Women writers and science fiction
At Jaipur Literature Festival 2019, I moderated a discussion with two Indian women writers on their speculative fiction novels — Sadhna Shanker’s Ascendance and Priya Sarukkai Chabria’s Clone.
5 Feb 2019
At Jaipur Literature Festival 2019, I moderated a discussion with two Indian women writers on their speculative fiction novels — Sadhna Shanker’s Ascendance and Priya Sarukkai Chabria’s Clone.
5 Feb 2019
At Jaipur Literature Festival 2019, I moderated a fantastic panel discussion on “Critical Thinking and Book Reviewing”. The panelists were Ambassador Navtej Sarna, writer Alexander McCall Smith, critic and translator Jenny Bhatt and literary journalist Somak Ghoshal.
5 Feb 2019
At Jaipur Literature Festival 2019, I was in conversation with author Daman Singh about her novel Kitty’s War at Jaipur Literature Festival 2019. It is historical fiction set within a railway colony at the time of World War II. It is about the Anglo-Indian community told through the eyes and experiences of Katherine Riddle or Kitty, as she is more popularly referred to.
5 Feb 2019
Every Monday I post some of the books I have received in the previous week. This post will be in addition to my regular blog posts and newsletter. Today’s Book Post 25 is after a gap of two weeks as January is an exceedingly busy month with the Jaipur Literature Festival, Jaipur BookMark and related events.
In today’s Book Post 25 included are some of the titles I received in the past few weeks as well as bought at the literature festival and are worth mentioning.
4 February 2019
Kannan Sundaram, Publisher, Kalachuvadu, was invited by Neeta Gupta, Founder, Jaipur BookMark, to participate in the JBM Copyright Roundtable.T
It was held at Diggi Palace and the keynote was delivered by Michael Healy. The other participants were Aditi Maheshwari Goyal, Alind Maheshwari, Arpita Das, Claudia Kaiser, Kannan Sundaram, Maggie Doyle, Michael Healy, Phillipa McGuinness, Prashasti Rastogi, Safir Anand and Urvashi Butalia, moderated by Naveen Kishore.
The cue given to the panelists by JBM was: Copyright underpins everything we do as an industry and without it all opportunities quickly recede. The principle of copyright is threatened at a global level and to a degree we have never seen before. This is true in India as it is in many countries. This session is a call to publishers, literary agents, rights managers, lawyers, authors and international book fair organisers for the protection of copyright.
Kannan Sundaram gave a short speech putting forth the concept of nationalising prominent Indian writer’s works rather than restricting them to a copyright life arguing that this had been done for Tamil poet Subramania Bharathy. Whereas in the case of Bengali poet Rabindranath Tagore the copyright period had been extended by a decade so that Visva-Bharathi University, the main benefactors of Tagore’s literary estate could continue to earn royalities for a few more years.
Here is the complete text of Kannan’s speech delivered at Jaipur BookMark. It has been published with permission.
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Thank you JBM, Neeta Gupta for this opportunity to share my views.
I will be making a few remarks on copyright issues in Indian languages in general and Tamil in particular.
The premise of this panel that copyright is facing a threat in contemporary times is not entirely true of many Indian languages. I would not generalize the publishing context of all Indian languages. Every Indian language publishing has its own eco system. However, in most languages the adherence to copyright has never been strong.
I know that Malayalam market is an exception. There could be other languages where copyright is adhered to but that is not the overall picture of Indian language publishing. In Tamil copyright has been an option not a rule. It may have been extended to popular authors, authors who would fight it out, but not to most authors who had no clear understanding of copyright acts. In Tamil publishing adherence to copyright regulations is improving only now. Writers are fighting back using social media and prime time debates in television on copyright are happening. And there are publishers who appear on TV and argue why they cannot pay royalty!
While copy left is an idea and an aspiration for many in the world, in the state of Tamil Nadu it has been practiced legally in some instances for some decades now. This is a practice that is unique to the state of TN. So we have had an opportunity to access copy left in practice.
For over 60 years now the government of Tamil Nadu purchases copyright of an author by paying a lump sum money to the copyright holder and then puts it out in the public domain. This process is referred to as ‘nationalization’.
This practice was initiated after a controversy surrounding the rights of our national poet Mahakavi Subramania Bharathy. Responding to public demand that no one can own the rights of a poet who was perceived as belonging to the people, first the Tamil Nadu government bought the rights of Bharathy’s works in 1949. Then in the mid-fifties it was nationalized, that is gifted to the people. (If you want read this story I recommend the book ‘Who owns the Song?’ by A.R. Venkatachalapathy).
