January is an extremely busy month in terms of literary events. There are back-to-back literary festivals, book fairs, book launches and more. There have been some exciting announcements such as Amazon India launching Kindle in 5 regional languages. The annual NBT World Book Fair is now held 7-15 January and will showcase India’s cultural heritage. India is a significant book market. So it is no surprise that once again the Australian Council for the Arts is bringing a team of publishers to India for B2B interactions in January 2017. Later this week the Hindu Lit Fest happens in Chennai, followed by Apeejay Kolkata Literary Festival 2017 and Jaipur Literature Festival celebrates its tenth anniversary. Here is a preview.
And for those based in Delhi, I will be in conversation with the wonderful novelist Chitra Bannerjee Divakurni about her latest novel, Before We Visit the Goddess. It is at 6:30pm on Monday, 16 January 2017, India International Centre, New Delhi.
Publishing Jobs and Appointments
Sameer Mahale has joined Penguin Random House India as General Manager, Sales. He was earlier at HarperCollins
Manasi Subramanian moves to PRH India as Senior Commissioning Editor responsible for acquiring literary fiction and nonfiction.
There is a vacancy for Publisher, Scholastic India, Delhi. The person has to have minimum 6-8 years of experience in children’s and young adult literature. Please send resume to Neeraj Jain, Managing Director ( [email protected] ).
New arrivals ( Dec – early Jan)
Eric Bulson Little Magazine, World Form Columbia University Press
Narayan Rao Text and Tradition in South India Permanent Black
Emma Dawson Verghese Genre Fiction of New India Routledge India
Jodie Archer and Matthew L. Jockers The Bestseller Code Allen Lane
Keith Houston The Book Norton
Prashant Reddy T. and Sumathi Chandrashekharan Create, Copy, Disrupt: India’s Intellectual Property Dilemmas ( with a foreword by Dr. Shamnad Basheer) OUP
Romila Thapar Indian Society and the Secular Three Essays Collective
William Dalrymple and Anita Anand Kohinoor Juggernaut
Jan Brandt Against the World ( transl. Katy Derbyshire) Seagull Books
Hannah Kent The Good People Picador
Maha Khan Philips The Curse of Mohenjadaro PanMacmillan India
Sarvat Hasin This Wide Night Hamish Hamilton
Ryan Lobo Mr Iyer Goes to War Bloomsbury
Laksmi Pamuntjak Amba Speaking Tiger Books
Sanchit Gupta The Tree with a Thousand Apples Niyogi Books
Andrei Sinyavsky Strolls with Pushkin ( transl by Catharine Theimer Nepomnyashchy & Slava I. Yastremski ) Columbia University Press
Armando Lucas Correa The German Girl Simon & Schuster
Martin Cruz Smith The Girl from Venice Simon & Schuster
The Great AI Awakening How Google used artificial intelligence to transform Google Translate, one of its more popular services — and how machine learning is poised to reinvent computing itself. ( An excellent article!)
( On 3 December 2016 the New Indian Express published a feature article on graphic novels in India by Catherine Gilon and Jayanthi Somasundaram in India for which I was interviewed as well. I have c&p the text below.)
Sharad Devarajan, co-founder and CEO, Graphic India
In a dark and stormy night, a dark knight rises, silhouetted against a moonless sky. Gods prepare for war a few thousand years in the mystical past. A goddess manifests herself in a young woman who has been raped and takes revenge. In the more recent past and in the now, history is retold through nostalgic strips of art. Sholay and Shivaay splatter across four-colour pages.
But the one that everyone’s waiting for is yet to come. S S Rajamouli’s breathtaking world of Baahubali promises to change India’s perception of graphic novels forever.
These heroes are not guardians of Gotham City, Metropolis or New York. They are in our own Indian backyard, spawning out of graphic novels, embedding themselves in the hearts of those who grew up with Batman, Superman, Spider-man and their league of super heroes. Artful pictures that tell tales of valour, humour, sex, gossip, introspection, despair, darkness and light—graphic novels are making a bold and in-your-face impression on paper in four colours.
Girija Jhunjhunwala, Publisher Pic: Shekhar Yadav
A mix of photographs, drawings and text bound together in a slim book brought out the colours and darkness in the lives of three men in Delhi in 2004 in Corridor, which leapfrogged its author Sarnath Banerjee and the rise of the graphic novel movement in India. It took Sarnath three-and-a-half years to complete the story set in the corridors of Connaught Place and Kolkata, capturing the essence of urban lives in all its madness.
V K Karthika, who was then senior editor at Penguin Books, took a huge risk by accepting his manuscript. “There was no commercially available graphic novel available in India at that time. She must have spent hours trying to convince marketing. Today, most publishers want to do graphic novels,” says the 44-year-old artist, whose work represents the rapidly-changing Indian lifestyle.
But graphic novels are not new to India. What is new is the themes they depict. With the success of events such as Comic Con 2016, people have come to view the genre of graphic novels in a different light. Visually strung-together powerful stories by 14 women in Drawing the Line: Indian Women Fight Back, published by Zubaan Books last year, reiterate that the realm of sequential art and graphic storytelling is here to stay.
“Amar Chitra Katha presented mythological tales in an illustrated format to readers all over India,” explains S Vijayan, the 49-year-old editor of Lion Comics, a pioneer in regional comics in Tamil Nadu. “Today, there are some young Indian comic book publishers who give an imaginative twist to our mythology for the English and Hindi audience. We need to keep pace with and embrace the changing times. That is why more space is now being created for graphic novels in other Indian languages as well.”
S Vijayan, Publisher. Pic : K K SUNDAR
The term ‘graphic novel’ was coined in 1964, and the Amar Chitra Katha comics were launched in India in 1967. The country welcomed the world of comics with open arms. Initially, they focused on retelling the epics, the Mahabharata and Ramayana. The reality of the power of graphic novels struck us much later when Orijit Sen penned his River of Stories in 1994. Published by Kalpavriksh, his pioneering work focused on how the Sardar Sarovar Dam on the Narmada river in Gujarat would impact locals. It was India’s first
attempt at cartoon journalism and, perhaps, India’s first graphic novel.
“I didn’t grow up with graphic novels as there weren’t any then,” says Sarnath, who was exposed to comics in a Bengali magazine in episodic forms—Indrajal, Amar Chitra Katha and even Tintin. “I was drawn to them because it was like staging your own play,” says the Berlin-based Indian graphic novelist.
Vijayan believes people need to accept that there is a thin line of separation between comics and graphic novels. “Comics in general are an all-encompassing genre, with awesome variety to suit all readers—young and not so young. Comics can mean fun-filled cartoons for kids, superhero stuff, mythology and more. On the other hand, graphic novels are a bit deeper, depict real life and target a mature readership,” he says.
