Jawaharlal Nehru Posts

All India Radio / historic moment

25 11 , 2021 No Comments

This morning I finished recording a panel discussion on “Children’s literature in India” at All India Radio, the national radio channel. After the fabulously animated session was over, the producer informed us about the magnificent history of the table that we were recording at.

This table is where the first prime minister of India, Jawaharlal Nehru, made his “Tryst of Destiny” speech.

This table is where Mahatma Gandhi appealed to the nation to stop rioting. It was the one and only time that he visited the AIR studios — 12 Nov 1947.

This table is where Emergency was declared.

All India Radio has ensured that it is preserved and used. In all these decades they have never changed the bar from which the microphones hang.

Needless to say, all of us had goosebumps, by the time the producer finished his story.

Perhaps the producer was so pleased with the outcome of the recording. He really liked it. Truly, I am glad he did not tell us earlier. The moment he did, all of us jumped out of our seats. It just seemed surreal to be at the same desk where so many defining moments of our country’s history had played out. Apparently, most of the AIR employees are told this when they are training for their posts. But most do not share it with their guests as they are usually in a tearing hurry to leave after the recording.

Or

Perhaps it has something to do with the nature of our conversation where I shared a lot of our publishing history with reference to children’s literature. Made a point to connect it with developments in modern India. Maybe the producer was responding to the histories we were sharing? I do not know. It just happened so spontaneously.

I have no idea why were singled out for this precious piece of news. But this is a privilege indeed to be at the same table that has witnessed so much of modern Indian history.

Below are photographs of display cabinets in the foyer of AIR showcasing sound recording equipment.


25 Nov 2021

Manreet Sodhi Someshwar’s “Lahore”, part of the Partition Trilogy

01 09 , 2021 No Comments

…If religion was the basis of nationality, why there would be multiple nations in India. These nations exist in most villages, in varying proportions, with no boundaries. A Bengali Hindu and a Bengali Muslim live together, speak the same language, share the same customs. In Panjab, it is not uncommon in Hindu homes for the eldest son to be brought up a Sikh. Would that therefore mean two nations in one home? p.159

The first volume of “The Partition Trilogy” by Manreet Sodhi Someshwar , entitled Lahore is to be released very soon. When it is available in the market, buy it. Read it. It is excellent.

The publicity blurb states the following:

Set in the months leading up to and following India obtaining freedom in 1947, this trilogy is an exploration of events, exigencies and decisions that led to the independence of India, its concomitant partition, and the accession of princely states alongside. A literary political thriller that captures the frenzy of the time, the series is set in Delhi, Lahore, Hyderabad and Kashmir. Covering a vast canvas, Jawaharlal Nehru, Vallabhai Patel and Lord Mountbatten [ the text rather disparagingly refers to him as “Dickie” instead of “Lord”] share space in the trilogy with the ordinary people from the cities that were affected by the partition and the reorganization of the states.

Lahore is a very well-told story, delineating step-by-step the events that led to the subcontinent’s independence from its British colonial rulers and the heavy cost in terms of human lives. The story also focusses on the irrational hatred that consumed people. The author attempts a fine balance between the political events that were taking place at a rapid pace, sometimes leaving the politicians and administrators bewildered at the speed at which it was all happening, with that of the events engulfing common people. She offers insights into the macro- and micro- levels of decisions that needed to be taken by the British, and incoming Indian and Pakistani governments. The story moves extremely fast, aping the historical events. Lahore seems to based on extensive research involving historical documents, accounts, testimonies, more contemporary analysis that has been unearthed of the events that took place nearly seventy-five years ago. It is perceptible in the tenor of writing. It seeps through in the descriptions of the real and imagined characters — the state-level decisions that were being taken to manage the handing over of governance by the British to the Indians/Pakistanis, albeit the narrative focusses more on the Indian side; the brutal hacking of people on the streets simply because they were of the opposite community (“Communal rioting was spreading,as if by chain reaction”); the unreasonable acts of violence in neighbourhoods towards the “other” such as the fictionalised account of the Muslim fruit seller being shunted out of a predominantly Hindu colony ( eerily echoing present day India where a few days ago a similar act occurred towards a Muslim bangle seller in Indore); or the vicious assault, kidnapping and raping of women where often they were left to their fate ( “Nobody moved in pursuit, nobody seemed to have noticed her disappearance— or nobody had the energy left to care.”).

There is much, much more to absorb. It requires a keen historian’s eye to verify if the facts portrayed in this novel are as close to the truth as possible. In terms of the broader arc, the depiction of the events is close to what is evident in history books and the many oral testimonies that came tumbling out in the older generations as they recalled 1947 while witnessing the communal riots that had broken out in Delhi in 1984. The chilling parallels between the two were unmistakable. For instance, my grandfather, who was the last ICS officer, suddenly began to remember the 1947 horrors that he saw as a young officer. So much of what Manreet Sodhi Someshwar documents of the officers making lists of divvying up office furniture, watching people being slaughtered in the streets, or houses being burnt to the ground with families inside it are much of what my grandfather has recorded in his oral testimony at the Teen Murti Library. Apparently it is the longest oral testimony (4vols) ever recorded. It is also very familiar to those of us who have seen these riots. It is as if we as a nation cannot get rid of these violent memories and have made violence part and parcel of our lives. Today, with social media, recordings of such incidents spread like wildfire, igniting even more in other regions. It is incumbent upon us as responsible citizens of a democracy to remember the horrendous events of the past and learn to move on, rather than nurse communal hatred and replicate pogroms.

More than forty percent of the 1.4 billion Indian population was born after 1991, many of whom are unfamiliar with modern Indian history. But it can be accessed through various ways. By reading historical fiction such as Lahore in conjunction with history books such as Bipan Chandra’s History of Modern India and of course watching the classic film by Richard Attenborough, Gandhi, available in English and Hindi.

Lahore is truly magnificent. Although it is inexplicable why the book title is Lahore when the chapters spell it as “Laur”. It should be submitted for historical fiction literary prizes such as “Walter Scott Historical Fiction Prize” that is open to books published in the previous year in the Commonwealth. It would also be interesting to see a conversation between British writer Jamila Gavin who wrote the “Surya Trilogy” and Manreet Sodhi Someshwar as they both grapple with the events of 1947. Ideally Salman Rushdie should be invited to participate too given how his recent collection of essays dwells upon many of the themes that the other two writers tackle. Having said that there are many more writers who can be invited but this trio in conversation would make for a phenomenal conversation.

Buy it once it is available.

28 August 2021

PS I had posted this review on Facebook. Later Manreet Sodhi Someshwar shared it as her Facebook story. Here is a screenshot of it.

“Moth” by Melody Razak

03 07 , 2021 No Comments

Delhi, 1946

Ma and Bappu are liberal intellectuals teaching at the local university. Their fourteen-year-old daughter — precocious, headstrong Alma — is soon to be married: Alma is mostly interested in the wedding shoes and in spinning wild stories for her beloved younger sister Roop, a restless child obsessed with death.

Times are bad for girls in India. The long-awaited independence from British rule is heralding a new era of hope, but also of anger and distrust. Political unrest is brewing, threatening to unravel the rich tapestry of Delhi – a city where different cultures, religions and traditions have co-existed for centuries.

When Partition happens and the British Raj is fractured overnight, this wonderful family is violently torn apart, and its members are forced to find increasingly desperate ways to survive.

Moth by debut author, Melody Razak ( Orion Books), has been a surprisingly slow read for me. Usually, I manage to zip through fiction pretty quickly. More so when it is historical fiction as I have a soft spot for this genre. But this one was slow for many reasons. These ranged from false starts in attempting to read it to the many times my mind wandered after reading a section of the story. Let me explain. 