I would like to quickly compare this to the story of a nationally treasured writer Rabindranath Tagore. Visva-Bharathi University had an iron clad hold over Tagore’s copyright through the term and then succeeded on extending copyright for 10 years!
Following up on the new tradition established for Bharathy, various Tamil Nadu governments over the years have nationalized the works of over 130 writers. It started as a trickle and then became a sludge. When any of the governments in India decide to patronize culture, it usually starts well but the rot quickly sets in and then it typically goes to the dogs. What started as a process of national honour to outstanding personalities of Tamil literature has now gotten entangled in nepotism, patronage and corruption. I would not be able to recognize the names of a quarter of the nationalized writers!
What are the pros and cons of this nationalization process?
Most Tamil writers do not bother to assign copyright when they create a will for their belongings and property. It not valued by them or their families since it typically brings in little money. Therefore, posthumously it often becomes complicated for any publisher that wants to publish them. Nationalising a writer’s works clearly this all up nicely. The family gets some money and the publishers are free to publish the works. This as far as I can see is the only pro of this process. The honour is not there anymore since writers are nationalized with little discrimination.
The cons are many.
One publisher who publishes only nationalized books dedicates all the books to his mother. After sometime this publisher realized that the readers do not understand that he is dedicating all the books to his mother but wrongly assume that all writers are dedicating their books to their own mothers. So now the dedications are accompanied by photographs of his mother! A very commendable sentiment but ethics of it is debatable. Since no one can represent a nationalized book or can sign a contract, essentially any possibility of translation becomes very slim.
Thank you!
3 Feb 2019
Renowned Harrington Spear Paine Professor of Religion at Princeton University, Elaine Pagels Why Religion? is a moving memoir. It is not only an account on the devastating grief she experienced of losing her six-year-old son Mark and husband Heinz Pagels within a year of each other but also of her academic trajectory. A phenomenal academic Elaine Pagels is credited with groundbreaking work in Bible studies. She is one of the earliest scholars to have written on the discovery of the Gnostic gospels.
Why Religion is a memoir that is extremely moving particularly when she discusses the moments of intense pain and grief she experiences. And yet what is remarkable is how she pulls herself together as much as she is able to for the sake of her two younger children, even managing to complete the adoption process for her son David in the absence of Heinz, and making a career move to Princeton University.
She has been awarded some of the most prestigious grants — the Rockefeller, Guggenheim, and MacArthur Fellowships. And this for someone whose initial application to Harvard to do a PhD in the history of religion was rejected saying:
Ordinarily we would admit an applicant with your qualifications. However we are not able to offer a place in our doctoral program to a woman, since we have so many qualified applicants, and we are able to admit only seven to our doctoral program. In our experience, unfortunately, women students always have quit before completing the degree.
But the letter continued to say that if she was still “serious” about doing the course in the following year, the department would grant her admission. So she did.
Her interest in religion began after having visited a Billy Graham event when she was fifteen years old. She was a believer for about a year and a half but then quit it after losing one of her close friends, Paul, in a car accident. She bailed out of evangelical christianity after her friends came to offer their condolences but were unmoved about the incident after discovering Paul was a Jew and not a born again Christian and so he would be damned to hell. Elaine Pagels could not comprehend this as to her mind Jesus Christ was also a Jew.
There are many, many nuggets of wisdom she shares in her memoir. Never is she didactic in her tone but it gives much to think about. Given that she was the product of her times when women were being recognised as individuals in their own right and had much to contribute to society and of course academics, Pagels began questioning the very texts she was studying. Texts that she began to question as being a construct of their times imbued with patriarchy.
One of the earliest passages in the book is:
…the creation stories are old folk tales, they effectively communicate cultural values that taught us to “act like women”. Besides revealing how such traditions pressure us to act, these stories also taught us how to accept the role of women as “the second sex,” a phrase that Tertullian coined in the second century. The same Christian leaders whose scriptures censor feminine images of God campaigned to exclude women from positions of leadership, often hammering on the Bible’s divine sanction of men’s right to rule — views that most Christians have endorsed for thousands of years, and many still do.
