The day history is made in USA with Hillary Clinton becoming the Democratic Party’s Presidential nominee and endorsed by outgoing President of the USA, Barack Obama it is worth looking at Alec Ross’s book The Industries of the Future. Alec Ross served as Hillary Clinton’s senior advisor for innovation while she was Secretary of State. Before working for Clinton, Alec Ross had worked as the convenor for technology and media policy on the Obama campaign that beat her in the 2008 presidential primary.
Alec Ross’s The Industries of the Future is a fascinating account of how much innovation is taking place in the world, in geographical corners that are mostly hidden from media view. He discusses robotics, genomics, cyber security, digital technology and finance, blockchains and bitcoins, etc. This is the kind of book that will be a reference document now to understand innovations and will have a long shelflife for its historical value in contextualising and explaining innovations that will define twenty-first century. What comes across strongly is that Alex Ross does not view innovations as disruptive but with wide-eyed wonder at the business potential and positive socio-economic impact these measures will have in future. Today it may seem as if these innovations are nudging just the limits of that is plausible yet many of these practices/ predictions are slowly coming true in one’s lifetime. Much like the automatic sliding doors of Gene Roddenberry’s stories of the 1960s were considered to be innovative are now very common in modern life.
Here is a wonderful interview with Alex Ross by Jinoy Jose P in the Hindu Businessline : http://www.thehindubusinessline.com/opinion/the-future-world/article8544279.ece . It was published on 1 May 2016.
Alex Ross’s book is truly stupendous. Hilary Clinton will do well to have him return to her team. Meanwhile read it. Buy it.
Alex Ross Industries of the Future Simon & Schuster, London, 2016. Pb. pp. 310 Rs 599
Amazon homepage on 6 June 2016 shows Novoneel Chakraborty’s book being amongst the top 25 bestsellers.
Novoneel Chakraborty is a successful commercial fiction writer who is known for his psycho-sexual or romantic thrillers. He is now a screenwriter for television too. He began writing in 2008 but since then has had phenomenal success with his books. He obviously has a knack for knowing what the readers/market desire and caters to it exceptionally well. His books are selling extremely well as testified by Amazon India’s banner on their homepage in June 2016.
His “Stranger Trilogy” consists of
Marry me, Stranger;
All yours, Stranger
and Forget me not, Stranger. Theseare being sold as a boxed set.
This trilogy has been creating a buzz for a while. The stories are written in first person by the protagonist Rivanah Bannerjee and have a lot of sex. The stories are ostensibly about the mysterious identity of a stalker who regularly sexually assaults Rivanah and she assumes its her boyfriend. The trilogy comes across as very uneven writing. The sex scenes are written very confidently and quite bold but always seem as if they are strongly influenced by international thrillers. It would not be so evident if it were not for the “bridges” between the sex scenes that is actually the narrative. It crawls like a typical contemporary Indian novel written in English which relies considerably on mundane conversation. There is little in terms of psychological thriller that makes these stories distinctly their own except for the mysterious identity of the stalker and reasons for stalking. A blue-blooded psychological thriller is packed with details, working in layers and the suspense building slowly and steadily sometimes even with multiple perspectives embroiling the reader into an emotional space that teeters between empathy and curiosity and horror. Unfortunately “The Stranger Trilogy” does not quite meet the mark.
It is also distressing to discover that a book written in the first person by a woman incorporates the male fantasy gaze “appreciating” if not at times fantasing about the sexual acts that would otherwise be seen as a rape. It is disturbing to have such literature being published and obviously rapidly finding a readership/market because somewhere it is catering to these bizarre fantasies. In terms of creative licenses every author has the freedom of expression to write on any subject they like and in any manner. But this? Given the current scenarios of the horrific rapes and stalkings that are constantly being documented in India. Who can forget the rape of the young girl in December 2013 or the recent one in Kerala of a Dalit girl in April 2016? Alas these two young women did not survive the horrific assaults. In 1983 Sohaila Abdulali had written about her experience of being gang-raped in Bombay and the article was published in Manushi. Here is the link: http://bit.ly/1r9YCMH In the past few weeks two very powerful posts by rape survivors have gone viral on the internet. They are extremely moving for the manner in which these women have survived their assaults, had the immense courage to write about the experience even though it must have been very painful to recall details and put it down in words. The first is by Jessica Knoll whose debut Luckiest Girl Alive smashed all bestseller charts for its story. (Reese Witherspoon has optioned the film rights.) Weeks after the book was published Jessica Knoll wrote this article in Lenny Letter for the first time acknowledging being gang-raped as a teenager. ( http://bit.ly/1UCLhGR ) On 4 June 2016, the rape victim of a Stanford swimmer read this letter out aloud in court after the rapist was sentenced to a mere six months in jail because a longer sentence would have “a severe impact on him,” according to a judge. The letter was published on Buzzfeed. (http://bzfd.it/213lAkL ) And who can forget the Steubenville High School rape case on the night of August 11, 2012, when a high-school girl, incapacitated by alcohol, was publicly and repeatedly sexually assaulted by her peers, several of whom documented the acts on social media. The news exploded on social media creating a cyber-storm across geographies with widespread condemnation.