Melody Razak credits Urvashi Butalia’s seminal book The Other Side of Silence for having inspired her debut novel. I can absolutely understand and recognise that sentiment. I worked with Urvashi for many years. I joined her team the day she split from Kali for Women to establish Zubaan. So, I was privy to a lot of Urvashi Butalia’s work for many years and also helped brand Zubaan. I, like Melody, and many others, had been in awe of Urvashi Butalia’s work for years. She did something fundamentally new. Of capturing the oral histories of women and families after the British left India in 1947. We gained our Independence but the people from the newly created nations suffered tremendously. 

Urvashi wrote this book after she volunteered to help the riot victims of 1984. It was a watershed year for many of us living in Delhi at the time. The Indian prime minister, Mrs Indira Gandhi, had been assassinated by her bodyguards while she was en route to meet filmmaker and actor, Peter Ustinov. It unleashed the most horrific communal violence we had witnessed at that time in newly Independent India. We were still a young nation at that time. (Now, communalism seems to be a way of life.) Many, many folks were horrified at what had occurred in the capital city. It was unheard of. We had curfew imposed. The army conducted flag marches. The silence was unbearable. No one should ever have to experience the silence of living in violent times. It is very still and still very disturbing. In the far distance, we could hear mobs. We could hear sounds. We would see smoke spires in the sky. And one of the most frightening memories was to see the ashes of paper flutter down on our terraces. When my twin brother and I returned to school after those two terrible two weeks, we noticed kids in our bus who were looking dishevelled and reduced to a cloth bag carrying a few books. They had been affected by the riots for being Sikhs and had lost property and family. It was earth shattering. But we were young. It was our first experience of such violence. But for my maternal grandfather it brought back a flood of memories. Stuff we had not realised he had kept suppressed for decades. 

My grandfather, N. K. Mukarji, was the last ICS officer in India. The Indian Civil Service was the administrative service established by the British. He joined as a very young man and was allocated the Punjab cadre. This was before 1947, so as a government servant he was posted in and around the then undivided Punjab. He later recalled that as a young man, he would sit with the other officers, many of whom were British, dividing the assets of the Punjab state between India and Pakistan. Many times, the lists drawn seemed arbitrary but he would meticulously minute the meetings. I am sure somewhere documents exist with his neat signature. He also used to tell us about the migrant camps that were set up. For many years, the refugees of 1947 were considered to be the largest mass migration ever recorded in human history. It was unprecedented. There were no rules or policies governing or guiding the officers on how to manage this massive influx of people. He used to tell us of how his signature was forged and converted into stamps. These forgeries were then used to stamp documents of the refugees so that they could use them as valid papers to migrate. Some left overseas too. My grandfather was well aware of these forgeries but the administration was so overwhelmed by the number of people that needed looking after that he turned a blind eye. And if you ever knew him, he was such an upright officer that this act upon his part was so unlike him. He and his colleagues worried about the spread of disease. Cholera and typhoid that still plague large refugee settlements were the bane of their existence even in the 1940s. The only difference being that there were no UN forces or other humanitarian aid organisations to help manage the healthcare of the refugees. There was no organised camp. So, the relief of the onset of the monsoon, literally washed the camp, is something that I still recollect in Nana’s voice. He has been gone for more than two decades but his relief, as if it was a God sent gesture, is something I will never forget. So, the descriptions of the refugee camps in Moth brought back memories of these stories. I could not help but think that the perception of the refugee camps of today that are to a fair degree “organised” because of the aid agencies, was not the case at that time. And this was one of the depictions in Moth that bothered me, the pell mell in the settlement. Instead, the description seems to suggest that it is fairly orderly. It was as if the image had been created from the modern images of refugee camps. 

Just as these memories came flooding back for my grandfather, so did it happen with many victims of the 1984 riots. The victims were Sikhs. The community to whom the PM’s assassins belonged. Urvashi too is a Sikh. She too had family in Lahore and in India. In fact, when I went to Lahore in Nov 2003, I went in search of the house that belonged to Urvashi’s family and discovered that it was in the process of being pulled down. So, I brought back pictures of it for her. 

There were many, many reasons why Urvashi was affected by the 1984 riots. But working in the refugee camps of Delhi, listening to stories, being a feminist, she realised the importance of recording these stories. Oral history testimonies were being done in our country even then but not necessarily by individuals at this level. Urvashi’s work is pioneering for many reasons. She explored her family’s history and unearthed many more stories in the process. It has had a huge impact on the way Partition stories are read. 

Melody Razak picks on a few of the stories such as the women jumping into the well, the abduction of girls/women and taking them away to the other side (since then established as a regular form of persecution of women at times of conflict), the problems of documentation etc. I found it particularly interesting that while Melody Razak has been deeply moved by the incidents recounted in The Other Side of Silence and of course, for this novel, may have done some independent research, Melody has been unable to describe the traumatic incidents. I found that curious as that it is often noticed in the victims that they are unable to recount the actual event. There are mechanisms by which they protect themselves, one of them is to talk about the act in the third person or distance themselves in the plot. Melody does exactly that — distancing herself. It indicates how deeply moved she has been by the testimonies/stories of the events of 1947. 

By the way, the assassin of Mahatma Gandhi whom Melody mentions, Nathuram Godse, was sentenced to death a few years later by Justice G. D. Khosla. Again, another upright officer who opted to join the judiciary once India became an independent nation. He wrote about the trial of Godse. It is freely available as a booklet online. I met Justice Khosla. He was a friend of my grandfather’s. But by these acts, I feel as if I have been close to history. (Does that statement even make any sense?) 

Melody Razak gets the grief at the assassination of Mahatma Gandhi very well. I recall meeting people who remembered that day very clearly. This and later, Jawaharlal Nehru’s death. Everyone could recall what they were doing at the precise moment that the news broke about these deaths. The collective grief that was felt at Mahatma Gandhi’s death has been brilliantly captured by Melody. 

But the reason why I had so many false starts to the book were because of the tiny historical inaccuracies in the opening pages. I can only recall one at the moment. She refers to Amul chocolates. Well, they did not exist till many decades after Independence. Amul is a dairy cooperative that was set up by Nehru under his modern India plans under the leadership of Mr Verghese Kurien (again, someone whom I have met). The chocolates came much, much later. So, this fact could have been checked. There were also spelling errors that annoyed me such as getting the name of All India Radio wrong and hyphenating “All India” or referring to the hot winds that blow in summer as “Lu” instead of as “loo”. (It is a hot wind similar to khamsin.) 

I can see why Melody Razak has been showered with praise in the media and has been recognised as one of the debut novelists of 2021 by The Observer. She has a great sense of storytelling. Her pace is fantastic. She knows when to slow down her writing tempo or speed it up as per the requirements of the plot. Her characters are so alive. She is able to move freely between the Muslims and the Hindus and describes them well. Alma’s grandmother is particularly vile. To create evil in a person who is mostly ignored by the family, is quite a creative achievement. But alas, she is also so familiar. We have all come across such characters at some point in our lives. Melody also manages to share only that much of the back story of the characters as is relevant to the main plot. Again, an admirable quality as many debut novelists tend to get hijacked by their characters and create unnecessary tangents to the story. Whereas in this case, whether it is the stories of Dilchain, Fatima Begum, Ma, Bappa or even Cookie Aunty/Lakshmi, Melody shares enough to make them rounded rather than flat characters. There is no need to know more about them. 

I had reservations about the extremely feminist angle to the storytelling. It was sort of unbelievable that these narratives could possibly have existed in 1947/8. It seems as if a very modern structure of feeling has been superimposed upon the past. It does not sit well. But then it brings me to the crux of literary fiction. At what point as Salman Rushdie calls it, does fiction “lift off” from the truth and begin a story of its own? Somewhere the writer has to be given the leeway to let their imagination fly. The reader too has to go easy on the writer for letting them tell the story in their own way. Perhaps I found it uncomfortable, even though I more than heartily agree with the feminist sentiments, because of the amount I know about the events of 1947. But the moment I sort of let myself go and just read the story for what it is, I realised it was the only way to “get into” it and enjoy it. Also, having read a lot of historical fiction recently has been doing this — of revisiting past events and imbuing the women characters with a strength and a personality with a very modern touch. It works for modern readers. And if historical fiction is being redefined today as historical events providing only a backdrop to the storytelling, then I suppose we have to make our peace with it. It is fine. 