This questioning spirit has kept her mentally agile. Consequently the body of work she has published has been pathbreaking not only for Bible studies but also how religious studies are meant to be viewed. She insists upon being a student of the history of cultures that uses faith as a tool to dissect and understand social structures through the ages. “Why Religion?” is also a critical question to be asked today when the world is increasingly polarised along communal lines, making this book even more relevant.
Here is a fascinating conversation with her recorded on 30 November 2018. Pagels is in conversation with Dr. Eric Motley, executive vice president at the Aspen Institute and author of the memoir Madison Park.
Why Religion? is a book that will move you irrespective of whether you are a Christian or not. This is meant to be read by all faiths and non-believers. It is meant for all readers — a fascinating testimony on a life well lived. A life that many folks, ordinary folks live — of living and believing in one’s faith and how these threads co-exist in one’s life, it is impossible to compartmentalise these aspects.
Read it.
3 Feb 2019
Further Reading:
Memories of Heinz Pagels by Jeremy Bernstein ( LRB, 3 January 2019)
“After her son and husband died, Elaine Pagels wondered why religion survives” by Ron Charles ( Washington Post, 6 November 2018)
I recently contributed to How to Get Published in India edited by Meghna Pant. The first half is a detailed handbook by Meghna Pant on how to get published but the second half includes essays by Jeffrey Archer, Twinkle Khanna, Ashwin Sanghi, Namita Gokhale, Arunava Sinha, Ravi Subramanian et al.
Here is the essay I wrote:
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AS LONG as I can recall I have wanted to be a publisher. My first ‘publication’ was a short story in a newspaper when I was a child. Over the years I published book reviews and articles on the publishing industry, such as on the Nai Sarak book market in the heart of old Delhi. These articles were print editions. Back then, owning a computer at home was still a rarity.
In the 1990s, I guest-edited special issues of The Book Review on children’s and young adult literature at a time when this genre was not even considered a category worth taking note of. Putting together an issue meant using the landline phone preferably during office hours to call publishers/reviewers, or posting letters by snail mail to publishers within India and abroad, hoping some books would arrive in due course. For instance, the first Harry Potter novel came to me via a friend in Chicago who wrote, “Read this. It’s a book about a wizard that is selling very well.” The next couple of volumes were impossible to get, for at least a few months in India. By the fifth volume, Bloomsbury UK sent me a review copy before the release date, for it was not yet available in India. For the seventh volume a simultaneous release had been organised worldwide. I got my copy the same day from Penguin India, as it was released by Bloomsbury in London (at the time Bloomsbury was still being represented by Penguin India). Publication of this series transformed how the children’s literature market was viewed worldwide.
To add variety to these special issues of The Book Review I commissioned stories, translations from Indian regional languages (mostly short stories for children), solicited poems, and received lovely ones such as an original poem by Ruskin Bond. All contributions were written in longhand and sent by snail mail, which I would then transfer on to my mother’s 486 computer using Word Perfect software. These articles were printed on a dot matrix printer, backups were made on floppies, and then sent for production. Soon rumours began of a bunch of bright Stanford students who were launching Google. No one was clear what it meant. Meanwhile, the Indian government launched dial-up Internet (mostly unreliable connectivity); nevertheless, we subscribed, although there were few people to send emails to!
The Daryaganj Sunday Bazaar where second-hand books were sold was the place to get treasures and international editions. This was unlike today, where there’s instant gratification via online retail platforms, such as Amazon and Flipkart, fulfilled usually by local offices of multi-national publishing firms. Before 2000, and the digital boom, most of these did not exist as independent firms in India. Apart from Oxford University Press, some publishers had a presence in India via partnerships: TATA McGraw Hill, HarperCollins with Rupa, and Penguin India with Anand Bazaar Patrika.
From the 1980s, independent presses began to be established like Kali for Women, Tulika and KATHA. 1990s onwards, especially in the noughts, many more appeared— Leftword Books, Three Essays, TARA Books, A&A Trust, Karadi Tales, Navayana, Duckbill Books, Yoda Press, Women Unlimited, Zubaan etc. All this while, publishing houses established by families at the time of Independence or a little before, like Rajpal & Sons, Rajkamal Prakashan, Vani Prakashan etc continued to do their good work in Hindi publishing. Government organisations like the National Book Trust (NBT) and the Sahitya Akademi were doing sterling work in making literature available from other regional languages, while encouraging children’s literature. The NBT organised the bi-annual world book fair (WBF) in Delhi every January. The prominent visibility in the international English language markets of regional language writers, such as Tamil writers Perumal Murugan and Salma (published by Kalachuvadu), so evident today, was a rare phenomenon back then.