Even though the last decade has seen the rise of more realistic stories, our hunger for superheroes has not gone down. “What has made superheroes and our genre of storytelling so successful is that great superheroes have for generations been reflective of larger societal narratives. They deal with serious storylines through characters that are flawed and go through a story of transformation and growth,” says 41-year-old Sharad Devarajan, co-founder and CEO, Graphic India, a publishing house.
Most readers will admit that the endless retelling of the Ramayana and Mahabharata epics still remain their all-time favourites. Adapting these deep-rooted classics by new-age publishers often see the use of latest technology—sharper, cleaner and refreshing strokes of Ram, Lakshman, Sita, Hanuman and their clan.
Jaya Bhattacharji Rose, International Publishing Consultant. Pic : Shekhar Yadav
Sarnath says graphic novels should reflect both mythology and reality. “There’s a lot of mythology that is created in real life, whether in politics or society. At the same time, mythology could be an inroad into understanding contemporary life. Comics with their multi-layered narratives and natural ability to play with parallel realities have a natural advantage,” says the author-illustrator, who was shortlisted for the Abraaj Group Art Prize 2015 at Art Dubai.
Even as some graphic novels look for inspiration from our yesteryear ethos, some look at present-day pathos. New York-based filmmaker Ram Devineni took up the case of rape survivors in his first novel, Priya’s Shakti. “I was in Delhi in 2012 when the December 16 gang-rape happened,” he says. “I participated in the protests that followed. I was horrified. The problem of sexual violence in India was not a legal issue, it was a cultural problem. For about a year, I travelled around India and Southeast Asia learning from poets, philosophers, activists, talking with rape survivors.”
During his journey, Ram realised how difficult it was for them to seek justice. On a parallel journey of understanding, he began researching Hindu mythology and discovered the many rich stories. “Often a disciple would call on the gods for help during dire situations. So I began formulating a new mythological tale where a mortal woman and rape survivor seeks help from Goddess Parvati. I wanted to create a new Indian superhero, Priya, who is a rape survivor,” he adds. What he did not expect was the stupendous success of the novel, which received so much acclaim that the World Bank approached them for Priya’s Mirror, an edition on acid attack victims. It was released in India in October at the Mumbai Comic Con.
Ram chose to work in this genre because he grew up reading Amar Chitra Katha, which influenced him hugely. “I first learned about Hindu mythology through their comic book series. Comics are an important part of our culture and hugely popular with teenagers and young adults,” he says. Ram explains how comic books have entered the commercial mainstream, major Hollywood releases are based on comic book characters and they fetch enormous box office returns. “Comic book characters like Superman, Batman, and Wonder Woman have become modern mythological icons. Other stories such as Art Spiegelman’s Maus address important historical events. We are using existing constructs that are familiar to everyone in India, but presenting them in a fresh and original way.”
Ram Devineni, Author and Filmmaker (second from left) with his creative team
Gaysi Zine, compiled by editor Priya Gangwani and art director Sreejita Biswas (aka Solo), is another success story that shocked conservative India. The country’s first graphic anthology with over 30 contributors visualising the gay Indian community is wacky, vibrant and brilliant. Solo from Bengaluru says she did not imagine its raging success. “The response was amazing. Starting from the successful crowdfunding and ending with the books selling out in the blink of an eye, it was quite the journey to be a part of,” she says. “When Gaysi Zine came out last year, a friend’s father called me to apologise for being homophobic and turning his daughter out of the house when she came out as a lesbian. That has been the biggest achievement for us.”
The making of a graphic novel involves a lot of hard work and intelligence. “It’s a great way to communicate with people across all ages, with people who can’t read, and overcome language barriers. It’s the cheapest way to make a three-headed alien having an epic space fight to come to life,” laughs Solo.
Rashmi R D, Editor, Blaft Publications. Pic: Sunish P Surendran
While many were exploring graphic novels to break stereotypes, Orjit used this format as a journalistic tool. He tried to narrate the voices lost in the 24-hour breaking news format with First Hand: Graphic Non-Fiction from India (2016). Vidyun Sabhaney, 29, who co-edited the book with Orijit, says: “First Hand came to us as an idea two years ago. We felt there were hardly any comics that told contemporary narratives. Comics that told urgent stories of the odds against which lives are being lived, and the events and forces that are shaping them, were missing. This understanding most often comes to us as reports, or in the form of books, but rarely as a visual story that can bring them alive with details, characters, location, etc.”
The Girl Not from Madras (perhaps the most poignant story from First Hand) takes you straight to the bricks of the police station, reluctance, apathy, et al. The Gurgaon-based writer recalls that when they put out a call for entries for the anthology, they got over 50 applications, many with preliminary sketches, storyboards and plots.
Vidyun agrees. “The community of creators is growing very quickly and attracting people from different disciplines. First Hand is an example of that. This is very different from how it was five years ago, when there were just a handful of comics creators. The medium is being used for many purposes—conventional storytelling, personal catharsis, documentation, education, etc.”
Graphic novels and comics have always sold well in India, says Jaya Bhattacharji Rose, an international publishing consultant in Delhi. “Characters such as Bahadur, created by Aabid Surti, are very popular. It is a familiar form of storytelling, and the Indian audience is receptive to it,” she says. But graphic novels require heavy investment. “When released, it must be affordable, and a substantial number of units must sell. It’s a Catch-22 situation. There is a lot of potential in this genre, but publishers will be wary of experimentation unless it is a tested author.” She cites Malik Sajjad’s Munnu as a remarkable graphic novel that narrates the story on J&K, with the Kashmiri Hangul stag anthropomorphised. “That’s an incredibly powerful book, but it was not published in India, though it was distributed locally,” she adds.
Sarnath points out that the international publishing world for graphic novels is dominated by the white middle-class male, with some designated spots for women, coloured writers and some easy-to-digest identity politics. The politics it represents is not as sophisticated as the form. “The story is different in India. A lot of bright people do graphic novels. It’s a better bet to work within the Indian sub-continent and look for markets outside the West, such as South Africa, Egypt and other non-Western regions,” explains Sarnath.
While working on the Gaysi Zine anthology, Sreejitha says she found that people want to read and know more. “The awesome thing about comic book lovers is that we actually want to keep reading new stuff from new places by new people.”
Vidyun Sabhaney, Author. Pic : Shekhar Yadav
There seems to be a tremendous amount of illustrated stories in the graphic novel format, straddling a variety of genres, both fiction and non-fiction, for a varied age group, from six years to infinity, believes Rashmi R D, 40, editor of Blaft Publications in Chennai. She agrees that comics with fictitious super humans with super powers thrived in the early years. But today, there are some amazing, hard-hitting non-fiction graphic novels for readers available in India.