As for the sisters, Alma and Roop, they are incredibly well-created. Although making Roop cut off her hair, roam around naked and wear her father’s trousers whenever she needed to step out seemed a bit farfetched for a five-year-old. But then who are we to argue with the bizarreness of life under conflict. Or for that matter now, during the pandemic. That was another thing that I found so eerily parallel to Moth — our reality of rationing food given the lockdowns and irregular supply of provisions, not sure when to step out (in Moth for fear of communal riots and today, for fear of getting infected by the Covid-19 virus), creating community kitchens (in the novel for refugees and in modern life for migrants who are going home), etc.   

As is fairly evident, Moth has triggered many memories as well as made me respond to the book in a manner that I did not think it would do. So there in itself lies the answer of a good emerging novelist. Moth is an extraordinary immersive experience and I am glad I read the novel. 

3 July 2021

Book Post 28: 18 February – 2 March 2019

03 03 , 2019 No Comments

At the beginning of the week I post some of the books I have received recently. In today’s Book Post 28 included are some of the titles I have received in the past few weeks. 

3 March 2019

An extract from Radha Kumar’s “Paradise at War”

22 02 , 2019 No Comments

Dr Radha Kumar is a historian and a policy analyst who has written several well-regarded books on ethnic conflict and feminism. She was one of the interlocutors appointed for Jammu and Kashmir by the Manmohan Singh administration in 2010. Paradise at War is her latest book  on Jammu and Kashmir published by Aleph.

According to the book blurb:

Paradise at War is Dr Radha Kumar’s political history of Kashmir, a book that attempts to give the reader a definitive yet accessible study of perhaps the most troubled part of India. Beginning with references to Kashmir as ‘a sacred geography’ in the Puranas, Kumar’s account moves forward in time through every major development in the region’s history. It grapples with the seemingly intractable issues that have turned the state into a battleground and tries to come up with solutions that are realistic and lasting.

Situating the conflict in the troubled geopolitics of Kashmir’s neighbourhood, Kumar unpicks the gnarled tangle of causes that have led to the present troubles in the region, from wars and conquest to Empire and the growth of nationalism; the troubled accession of the state to India by Maharaja Hari Singh during Partition; Pakistani attacks and the rise of the Cold War; the politics of the various parts of the former princely state including Jammu and Kashmir, and the areas administered by Pakistan; the wars that followed and the attempts that Indian, Pakistani and Kashmiri leaders, starting with Sheikh Abdullah and Jawaharlal Nehru, made to find peaceful solutions, including taking the Kashmir issue to the UN, which had unintended consequences for India; the demand for plebiscite; the Simla Agreement, turning the ceasefire line into the Line of Control; communal riots in the 1980s and the growth of insurgency; increase in security forces in the state in the 1990s leading to public resentment; and the guerrilla occupation of Hazratbal, the fifteenth-century mosque. Showing that a changed Post-Cold War milieu offered new opportunities for peace-making that were restricted by domestic stresses in Pakistan, Kumar analyses the Lahore Declaration and its undoing with the Kargil operation; the morphing of insurgency into an Islamist jihad against India; India’s attempts to parley with separatist groups; and the progress made towards a Kashmir solution via peace talks by various Indian and Pakistani governments between 2002 and 2007.

Kumar’s descriptions of the contemporary situation—the impact of 9/11 and the war on terrorism; the Afghan war and the Mumbai attacks which created pressure on Pakistan to take action against radical Islamists; the blowback in Pakistan resulting in the growing radicalization of Pakistani institutions such as the judiciary and its spill over in Kashmir; the Indian government’s failure to move Kashmir into a peacebuilding phase; the trouble with AFSPA; the anti-India feelings that were triggered by counter-insurgency responses in 2010, the contentious coalition of 2014 and the killing of suspected terrorist Burhan Wani in 2016—underline the tragedies which ensue when conditions, timing and strategy are mismatched.

Drawing on her experience as a government interlocutor, Kumar chastises the Indian government for never failing ‘to snatch defeat from the jaws of victory when it comes to the state’s political grievances’. Equally, she shows how Pakistan’s Kashmir policy has been ‘an unmitigated disaster’. While arguing that India can do a great deal to reduce violence and encourage reconciliation within the former princely state, she concludes that if Kashmir is ever to move towards lasting peace and stability, the major stakeholders as well as regional and international actors will need to work together on the few feasible options that remain.

Timely and authoritative, the book cuts through the rhetoric that cloaks Kashmir to give the reader a balanced, lucid and deeply empathetic view of the state, its politics and its people.

With the publisher’s permission here is an extract ( p. 339-341) from Dr Kumar’s concluding chapter entitled “Conclusion: Faint Hope for a Peace Process”.

****

Looking back over the history of Jammu and Kashmir, the last seventy years have seen a tragic collision between aspirations for democracy and the grim realities of war. After centuries of imperial rule, the territorial state of Jammu and Kashmir emerged in the nineteenth century and the political state only after India and Pakistan became independent countries. From 1947, two opposing trajectories were evident. On the one hand, India–Pakistan conflict devastated daily life and severely hampered governance in the former princely state. On the other hand, all parts of the state steadily improved economically, though their economies remained heavily aid-reliant. Their residents acquired education and healthcare where once, not so long ago, they did not. Roads and rail lines were built, enabling connectivity and trade. Natural resources such as water were developed, and even though these resources were shared with India and Pakistan, residents still had more than they did sixty years ago.

Politically, however, there was a steady decline, from the first flush of hope in a post-monarchical order to growing disappointment and anger spurred by war and conflict every fifteen to twenty years. Albeit in sharply divergent ways, each of the divided parts of the former princely state found that its status and rights were determined by conflict and its government’s powers varied according to security and economic dependence on India or Pakistan. It seems counter-intuitive to say that the people of the Kashmir valley suffered the most poisonous politics of the regions of the former princely state, when they had a greater measure of democracy and civil rights, on paper, than their counterparts across the Line of Control. But the Kashmir valley also suffered the most stifling conditions, because it was the arena of violent conflict.

Looking back over the past decade or more, it can be seen that the Pakistan Army’s hostility towards India has cumulatively increased rather than decreased after 9/11. Musharraf cooperated with the US against the Taliban on the grounds that if he did not, it would advantage India. The first few years following 9/11 saw an intensification of cross-border violence in Jammu and Kashmir. During the peace process that followed, with considerable international facilitation, violence decreased sharply in Jammu and Kashmir but terrorist attacks against India rose, both in other parts of India and in Afghanistan. Eventually, the peace process was put on hold by a beleaguered Musharraf in 2007.

The civilian government that took over in Pakistan did not build on the framework for Kashmir of the Musharraf backchannel. But they took cautious steps to improve trade, and developed customs and transit infrastructure at the Wagah border. Though the 26/11 attacks were the most horrific terrorist act in years, Pakistan-sponsored terrorism against India declined overall. When the Zardari administration was succeeded by the Sharif administration in 2013, the initial months were promising. Sharif and Modi did briefly try to revive a peace process, but guerrillas succeeded in disrupting their efforts and Sharif soon fell foul of the Pakistani military.

Clearly, each country has yet to come to terms with the other’s red lines. Pakistan’s red line was, and remains, that terrorism would not be curbed unless Kashmir was also discussed. For India, terrorism had to end. The hard facts were that Pakistan was unlikely to give up support for anti-India groups like the Lashkar and Jaish until conflicts over Kashmir, Sir Creek and Siachen were resolved. The best that could be expected was that the Pakistan Army, under pressure, might restrain them. Equally, India would not settle with Pakistan until convinced that its government was ending support for anti-India militancy, including by non-state actors. First Vajpayee, then Musharraf, and then Singh, Zardari and Sharif, learned these hard facts the hard way, through trial and error, but the learning curve in each country appeared to be individual rather than institutional or collective.