These rape cases highlight the horror of the act and that sexual assaults are a serious crime. Cultural collateral such as book products are an integral part of a complex social ecosystem. Presuming such stories exist as standalone entities meant solely for entertaining is unacceptable. These acts may be the fantasy of many and products peddling such sexual fantasies sell well even in the book market but The Stranger Trilogy is irresponsible publishing especially by a reputed firm.
Novoneel Chakraborty The Stranger Trilogy Random House India, Gurgaon, 2015. Pb. pp. 250. Rs. 175 each.
“…if we start this festival here with this impurity in our midst, we might incur the wrath of Goddess Mariyatha.”
…
Kumaresan, who had stayed quiet until then, suddenly lost his patience. ‘ I have married her,’ he snapped, barely concealing his irritation in his voice. ‘What is it that you want me to do now?’
…
‘Look here, Mapillai. Until we know which caste the girl is from, we are going to excommunicate your family. We won’t take donations for the temple from you, and you will not be welcome at the temple during the festival.’
( p. 132- 34)
Award-winning writer Perumal Murugan shot to fame with his novel, One Part Woman, translated from Tamil into English. Unfortunately it was the sort of fame he could have done without since he was unnecessarily persecuted by lumpen elements that took offence at his novel. He was forced to publicly announce that he would no longer be writing. Yet there was one more novel – Pyre. A slim one revisiting his pet themes — male protagonists, social structures, caste, rituals and ordinary and believable people. Pyre is about Kumaresan who leaves his village in search of work where he falls in love and elopes to marry his beautiful neighbour. Alas this marriage is not welcomed in his village instead they are ostracised. Curiously enough Perumal Murugan never mentions the castes explicitly. There are enough indications in the book that the bride, Saroja, is a Dalit or the caste formerly referred to as “untouchables”. A sad practice that continues to be prevalent in India.
Pyre or Pookkuzhi was first published in Tamil by Kalachuvadu Publications. On my behalf Kannan Sundaram, publisher, Kalachuvadu asked Perumal Murugan if in the original text he had ever mentioned the castes. He confirmed he had never done it. The English translation by Aniruddhan Vasudevan by a brief introduction that dwells upon the novel being about caste and the resilient force it is, the unusual reliance of Perumal Murugan on direct speech, the difficulties of translating Tamil dialects used extensively in the story such as Kongu and Aniruddhan Vasudevan’s own habit as a translator to first draft a “very idiomatic translation”. But once again there are no references to this being a story involving a Dalit girl. So I posed a few questions to the translator.
How true is the English translation of Pyre to the original Tamil? The English translation of ‘Pookkuzhi’ is very true to the original — nothing has been changed or consciously re-interpreted.
How did you work on the translation? Only with the text or did you keep asking Perumal Murugan for assistance? I worked on the translation over several months. It took a lot of time mainly because my graduate school work grew more demanding. I did a first draft, in which I tried to keep the translation as close to the Tamil syntax as possible. So, necessarily, that would read quite a bit awkward in English. Perumal Murugan was, at the time of translating Pookkuzhi, caught in the middle of the tyranny whipped up around Madhorubagan. So I wanted to give him his space and approached Thoedore Bhaskaran for help with questions about Kongu Tamil. He was most kind. But at the later stage, I was able to consult Perumal Murugan.
Did the author “tweak” the text for the English translation? In the Tamil edition does Murugan mention any of the castes? The English translation does not mention any but it is obvious that the caste angle is the basis of the anger in the story. PM didn’t tweak the text for English translation. ‘Pookkuzhi,’ in the Tamil original, does not have explicit caste names or place names. There are some recognizable markers and cues, but it does not take names. The caste angle gets foregrounded without explicitly naming castes. Through conversations, through references to people’s faith in caste hierarchy and practices, the novel manages to put caste and the difficulties of inter-caste marriage at the center.
Is the “Tholur” mentioned in the novel in Kerala or Tamil Nadu? ‘Tholur’ mentioned in Pyre is, according to the plot of the novel, in Tamil Nadu. I don’t think it is an actual place, but a middle-sized town Perumal Murugan creates as a setting for Saroja and Kumaresan’s meeting and romance.
Is Saroja a Dalit? Again, it is never explicitly mentioned, but the story itself and how she is perceived and treated point us in that direction.
Why did you not include a more detailed introduction to the translation? I didn’t include a more detailed introduction, because I think there is an immediacy and accessibility to the narrative, and I didn’t want to stand in the way of it. I didn’t want to assume that the readers needed such a mediation besides the translation itself, which is, in itself, an act of mediation. I do hope I will soon be able to write about the process of translation itself and how it works for me. So far, despite the labour and the time involved, translating has been sort of a zen place for me.
Pyre is a novel that is not easy to provide a gist of except to say it is one of those books that will forever haunt one especially the dramatically chilling end. It is seminal reading. It is stories that like this that bring out the rich diversity of Indian literature.