Blaft Publications’ first graphic novel was Moonward by Appupen, which released in 2009. In 2011, it was selected for the Angouleme Festival, France. Reviewed as vicious, dark and brutally honest, Appupen created the world of Halahala, named after the poison generated through the churning of the primordial ocean and swallowed by Shiva. He brings to light the absurdities, idiosyncrasies and poisons of our own world through his debut novel. “Moonward knocked our metaphoric socks off at so many different levels. The world that Moonward was set in was so off the wall. It was what we wanted to get behind one hundred per cent,” recounts Rashmi. “First, it was Appupen’s art style; the second was that more than 70 per cent of the book was ready.”
Graphic novels have also arrived in the world of education. “The creation of a graphic novel is essentially storyboarding, just like a movie script. This similarity leads to a visual delight for young readers,” explains Girija Jhunjhunwala, 45, director, Campfire Publications, Delhi. Since their launch in 2008, they have published over 100 graphic novels. She admits that Campfire has faced several challenges, of which the first was to find authors, illustrators and editors in India.
“When we started out, graphic novels were a new format and several authors we approached were not able to help. It was an uphill task to find and convince artists to join Campfire, although several young artists that we recruited loved the idea of using their talent for something unique and new,” says Girija. “Booksellers tend to stock graphic novels at the back of shops where customers cannot see them. I am hoping that with the success of events like the Comic Con, the growing reader fraternity of graphic novels will one day convince book shops to bring graphic novels to the forefront in their displays.”
Vijayan agrees and underlines that the world over, graphic novels are an accepted entertainment format and have stunning sales numbers. “In India, there is a slight mental block and we tend to connect kidstuff to reading comics. One picture can convey what a hundred words can fail to. You will be stunned to discover the depth and volume that both comics and graphic novels offer,” he says.
With over 10 of their titles recommended by CBSE and 13 titles recommended by Kendriya Vidyalayas, Girija believes that graphic novels are a suitable medium for engaging young, hesitant readers who may find textbooks boring. “Keeping that end in mind, we have published graphic novel adaptations of well-known Western classics and historical events, biographies of famous persons (Mother Teresa: Angel of the Slums and Steve Jobs: Genius by Design), and tales and legends from Indian and Greek mythologies,” says Girija. “A graphic novel, when used as educational material for young readers, is essentially information disguised as entertainment. In today’s context, time is at premium for the young and graphic novels are indeed ‘instant coffee’ for young readers.”
Like all genres of books, graphic novels also face the brunt of digital revolution. But some use this to up their game. Ram uses augmented reality to elevate the reading experience. “Augmented reality is a major part of our comic book, and by scanning the book with the popular augmented reality app Blippar, you can view animation, real-life stories, and interactive elements pop out of the pages,” he says. Working on his next, Priya and the Last Girls, with Apne Aap Women Worldwide, an NGO working to end sex trafficking, Ram hopes to define new frontiers of integrating books, exhibitions, and public art with augmented reality.
For a nation that grew up with stories and later movies, it makes perfect sense to merge the grandeur of film-making with the in-depth storytelling nature of graphic novels. In the past, the likes of the Bollywood blockbusters Sholay—and more recently, Shivaay—were made into graphic novels.
The upcoming graphic series Baahubali: The Lost Legends is set before the Kalakeya invasion depicted in the movie, when Baahubali and Bhallaladeva as young princes of Mahishmati vie for the crown. The animated series will explore characters such as Prince Baahubali, Bhallaladeva, Kattapa and Sivagami as well as a dozen new characters as they reveal hidden secrets for millions of fans. The series will follow the relationship between the two cousins as they journey across the kingdom of Mahishmati, solving hidden mysteries, overcoming ancient terrors and defending their people from danger.
Sharad Devarajan from Graphic India says, “When Rajamouli revealed the depth of the characters and the world he created, we knew fans would love to go deeper than what could be shown in the films; comics and other transmedia storytelling experiences would allow for these opportunities. In the same way that Star Wars reshaped US cinema and sparked transmedia in the West for generations thereafter, Baahubali will be the pivotal moment we see that similar change emerge here in India.”
Are creating graphic novels an exciting and lucrative career option? “Graphic novelists are paid the same as any author’s royalty, usually 8-12 per cent of the book price. However, it’s a financial nightmare if you want to live on your books,” reveals Sarnath. Sreejita adds: “The payment a graphic novelist receives entirely depends on the publisher. Without a guild to help creators, there are no fixed rates. They can make as much as `5,000 for a page
or as little as `100.”
There’s another factor that publications consider. “In Blaft Publications’ early years, we’d get a lot of queries from people who had ideas and concepts for comics and graphic novels. Having an idea and having a volume of completed, original work ready to present, that’s crucial deciding factor.”
Characters Who Connected With Us
From super heroes to chaiwallahs, here are some characters who struck a chord with readers while presenting stories from India
Corridor
Sarnath Banerjee
Jehangir Rangoonwalla (dispenser of tea, wisdom, and used books), Ibn Batuta (looking for obscure collectibles and love), Digital Dutta (who lives in his head, torn between Karl Marx and an H1-B visa), and Shintu (the newly-wed).
Suppandi
Amar Chitra Katha
Suppandi is the most popular toon of Tinkle Comics, created in 1987. He is based on the Tamil folklore character chappandi, who is a total goof and makes you laugh with his silly antics.
The Gaysi Zine
Priya Gangwani and Sreejita Biswas
A collection of stories written and illustrated by artists captures the truth, from personal experiences, expressing values that are felt deep down to the core.
Munnu: A Boy From Kashmir
Malik Sajad
Seven-year-old Munnu presents an insight into everyday life through evocative graphics.
Astra, the Immortal
After creating superhero Chakra with the legendary Stan Lee, Graphic India will recreate the magic with Amitabh Bachchan. The story revolves around mythical superhero Astra, played by Amitabh’s animated version, taking on supervillains to rule the galaxy.
First Hand: Graphic Non-Fiction From India, Vol 1
Orijit Sen and Vidyun Sabhaney
Gujarat riot victims as first-time voters, trafficking and forced marriages in Haryana, a vegetable vendor from Kolkata who becomes a world-renowned artist, and 20 other stories.
Odayan
Suhas Sundar and Deepak Sharma
Odayan is a superhero with a dark side in the backdrop of feudal Kerala. He amasses wealth and builds a criminal empire. The green Kathakali-inspired mask strikes closer to home in both the visual realm as well as contextual.