Most Indians believe that the Pakistani position would change were the military to accept civilian precedence, but the chances of that happening are nil. Many would further argue that a sustained military-to-military dialogue would also soften the hard-line attitude of the Pakistan Army. Thus far, however, such a dialogue has proved elusive. The fact that the Pakistani NSA appointed in October 2015 was a retired general gave hope of a direct line to the military. After Pathankot, the jury was still out on whether this access helped. The two countries’ chiefs of army staff do not meet and their DGMOs have met only occasionally to talk CBMs. There have been intermittent and secret NSA talks since 2016, with no discernible impact.

A large and growing new challenge for both countries has been how to deal with the media. In the past four years, the role of electronic media in both countries has been understandably but unforgivably negative. With little substantive information to go on, Indian and Pakistani talking heads resorted to such virulent slanging matches in the run-up to the India– Pakistan NSA talks in August 2015 that they had to be cancelled. Some anchors questioned whether Pakistan fell into a trap by reacting so strongly to the Indian media, but this begged the question of whether the Indian media themselves fell into a spoilers’ trap. The Indian media muted criticism to some extent in 2018, with most channels supporting the ceasefire and questioning the toppling of the Mehbooba administration.

Astonishingly, the Indian government has never failed to snatch defeat from the jaws of victory when it comes to Jammu and Kashmir. From Nehru taking the conflict to the UN and arresting Sheikh Abdullah, to Indira dismissing and replacing elected governments, to Singh shying away from taking CBMs to political resolution, to Modi withdrawing the ceasefire before it had time to take hold and the BJP toppling the state’s coalition government[i] —almost every Indian prime minister has shown the state pusillanimity at best and authoritarianism at worst.

Pakistan’s leaders have done no better. Some might argue they did worse. Expressions of dissent were severely repressed and the powers of the elected leaders of Pakistan-administered Kashmir were little more than municipal. Gilgit–Baltistan suffered decades of sectarian conflict. But neither entity was subjected to the gruelling and attritive violence that Jammu and Kashmir was. While the reason was clear—India did not target Pakistan-administered Kashmir in the way that Pakistan targeted Jammu and Kashmir—it did not mitigate the suffering in Jammu and Kashmir.

As I write this conclusion, the Jammu and Kashmir conflict is at its nadir. Levels of violence continue to rise and abduction, torture and murder of Kashmiris in the security and police forces is becoming a new normal. The people of the valley are more alienated from mainland India than ever before and Jammu’s communal polarization between Muslim- and Hindumajority districts is greater than ever before.

Ladakh is the one clear ray of hope despite the distance between its two districts, Leh and Kargil. But its light cannot be shed on the valley and Jammu since it has always been quite separate from the two, both physically and in its polity.

****

[i] Rajesh Ahuja and Mir Ehsan, ‘Ramzan ceasefire in Jammu and Kashmir to end, security ops will resume, says Rajnath Singh’, Hindustan Times, 17 June, 2018; ‘Mehbooba Mufti resigns after BJP pulls out of alliance with PDP in Jammu and Kashmir’, Times of India, 19 June, 2018.

22 February 2019

“Jadoowallahs, Jugglers and Jinns” by John Zubrzycki

19 09 , 2018 No Comments

Historian John Zubrzycki’s latest  book Jadoowallahs, Jugglers and Jinns is a rich historical account of the history of magicians in the Indian sub-continent. It is a history going back as far as the Harappan civilisations, to the Mohenjodaro seals, through the time of the Mughals, British India till the present day. It is years of research spent in libraries across continents, interviewing people, meeting magicians and wading through archives that has enabled John Zubrzycki to put together this seminal volume. It may lack the lightness of touch as many contemporary narrative non-fiction books now have but Jadoowallahs more than makes up for it by the vast amounts of information it presents. What is truly commendable is how the author has delved through research material to create a narrative that is empathetic to the community of

H.E. Harinder Sidhu

magicians as a whole ( irrespective of their religious beliefs) and as far as possible the narrative is presented based on the empirical evidence he has garnered. This is an incredible feat to achieve given how witness accounts, historical documentation or even official documents from a particular period of history will always be biased and/or influenced by other pressing factors of the time. So to tease out and create a balanced narrative highlighting stories of individuals as well as historical incidents that create the fascinating landscape of magicians in the subcontinent. Zubrzycki is extremely familiar with India, who apart from knowing Hindi, has worked in the

(L-R) H.E. Harinder Sidhu, Rajeev Sethi and John Zubrzycki

country as a foreign correspondent, diplomat and tour guide.

On Tuesday, 18 September 2018, the six-month long Australia Fest was launched in India.  There are more than 75 events planned across 20 cities with over 25 projects involved. The commencement of the festival was with the official launch of Jadoowallahs at the Australian High Commissioner, H.E. Harinder Sidhu’s, residence in the presence of Rajeev Sethi, Chairman and Founder, Asian Heritage Foundation as the Chief Guest. The evening also included performances by Australian and Indian magicians Adam Mada and Raj Kumar, respectively, followed by

Adam Mada, magician, with hotelier Aman Nath whom he had called upon from the audience to assist with a magic trick.

a performance on the lawns by another magician. It was befitting that Rajeev Sethi had been invited as the Chief Guest given his experience with the Festivals of India and his many decades of work spent working in the cultural sector. He spoke exceedingly well giving a historical perspective on how he too has met jadoowallahs who did incredible tricks but even decades ago it was a dying art. Today few magicians exist but with a diminished repertoire of tricks given the vast cultural heritage they inherited. He emphasised how as someone interested in the preservation of India’s cultural heritage and its artisans, he along with many other eminent people like the Late Kamladevi Chattopadhyay and Pupul Jayakar set up Sarthi to help artisans in need. Later he also helped establish Bhule Bisere Kalakar which worked with the rehabiliation of artisans relocated to Katputhli colony at the time of the Emergency.

Raj Kumar, Indian magician, performing the basket trick.

Sadly, last year the artisans were evicted from this land last year too, as it was sold by the government to a builder for commercial development, of which a small portion has been allocated to

John Zubrzycki speaking about Motilal Nehru

create “vertical slums” for the displaced people. The reason why Rajeev Sethi mentioned his long association with the artisans was that the magicians and jugglers of whom John Zubrzycki speaks of eloquently have always been considered an integral part of the artisan community. In fact many of these practising illusionists were considered to be beggars as they would perform their tricks by the roadside or at crossroads while begging for alms. It was only in early August 2018 that due to a petition filed by activist Harsh Mander that an archaic law, “Prevention of Begging Act” was upturned. ( “Begging is not a crime, Delhi High Court rules“, Reuters, 9 August 2018). Rajeev Sethi rightly concluded his speech by lauding the author for being one of the magicians biradri, community, as John Zubrzycki speaks of the magical tricks but never gives the magicians secrets away.

The evening concluded with a brief presentation by John Zubrzycki about the research he had done for this book and shared a few anecdotes that have been recounted in the book as well. One of these fabulous anecdotes was that of Motilal Nehru, father of the first prime minister of India Jawaharlal Nehru, petitioning the Protector of Emigrants in Bombay to send “a party of Indians consisting of musicians, acrobats and artisans to the ensuing Paris Exhibition [1900].” What followed was an extraordinary sequence of events where Lord Curzon had to rule whether a” a jadoowallah’s tricks constituted manual labour because they were executed by sleight of hand” or were performers. If they were deemed as manual labourers then under the Emigration Act of 1883 that prohibited emigration of Indias to specified countries. This Act was tightened after an outbreak of plague in Bombay in 1896. In 1897, the Epidemic Diseases Act (No.3) was passed leading to “a ban of all native residents leaving India through Bombay Presidency”. Pressure from mercantile groups eased the rules somewhat to permit the severe disruption of labour to Uganda and Kenya to be resumed but the ban stayed for all of Europe and England. ( Read more in Chapter 10 of the book.)