In 2000, I wrote the first book market report of India for Publisher’s Association UK. Since little data existed then, estimating values and size was challenging. So, I created the report based on innumerable conversations with industry veterans and some confidential documents. For years thereafter data from the report was being quoted, as little information on this growing market existed. (Now, of course, with Nielsen Book Scan mapping Indian publishing regularly, we know exact figures, such as: the industry is worth approximately $6 billion.) I was also relatively ‘new’ to publishing having recently joined feminist publisher Urvashi Butalia’s Zubaan. It was an exciting time to be in publishing. Email had arrived. Internet connectivity had sped up processes of communication and production. It was possible to reach out to readers and new markets with regular e-newsletters. Yet, print formats still ruled.
By now multinational publishing houses such as Penguin Random House India, Scholastic India, Pan Macmillan, HarperCollins India, Hachette India, Simon & Schuster India had opened offices in India. These included academic firms like Wiley, Taylor & Francis, Springer, and Pearson too. E-books took a little longer to arrive but they did. Increasingly digital bundles of journal subscriptions began to be sold to institutions by academic publishers, with digital formats favoured over print editions.
Today, easy access to the Internet has exploded the ways of publishing. The Indian publishing industry is thriving with self-publishing estimated to be approximately 35% of all business. Genres such as translations, women’s writing and children’s literature, that were barely considered earlier, are now strong focus areas for publishers. Regional languages are vibrant markets and cross-pollination of translations is actively encouraged. Literary festivals and book launches are thriving. Literary agents have become staple features of the landscape. Book fairs in schools are regular features of school calendars. Titles released worldwide are simultaneously available in India. Online opportunities have made books available in 2 and 3-tier towns of India, which lack physical bookstores. These conveniences are helping bolster readership and fostering a core book market. Now the World Book Fair is held annually and has morphed into a trade fair, frequented by international delegations, with many constructive business transactions happening on the sidelines. In February 2018 the International Publishers Association Congress was held in India after a gap of 25 years! No wonder India is considered the third largest English language book market of the world! With many regional language markets, India consists of diverse markets within a market. It is set to grow. This hasn’t gone unnoticed. In 2017, Livres Canada Books commissioned me to write a report on the Indian book market and the opportunities available for Canadian publishers. This is despite the fact that countries like Canada, whose literature consists mostly of books from France and New York, are typically least interested in other markets.
As an independent publishing consultant I often write on literature and the business of publishing on my blog … an opportunity that was unthinkable before the Internet boom. At the time of writing the visitor counter on my blog had crossed 5.5 million. The future of publishing is exciting particularly with neural computing transforming the translation landscape and making literature from different cultures rapidly available. Artificial Intelligence (AI) is being experimented with to create short stories. Technological advancements such as print-on-demand are reducing warehousing costs, augmented reality is adding a magical element to traditional forms of storytelling, smartphones with processing chips of 8GB RAM and storage capacities of 256GB seamlessly synchronised with emails and online cloud storage are adding to the heady mix of publishing. Content consumption is happening on electronic devices AND print. E-readers like Kindle are a new form of mechanised process, which are democratizing the publishing process in a manner seen first with Gutenberg and hand presses, and later with the Industrial Revolution and its steam operated printing presses.
The future of publishing is crazily unpredictable and incredibly exciting!
3 Feb 2019
Indian Genre Fiction: Pasts and Present Futures (eds. Bodhisattva Chattopadhyay, Aakriti Mandhwani and Anwesha Maity) is a fascinating collection of essays. There are articles on popular fiction in late colonial Tamil Nadu, to novels of Urdu, 19th-century Bengali chapbooks, science fantasy of Leela Majumdar and Sukumar Ray, Hindi pulp literature, retelling of the Mahabharata in Krishna Udaysankar’s The Aryavarta Chronicles and Amruta Patil’s Adi Parva. But the essay that I read and re-read was Ira Pande’s tremendous “Hearts and homes: A perspective on women writers in Hindi”. Being the daughter of the very popular Hindi writer Shivani and a fluent speaker in English and Hindi, Ira Pande shares her fascinating perspective on inhabiting the Hindi literary world and what it means being bilingual.