Moon Mountain
Saurav Mohapatra and Sayan Mukherjee
The story set in 1909 is about Shankar, a middle-class Bengali village boy who is expected to get a job and take on more responsibilities. But Shankar’s heart is full of wanderlust and he wants to venture into the wilds of Africa.
Nirmala and Normala
Niveditha Subramaniam and Sowmya Rajendran
Nirmala and Normala are twins separated at birth. One becomes an actress, the other a normal person. Their lives run parallel to each other, bringing out the stark contrast between reality and movies.
In January 2017, the Australian Council for the Arts will be leading a delegation of publishers to India. They will also be attending the Jaipur Literature Festival ( 18-22 Jan). A B2B roundtable has also been organised in New Delhi.
The delegates from Australia include:
1. Australia Council representative
Dr Wendy Were, Executive Director, Strategic Development and Advocacy
Australia Council for the Arts | www.australiacouncil.gov.au
( This interview was first published on Bookwitty.com on 20 December 2016 )
Daisy Rockwell is an artist, writer and Hindi-Urdu translator living in the United States. Rockwell grew up in a family of artists in western Massachusetts. From 1992-2006, she made a detour into academia, from which she emerged with a PhD in South Asian literature, a book on the Hindi author Upendranath Ashk and a mild case of depression. Upendranath Ashk was a Hindi writer, based in Allahabad, who began publishing in pre-Independent India but soon, due to his irascible temperament chose to self-publish much of his later work. Daisy Rockwell met the Hindi writer on a few occasions in the 1990s and began translating his fiction with his permission. Unfortunately Ashk never saw Daisy Rockwell’s publications. Daisy Rockwell’s diligent dedication to the task shines through the quality of the English translations that were ultimately published. The translated literature is a pure delight to read; smooth and evocative of the early and mid-twentieth India they are set in.
Rockwell has written The Little Book of Terror, a volume of paintings and essays on the global war on terror (Foxhead Books, 2012), and her novel Taste was published by Foxhead Books in April 2014. Her translation of Ashk’s well-known novel about the evolution of a writer Girti Divarein was published by Penguin India as Falling Walls (2015), her collection of translations of selected stories by Ashk, Hats and Doctors ( 2013); and her new translation of Bhisham Sahni’s legendary novel about the partition of India, Tamas ( 2016).
How did you choose Hindi to be the language to master and translate from?
I wandered into Hindi in college and never really wandered out again. I loved learning languages and had studied French, Latin, ancient Greek, and German. I wanted something less familiar and happened to take a social sciences course with Susanne Hoeber Rudolph, who spoke of her life doing research in India, so I decided to sign up for Hindi. Translation was something one had to do anyway in graduate school, but I was fortunate to take a translation seminar with AK Ramanujan shortly before his death, and that illuminating experience has stayed with me always.
How do you select a text to translate?
It’s hard to say. Often a text chooses you, rather than vice versa. I wrote my doctoral dissertation about Upendranath Ashk, and always wanted to translate his work, though that project fell by the wayside. Eventually I took it up again because it wouldn’t let me go.
Do you have any basic guidelines that you follow while translating? For instance is it crucial to convey the authentic form of Hindi used in the language of origin or is it important to stress readability in the destination language?
What’s important to me is that the translation reads as well as the original, and that the reader in English can get the same feeling from it that the Hindi reader might (despite the vastly different reading contexts).
If the text you decide to work upon has been translated before into English, do you ever read it or do you like to approach your project with a fresh perspective?
I would never retranslate something that was already done well. I first check the existing translation against the Hindi in the opening chapter. If I decide to retranslate it, I keep the other translations at hand and consult with them, as though I were sitting among friends. Even if I think the previous translator did poorly, I recognize that he or she may see things in ways that would escape me, or know things I don’t know. Translation is a lonely business, and the other translators keep me company. I argue with them, listen to them, curse at them, and lean on them. Much of Hindi literature has not been translated, however, so retranslation is actually a rare luxury.
What has been the most exciting challenge you have encountered while translating Hindi?
Translation is almost always challenging, but rarely exciting.
What form of Hindi are you most comfortable with? Does it belong to a particular period of Hindi literature?
Because of Ashk and Bhisham Sahni, I have become really strong in 1930’s-40’s Punjabi-centric Hindi. I know all kinds of architectural details and articles of clothing and turns of phrase. Oddly, contemporary writing can be much more difficult for me.
Does translating Hindi while based in USA create any cultural challenges or is the immersion in your text so complete that your geographical location is immaterial?
It’s terribly challenging, but Twitter and social media have changed things dramatically. Much of the translating I’ve done would be difficult in India or Pakistan as well, without the reach of social media. There is much in novels of the earlier part of the 20th century that cannot be found in dictionaries nor in contemporary discourse. It’s not stuff most people know. I have to hunt high and low for definitions of some terms, and I depend greatly on my twitter friends for help in this regard.
Do you think it is “easier” to publish translations of Hindi literature as compared to when you first started in the 1990s? If yes, what are the possible reasons for this growing interest?
It is easier to publish them in India. In the US, I have yet to find a publisher for any of my translations. In India there is definitely a growing interest in translations and a growing respect for non-English language literatures. I am not sure how this happened, but I am thankful for it, and all signs point to continued growth in publication and interest.
How do you define “original text” as opposed to the “transcreations” authors such as Bhisham Sahni and Upendranath Ashk undertook with their own works when translating into English — a style not uncommon among many bilingual writers? Won’t the “revisions” to the text done later by the authors themselves be considered as “original” text? Which version do you opt to use in your translation?
I think bilingual authors should avoid translating their own work as much as possible. It seems most writers cannot withstand the temptation to alter the original while translating. They are the author, after all, so they have the right–but in doing so they deprive the English readers of the original text. At times, they alter the original beyond recognition, as in the sad case of Qurratulain Hyder’s translations River of Fire and Fireflies in the Mist. It is also often the case that bilingual people are rarely the same writer in two languages. Sahni translated Tamas himself, for example, but his English writing style was brittle and high-brow; though he knew English extremely well, he didn’t know the kind of English that Tamas would have been written in. The Hindi of Tamas is strikingly clear, succinct, and unadorned. His translation was unable to capture that. Hyder’s English was also perfect, but she clearly believed that the material must be presented differently to English readers and changed her works in sometimes very peculiar ways. And despite the fact that her English was perfect, I don’t believe that she wrote as well in English as she did in Urdu. It wasn’t a matter of being correct or not, but a matter of flow and style. In the case of the Sahni family, there was recognition that their father’s translation did not quite capture the spirit and they generously gave permission to retranslate. Sadly, Hyder’s heirs, following her wishes, refuse to grant permission to anyone to retranslate the books, so they remain off-limits to English readers, except for in their transcreated versions.