Perumal Murugan Pyre ( Translated by Aniruddhan Vasudevan ) Hamish Hamilton, Penguin Books India 2016. Hb. pp. 200 Rs 399.
‘If your wife is a ghost, then she is not wailing in the cupboards and corners of this house, she is not mooching about bemoaning the loss of her motherhood or the bitter pain of watching you boys live without her.’
‘No?’
‘No. Trust me, I know a bit about ghosts.’
‘Go on.’
‘She’ll be way back, before you. She’ll be in the golden days of her childhood. Ghosts do not haunt, they regress. Just as when you need to go to sleep you think of trees or lawns, you are taking instant symbolic refuge in a ready-made iconography of early safety and satisfaction. That exact place is where ghosts go.’
I look at Crow. Tonight he is Polyphemus and has only one eye, a polished patent eight-ball.
‘Go on then. Tell me.’
…
We sit in silence and I realise I am grinning.
I recognise some of it. I believe him. I absolutely blissfully believe him and it feels very familiar.
‘Thank you Crow.’
‘All part of the service.’
‘Really. Thank you, Crow.’
‘You’re welcome. But please remember I am your Ted’s song-legend, Crow of the death-chill, plase. The God-eating, trash-licking, word-murdering, carcass-desecrating math-bomb motherfucker, and all that.’
‘He never called you a motherfucker.’
‘Lucky me.’
( p.68-70)
In 2015 a buzz began about a promising debut by Max Porter. He is an editor at Granta Books and was due to publish Grief is the Thing with Feathers, a novel about an English widower and his two sons. It is a brilliant meditation on grief, loneliness, death and Ted Hughes. It is a novel that is written from three perspectives — the dad, the sons and the crow. The latter is a psychic manifestation of the dad who also happens to be writing a book on the poet Ted Hughes called Ted Hughes’ Crow on the Couch: A Wild Analysis but the symbolism of the bird works at multiple levels too. For instance the crow is associated with grief, intelligence, personal transformation, believed to be a spirit animal, a creature presumed to have mystical and magical powers, is a steady presence in folklore, mythology and to have personal insight. The Crow in Grief is the Thing with Feathers is no less. Surprisingly in this magical fable Max Porter with gentleness and supreme craftsmanship is able to weave in the mystical and modern with a personal tribute to a literary giant, Ted Hughes. It works splendidly not just in words but with a keen eye on the layout of text designed on each page seemingly in-step with the sentiment expressed. It won the International Dylan Thomas Prize 2016 where the judges commended it for its “imaginative prose”. The prize is for the best work of English-language literary fiction – poetry, drama or prose – by a writer of 39 or under, marking Thomas’s own death shortly after his 39th birthday.
According to the Bookseller, Granta where Max Porter works promoted him to editorial director of Granta and Portobello Books. Porter, who has published authors including Man Booker Prize-winning Eleanor Catton along with Han Kang, Tom Bullough, Caroline Lucas and Sarah Moss, will continue to acquire fiction and non-fiction for both lists. Sigrid Rausing, publisher of Granta, said: “I’m thrilled to announce Max Porter’s promotion. Max is a valued member of Granta’s editorial team – there is no part of publishing that he doesn’t do extremely well, and being a writer himself he understands the writing process from all angles.” Porter added: “I am delighted to be taking on this new role at Granta and Portobello. This is a remarkable team of people, dedicated to publishing outstanding books. It is a pleasure and a privilege to be here.” ( 31 May 2016 http://bit.ly/1su3hdE )
Grief is the Thing with Feathers is an exquisitely complex novel that is a must have.
Max Porter Grief is the Thing with Feathers Faber & Faber , London, 2015. Hb. pp. 115 Rs 799
Shobha Rao’s Unrestored Woman is a collection of short loosely interlinked stories first published by Virago Press and released in the Indian subcontinent by Hachette. The stories are classic in structure but the plot and treatment fairly unconventional. There are a range of stories inevitably dealing with Indian subcontinent during British Raj or at the time of Partition. With a South Asian name one approaches the collection assuming it would be of a particular style only to discover the writing is very modernist — bold, sharp, exploratory. It is no wonder then that T. C. Boyle included “Kavitha and Mustafa” in his anthology of Best of Ameican Fiction 2015. Although Shobha Rao is a writer of promise Unrestored Woman will forever remain her unfinished canvas in her yet-to-come oeuvre. Her justifiable admiration for Ritu Menon and Kamla Bhasin’s seminal work on Partition Borders and Boundaries: Women in India’s Partition is very evident but it is preventing Shobha Rao from making her stories her own. Instead what comes through is the strong desire to assert her South Asian roots, her sensitivity to the issues and her attempt to engage with them but alas is unable to convey it with a passion. Aamer Hussein in his review of the book in The Independent is correct in saying that Shobha Rao is on “a firmer ground as a realist”. ( 6 March 2016 http://ind.pn/1sSJaWq )
Maybe the author is working on a full-length manuscript like a novel or historical fiction on women and Independence/ Partition of the subcontinent that will have more depth than the few sketches presented here. Having said that Shobha Rao is a writer to keep on one’s literary radar.