It was a memorable book launch but it is the book that will leave its mark for many years to come with its enthralling account of jadoowallahs in the sub-continent.

To buy:

Hardcover

Kindle

19 Sept 2018

Theme of Independence in children’s literature in India

22 07 , 2017 1 Comment

(The following article was commissioned in 2015 by Sarah Odedina for the Read Quarterly. With her permission I am posting it here.  On 15 August 2017  India celebrates it’s seventieth anniversary of independence from the British. )

15 August 1947 India won its independence from the British. It had been a long freedom struggle. Mohandas Karamchand Gandhi, “Father of the Nation”, is recognised as one of its leaders especially with his non-violent method of protest. His birthday, 2 October, is a national holiday. When the British decided to leave the subcontinent they did so after partitioning it into two nations—India and Pakistan.

The uprising of 1857[1] was influential in instilling in the Indians “a rudimentary sense of national unity” that when a genuine Indian freedom movement began within a few decades later it inspired the leaders with the hope that their British masters could be defeated. Significant highlights were the Partition of Bengal, new words such as Swaraj ( “self-rule”), Swadeshi (self-reliance) and Boycott ( of all foreign goods and products), Satyagraha, Jallianwala Bagh ( massacre of peaceful protestors by General Dyer in Amritsar), Chauri Chaura ( burning of a police station, killing 22 policemen on duty), rise of communalism with “parties based on religion like the Muslim League, the Hindu Mahasabha and the Rashtriya Swayam Sevak Sangh …these parties only cared for their own communities, it was to their advantage if they could divide the country around religion.”[2]The Dandi March or the salt satyagraha, the Civil Disobedience Movement, Quit India Movement, and Independence.

It is now nearly 70 years since Independence, three generations removed from the momentous events. The freedom struggle still exists in living memory as it is not too far back in time. Yet for children, history is a mish-mash in their minds — the Harappan civilisation, the Mughals, Mauryan Empire and British India/freedom struggle are a blur. This is where literature plays a crucial role in offering perspectives.

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Globally children’s literature is understood to include fiction and non-fiction, a category distinct from literature used as textbooks and supplementary readers in schools. In India these fine lines are blurred. For the toddlers and primary school students there is variety of material available – fiction, folktales, mythology, non-fiction. As the pressure of school curriculum increases on students the focus shifts from reading for pleasure to textbooks. Till recently this attitude was deeply ingrained in society. Now the slow shift to reading for pleasure is perceptible. It is a coalescing of multiple factors –an increase in income of parents allowing disposable income available for purchase of books, a rise in publishing and retailing for children, establishment of specialist bookshops, increase in direct marketing efforts by publishers like book fairs and book clubs in schools and growth in popularity of children’s literature festivals like Bookaroo[3] has made the category of children and young adult book publishing the fastest growing and lucrative category in India. (It also helps when the target audience/market of less than 25 year olds constitutes 40% of the 1.3 billion Indians.)

Children’s literature with the theme of independence is found in school material and trade lists. In the 40s (actually from 30s onward if not earlier) the best children’s literature came out in Bal Sakha – a Hindi Magazine brought out by Bengalis settled in Allahabad, Uttar Pradesh. Some of the best writers, including Premchand, were first published here. This magazine dealt with the issue of independence, presenting it to children in what still seems a fairly contemporary way[4]. In 1957 two publishing houses were established – National Book Trust ( NBT) [5]and Children’s Book Trust ( CBT)[6]. According to Navin Menon, editor, CBT, every year in August Children’s World “publish[es] content related to Independence either written by children or stories/ articles contributed by adults.” Amar Chitra Katha (ACK)[7], specialise in comics, usually the first introduction to children on folktales, Indian mythology and stories about the freedom struggle published its first title on freedom struggle, Rani of Jhansi[8] on 1 Feb 1974, around the 25th anniversary of Independence. Historical accounts by writer and niece of India’s first prime minister, Jawaharlal Nehru, Nayantara Sahgal’s The Story of India’s Freedom Movement (1970) continues to be in print[9]. As she told me in an email, “The freedom movement is part of our modern history. Obviously it is important for young people to know their country’s history.”


Writing for children about the independence movement began to pick up pace in the early 1980s when CBT published writers like Nilima Sinha’s Adventure before Midnight[10]. In 1984 after the assassination of the prime minister, Delhi saw terrible communal clashes. It led to writers like Urvashi Butalia, Ritu Menon and Amitav Ghosh drawing parallels between their experiences with that of Partition. In the 1990s preparations for the fiftieth anniversary celebrations of Indian independence began. To commemorate it there were a deluge of books. For instance, Shashi Deshpande’s novel The Narayanpur Incident and Macmillan published The First Patriots (series editor, Mini Krishnan) consisting of short illustrated biographies[11]. Biographies, bordering on hagiographies, are the most popular genre for introducing children to this period in history. These books sell extremely well since it supplements school textbooks. Scholastic India with its Great Lives[12], Puffin India with Puffin Lives and Hachette India with What they did, What they Said? series have profiled freedom fighters registering steady sales too. Gandhi is a popular subject of biographies. From picture books ( A Man Called Bapu and We call her Ba on his wife, Kasturba), standard biographical accounts, profusely illustrated with photographs like DK India’s Eyewitness Gandhi and graphic novels like Gandhi: My Life is my message ( Gandhi – Mera Jeevan Hi Mera Sandesh). [13] An unusual book is Everyone’s Gandhi by Subir Shukla[14] which looked at Gandhi from children’s point of view. It asked provocative questions. It was syndicated in some 75 newspapers (English and regional languages) and the author used to get 500 postcards every week from children across the country, proving that it is possible to approach independence in a manner that generates serious response. Paro Anand, writer and founder, Literature in Action[15] says “I loved this book because it brought me closer to Gandhi. It took the capital letter out of it because made me see him like a human being who I could be not a saint or god who I could never aspire to be. I have used the book often with kids urging them to be a Gandhi for 5 minutes every day, in a single act of kindness or a single act of care. To me empathy is a very important component of kid lit.”

Now there are a variety of books available in terms of writing styles and formats. For instance late Justice Leila Seth’s fabulous book on the Preamble of the Indian Constitution – We, The Children of India[16]; graded readers with pictures like Bharati Jagannathan’s movingly told One Day in August[17], Nina Sabnani’s heart-warming animation film (later book) based on a true story Mukund and Riaz [18]and Samina Mishra’s Hina in the Old City[19] — all focused on Partition and Ruby Hembrom’s award-winning picture book Disaibon Hul on the Santhal Rebellion of 1855[20]. Young adult fiction inevitably has the story of one person caught up in the dynamics of the movement. So the author tries to take a micro level view and build upon that. For instance, Chitra Bannerjee Divakurni’s Neela: A Victory Song[21], Jamila Gavin’s Surya trilogy — The Wheel of Surya (1992), The Eye of the Horse (1994) and The Track of the Wind (1997)[22], Irfan Master’s A Beautiful Lie[23],[24] Siddharth Sharma’s award-winning debut novel The Grasshopper’s Run[25] which focuses on the Kohima war and Mathangi Subramanian’s Dear Mrs. Naidu[26] about a young girl who corresponds with Sarojini Naidu through her diary. Forthcoming is the retelling in English of Khwaja Ahmad Abbas’s Bharat Mata ke Paanch Roop ( Urdu) by his niece Syeeda Hameed[27]. Award winning historian-turned-writer, Subhadra Sen Gupta has written a clutch of biographies, historical fiction, picture books and nonfiction titles with the freedom struggle as the literary backdrop[28]. Roshen Dalal has published India at 70 ( 2017) chronicling the seven decades since Independence.