Your two creative pursuits — painting and translations can be exacting and very fulfilling. Do they in any way influence each other? For instance if you are tussling with a particularly challenging piece of translation does it get reflected in your painting and vice versa?
I’d like to think they’re connected, but if they are, the connection is not clear to me. I’ve occasionally illustrated translations or discussions of translation, but most of the time they are quite separate in my mind.
Is your preference only for literary fiction or would you try pulp fiction or even poetry in the future?
I’ve always been a high literature kind of gal. I never read pulp fiction (except for Blaft’s Tamil Pulp Fiction!) at all. There are plenty of translators who could do that, at any rate, but classics, in particular, require a great deal of reflection and research, and that’s where my niche lies. I have been translating some poetry lately though, such as Shubham Shree’s Poetry Management, and Avinash Mishra’s untranslatable poems on Hindi orthography . I’ve also been translating some poetry by Mangalesh Dabral, which has not yet been published.
( This interview was first published on Bookwitty.com on 10 December 2016 )
One month before the 10th anniversary of South Asia’s largest and most renowned literary festival, Jaipur Literature Festival founder and co-director Namita Gokhale (with William Dalrymple) sat down with Jaya Bhattarcharji Rose to talk about her latest, and eighth novel Things to Leave Behind. It is a multi-generational story set between 1840-1912 in Nainital and Sat Tal, Kumaon, part of the Himalayas.
How did Things to Leave Behind come about?
A tangle of memories about a time I sensed and knew. I had accessed a rich treasure of information through Mountain Echoes, the book of oral biographies I had compiled and transcribed. Then there was Clever Wives and Happy Idiots, folktales that had been recorded in the memoirs of Russian spy and adventurer, Ivan Minayev, which we at Yatra Books [a Delhi-based publishing house specialising in translations where Gokhale works as director] published and I wrote the introduction to. I wanted to give voice to this, to record and to remember those days, those stories.
In your acknowledgements you mention how this novel was inspired by your grandfather’s text –The History of Kumaon?
I did not have the good fortune to meet Badri Dutt Pande but he was an inspirational figure, who helped rid Kumaon of the infamous British ‘begaari ‘ system of unpaid labour. His book The History of Kumaon, originally written in Hindi with the title Kumaon ka Itihas gave me deep insights into the past.
How much does family and memory, especially of the hills, play a role in your writing? How have those shaped the subjects you write about?
I grew up in a beautiful house called ‘Primrose’, which finds fleeting mention in the novel. Many of the stories and episodes have their source in family history, including the tale of the royal physician Jeevan Chandra Vaidya.
How is writing about the mountains a different experience from writing about anything else —for instance in the context of your other books like the very successful Paro and Priya.
Urban novels have a different edge to them. The city has a very different character and atmospherics from the mountains.
Why adopt the British Raj spelling when the story is told from an Indian perspective?
The story is told from several perspectives. The old ‘Raj’ spellings were in use and authentic to the times, so I used them, especially in the early parts. The language and spellings I employ become slowly ‘modern’ in the course of the narrative.
Your first book was commissioned by the legendary editor, Carmen Calil when she was at Chatto & Windus. This was at a time when it was not so easy to access London-based publishing firms. As a publisher and writer yourself what are the transformations you have seen evolve in publishing?
Publishing has changed in terms of markets. India has its own readers, writers and publishers, and this strong internal market is growing. We are the third largest English publishing market in the world, after the US and UK. My first novel struck a chord and succeeded. I was very young and I learnt a lot, including how to cope with subsequent failures.
Your fascination for literature is evident in the local publishing history of the late 19th century to the early 20th century that you blend into the story. Is this your fascination as an author or a publisher?
I am fascinated by the power of books and ideas, in transforming how every age views itself. I wanted to describe the books people were reading, disputing, talking about. My fascination was as a reader as well as a publisher.
How did the title Things to Leave Behind come about?
I had spent five weeks at the Bellagio Center [residency program] at Lake Como. I was working on In Search of Sita and also this novel. When I was to leave, I struggled with the packing and made out a list of Things to Leave Behind and realized that this was to be the title of my book.
Things to Leave Behind is a novel that is incredibly powerful in its syncretism. Although there is a thriving and lived caste system in the mountainous regions of Almora and Sat Tal a significant portion of your novel dwells upon the arrival of missionaries of different religions such as Swami Vivekananda and the Baptists. Yet you are able to show how people always find the breathing space to live life according to their terms. Were these manoeuvres by the characters an exciting challenge to write?
The story told itself, the characters made their choices and lived out the consequences. That’s all. There was a ferment of ideas; a conflict of identities, then as there is now.
You have painted an unsettling picture of the hierarchies of the caste system operating in the hills. Can you share a little more about this character – Jayesh Jonas – and where he came from? Do you feel things are different in these societies today?
The caste system was rigid and hierarchical in those times. It has changed, but the attitudes and prejudices cast a long shadow. I was a Pant [part of a compound of a North Indian surname of people with a Hindu Brahmin background] before marriage. Jayesh Jonas was based not as a character but in his situation on a branch of my paternal family tree (that had decided, in very different circumstances, to convert to Christianity).
How have these hills affected you as a writer?
I keep going back to that landscape because somewhere in my imagination it provides immense solace. But that’s not all I write or want to write. Let’s see where my muse guides me next.
What do you feel is the one myth about the hills that people have that you’d like to demystify through your work and writing?
I try always to demythify the false romanticism of the simple hill life. People are complex, complicated and cunning everywhere.
( My article on the preview for JLF 2017 was published on Bookwitty.com on 30 December 2016.)
The first time I attended the Jaipur Literature Festival (JLF) at Diggi Palace Grounds, Jaipur it was small enough so that once could drive the car straight up to the main steps of the building. Today, the parking is a fair distance from the palace and the only way to reach the venue is through multiple barricades and a screening counter. Once inside though, there is a wonderful, festive air with an explosion of colours in the décor, the happy buzz of excited people milling about and conversations streaming through various marquees. Termed one of the greatest literary events, it is also a free one. Since it began, the JLF has welcomed 846,000 visitors, 1874 speakers, conducted 1272 sessions and partnered with more than 1400 organisations.
The JLF is also crucial because it is situated in a geographical space that is at the heart of a significant book market. It is planned soon after the Christmas break and a few months after the Frankfurt Book Fair (FBF) so publishing professionals flying in from around the world can follow up on their FBF conversations and combine them with a holiday in India.