Shobha Rao An Unrestored Woman and other stories Virago Press, an imprint of Little, Brown Book Group, Hachette India, 2016. Pb. pp. 244. Rs. 399
I reviewed for The Wire, Fiston Mwanza Majila’s wonderful debut Tram 83, translated by Roland Glasser from French into English and originally published by Deep Vellum ( USA). It has been published in the Indian subcontinent by Speaking Tiger Books on their exciting new list for International Literature. Here is the original url: http://thewire.in/2016/06/02/review-waiting-for-godot-in-the-congo-39893/ . This was published online on 2 June 2016. I am c&p the text below.
Fiston Mwanza Mujila’s Tram 83 is a bold experiment in form, set in an anonymous ‘City-State,’ which unnervingly parallels the Democratic Republic of Congo.
Credit: Speaking Tiger Books.
These recorded sounds are historical monuments, works of literature, poems, tragedies. Through the rust and other elements, you can feel history, the history of peoples, the memory of migration.
Fiston Mwanza Mujila burst upon the international literary landscape with his debut novel Tram 83. It was originally published in French in 2014 by Éditions Métailié and translated into English by Roland Glasser in 2015. Tram 83 is inspired by the city of Lubumbashi in the Democratic Republic of Congo (DRC), where the local economy is driven by diamond mining. The story is about ‘City-State,’ which could be anywhere, yet is distinctly a mining town. In City-State, one of the most popular restaurants and hooker bars is ‘Tram 83,’ and it is frequented by:
Inadvertent musicians and elderly prostitutes and prestidigitators and Pentecostal preachers and students resembling mechanics and doctors conducting diagnoses in nightclubs and young journalists already retired and transvestites and second-foot shoe peddlers and porn film fans and highwaymen and pimps and disbarred lawyers and casual labourers and former transsexuals and polka dancers and pirates of the high seas and seekers of political asylum and organised fraudsters and archeologists and would-be bounty hunters and modern day adventurers and explorers searching for a lost civilisation and human organ dealers and farmyard philosophers and hawkers of fresh water and hairdressers and shoeshine boys and repairers of spare parts and soldiers’ widows and sex maniacs and lovers of romance novels and dissident rebels and brothers in Christ and druids and shamans and aphrodisiac vendors and scriveners and purveyors of real fake passports and gun-runners and porters and bric-a-brac traders and mining prospectors short on liquid assets and Siamese twins and Mamelukes and carjackers and colonial infantrymen and haruspices and counterfeiters and rape-starved soldiers and drinkers of adulterated milk and self-taught bakers and marabouts and mercenaries claiming to be one of Bob Denard’s crew and inveterate alcoholics and diggers and militiamen proclaiming themselves “masters of the world” and poseur politicians and child soldiers and Peace Corps activists gamely tackling a thousand nightmarish railroad construction projects or small-scale copper or manganese mining operations and baby-chicks and drug dealers and busgirls and pizza delivery guys and growth hormone merchants, all sorts of tribes overran Tram 83, in search of good times on the cheap.
This long passage is best read aloud and that is the distinctive breakthrough in the novel. It is less a novel than an oral performance. There is absolutely no point in trying to read it as a classically structured novel. The writing has a structural rhythm defined by the punctuation. In an interview, Glasser said that while working on the translation he would spend some time walking around in the garden reading the text out aloud to himself.
Mwanza Mujila is a performance poet, something that gives him a natural feeling for the song in the words. The fabulous performance that he and Glasser gave at Malvern Books, accompanied on the saxophone by Chris Hall, shows how in tune he and his translator are. Ever since he was a child, Mwanza Mujila wanted to learn how to play the saxophone, but was unable to get one so instead he taught himself to use his voice as the instrument. He demonstrated it at the Brooklyn Book Festival. Woven along with these musical influences is the very strong impact of evangelical Christianity. The way that the words and lists build up to crescendos in the book are very similar to a tub-thumping pastor’s sermons.
It is fascinating to discover that Mwanza Mujila is pursuing a PhD in Romance languages & literatures. Romance literature emerged out of the textual recording of oral forms of storytelling like the Arthurian cycle. It is also phonetically written, lending itself to varying rhythms when read aloud. These stories also served a definite purpose of recording contemporary socio-political-economic events like the tin trade between France and Glastonbury but were also thoroughly entertaining. Obviously a form of storytelling that many centuries later continues to be popular.
A Beckettian relationship
This is not to say that the plot is unimportant. Tram 83 is primarily about two characters – Lucien, a writer, and Requiem, a hustler, who were close friends but drifted apart. Lucien is upright and ethical, while Requiem is wonderfully amoral, minting money however he can, from illegal sales to blackmail. Lucien returns from the “Back-Country,” having completed half of a “stage-tale” entitled “The Africa of Possibility: Lumumba, the Fall of an Angel, or the Pestle-Mortar Years…Characters include Che Guevara, Sékou Touré, Gandhi, Abraham Lincoln, Lumumba, Martin Luther King, Ceauşescu, not forgetting the dissident General”. He moves in with Requiem, who continues to flourish with his disreputable activities, but their relationship is now imbued with a deep-seated love/hate resentment towards each other. It is a particularly Beckettian relationship reminiscent of Vladimir and Estragon in Waiting for Godot especially with the refrain peppered throughout the text – “Do you have the time”. Many times the conversations do not make any sense unless read aloud. Out of nonsense emerges a narrative.