Some other examples of literature are listed by writer Deepa Agarwal, “Subhadra Kumari Chauhan’s popular poem Jhansi ki Rani and Makhanlal Chaturvedi’s Pushp ki Abhilasha. Outstanding historical novels on patriotic themes were written by Manhar Chauhan, like Lucknow ki Loot (The looting of Lucknow) and Bihar ke Bahadur (Brave men of Bihar) both published by National Publishing Company in 1978. His series of sixteen novels about British rule Angrez Aaye aur Gaye (The British came and went) is a monumental work with each book standing alone and yet connected with the others. In Urdu Allama Iqbal’s collection Hindustani Bacchon ke Qaumi Geet and Zakir Hussain’s Abbu Khan ki Bakri are on the theme of freedom. Pandit Brij Narain Chakbast’s patriotic poems,  Hamara Watan dil se Pyara, Watan Ko Hum Watan Humo Mubarak, from the collection Subhe Watan were meant for children. In Marathi V.H. Hadap wrote patriotic stories ranging from historical to modern times; his Sattavanachi Satyakatha is about the heroes of the 1857 revolution like Mangal Pande, Tatya Tope and Rani Laxmibai. In fact the centenary … was celebrated in 1957 with many books for children about the people who participated. Vasant Varkhedkar’s Sattavancha Senani is a novel on the life of Tatya Tope.” In Telugu Komuram Bheem: A children’s Novel on a Tribal Hero by Bhupal is about the tribal rebel from Telengana, published by Vennela Prachuranalu (Telugu)[29]. CBT also has a book on Gunda Dhar/ Bhumkal revolt of the Bastar tribal area.

Apart from written literature in India oral histories play a very important role too. Target, a popular children’s magazine, started a comic strip in the mid-eighties called “Freedom’s Children”, where a freedom fighter was profiled based upon extensive interviews. Prominent writers and illustrators collaborated for this project. At the end of each strip a photograph of the actual person was published. Now some schools organise interactions between grandparents with students to recount their memories of independence movement. Many times it is discovered that the children are unaware of the trauma the older generation experienced as if the elders want to protect the younger generation from the horrors they witnessed.

Vatsala Kaul-Banerjee, Publisher, Children & Reference Books, Hachette India says, “General response to these books is quite good. Our children take their cues from USA/ UK, so they do not look at India too much. … I do not think there is enough experimentation in children’s writing to create fiction in this area, so far.” Tina Narang, publisher, Scholastic India adds “Since this is a period in our recent history for which a wealth of detail is available, relevant research material is easy to come by for authors[30] who have written Independence-themed stories. But that I think is the biggest stumbling block. Most such stories tend to become stereotypical in their portrayal of that period and of independence as a valiant struggle by a group of noble and brave souls. There is little or no independent analysis of this struggle or attempt to question the motives, methods or outcomes (partition included).” Sudeshna Shome Ghosh, (then) Editorial Director, Red Turtle echoes this, “We do need to do more books that present a more diverse view of  the independence movement and that talks about the role of women or tribals or gives other kinds of alternate views.” Radhika Menon, founder, Tulika Books agrees, “Now we would like to do something that includes the contemporary discourses on the freedom struggle. Something that reflects a more inclusive idea of the freedom struggle with all its complexities so that the reader is urged to think and question rather than be left with certainties about history in her/his mind which tend to be rigid. The challenge is of course to make such a book reader friendly for the pre-teen age group.” Ruby Hembrom, publisher, Adivaani is clear when she says, “If we were to do a book on this period, I wouldn’t feature the Indian Nationalists who have been done to death in textbooks first and have hijacked the ‘independence’ space. I would do Jaipal Singh Munda and his eclipsed role in the constituent Assembly for example.”

Writing about Indian independence and the freedom movement for children is a tricky area since it raises more questions than helps map it. There is an apparent shift in the styles of writing over the generations of writers. From the writer like their subject (usually evident in biographies) have a sense of pride at being an independent and self-reliant nation to contemporary writers whose fiction is based research for using history to comment upon the present politics and social status of marginalised groups. Disaibon Hul is ostensibly about the revolt as mentioned in the book, the introduction refers to “outsiders”, and the story is about the fight against the British. It concludes with “Almost 160 years have passed since the Hul. We are alive but still not the owners of our lives? What will it take for us to be really free?” The term “outsider” is left open-ended. Siddhartha Sharma says he wrote The Grasshopper Run because “I wanted to explain how the Assamese and Nagas got along earlier, unlike today. To contemporary Indians, I wanted to show what the people of the region are like, and how history turned out for us.” [31] Mathangi began writing Dear Mrs Naidu when working in government schools and angadwadis and discovered Sarojini Naidu whose letters she was reading. Mathani realised that Naidu was so human compared to the “demigods of independence” students learned about. She adds, “I think there is a lot of literature on the theme of independence that focuses on a couple of the male freedom fighters, and I’d like to see this change. History is such a powerful force: it shapes the way we think about ourselves, and the way we think about the possibilities for our futures. I want to see more histories of women freedom fighters, and freedom fighters who were not elite. I want to see more literature that helps children understands that heroes are just people with a lot of guts and passion, and that everyone has the capacity for greatness.”[32]

I asked eminent historian Romila Thapar, “What are the events/perspectives and aspects of the freedom struggle that you would recommend are also included in the narratives of the freedom movement?” She replied via email, “You have posed a difficult question. My reaction would be that we need to acquaint children with situations that went into the making of what one may call a ‘wholesome’ society. Not the stories that encourage divisiveness and violence but stories that underline in subtle ways the values of a plural society that we once were. This is disappearing fast and it will be an uphill task to retrieve this as we shall have to do in future years. The goal of the national movement was such that communities came together for a cause and set aside what separated them. It is these moments that need to be remembered in the present times. Often they can be more easily seen in activities related to regional and local history. It may be worth doing a little investigation into how people in rural areas and small towns remember the recent past.”

This observation gains significant urgency when a Muslim man is lynched by a mob on the outskirts of Delhi for his food habits[33]. Noted Hindi journalist Ravish Kumar’s who met a young man, Prashant, at the site says he showed no remorse at the death of Akhlaq, “Instead, he asked us that after the partition, when it had been decided that Hindus will stay here and Muslims will go to Pakistan, why did Gandhi and Nehru ask Muslims stay back in India?… These are the typical beliefs that keep the pot of communalism boiling.” Ravish says he lost the heated argument and could only wonder dismayed, “Who are those people who have left young men like Prashant to be misled by the purveyors of false histories?” Ironically this happened on 2 October, the birthday of Mahatma Gandhi, a man recognised worldwide for his belief in nonviolence.

[1] In A Children’s History of India Subhadra Sen Gupta refers to the events of 1857 and the widespread anger that ensued being an eye-opener for the British “who believed that they were ruling over a peaceful society reconciled to British rule”.

[2] – ibid-

[3] Bookaroo Children’s Literature Festival 

[4] Email correspondence with Subir Shukla, Principal Coordinator, IGNUS-erg and formerly associated with NBT. He wrote a few books at this time too.

[5] National Book Trust (NBT), India is a part of the Ministry of Human Resource Development, Government of India. It was established in 1957 and publishes in English, Hindi and some other Indian languages. It also organizes the annual World Book Fair, New Delhi to which publishers gravitate from around the world and country.  NBT and CBT between them have published many books, many continue to be in demand such as The Story of Swarajya by Vishnu Prabhakar (Hindi), Jawaharlal Nehru by Tara Ali Baig, Stories From Bapu’s Life by Uma Shankar Joshi (Gujarati), Jallianwala Bagh by Bhisham Sahni (Hindi), Bapu by FC Fretus and How India Won Freedom by Krishna Chaitanya. Email from Rubin DCruz, Editor, NBT. He has also put together an invaluable annotated catalogue of select children’s books in India, Children’s Books 2014, published by National Centre for Children’s Literature, NBT.