In January 2017, it will be the 10th anniversary of the Jaipur Literature Festival. The three directors since its inception are Sanjoy Roy, Namita Gokhale and William Dalrymple. The festival has evolved over the years to include different elements such as Jaipur BookMark – a B2B platform for publishers, a children’s section and a cultural event every evening. The Festival has expanded internationally to host annual events at London’s Southbank Centre (2014 onwards) and Boulder, Colorado (2015 onwards). In 2017 the Jaipur BookMark will launch a new scheme to support emerging writers and budding authors are invited to apply for a New Writers’ Mentorship Programme: The First Book Club.
The Festival has celebrated and hosted writers from across the globe, ranging from Nobel Laureates and Man Booker Prize winners to debut writers, including Amish Tripathi, Chimamanda Ngozi Adichie, Eleanor Catton, Hanif Kureishi, His Holiness the 14th Dalai Lama, Ian McEwan, JM Coetzee, Margaret Atwood, Mohammed Hanif, Oprah Winfrey, Orhan Pamuk, Pico Iyer, Salman Rushdie, Stephen Fry, Thomas Piketty, Vikram Seth and Wole Soyinka, as well as renowned Indian language writers such as Girish Karnad, Gulzar, Javed Akhtar, MT Vasudevan Nair, Uday Prakash, the late Mahasweta Devi and U.R. Ananthamurthy.
This January, the Jaipur Literature Festival expects to welcome over 250 authors, thinkers, politicians, journalists, and popular culture icons to Jaipur. Sanjoy Roy said “Our prime focus is on history of the world, given that it was the 70 years of India’s Independence [in 2016]. In a new collaboration with the British Library they have loaned us a version of the 1215 AD Magna Carta which will be on view at Diggi Palace. A series of sessions on freedom to dream will look at inspiration for the future. We have a new partnership with The Museum of Modern Art (MoMA) that will look at sessions on art and migration.”
Namita Gokhale added that at the JLF “We are always trying to listen in as many languages as possible. This time there will be speakers from all over Europe and more than 20 Indian regional languages will be showcased.”
Controversies and the JLF also seem to go hand in hand. In 2012 Hari Kunzru, Ruchir Joshi, Amitava Kumar and Jeet Thayil read out passages from Salman Rushdie’s banned book The Satanic Verses and had to leave Jaipur hurriedly before the police arrived to arrest them. Another time the Shell oil company was one of the sponsors, which created a stir since, among other things, it is infamously associated with the tragic execution of Nigerian writer Ken Saro-Wiwa. At the time, the JLF administration said they do not look at the color of money. This year too, there is disappointment already being expressed at representatives of the Hindu fundamentalist group RSS being invited to speak at JLF but as the organizers point out they stand for diversity.
Be that as it may, the 2017 edition of JLF promises to be as exciting as ever. The magnificent line-up of authors includes Paul Beatty, Alan Hollinghurst, Valmik Thapar, Amruta Patil, AN Wilson, Alice Walker, Mark Haddon, Ajay Navaria, Mrinal Pande, Richard Flanagan, Arshia Sattar, Arefa Tehsin, Eka Kurniawan, Tahmima Anam, Chitra Banerjee Divakaruni, Marcos Giralt Torrente, Kyoko Yoshida, David Hare, Margo Jefferson, Deborah Smith, Jeremy Paxman, Hyeonseo Lee, Francesca Orsini, John Keay, Jon Wilson, Kate Tempest, Mihir S. Sharma, Neil MacGregor, Rishi Kapoor, Sholeh Wolpé, Sunil Khilnani, and Vivek Shanbhag. Sessions have been planned on translations, revisiting history, conflict, politics, memoirs, biographies, nature, poetry, spirituality, mythmaking, women writing, travel writing, freedom of expression, children’s literature and book releases.
Some of the prominent sessions are:
Writing the Self: The Art of Memoir: Bee Rowlatt, Brigid Keenan Emma Sky and Hyeonseo Lee in conversation with Samanth Subramanian
Lost in Translation: Francesca Orsini, Deborah Smith, Paulo Lemos Horta and Sholeh Wolpé in conversation with Adam Thirlwell
Migrations: Lila Azam Zanganeh, NoViolet Bulawayo, Sholeh Wolpé and Valzhyna Mort in conversation with Tishani Doshi
The Tamil Story: Imayam Annamalai and Subhashree Krishnaswamy in conversation with Sudha Sadhanand
In Search of a Muse: On Writing Poetry: Anne Waldman, Auður Ava Ólafsdóttir, Ishion Hutchinson, Kate Tempest, Tishani Doshi and Vladimir Lucien in conversation with Ruth Padel
Lost Kingdoms: The Hindu and Buddhist Golden Age in South East Asia: John Guy introduced by Kavita Singh
Before We Visit the Goddess: Chitra Banerjee Divakaruni in conversation with Shrabani Basu
Kohinoor: Anita Anand and William Dalrymple introduced by Swapan Dasgupta
The Dishonourable Company: How the East India Company Took Over India: Giles Milton, John Keay, Jon Wilson, Linda Colley and Shashi Tharoor in conversation with William Dalrymple
Brexit: A.N. Wilson, Andrew Roberts,, Linda Colley, Surjit Bhalla and Timothy Garton Ash in conversation with Jonathan Shainin
Rewriting History: The Art of Historical Fiction: Adam Thirlwell, Alan Hollinghurst and Shazia Omar in conversation with Raghu Karnad
Civil Wars: From Antiquity to ISIS: David Armitage introduced by Raghu Karnad
The Biographer’s Ball: A.N. Wilson, Andrew Roberts, David Cannadine, Lucinda Hawksley, Roy Foster and Suzannah Lipscomb in conversation with Anita Anand
Ardor: On the Vedas: Roberto Calasso in conversation with Devdutt Pattanaik
Things to Leave Behind: Namita Gokhale in conversation with Mrinal Pande and Sunil Sethi
That Which Cannot be Said: Hyeonseo Lee, Kanak Dixit, Sadaf Saaz and Timothy Garton Ash and in conversation with Salil Tripathi
The Art of the Novel: On Writing Fiction: Adam Thirlwell, Alan Hollinghurst, NoViolet Bulawayo and Richard Flanagan in conversation with Manu Joseph
Footloose: The Travel Session: Aarathi Prasad, Bee Rowlatt, Brigid Keenan, Nidhi Dugar and Simon Winchester in conversation with William Dalrymple
( My article on Kindle books being introduced in Indian languages was published in The Mint on 21 Dec 2016. )
Photo: iStock
Amazon India has announced that Kindle will launch digital books in five Indian languages—Hindi, Tamil, Marathi, Gujarati and Malayalam. The titles include Ishq Mein Shahar Hona by Ravish Kumar (Hindi), Rajaraja Chozhan by Sa. Na. Kannan (Tamil), Mrutyunjay by Shivaji Sawant (Marathi), Ek Bija Ne Gamta Rahiye by Kaajal Oza Vaidya (Gujarati), Aarachar by K.R. Meera (Malayalam) and Mayapuri by Shivani (Hindi). Kindle devices seventh generation and above will support Indic scripts, enabling readers to access such books.