Around Lucien and Requiem swirl people and conversations, with a plethora of walk on parts. A few characters remain throughout the story, such as the publisher Ferdinand Malingeau. It is like a well-constructed theatrical performance, an opera, but it is surreal given the unnerving parallels with the DRC. In an interview with Asymptote the author said, “…the “City-State” could be anywhere; a non-place, in the same way that, in his view, DRC is a non-country — no stable government, borders constantly breached by armies from neighbouring states”.
Women are marginal to the story. Mwanza Mujila defended this decision in an online interview, saying, “Anyone who has spent at least one day in a quarry or mine knows that masculinity is a necessity (for the diggers) in this environment, and that this particular masculinity is constructed differently to that found in cities or out in the countryside, often to the detriment of women”.
Tram 83 has already garnered significant literary prizes, such as Grand Prix SGDL, the Literary Prize of Graz, Austria, 2015 Etisalat Prize for Literature and had been longlisted for the Man Booker International Prize 2015. It is a bold experiment in form and an absolutely marvellous debut – tough to read but intelligently crafted.
Buy it. Read it. Become a fan.
Fiston Mwanza Mujila Tram 83 Translated by Roland Glasser, Speaking Tiger Publishing, Delhi, 2016, 210 pages, Rs. 350.
Katherine Applegate’s Newberry award-winning book The One and Only Ivan (2012) is a stunningly beautiful book and a must read for children and adults alike. The New York Times wrote “It was based, loosely, on a true story; it addressed the issue of animal cruelty honestly, but in a manner that children could handle; it was technically original, telling the story from Ivan’s perspective, in short chapters that read like prose poems. But the primary reason “Ivan” has become such a beloved book is Ivan himself. His frank wisdom about life, both human and animal, provokes laughter and thought; his aspirations — to become an artist, and to liberate himself through art — feel universal.” ( 6 Nov 2015 http://nyti.ms/1TH2ehd )
Ivan is a gorilla in captivity. He lives in a mall with a bunch of other retired circus animals including Stella, an elephant and Bob the stray dog who has adopted him. After the humans have left for the night, Ivan and Stella converse with Bob usually napping on Ivan’s large tummy. One day Ivan requests Stella to recount the Jambo story. It is about Jambo a gorilla into whose zoo enclosure falls a human baby. Read on…
****
‘Tell us the Jambo story,” I say. It’s a favourite of mine but I don’t think Bob has ever heard it.
Because she remembers everything, Stella knows many stories. I like colourful tales with black beginnings and stormy middles and cloudless blue-sky endings. But any story will do.
I’m not in a position to be picky.
“Once upon a time,” Stella begins, “there was a human boy. He was visiting a gorilla family at a place called a zoo.”
“What’s a zoo?” Bob asks. He’s a street-smart dog, but there’s much he hasn’t seen.
“A good zoo,” Stella says, “is a large domain. A wild cage. A safe place to be. It has room to roam and humans who don’t hurt.” She pauses, considering her words. “A good zoo is how humans make amends.”
Stella moves a bit, groaning softly. “The boy stood on a wall,” she continues, “watching, pointing, but he lost his balance and fell into the wild cage.”
“Humans are clumsy,” I interrupt. “If only they would knuckle walk, they wouldn’t topple so often.”
Stella nods. “A good point, Ivan. In any case, the boy lay in a motionless heap, while the humans gasped and cried. The silverback, whose name was Jambo, examined the boy, as was his duty, while his troop watched from a safe distance.
“Jambo stroked the child gently. He smelled the boy’s pain, and then he stood watch.
“When the boy woke, his humans cried out, ‘Stay still! Don’t move!’ because they were certain – humans are always certain about things – that Jambo would crush the boy’s life from him.
“The boy moaned. The crowd waited, hushed, expecting the worst.
“Jambo led his troop away.
“Men came down on ropes and whisked the child to waiting arms.”
“Was the boy all right?” Bob asks.
“He wasn’t hurt,” Stella says, “although I wouldn’t be surprised if his parents hugged him many times that night, in between their scoldings.”
Bob, who had been chewing his tail, pauses, tilting his head. “Is that a true story?”
“I always tell the truth,” Stella replies. “Although I sometimes confuse the facts.”