[6] Children’s Book Trust ( CBT) established by cartoonist Shankar in 1957. Its objective is the promotion and production of well-written, well-illustrated and well-designed books for children at prices within the reach of the average Indian child. CBT publications include an illustrated monthly magazine in English, Children’s World. Shankar also set up the Association of Writers and Illustrators for Children (AWIC). Shankar started the Shankar’s International Children’s Competition in 1949, and as a part of it, the Shankar’s On-the-Spot Painting Competition for Children in 1952. He instituted an annual Competition for Writers of Children’s Books in 1978. Some of the CBT titles are Netaji Subhas Chandra Bose by Dr. Lakshmi Sahgal  & Col. P.K. Sahgal, Adventure before Midnight  by Nilima Sinha, The Return Home by Sarojini Sinha, The  Treasure Box by Sarojini Sinha, Kamla’s Story: The Saga Of Our Freedom by Surekha Panandiker, Ira Saxena, & Nilima Sinha,  A Pinch Of Salt Rocks an Empire by Sarojini Sinha and Operation Polo by A. K. Srikumar and the 12 volumes on freedom fighters Our Leaders or Mahan Vyaktitwa ( English and Hindi). Some of the original titles in Hindi are Aprajita, Hamare Yuva Balidani and Barah Baras ka Vijeta. Email sent by Navin Menon

[7] Amar Chitra Katha (ACK) founded by Anant Pai or Uncle Pai specializes in publishing comics. These comics are usually the first introduction to children about stories of the freedom struggle stories. The ACK titles are Rani of Jhansi (date of publication, 1 Feb 1974), Subhash Chandra Bose (1 March 1975), Chandrashekhar Azad (15 August 1977), the Rani of Kittur ( 1 July 1978), Bhagat Singh ( 15 March 1981), Rash Behari Bose ( 15 May 1982), Veer Savarkar ( 15 May 1984), Mangal Pande ( 1 June 1985), Jallianwala Bagh ( 1 June 1986), Beni Madho and Pir Ali (1st Sept.1983), Velu Thampi (1st May 1980), Senapati Bapat ( 1 February 1984), Surjya Sen (October 2010), Vivekananda (15th October 1977), Rabindranath Tagore (20th may 1977), Babasaheb Ambedkar (15th April 1979), Lokmanya Tilak (1st August 1980), Lal Bahadur Shastri (1st October 1982), Mahatma Gandhi – The Early days (1st June 1989), Jayaprakash Narayan (15th January 1980), Jawaharlal Nehru (November 1991), Subramania Bharati (1st December 1982), Deshbandhu Chitaranjan Das         (1st November 1985), The Story of the Freedom Struggle (August 1997)

[8] Rani Lakshmibai was one of the leaders of the uprising of 1857. She also became a symbol of the resistance to British Rule.

[9] Nayantara Sahgal The Story of India’s Freedom Red Turtle, an imprint of Rupa Publications, New Delhi, 2013. First published 1970.

[10] Midnight refers to the coming of Freedom and this book describes the events that preceded it. It is about a group of teenagers who participated in the Quit India movement and tried to hoist the tricolour in Patna. It was selected for the International White Raven List for libraries.

[11] Tipu Sultan, The Rani of Jhansi, Kattabomman (the rebel of Pudukottai), Pazhassi Raja (Kerala) and Bhagat Singh. The idea for these series was to write about various legendary heroes and heroines who played a pioneering part in the un-enslaving of the country. According to biographer Shreekumar Varma, “Pazhassi Raja Kerala Varma was one of the earliest such freedom fighters. He fought the marauding armies of both the British and Tipu Sultan. His story is full of adventure and thrill, intrigue and treachery, a case-book of bravery. The book is profusely illustrated. It was heavily researched. The surviving members of the Raja’s family were interviewed at Pazhassi and information was gathered from many books and historical records. The text in the book is but a fraction of the material actually obtained.”

[12] Aditi De’s Mohandas Karamchand Gandhi and illustrated by Pooja Pootenkulam in the Great Lives series published by Scholastic India has been released this month.

[13] Gandhi: My life is my message by Jason Quinn, illustrated by Sachin Nagar. It is available in English and Hindi. The translator is Ashok Chakradhar. It is part of Campfire Graphic Novels’s  Heroes Series that introduces readers to historical figures who led lives worth knowing, and whose stories are true life adventures.

[14] It is available freely for circulation since “Mahatma Gandhi cannot be any one person’s property, there is no ‎copyright of this publication.” First edition 1997.

[15] Literature in Action is a programme started by Paro Anand that seeks to bring young people and books together.

[16] It was co-authored by her writer-son, Vikram Seth and illustrated by the late Bindia Thapar, published by Puffin India ( English) and Pratham Books ( Hindi).

[17] Published by Pratham Books

[18]  In an email Nina Sabnani wrote, “Mukand and Riaz was initially an animated film that later became a book. It is a true story about my father Mukand and his friend Riaz. There were several things that brought this project together. My father told me the story of his life very late, close to his death. I wanted to share this with my siblings so I just wrote it up like a story and shared it with them and some friends. My friends persuaded me to think about it as a film. I was quite disturbed by the frequent riots in Ahmedabad that happened and me as a designer did not respond in any way. I thought it maybe  my way of protesting. But protests always forget children. So I wanted to reach children. Fortunately I also received some funds at NID as students were working towards making films on the rights of children for a UNESCO Israel project, Big Small People. Since my father had repeatedly said how much he missed his best friend and how the partition separated them, I thought I would create a film that focused on the rights to home and friendship. I also had a fond hope that if the film was made and Riaz happened to see it he would contact my dad. Of course that did not happen but my father was able to see the film one week before he passed away. I used cloth because he worked in the Textile Mills and was passionate about fabric and prints.” Mukund and Riaz  is published by Tulika Books.

[19] The reader shares moments with 10-year old Hina who lives in Purani Dilli, the walled city of Delhi. She comes from a family of zardozi embroiderers. This exquisite craft is, however, slowly dying as craftspeople find fewer takers for their work or are forced to compromise on care and quality to meet the prosaic demands of the times. Along the way, we get glimpses of life in Old Delhi – its lanes, its ancient mohallas which have seen the pain of Partition. Hina loves where she lives, and warm colour photographs take us right into her world. Guides for projects / discussions and a reading list are provided at the end as further avenues for exploring.

[20] To me it is an example of using history to comment on the present. It is ostensibly about the revolt (and the story calls it a revolt too whereas an uprising would be more accurate given it is written from the perspective of the adivasi), the introduction refers to the “outsiders”, the story is about the fight against the British and then it concludes with “Almost 160 years have passed since the Hul. We are alive but still not the owners of our lives? What will it take for us to be really free?” The term “outsider” is left open-ended. Ruby is the founder-publisher of Adivaani, a publishing house that focuses on  producing literature for an by the adivasis.

[21] Neela: A Victory Song is published by Puffin Books India.

[22] Jamila Gavin’s Surya Trilogy is published by Egmont.

[23] Beautiful Lie was published by Bloomsbury

[24] A book review article I wrote on Partition and Children’s Literature and I interviewed Jamila Gavin and Irfan Master.

[25] The Grasshopper’s Run was first published by Scholastic India and worldwide by Bloomsbury.

[26] Dear Mrs Naidu ( 2015) is a Young Zubaan publication.

[27] Forthcoming by Pratham Books is Khwaja Ahmad Abbas’s Bharat Mata ke Paanch Roop ( The Five Forms of Bharat Mata) which are character sketches of five ordinary women whom he considered as the true faces of the Bharat Mata trope. These are originally in Urdu but have been done for us by his niece Syeda Hameed. According to Manisha Chowdhury, Editorial Head, Pratham Books “we see this as a good way to introduce the idea of subaltern narratives to children and expand the idea of history.”

[28] For instance, Saffron, White and Green: the amazing story of India’s independence; A Flag, A Song and a Pinch of Salt: Freedom Fighters of India; Puffin Lives: Mahatma Gandhi; Let’s Go Time Travelling; fictional biographies of Jahanara and Jodh Bai; a short story collection called History, Mystery, Dal Biryani and a novel called Give us Freedom and most recently the bestseller, A Children’s History of India, published by Red Turtle. Email from Subhadra Sen Gupta.