This is a move that could be a game changer in India. Amazon India has moved methodically to embed itself in Indian publishing. First, it launched Kindle with free lifetime digital access provided by BSNL, but only for English e-books. In November, the acquisition of local publishing firm Westland—known for its commercial fiction best-sellers and translation programme—was completed at reportedly $6.5 million (around Rs44 crore), a small portion of the $5 billion allocated by Jeff Bezos as investment in India. In fact, Seattle-based Amazon Publishing’s translation imprint, AmazonCrossing, has surpassed all other publishers in the amount of world literature it makes available in the US. This was first highlighted in December 2015 by Chad Post, publisher, Open Letter Books, on his influential website, Three Percent. In October 2015 AmazonCrossing announced it had a $10 million budget to invest in translations worldwide. It is probably no coincidence that Amazon India vice- president and country manager Amit Agarwal has been inducted into the Bezos core team, which is responsible for its global strategy.
In an email, Post responded to the news, saying: “This seems like a great thing for Indian readers and anyone interested in Indian literature. Amazon’s stated goal is to make as many books available in as many formats to as many people as possible, and this program is a strong move in that direction. Increasing digital access to these books will be huge—it greatly expands the potential audience, and could help AmazonCrossing expand into publishing Indian writers in translation. AmazonCrossing published 60 works translated into English in 2016, which is far more than any other publisher. The majority of these titles are translated from German, French and Spanish, but AmazonCrossing has expanded into doing works from Iceland, Turkish, Chinese and Indonesian, so it makes sense that they would be interested in finding books from these five Indian languages.”
In India, this announcement could not have come at a more opportune moment. With demonetization, Indians who prefer dealing in cash are perforce moving to digital payments. Also, by July 2017, it will be mandatory for all handsets manufactured, stored, sold and distributed in India to support the inputting of text in English, Hindi and at least one more official Indian language, and support reading of text in all these languages, thus making it feasible to read books other than English on the Kindle app too.
Kannan Sundaram, publisher, Kalachuvadu, welcomed the decision: “We hope it will increase our revenue from e-books which is pretty low now. Tamilians are spread all over the world. It is near impossible to reach hard copies to them. So this will boost the chances for them to read Tamil books of their choice.” Best-selling author Ashwin Sanghi called it an “outstanding initiative by Amazon India. It’s about time that vernacular writing moved out from the confines of paperback. It will also enable out-of-print books to be made available now.” Another best-selling author, Amish Tripathi, said this will address the inadequate distribution and marketing of Indian language books, for the much larger market is the one in Indian languages. “I am personally committed to this and am very happy that of the 3.5 million copies that have been sold of my books, a good 500,000 of them are in Indian languages.” Others remarked upon the best global practices it would bring to local publishing.
Well-known Hindi lexicographer Arvind Kumar says it will influence reading patterns by encouraging cross-pollination of literature across cultures by “opening new avenues for translation of two-way Hindi to English and other Indian languages which are being introduced on Kindle, and from many non-English languages like French and German or, say, Latin American into Hindi”. Mini Krishnan, OUP, too endorsed it, saying readership in the Indian languages is healthy, so “a highly portable personal library will surely do well”.
( I reviewed Oddny Eir’s magnificent book Land of Love and Ruins forThe Mint. )
Land Of Love And Ruins is the first novel of Icelandic writer Oddný Eir to be translated into English. This book had won the writer and environmental activist the 2014 European Union Prize for Literature and the 2012 Icelandic Women’s Literature Prize. Written in the aftermath of the Icelandic banking crisis, Land Of Love And Ruins takes on the form of a diary, allowing the writer the freedom to flit back and forth on a subject and digress into personal reflections, recalling a conversation of the day or meditating on different philosophical points. It is a wonderful way for the reader to sink into an autobiographical novel that reveals an anxiety about the plundering of nature in the name of development.
In her diary accounts, the nameless woman narrator also reflects upon her complicated relationship with her archaeologist brother and ornithologist boyfriend, whom she refers to by their nicknames, Owlie and Birdie.
Her diary meanders through the few months she spends working while travelling within her country, Iceland, and abroad. While in Iceland, she travels to well-known tourist spots such as the lava park, Reykjavik; Hveragerði or the hot springs park; Holsfjoll, where there have been farms since mid-15th century; Snartarstaðir, famous for the museum of 19th century local objects; Vopnafjörður, known for its salmon and untouched land but also the port from where immigrants left in the 19th century; and the St Nicholas church, associated with an abandoned monastery that once had a printing press in its basement, and is a hub of literary activity.
While abroad, she visits Wordsworth’s Grasmere in the Lake District, Manchester, Paris and Basel. Every place she visits, she connects with places of literary interest and natural importance. Every such experience gives her the opportunity to reflect on the inextricable link between man, nature, creativity, culture and commerce. In an emotional moment when she hears that ancestral land in Holsfjoll had been handed over to a Chinese businessman, she writes, “Private ownership of vast tracts of land appears to be an anachronism. We’ve got to rethink the relationship between private ownership of the land and public ownership of resources.”
There are other interesting themes running through the book, such as brother-sister pairings, much like the relationship between herself and her brother, who cohabit. In the book, she speaks of the incestuous Egyptian gods Osiris and Isis, who were married and had a son; of William and Dorothy Wordsworth, who had a platonic relationship; “(a) certain Guðrún from Jökulsárhlið”, who was banished from society for bearing her brother’s child. She then fled to the mountains, where he joined her and “they lived in peace and harmony for many years, far from human habitations and in defiance of the law”.
Eir’s novel brings up the question of love between brother and sister, referring in one instance to the Egyptian gods Osiris and Isis.
The diary entries also reveal the writer’s fascination with the coexistence of the Christian liturgical calendar with that of the lunar calendar, reaffirming the steadfast relationship man has maintained with nature over centuries, and which acquires mythical and religious dimensions. Finally Oddný Eir’s love for literature is always lurking, with liberal references to books she is reading, which she links to her own life: “It’s so embarrassing to think that someone is actually interested in what you’re thinking. And in that regard, it’s almost unbelievable that autobiographies are published. Who cares about your story? I bought a little book by Thoreau in a bookshop last night, with this statement on the first page: I will therefore ask those of my readers who feel no particular interest in me to pardon me if I undertake to answer some of these questions in this book.”