With the permission of the publishers, Routledge, Taylor & Francis Group, here are two extracts from this brilliant essay. (pps. 94-95 and 96-97)
Allahabad in the ’60s was home to some of the greatest writers of those times. Harivansh Rai Bachchan had left Allahabad for Delhi by then, but there were other more famous chhayavad poets still around (Sumitranandan Pant, Mahadevi Verma and Nirala), Firaq Gorakh-puri, Amrit and Sripat Rai (Premchand’s sons, both writers and publishers), Ilachandra Joshi, VDN Sahi and Usha Priyamvada, to name just a few. And of course, there was Shivani. However, along with others of her tribe, such as Salma Siddiqi and Mannu Bhandari, her kind of writing was passed off as romantic fluff or domestic sagas that housewives ordered by mail as part of a gharelu (domestic) library scheme. The very popularity of these women writers became a weapon to use against their literary output. To the supercilious self-styled critics who pronounced judgment on what was to be considered accept-able as literature, this space was only meant for those who wrote for a different audience, one that had a sophisticated palate developed on the ‘modern’ fare of European and contemporary American fiction. Certain subjects were taboo in this high-minded world: romance and bourgeois lives headed this list.
Somewhere by the ’70s, then, the small town became an object of ridicule: it was valourised in romantic literature and cinema but actually hated and mocked at in the real. Small wonder then, that its inhabitants (who suffered from a crippling form of low self-esteem since birth) ran into hiding and tried to ape the big-city culture by writing, speaking and dressing like the metropolitan sophisticates they yearned to become. When this happened, the country lost all those delightful rivulets that fed the creative river of the Grand National Dream. The homogenisation of culture took over: slogans replaced feelings. The joy went out of fun as its definition changed into something wrought by high-minded nationalist agendas. Political correctness has a lot to answer for.
Upon reflection, it appears to me that Shivani’s most prolific literary output and some of her most memorable and popular novels date to the years when Hindi magazines were avidly read across North India. Among these, Dharmyug (edited then by the formidable Dharmvir Bharati, a widely respected novelist and dramatist) occupied pride of place. Published by Bennett and Coleman (referred to henceforth as B&C), its owners (Sahu Jain and Rama Jain) promoted creative writing and later endowed the Gyanpeeth Award, the first privately endowed prestigious literary award for writers in various Indian languages. The Bennett and Coleman Group (later known as the Times of India group) also brought out a clutch of other magazines. Among these were Sarika (contemporary Hindi writing, edited by Kamleshwar) and Dinaman (a political and economic weekly, edited by Agyeya), both respected for their content and editorial gravitas. Filmfare, a film magazine, and the Illustrated Weekly of India were their popular English-language publications. The Hindustan Times group, owned by the Birlas, published Saptahik Hindustan (as a rival to Dharmyug), Kadambari (as an alternative to Sarika) and vied with each otherto publish serials by the most popular Hindi writers of those days. Throughout the ’50s and ’60s, there was not a single library or reader in North India that did not subscribe to these magazines.
Almost all of Shivani’s novels – certainly her most popular ones – were first published as serials in one or the other magazines mentioned above. Her most well-known novel, Krishnakali, published as a serial in Dharmyug in the ’60s, was later published as a novel by Gyanpeeth (the publishing house run by the B&C group). In addition to these magazines, two others (Navneet and Gyanoday) I can recall from then were modelled on the popular American publication, Reader’s Digest. Shivani’s travelogues, essays and memorial tributes were regularly published in these Hindi digests.
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Naturally, the serialised novel had its own effect on the writing it spawned. Fans wrote furious letters to Shivani when she betrayed their hopes (such as by killing off a character) or when she did not spend enough time on a particular strand of the narrative. This close bond between writer and reader was perhaps what contributed to the intimacy that readers developed over the years with their favourite writers. My sister Mrinal Pande (who edited Saptahik Hindustan in the ’90s) recalls how typists vied with each other to type out Shivani’s (always) handwritten manuscript when she sent in a fresh instalment so that he/she would be the first to read it! The circulation of magazines jumped by as much as 55 per cent when her novels were being serialised and siblings fought with each other to grab the magazine to read it first when it was delivered to private homes. Often they tore the pages out so that they could share it among themselves.