[29] There is also a book on Alluri Seetharama Raju in Telugu.  He led the ill-fated “Rampa Rebellion” of 1922–24, during which a band of tribal leaders and other sympathizers fought against the British Raj. He was referred to as “Manyam Veerudu” (“Hero of the Jungles”) by the local people

[30] It explains why authors like Deepak Dalal and Nandini Nayar have been able to write historical fiction set in 1857. Research is easy to come by. Deepak Dalal’s historical fiction set in the time of 1857 Sahyadri Adventure series – Anirudh Dreams and Koleshwars Secret. He says, “I have received good feedback about the books. Demand is ok, but nothing to thump my back about. We are into the 3rd edition now. Schools love the books and many have used them as readers. But then most of my books are picked up as readers.” Nandini Nayar’s When children make history: Stories of 1857 is a novel about two Indian children who befriend an English boy who considers India his real home. The three of them chance upon a bunch of soldiers making rotis and help them. So, basically, the novel ends with the beginning of the Uprising. In an email to me she wrote, “I wrote the book [since] I was reading a lot about 1857 and the British Raj and began thinking about how it would be if some Indian children were to befriend an English boy. “ The book was first published as an ebook, then print and has recently been translated into Malayalam by Mango Books, the children’s imprint of DC Books.

[31] In an email to me.

[32] In an email to me.

[33] According to rumours that spread like wildfire, fifty-year-old Akhlaq had stored beef (cow’s meat) in his fridge. The cow is sacred to Hindus. A mob gathered and lynched him and injuring many members of the family. On 2 October 2015, two days after the incident in a village in Dadri, 35 kms from Delhi, Ravish Kumar went to report. “A Sewing Machine, Murder, and The Absence of Regret”  (Published and accessed on 2 Oct 2015)

15 August 2017 

Janaki Ammal, Botanist

26 10 , 2016 No Comments

janaki_ammal_younger_picture-738x1024Janaki Ammal was a botanist known for her research in sugarcane. She was trained abroad, worked at Kew Gardens, London and returned to independent India at the invitation of Prime Minister Jawaharlal Nehru. Earlier this year her niece, Geeta Doctor, wrote a magnificent piece about her aunt in the digital ezine, Scroll: http://scroll.in/article/730186/remembering-dr-janaki-ammal-pioneering-botanist-cytogeneticist-and-passionate-gandhian . In October 2016, the Botanical Survey of India, Kolkatta, inaugurated an exhibition on the eminent scientist. ( http://www.thehindu.com/sci-tech/science/kolkata-celebrates-botany-legend-janaki-ammal-with-exhibition/article9227048.ece )

Six large blow-ups on her life and her contributions to science, along with several letters presenting anecdotes and highlighting the difficulties the woman scientist had to face during her time, come to the fore at the exhibition.

In one of the letters, dated September 25, 1953, Janaki Ammal wrote to a fellow scientist that the Ministry of dsc06131-768x1024Natural Resources and Scientific Research of the Government of India had accepted her scheme for the reorganisation of the BSI.

Science historians say it was following her memorandum that the BSI was reorganised into four regional centres: Coimbatore (1955), Pune (1955), Shillong (1955) and Dehra Dun (1956), with their headquarters at Calcutta. A number of communications with scientists and officials highlight her struggle to establish herself as a scientist in what was a male-dominated discipline.

The exhibition always provides certain anecdotes, like how she met Prime Minister Jawaharlal Nehru on a flight and he persuaded her to come back to India in 1948.

janaki-ammalThe Ladies Finger website too carries a wonderful profile of Janaki Ammal: http://theladiesfinger.com/janaki-ammal/ .

Interestingly enough there is a tiny mention of Janaki Ammal in a tumblr_o6rj9utmhh1src5rlo1_500maginificently illustrated book Women in Science: 50 Fearless Pioneers who Changed the World. It has been written and illustrated by Rachel Ignotofsky. ( The other Indian women scientist mentioned in the book is Tessy Thomas who was instrumental in creating the most powerful long-range nuclear missile ever.)

Rachel Ignotofsky Women in Science: 50 Fearless Pioneers who Changed the World Ten Speed Press, Berkeley, 2016. Hb. pp. 130 Rs 499 

26 Oct 2016

An anthology of writings on the Ganga: Goddess and River in History, Culture and Society

26 05 , 2015 No Comments

20150526_131129At a time when a law is expected to punish the polluters of river Ganga, an anthology of writings about the river is timely. An Anthology of Writings on the Ganga edited by Australians, Assa Doron, Richard Barz and Barbara Nelson is a collection of extracts from the epics — Mahabharata and the Ramayana; poetry and the Will and Testament of the first Prime Minister of India, Jawaharlal Nehru; extracts giving a historical perspective such as by Jean Baptiste Tavernier, Iranian traveller Ahmad Behbahani to contemporary travel writers like Eric Newby, Raghubir Singh, Vijay Singh. The editors have even managed to make an eclectic selection giving a bird’s-eye view of how the river has caught the imagination of Indian fiction writers such as Manik Bandopadhyaya, Raja Rao, Amitav Ghosh, Vikram Seth and interestingly enough translation of a scene from a Raj Kapoor’s Bollywood film – Ram Teri Ganga Maili. The collection concludes with a handful of specially commissioned academic essays on the Ganga on topics as varied as culture, religion, Hinduism and the river economy.

The Central Government of India has established the National Water Mission for the “conservation of water, minimizing wastage and ensuring its more equitable distribution both across and within States through integrated water resources development and management”. ( http://wrmin.nic.in/forms/list.aspx?lid=267) Apart from this there are two projects for river Ganga — Namami Gange project and National Mission for Clean Ganga.  According to a newspaper article published on 19 May 2015 (http://www.thehindu.com/news/national/draft-law-to-curb-ganga-pollution-in-final-stages/article7219922.ece ) “the Rs. 20,000 crore Namami Gange project is spread over five years and covers 41 tributaries of Ganga. The National Mission for Clean Ganga that has been assigned the task of cleaning the river, is focussed on abatement of pollution and has designed its interventions around this. However, it is seeking partnerships and is tailoring its projects so that state governments, local municipalities and panchayats have a stake and take ownership of the projects for sustainability. To speed up the process of cleaning the river, the Mission has sought the participation of institutions, donors, overseas Indians, business and corporate houses to donate their might and money for projects or sponsoring projects to clean up the river . Already pilot projects have been launched in eight cities. The challenge is to set up a drainage system in thickly populated cities. The urgent need is to bring down lean season BOD levels in the river to 10 mg/litre/day, the Total Suspended Solid levels to 10 mg/litre/day and Total Faecal Coliform to 100 mg/litre/day. These levels run into over lakhs at present.

The Indo-Gangetic plain created by many years of sedimentation is the most fertile agricultural land in the subcontinent. The flat plains Gangastretch for miles till the horizon and are mostly covered in fields. So apart from the cultural and religious associations with the river the economic considerations are equally important for its preservation since India continues to be heavily dependent upon an agrarian economy — it is estimated to contribute at least fifty percent to the national economy. Given this scenario, it is handy to have an intelligently devised anthology tracing the history, cultural significance and contemporary views plus challenges on the maintenance of this river crucial to the socio-economic and cultural capital of India. The only quibble I have with this anthology is that when we have plenty of photographs of the river, including some iconic ones taken by Raghubir Singh, why was the book cover design inspired by Australian aboriginal art work?

Even so, read it.

Assa Doron, Richard Barz and Barbara Nelson An anthology of writings on the Ganga: Goddess and River in History, Culture, and Society Oxford University Press, New Delhi, 2015. Hb. pp. 380 Rs 895

 

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

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

18 08 , 2013 No Comments

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

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

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

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

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

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

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

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

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

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

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

18 Aug 2013

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

Twitter: @JBhattacharji

 

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