Harambe died today, one day after his 17th birthday. Son of Moja, he was born and raised at the Gladys Porter Zoo here in South Texas– a magnificent western lowland gorilla. Everyone loved him here. Last year, the big guy was sent to Cincinnati Zoo to meet some girls. This afternoon, Harambe was shot dead when a small child crossed a railing, got through a fence, past thick Pyrecantha bushes and a 12″ thick concrete wall– and fell into the gorilla moat. Where were the parents of the child? Looking at their cell phones? I see kids running wild all the time at the Gladys Porter Zoo, at every zoo I visit. Chasing peacocks, yelling at the animals, feeding animals, throwing stuff into exhibits, often totally unsupervised and undisciplined. Adults do the same crap. Ignorant and self-entitled to do what they please, here in this very special place that many endangered species call home, they couldn’t care less about the consequences of their behavior. Now Harambe is dead. Great work people! Animals lose again.
RIP Harambe.
Katherine Applegate has recently published an equally moving book for children Crenshaw. Both books are published by HarperCollins Children’s Books.
Reality IS stranger than fiction.
Read these two novels. Share them. Live them. Avert such unnecessary tragedies in future.
Katherine Applegate The One and Only Ivan HarperCollins Children’s Books, London, 2012. Pb. Pp.260.
The Kindle Instant Preview ( or #KindleInstantPreviews) was launched in USA in January 2016. It is a new feature instituted by Amazon that lets third-party blogs, sites and apps give their users the ability to browse excerpts from books without leaving their sites or apps. The idea behind it being if you give readers a little taster of what to expect in the book they are reading about online there is a greater chance of impulse buying. The application is installed as a widget in the article or blog post that allows the reader alighting on the icon to “flip” through the book and if they like it, then they can move to the “buy” button and make an instant purchase. The feature is integrated with the Kindle so it is available only for those books available on Kindle + Amazon. Here are a couple of articles on the application from January 2016:
http://www.geekwire.com/2016/embed-a-book-amazon-starts-offering-kindle-book-previews-for-third-party-websites/ and http://jwikert.typepad.com/the_average_joe/2016/01/kindle-instant-preview-reinforces-amazons-dominance.html .
On 24 May 2016, the Kindle Instant Preview application was launched in India too. The press release is here: http://amzn.to/1OKIeIm . Amazon India has partnered with my blog. Some of the blog posts that have been integrated with the widget for the launch are visible on Ashwin Sanghi’s The Sialkot Saga ( http://bit.ly/1UEe1lq ),
Mary Beard’s SPQR: A History of Ancient Rome ( http://bit.ly/1RDJvFr ) ,
Paro Anand’s Like Smoke ( http://bit.ly/1XDbxSF ) ,
Meg Rosoff’s Jonathan Unleashed ( http://bit.ly/1paBhcw )
Chitra Bannerjee Divakurni’s Before We Visit The Goddess ( http://bit.ly/1NBeYsC ),
Robert Seethaler’s A Whole Life (http://bit.ly/1YV1jxd) and
LEGO books published by Scholastic India such as Lego Movie (http://bit.ly/1UaS9v2)
I am happy to partner with Amazon India for the Kindle Instant Preview application particularly if it helps in strengthening the publishing industry by benefiting the ecosystem. IMHO it gives readers a taster of what they can hope to read and offers authors & publishers the opportunities for more platforms to sell their books.
Support for my blog/website is by Akhil Namboothiri (http://akhilnamboothiri.com/ )
Earlier this week I interviewed Chitra Bannerjee Divakurni via email about her latest novel, Before We Visit the Goddess, published by Simon & Schuster. The review-cum-interview article has been published by newly launched literary website, Bookwitty.com on 20 May 2016. Here is the original url: https://www.bookwitty.com/text/573df5efacd0d0353bea32f7 . I am c&p the text below. One of the things I did not point out in the review but continues to bewilder me is the use of a Rajasthani woman on the book cover when all the books by the author focus on Bengali women.
One day, in the kitchen at the back of the store, I held in my hand a new recipe I had perfected, the sweet I would go on to name after my dead mother. I took a bite of the conch-shaped dessert, the palest, most elegant mango color. The smooth, creamy flavor of fruit and milk, sugar and saffron mingled and melted on my tongue. Satisfaction overwhelmed me. This was something I had achieved myself, without having to depend on anyone. No one could take it away…
Chitra Banerjee Divakaruni occupiesa capitalplace in global publishing as is evident in her moves between publishers from Picador to Penguin Random House and now to Simon & Schuster. She may be of Indian origin and her stories are very Bengali oriented but they have far greater international appeal. She moved to the USA in the 1970s but remains culturally sensitive to Bengali women’s stories. For years now she has worked with women’s organizations that help survivors of domestic abuse and trafficking. As she told me, “I am on the advisory board of Maitri in the San Francisco area and Daya in Houston. Maybe for this reason, it is important for me to write about strong women who go through difficult situations and are strengthened further by them. This is certainly true of my newest book, Before We Visit the Goddess. I never use the stories I come across in my activist work – those are confidential. But I am sure on some level they have influenced me as a writer and a human being.”
Her early works focused on the known world of Bengali women in the villages and cities, interpersonal relationships, on the home, inside the kitchen, women to women, and the importance of gossip. One such work, Mistress of Spices (1997) was turned into a film in 2005 with noted Bollywood actress and former Miss World, Aishwarya Rai Bachchan.