Land Of Love And Ruins is reminiscent of the leisurely pace of Samuel Taylor Coleridge’s Biographia Literaria. Solitude is important to both the writers to contemplate their surroundings. The texts may be nearly two centuries apart, but their core ideas of subjectivity and man’s relationship with nature seem to address universal issues, which even 200 years after the Romantic movement continue to be relevant.
Oddný Eir writes: “Our relationship with nature needs to be renewed, our connection to the future. In this prolonged limbo and uncertainty, we’re lacking a vision of the future.”
Eir is a magical writer with a powerful voice who is not to be missed.
Land Of Love And Ruins: By Oddný Eir, translated from the Icelandic by Philip Roughton, Restless Books, 240 pages, $24.99.
( My review of Zadie Smith’s new novel, Swing Time, has been published in Scroll today. Here is the original url: http://scroll.in/article/824448/a-new-zadie-smith-a-new-set-of-difficulties-in-reading-a-new-pleasure . I am also c&p the text below.)
The baby was surrounded by love. It’s a question of what love gives you the right to do.
Zadie Smith’s latest novel Swing Time is about two young girls, Tracey and a nameless narrator, who live in council housing of 1980s London. These young girls are of mixed parentage who have been born different shades of brown as a result. They are not exactly social misfits but are not entirely accepted by their classmates as is apparent when they get invited to Lily Bingham’s tenth birthday party. The two girls are completely out of their depth as are their mothers who are clueless on how to guide the youngsters.
Was it the kind of thing where you dropped your kid off? Or was she, as the mum, expected to come into the house? The invitation said a trip to the cinema – but who’d pay for this ticket? The guest or the house? Did you have to take a gift? What kind of gift were we getting? …It was as if the party was taking in some bewildering foreign land, rather than a three-minute walk away, in a house on the other side of the park.
Swing Time is narrated in first person bringing to the story an intimacy, a close involvement between the reader and narrator, which would otherwise be missing if it was narrated in third person. This intimate relationship between narrator and reader helps particularly if Swing Time is read as a bildungsroman. The firm childhood friendship of the narrator and Tracey seems to peter away in adulthood. Yet the narrator’s flashbacks focus inevitably on the time she spent growing up in Thatcherite London with Tracey, to a large extent informing her adult life — emphasising the quality of “shared history“, an important aspect of friendships to Zadie Smith. (Friendships are a characteristic trait of her fiction.) Swing Time zips particularly once the billionaire singer, Aimee, hires the narrator as one of her personal assistants. The storytelling pace matches the heady life of the superstar who flits through her own life juggling various roles such as of being a mother, her performances, recording music, and charitable “good work” in Africa by sponsoring schools.
Amongst the early book reviews of the novel there is a common refrain that the story fails to match the potential of a writer like Zadie Smith, deteriorating into contrived, formulaic and predictable storytelling. Trying to read Swing Time in the traditional manner is an excruciating task. The sentences are structured in such an unpredictable manner – sometimes running on in a Jamesian style for pages on end in an uninterrupted paragraph. The swift shifts in tone from meditative introspection to commentary and sharp judgement by the narrator can be disconcerting. But if you shift the classical expectations of what the book should deliver to that of a novel written by an artist AND a mother — it suddenly transforms. It is more about an artist being a successful professional while managing her time as a mother too. Here is the narrator talking about her mother who puts herself through college while her daughter is still in school, later the mother becomes a prominent politician.
Oh, it’s very nice and rational and respectable to say that a woman has every right to life, to her ambitions, to her needs, and so on – it’s what I’ve always demanded myself –but as a child, no, the truth is it’s a war of attrition, rationality doesn’t come into it, not one bit, all you want from your mother is that she once and for all admit that she is your mother and only your mother, and that her battle with the rest of life is over. She has to lay down her arms and come to you. And if she doesn’t do it, then it’s really a war, and it was a war between my mother and me. Only as an adult did I come to truly admire her – especially in the last, painful years of her life – for all that she had done to claw some space in this world for herself. When I was young her refusal to submit to me confused and wounded me, especially as I felt none of the usual reasons of refusal applied. I was her only child and she had no job – not back then – and she hardly spoke to the rest of the family. As far as I was concerned, she had nothing but time. Yet still I couldn’t get her complete submission! My earliest sense of her was of a woman plotting an escape, from me, from the very role of motherhood.
There are portraits, references and pithy observations on mothering or the relationship between mothers and children. There are the mothers of the two girls – Tracey and narrator, the grandmothers in the family compound of African schoolteacher Hawa, the mothers of the African school children, Aimee and her children and Tracey and her brood. In some senses this novel too with its overdone cultural references especially of the recent past also becomes a record of events for Zadie Smith’s children’s generation.
In June 2013 Zadie Smith along with Jane Smiley objected to the suggestion made by journalist and author Lauren Sandler that they should restrict the size of their families if they want to avoid limiting their careers. Writing in the Guardian, Zadie Smith said, “”I have two children. Dickens had 10 – I think Tolstoy did, too. Did anyone for one moment worry that those men were becoming too fatherish to be writeresque? Does the fact that Heidi Julavits, Nikita Lalwani, Nicole Krauss, Jhumpa Lahiri, Vendela Vida, Curtis Sittenfeld, Marilynne Robinson, Toni Morrison and so on and so forth (I could really go on all day with that list) have multiple children make them lesser writers?” said Smith. “Are four children a problem for the writer Michael Chabon – or just for his wife, the writer Ayelet Waldman?” Smith added that the real threat “to all women’s freedom is the issue of time, which is the same problem whether you are a writer, factory worker or nurse”. A sentiment echoed in Swing Time when she writes: “The fundamental skill of all mothers [is] the management of time”.
In the end the narrator learns to appreciate Tracey’s balancing act as a professional and a mother — like a dance.
She was right above me, on her balcony, in a dressing gown and slippers, her hands in the air, turning, turning, her children around her, everybody dancing.
Swing Time is a mesmerising if at times a challenging read. It is the portrait of an artist AND a mother.
Zadie Smith Swing Time Hamish Hamilton, an imprint of Penguin Books, Penguin Random House, London, 2016. Pb. Pp.454 Rs. 599
Happy New Year!
Fair is now held 7-15 January and will showcase India’s cultural heritage. India is a significant book market. So it is no surprise that once again 
the Australian Council for the Arts is bringing a team of publishers to India for B2B interactions in January 2017. Later this week the Hindu Lit Fest happens in Chennai, followed by Apeejay Kolkata Literary Festival 2017 and Jaipur Literature Festival celebrates its tenth anniversary. Here is a preview.
Interesting links 
Harvard discovers a few of its library books are bound in human flesh ( 2014)