What gave this genre its enormous reach and popularity was that these stories were significant documentaries. I would say that that it was reality fiction based on real-life characters and episodes and invisible to the writers based in our up-and-coming metros who consciously distanced themselves from these provincial lives to become more acceptable to a wider, international literary world. This is a fact often overlooked when tracing the evolution of Hindi writing. As Vasudha Dalmia’s book on fiction and history reveals, novels located in Allahabad, Agra, Aligarh, Banaras or Lucknow give us an insight into the social landscapes that were shaping middle-class lives in the ’50s and ’60s.2 Beneath the romantic tales of young women and men were rich subplots that reveal the gradual breakup of orthodox joint families, the effect of education on the emancipation of women in provincial India and the effect of migration from small towns to industrial cities. The language of everyday conversation in middle-class homes and amongst families, the social terms of exchange between men and women, workers and employers are important markers of a world we seek today and cannot find because it no longer exists. What are often dismissed as kitchen tales and romantic fiction stood firm on a foundation because it was supported by religion and ritual, food and taboos, folk remedies and aphorisms that nourished clans and villages. In the tightly packed houses of our old shahars that were separated by narrow lanes, the smells and sounds that travelled across neighbours became rich lodes of narratives that had the authenticity of real lives. The bonds between Hindu and Muslim homes, or between upper- and lower-caste settlements were strong threads that wove the fabric of our social communities. A deep suspicion of the other community was balanced by an equally strong love for individual men and women. Look for these common narrative strains and you will find them in all writers who lived and thrived in little India.
3 Feb 2019
I interviewed the French Ambassador to India, Alexandre Ziegler, at the Jaipur Literature Festival 2019. The interview has been published in the online news portal Scroll. The text of the interview has been c&p below while the original url is here.
Alexandre Ziegler, the French Ambassador to India, was at the Jaipur Literature Festival this year to announce the winner of the 2019 Romain Rolland Book Prize. Recognising the best translation of a French title into any Indian language, including English, the Indo-French jury takes into account the quality of the translation and the publication itself while selecting the winner.
The award comes with an invitation to the Paris Book Fair 2019 in March for the publisher of the work and an invitation for the translator to attend a one-month residency in France.
This year, the longlist included essays as well as fiction and a very strong contribution from Indian languages apart from English, with four translations into Malayalam, two into Hindi, and one each into Tamil and Bengali. The winning title was The Life of an Unknown Man by Andrei Makine, published in France by Le Seuil, in India by Kalachuvadu, translated into Tamil by SR Kichenamourty.
The Romain Rolland Book Prize is just one of the actions of the French Institute in India to support translations of French books in India. It runs the Tagore Publication Assistance Programme and also launched a special training programme for translators this year. The first step was a one-day translation workshop focused on Indian regional languages, which took place on January 22 at the Centre for French and Francophone Studies, Jawaharlal Nehru University, and brought together more than 60 participants from various universities in Delhi. Ros Schwartz, the acclaimed translator, conducted the workshop. The long-term translation programme is part of the roadmap leading up to, on the one hand, the Paris Book Fair 2020, where India will be the focus country, and on the other, the New Delhi Book Fair 2022, where France will be the guest of honour.
Ziegler, who has been the Ambassador of France to India since 2016, spoke at the Jaipur Literature Festival about these initiatives. Edited excerpts:
Why was the Romain Rolland Prize instituted and what is its main focus? Does France have similar prizes in other countries too?
The Romain Rolland Book Prize is a translation prize that aims to support publishers and translators involved in the translation of French titles into Indian languages. The purpose is to find the best book and to be able to negotiate for it on best possible terms while also promoting texts in translation. My feeling is that we speak about strategic and economic partnerships, of which both are growing well but we still have to invest more in culture.
In this age of machine translations, we often forget the human touch of a translator is critical. Translators are at the very core of the relationship between books and the world. What we have realised through our interventions is that it is not just texts in English and Hindi but we got very good texts from other languages like Bengali, Marathi, Tamil and Malayalam, too. It makes one realise that languages are very crucial to reaching out to other cultures, not necessarily in entire diversity of language. This is very reassuring for us.
The second Romain Rolland Book Prize is being awarded because of the quality of text. Creating the prize happened organically through the ongoing Tagore programme to recognise translations. We wanted to reinforce the initiative. As a result we are also co-organising a translations workshop with the Jawaharlal Nehru University. The first one happened in January with acclaimed translator Ros Schwartz.
France has an active book trade, bookstores and book fairs. How receptive are the French to literature from India? Recently you released Over & Underground, a joint production between French and Indian writers and illustrators. How successful are such literary experiments? Does the cross-pollination of such cultural experiences help foster bilateral relationships, not necessarily confined to the literary domain?