A decade later, the path breaking The Palace of Illusions ( 2008) was published. It is a feminist retelling of the ancient Indian epic the Mahabharata from the point of view of the King of Panchala’s daughter. It was a bestseller and according to Pan Macmillan India, now years after publication it continues to sell steadily at around 15,000 copies every year. This was a watershed moment in Chitra Divakaruni Banerjee’s life as a writer. The Palace of Illusions is now to be made into a film directed by the legendary Aparna Sen, which Divakaruni says she is very excited about. She also began to write young adult fiction such as Brotherhood of the Conch series (2003), in reaction, she told me at the time, to racist abuse she experienced with her sons in the US post 9/11.
She quickly returned to writing her trademark literature. Her later novels are written with a stronger voice and with an assertion of her multi-cultural makeup. As she says, “I have many identities, but ultimately labels are just that – labels. My sensibility as a writer has been shaped by living in India and America, Bengal and Assam and California and Texas. … I would like to think of myself as a global, multicultural writer with roots deep in India – and now Houston.”
She writes with great sensitivity to youth especially immigrants coming to the US. The confusion they face, the hostility, the racism, negotiating their way through life but also the unexpected benevolence of humankind that exists.
Before We Visit the Goddess is Divakaruni’s latest novel and sixteenth publication. In the fashionable mold of contemporary fiction with a five-generation saga, it predominantly details the lives of the second, third and fourth generation of women, Bela, Sabitri and Tara. But there is always much, much more tucked into the stories about the grandmother, mother and daughter. A strong characteristic of Divakaruni’s novels is the exploration of relationships between women, the inter-generational gap, the challenges and victories woman experience and the cultural differences of living in India and the US.
“My sensibility as a writer has been shaped by living in India and America, Bengal and Assam and California and Texas.”
To her credit, Divakaruni creates charmingly and deceptively simple women-centric novels. She never presents a utopian scenario focusing only on women and excluding any engagement with men and society. Instead she details the daily negotiations and choices women face that slowly help them develop into strong personalities:
“I believe in the right of women to live a life of dignity and make their own choices about important decisions in their lives. Therefore, I believe in women’s education, empowerment, and financial independence. These themes are all very important in Before We Visit the Goddess.”
It could be, for instance, the timid homemaker Bela’s insistence on taking her late husband’s firm to court to seek compensation for his death in a factory fire and to everyone’s surprise, winning, or Sabitri’s warm friendship with her gay neighbor, Kenneth, who helps her to establish herself successfully as a food blogger. Without being over-sentimental, Kenneth is tender and radiates pure love.
Divakaruni wrote about her character, “The young gay Caucasian male, Ken, became one of my favorite characters as I was writing him. I hope his unusual relationship with Bela will surprise and delight readers.”
Even the bright Tara who, besides a stray phone call or two, disappears from her family’s life after her parents’ divorce lives an adventurous decade. This includes working at a second-hand shop, becoming a drug addict, being sacked from jobs, babysitting an Indian grandmother transplanted to America who feels as if she is “being buried alive”, or driving an Indian academic to a temple in Texas with equally catastrophic and cathartic consequences. What is admirable about these women is that despite humiliation and hardship, they strive to get ahead.
The stories also work beautifully if read aloud. To my delight, I discovered that Divakaruni does just that with passages from her stories while drafting them, since “you become aware of the rhythm of the language you use”.
The structure of her prose is like a fluid stream of consciousness, evident in the manner in which she plays with the epistolary form and breaks it up in the first chapter when Sabitri is writing a letter to her granddaughter, Tara. Divakaruni believes that with women, “our thought-connections are often emotional ones.”
It is exactly this emotional resonance she wishes to explore and exploit in Before We meet the Goddess, deeming it a “novel-in-stories”. It is “a form that allows me to go through three generations of lives, their ups and downs, in an agile and swift manner, a non-chronological manner. This is important for me, because in some ways this is a novel about memory and how it colors and shapes our understanding of our life. Each chapter in the novel is a stand-alone story, focusing on a moment in the lives of these women, an emotionally significant moment, perhaps a moment of transformation – either good or bad. The stories have many narrators – not just the three women, but the man important in their lives – even if just for one day. Such a structure allows me to organize the novel according to emotional resonance.”
In Before We Visit the Goddess the author takes the different phases of life in her stride without making any of the experiences sentimental, such as young Bela’s pain, or the loneliness, and whimsical and wretched behavior of Leelamoyi, Bela’s wealthy benefactress. Her trademark fiction of the world of Bengali women remains steadfast but she also develops the inter-generational differences magnificently. She did her research, she said, by conversing with young Indians including those who have moved to or are studying in the US, and speaks via Skype to classes in colleges that teach her books. She is active on social media and “loves interacting with her readers”.
At a time when debate rages in the US as to whether the word “India” should be replaced with “South Asia” in school history textbooks, Divakaruni’s novel is more than auspicious. According to The New York Times, “The dispute centers on whether the region that includes modern-day India, Pakistan and Nepal should be referred to as India or as South Asia, to represent the plurality of cultures there — particularly because India was not a nation-state until 1947. It also touches on how the culture of the region is portrayed, including women’s role in society and the vestiges of the caste system. It might seem somewhat arcane. But it has prompted petition drives, as well as a #DontEraseIndia social media campaign and a battle of opinion pieces.
