeat, what exactly happened and I told him that he has asked me to bring it next week, though he was sitting idle, reading a newspaper. My father’s reaction was: ‘Don’t worry, he will do it,’. I could not appreciate his reaction.

After a week’s time Idris came home and took the Ramcharitmanas. After some days my father sent me to collect back the book. When I reached to his shop, he welcomed me smilingly and asked to wait a while. He went inside the attached room and brought the book wrapped in ‘red salu’ cloth. He gave it to me. I opened it and could not believe that it was the same book. It’s all torn and tattered pages were re adjusted with transparent paper, so accurately that they were looking better than the pages that were intact. The beautiful hard-bound coloured cloth cover was not only aesthetically satisfying, but it had whipped new breath of life into the dying book. It was a job well done.

I still had his last reaction in my mind. It was a proper time to ask him the reason for not accepting it the first time. He felt a little shy and told me that his son-in law had come. Variety of food was being prepared for him along with meat of animal, prohibited by Hindus. He also ate along with his family and his conscience did not allow him to touch my grandmother’s sacred book. After his son-in law left, he stopped eating beef and then one day he specially prepared himself by bathing in the morning and came to our house to collect the book. The book was in very bad condition. Generally, when its pages are corrected, it needs to be tightened for good and durable binding. A wooden piece is placed on the book and pressure is applied on it by foot. But, in this case he had to ask his wife to hold on with her hand while he did the work. It was a difficult job. But a job well done.

This was Idris Ali. In his old age Idris handed over the shop to his son and returned to ‪#‎Bangladesh‬ with his only ‘bibi’. My father had dissuaded him from taking many wives and he was faithful to Fatima . His son’s shifted premise to Rafi Ahmed Kidwai Road where they took a dwelling attached to the shop. Ram Ray,the advertising genius, wanted a good binder and I had recommended Idris’s son. But I was told that the standard did not meet his expectation.

As for my own self I have hunted out another binder. But to be honest I do my own repairing of books which I learnt from my days in scouting from Errol Colaco which did earn me my merit badge in Bookbinding.

(C) Aloke Kumar, Professor of Communication.Faculty Member at University of Calcutta, Faculty Member at IIM Calcutta and Visiting Lecturer at National University of Singapore.

My interview with Shovon Chowdhury, published in the Hindu Literary Review, 4 Aug 2013

My interview with Shovon Chowdhury, published in the Hindu Literary Review, 4 Aug 2013

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( here is the original url to the story http://www.thehindu.com/books/books-authors/people-need-stories/article4985459.ece )

Shovon Chowdhury talks about identifying the enemy, special places to write in, and his new book that took 11 years to complete.

Shovon Chowdhury is a Delhi-based humorist, well known for his blog, India Update, and the Facebook project, ‘The Trilokpuri Incident’. His work as co-author of the Very Rich Whitebook for the National Council of Applied Economic Research left him deeply prejudiced against the very rich.

His grandfather ran away from Dhaka to escape Japanese bombing in 1945, not realising that the war was about to end, and arrived in Calcutta just in time for the Great Calcutta Killings of 1946. These shared family experiences have left him deeply averse to sudden movement, which is why he has lived in Delhi for the last 20 years. In his spare time, he does advertising work for clients who cannot, he says, find anyone cheaper.

His first novel The Competent Authority (to be released shortly) took him 11 years to complete, because he can type with only one finger. He has also created a fake newspaper (http://nndt.wordpress.com) as a companion to the book. Excerpts from an interview:

Why write fiction?

People need stories. And sometimes facts are communicated better through fiction. Some things are so horrible that you don’t want to look at them or think about them, so they become invisible. Fiction makes you look, may be even think. And if it’s funny, then it’s not such a hardship. Mark Twain figured that one out years ago. I know people keep saying the novel is dying, and I’m sorry if I drove another nail in, but can you imagine a world without stories?

How did The Competent Authority come about?

I started soon after the Gujarat massacre. It set me thinking about the value of human life in India. One thing I’ve learnt from all this is: if you want to write a novel about the near future, it’s a good idea to write faster.

I also noticed that most government documents seem to contain phrases like, ‘by order of the Competent Authority’. I started wondering: supposing he’s a real person? I spent many years watching and reading the news, and studying the actions of the government to get to know him better.

I also discovered that most of the news in India is completely satire-proof; what with all the nephews and the genuflection and elderly youth leaders, not to mention Arindam Chaudhuri’s wardrobe. I tried to work out what kind of country we might to be, around 20 years from now, under the CA’s able guidance. I just extrapolated from today. It’s all completely logical. I hope he’s not reading this.

Does being an advertising professional help?

Yes because you develop a sense of what works and what doesn’t. It’s not foolproof, but it helps. It also cures you of delusions about the immortality of your prose; round about the third time the client’s maternal nephew changes your headline, pausing only to spit a mouthful of paan into a nearby plastic bucket.

Who are the writers that have influenced you?

Philip K. Dick, Bertolt Brecht, Sukumar Roy, Mark Twain, Manoj Mitra, Anthony Burgess.

What are the genres that have impressed you?

History, SF, Theatre, anything funny.

There are instances in the novel that rely considerably on the reader’s knowledge. Do you think it can be translated into other Indian languages?

I wasn’t thinking of foreigners when I wrote it, though I’d be thrilled if they read it. I was thinking of our friends, and our kids. It was for them. I didn’t want to slow down the story to explain things everyone knows, like ‘before Mulayam Singh Yadav, there was also one other gentleman who was known as Netaji’. Besides, a little bit of research never hurt anyone. Readers are much too lazy these days. Some work will be good for them.

Regarding other Indian languages, definitely. There’s very little wordplay, and much of the dialogue is actually in Hindi and Bengali. I’m very keen to have language versions, and willing to help. Those people who cared enough to spare the time to go to India Gate, or Ram Lila Maidan — I’d love for all of them to read it in whatever language they prefer. I like to think it would encourage them, maybe raise a laugh or two. We all like to fantasise. This might cheer them up. It’s nice to imagine a world where people commonly tell a bullshit artist ‘You’re full of sibal.’ As a common noun, of course. Nothing improper here.

What is the Trilokpuri Research Project about?

It’s a mass murder mystery. Facebook seemed the ideal medium for it, because it keeps reminding you. 1984 is something we need to be reminded about. Because if we forget about the victims, then they’ve won, haven’t they? Can’t let that happen.

Which is your favourite place to write?

I did this one on the run; in clients’ receptions, and the back of the car. Sometimes I pretended to be doing campaigns. I don’t much believe in special nooks and crannies. You have to switch it on when it’s needed. Some cheerful music helps, though.

What is the responsibility of the writer?

Several. To give his readers their money’s worth. To ensure his publisher doesn’t get arrested. To raise a smile. To provoke some thought. To entertain and inform, and help us identify who the enemy is, so we can all go together and sock him in the face.

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