Translation of the work of Indian authors in France has experienced several waves. Today there is a renewed interest among the French public for Indian authors. The dynamism of Indian publishing, its diversity and India’s international outreach have created a new curiosity for India and its authors and thinkers. The example of Over & Underground shows the combination of creativity between Indian and French authors, poets and illustrators. These co-publications need to be further encouraged and that is what we are working on.
Cross pollination of cultural experiences is exactly what we strive for to strengthen the ties between India and France. Books and other expressions of cultural diplomacy are a significant part of fostering bilateral relations.
What is the size of the French book market ? What are its characteristic features such as which genre sells the most, are print books preferred to ebooks, what is its growth rate etc? Is digital publishing making inroads with French readers?
The French publishing market is worth 4 billion euros, 300 million of which is in e-books. Overall, the French reader prefers printed books but there is a real growth in e-books. For consumer books, it represents only 3% of the market but for the B2B and books on law or medicine, this market reaches 9% with an annual growth of 10%. The e-book is also directly linked to the presence or absence of bookstores. E-books sell better where bookstores are not available.
The time of traditional reading has decreased but a recent survey conducted in November 2018 shows that 69% of the French population is connected: they read online but not necessarily literature! Each day, the French spend an average of 33 minutes on a computer and 52 minutes on a mobile phone. Reading is therefore omnipresent on other platforms but basically there is an attachment to the printed book in France: an average 5000 copies are printed but real successes vary between 200,000 and 300,000 copies. This is the case of [Michel] Houellebecq’s latest book, which will reach 400,000 copies. The trend is also to publish more titles each year. The number of prints is hence lower today than it was ten years ago.
France is known for its robust independent booksellers. Globally independent bookstores are finding it difficult to thrive but not necessarily in France. It is a remarkable success story. Do you have any interesting case study/report to share about how these independent bookstores have managed to continue?
There are about 1,000 independent bookstores in France. All those located in city centres are working well with an annual growth rate of 0.8%. This is a stable figure. Since 1981, the single price of the book has also allowed these bookstores to diversify. 37 countries, including 11 European countries, are currently applying the single price on books.
Recently the French Book Office (FBO) participated in the New Delhi World Book Fair (NDWBF). What was the response from the locals to your participation? Did the FBO gain significant learnings from its presence at the fair?
The French Institute in India invited four publishers of children’s literature and social sciences, and organised four professional panels. The exchanges between Indian and French publishers were very constructive but the NDWBF is not the ideal place for professional meetings. On the other hand, the invitation of a French author whose work has been translated in India and invited for a dialogue with an Indian author would allow exchanges with a wider audience. But our four publishers were very satisfied with their discovery of the Indian market and the prospects for collaboration in social sciences and children’s literature.
In 2003 I attended the Salon de livre Jeunesse at the invitation of the French government. It was extraordinary to see the throngs of children attending the book fair and buying books. I would be curious to know if the children’s book fair continues to be as popular. If so what are the kinds of books for children and young adults that are trending in France? Would you consider collaborating on projects for children’s and young adult literature with Indian publishers?
The Salon du livre et de la presse jeunesse in Montreuil attracts a large number of visitors each year. In 2018, for the 34th edition, there were no less than 179,000 visitors in 6 days, 4,000 more than in 2017. So I think we can say that children’s publishing is a booming sector in France. The dynamism of publishers and all those involved in books and reading contributes greatly to this success. Access to the fair was free for a good number of visitors and it is a real desire for cultural democratisation. As well as the multitude of actions that take place throughout the country and throughout the year around reading: meetings, workshops, debates, readings, competitions, prizes, etc.
Children’s literature in France is a market that knows how to renew itself, to question itself and, finally, to innovate. Thus, the early childhood segment develops real nuggets with sounds and materials to touch. The album is full of creativity with an incredible diversity of illustrators. The documentary is now close to coffee-table books by offering books that appeal to adults and children alike, whose aesthetics are so neat that it gives one pleasure to open and read them. As for fiction, from its first readings to “young adult” literature, publishers are increasingly perfecting their skills by offering books of high quality, covering all the themes that may interest young readers.
Would you consider instituting a prize similar to the Romain Rolland Book Prize for children’s literature as well?
We are in fact planning to consider children’s books as potential winners of the Romain Rolland Prize. This will be discussed in Jaipur with the jury members.
How well are translations of world literature received in France? How have you fostered and continue to manage a cross-pollination of literary traditions in France and India?