Divakaruni’s books have always elegantly examined multi-cultural identities and what it means to be an Indian, an American or a desi (people from the Indian sub-continent or South Asia who live abroad). In her masterfully crafted Before We Visit the Goddess, young Tara epitomizes the new generation of American-Indians — not ABCD (American Born Confused Desis) anymore but with a distinct identity of their own. As a diplomat told me recently, she may be of Indian origin but has no roots or family in the country and has not had any for generations. So a posting to India is as much of an exciting new adventure as it would be for anyone else visiting the country for the first time. Divakaruni’s latest novel examines these many layers of cultures, interweaving the traditional and contemporary.
Chitra Bannerjee Divakurni Before We Visit the Goddess Simon & Schuster, London, 2016. Hb. Pp. 210. Rs 499 / £ 16.99
…more and more I took refuge in books, not serious or significant books but books that offered an escape from myself, and it was these books, or rather our shared love for them, that bound me to the few friends I had…
Garth Greenwell’s debut novel What Belongs to You is about a nameless American schoolteacher who is based in Bulgaria. Funnily enough even though the narrator remains nameless the two cultural landscapes that influence him are very much fixed in a period —the Republican conservative homophobic Kansas and Bulgaria emerging from the Soviet era, detritus of which are still visible in the dilapidated buildings and in the attitude of the people. The novel is divided into three parts — Mitko, A Grave and Pox. In fact “Mitko” won the Miami University Press Novella Prize. What Belongs to You begins with the narrator looking to have sex and comes across Mitko in a public bathroom and from then on they forge a curious relationship. The second section is about the narrator receiving news about his father’s hospitalisation and the flood of memories it unleashes. The final section is about his mother’s arrival in Bulgaria and due to a concatenation of events primarily the fleeting return of Mitko in the narrator’s life, there is a sudden unyoking of himself from his past–immediate and childhood. It is an epiphany that liberates him paradoxically leaving him in despair too. It seems to happen subconsciously while recalling his experience of a severe earthquake.
…the first time I had known that absolute disorientation and helplessness, the first time I had felt in that incontrovertible way the minuteness of my will, so that underlying my fear, or coming just an instant after it, was total abandon, a feeling that wasn’t entirely unpleasant, a kind of weightlessness.
At Jaipur Literature Festival 2016, Colm Toibin said while researching for The Master, his novel/tribute on/to Henry James, he realised gay fiction was a 21st century phenomenon. He also observed that “fiction contains many mansions” a comment apt for Garth Greenwell’s debut novel. What Belongs to You is much more than a fine example of gay fiction with its extraordinarily bold voice; it is a Künstlerroman, a narrative about the artist’s growth to maturity. What Belongs to You is in the same category as James Joyce’s Portrait of the Artist as a Young Man or even Alison Bechdel’s graphic memoir, Fun Home. It is evident in the experimentation of form in “A Grave” such as the long unbroken paragraphs sometimes running on for pages and pages that fit snugly with the literary device of interior monologue. The lyrical prose of “A Grave” is structured as magnificently as Isabel Archer’s reflection in Henry James’s Portrait of a Lady. In both novels the interior monologues by the central characters are pivotal not only to the structure of the plot but also to the radical transformation they wrought in the narrator and Isabel and to the chain of events to follow.
At one level What Belongs to You is reading a story about a young man living in a new land and yet it is also recognising what belongs to you are who youare, what you make yourself. This could be by rejection such as the narrator’s complicated relationship with his father or by accepting new influences as the narrator says by “thinking it half in Bulgarian and half in my own language, which I returned to as if stepping onto more solid ground.”
Garth Greenwell is a boldly confident youthful writer who writes extraordinarily beautiful prose with panache. Hopefully one day the following writers will be together on a panel discussing the art of blending truth and fiction, writing a memoir-novel: Damian Barr, Paul McVeigh, Sandip Roy, Roxane Gay, Garth Greenwell and Alison Bechdel.
What Belongs to You is a debut that will be talked about for a long time to come!
Garth Greenwell What Belongs To You Picador, an imprint of Pan Macmillan, London, 2016. Hb. pp. 196. Rs 550
in geographical corners that are mostly hidden from media view. He discusses robotics, genomics, cyber security, digital technology and finance, blockchains and bitcoins, etc. This is the kind of book that will be a reference document now to understand innovations and will have a long shelflife for its historical value in contextualising and explaining innovations that will define twenty-first century. What comes across strongly is that Alex Ross does not view innovations as disruptive but with wide-eyed wonder at the business potential and positive socio-economic impact these measures will have in future. Today it may seem as if these innovations are nudging just the limits of that is plausible yet many of these practices/ predictions are slowly coming true in one’s lifetime. Much like the automatic sliding doors of Gene Roddenberry’s stories of the 1960s were considered to be innovative are now very common in modern life.