The French market is also influenced by Dan Brown and other Anglo-Saxon authors. But the phenomena of great success such as Elena Ferrante (Italian) or Arundhati Roy also shows that the French readership is open to world literature beyond Anglo-Saxons. This is why we believe that Indian authors have their rightful place in the French market.
Do you have any details that may be shared publicly of a road map planned for the 2020 Paris Book Fair where India is the guest of honour? What are the significant features of such an extraordinary event?
We are hoping to select many writers including children’s and young adult writers, across genres, as well as initiating new translations. We do not want only established writers to be invited to the festival. We would prefer to have a range of outreach programmes too. For instance, conferences, debates, collaborations with libraries, bookstores, universities etc.
What are the events planned at the 2020 Paris Book Fair? Anything exciting that the Indian publishers and readers should be aware of?
The Syndicat National de l’Edition and the National Book Trust have just signed the partnership agreement on 22 January 2019 for Livre Paris 2020. This book fair is a meeting place for the French public and Indian authors. We would like to organise panel discussions between French and Indian authors. For example we could have our two Nobel Prize winners in Economics enter into a dialogue. We also wish to encourage translation of Indian authors who have not yet been translated into French in order to introduce the French public to new young authors from all over the Indian Union. We also hope that this meeting will foster professional exchanges between Indian and French publishers. Several steps are planned. Pre-meetings in March 2019, a breakfast networking at Frankfurt between French and Indian publishers; invitation of French publishers to Jaipur 2020 and a professional training session on publishing that we would like to organise in India at the beginning of 2020. Not to mention the translation training programme that we recently launched with Jawaharlal Nehru University.
3 February 2019
Satadru Mukherjee is a photographer, a multi-media whizz and a talented marketing professional, currently working in the corporate sector. Good Morning India is his first picture book. It has been published by Scholastic India.
Good Morning India is a simply told tale of a little girl waking up early in the morning looking forward to her day at school. The unnamed girl is chirpy, her happiness is infectious, as she greets everyone on her way to school. She describes the journey narrating how Abdul Chacha and Pandit Ji are off to their mosque and temple for the day. It is a happy time as she looks forward to spending the day with her friends the super smart Kasheef, the ever joyful Christina and prankster Aman as they board the school bus:
As we play together
Beneath a sky so blue,
We promise to live our lives
Bound by friendship so true.
It is a beautiful book filled with light and joy as emphasised by the bright colours used. It also conveys the message of peace with the symbolic presence of a white dove in every frame of the story. What is truly remarkable about this book is that there is nothing out of the ordinary in the description. The slice of India portrayed in Good Morning India is present all around us. It is not confined to a particular region or locality. There are many ways of seeing but we just have to see India for what it is and not with a prejudiced mind. Good Morning India is heartwarming little picture book which will be appreciated by young and old readers, alike!
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Satadru Mukherjee agreed very kindly to write a short note on why and how this book came to be written. Here it is:
I grew up in Kolkata at the turn of the century, waking up to the sound of the Azaan every morning. (I still do! Now I stay in Delhi with a mosque quite close by my home.)
I would go to school (the 140+ years old Calcutta Boys’ School) each day and sing hymns, and start off the day with The Lord’s Prayer. Some of my best friends in school (we played football together) were from different religions. We went out pandal hopping during Durga Puja and stayed over at each other’s places. We were all invited for a Biryani feast during Eid celebrations at our Muslim friends’ homes. We are still the closest of friends.
I was best friends with a gang of boys from the basti (jhuggis as they call them in Delhi) behind out house till the time I was in North Kolkata (till I was 9), and in fact got embroiled in a fist fight with boys from another basti group, till my dad arrived at the scene, caught hold of my ear and dragged me back home.
During my college I used to save five rupees every day of my pocket money as our weekly treat was at a Muslim eatery called Qayum’s deep in the heart of central Calcutta, where you could get a plate of biryani for fifteen rupees!
Throughout my life, in spite of being brought up in a somewhat orthodox Brahmin family, my brothers and I always saw people and not what religion they belonged to.
When discussing this book with my publisher, we both agreed, given the current political scenario of aggressive polarization in the country Good Morning India should be a book that talks to young children about how all of us, irrespective of religion, can peacefully coexist. While writing this book, and working closely with the illustrators — my brothers Saswata and Susruta, — we really wanted to depict this sense of peaceful coexistence and equality that is the defining trait of India, to the young reader.
Good Morning India is scheduled to be released in mid-February 2019.
21 January 2019
