It has to be the oddest concatenation of events that when the abrogation of Article 370 was announced by the Indian Government on 5 August, I was immersed in reading Colson Whitehead’s The Nickel Boys and Mirza Waheed’s Tell Her Everything. Two mind-blowing powerful novels that are only possible to read when the mental bandwith permits it. Colson Whitehead’s novel is as darkly horrific as it imagines the time in a reform school when racial segregation was openly practised. It is extremely disturbing to read it Mirza Waheed’s novel is an attempt by the narrator to communicate to his daughter about his past as a doctor and why he chose to look the other way while executing orders of the powers that be. Orders that were horrific for it required the narrator surgical expertise to amputate the limbs of people who had been deemed criminals by the state. Tell Her Everything is a seemingly earnest attempt by the narrator to convince his estranged daughter that what he did was in their best interests, for a better life, a better pay, anything as long as his beloved daughter did not have to face the same straitened circumstances that he was all too familiar with while growing up. It is the horror of the justification of an inhuman and cruel act by the surgeon that lingers well after the book is closed. Such savage atrocities are not unheard of and sadly continue to be in vogue. And then I picked up Serena Katt’s debut graphic novel Sunday’s Child which tries to imagines her grandfather’s life as a part of Hitler’s Youth. She also questions his perspective and the narrative is offered in the form of a dialogue. She refers to the “chain hounds” who hunted, and executed, deserters. Something not dissimilar to the incidents documented in The Nickel Boys too.
Then this month’s issue of National Geographic magazine arrived. It’s cover story is on migration and migration called “World on the Move”. In it the writer Mohsin Hamid has an essay, “In the 21st century, we are all migrants“. We are told not only that movement through geographies can be stopped but that movement through time can be too, that we can return to the past, to a better past, when our country, our race, our religion was truly great. All we must accept is division. The division of humanity into natives and migrants. … It is the central challenge and opportunity every migrant offers us: to see in him, in her, the reality of ourselves.”
To top it I read Michael Morpurgo’s Shadow. It is about the friendship of two fourteen-year-olds, Matt and an Afghan refugee, Aman. Shadow is the bomb sniffer dog who adopted Aman as he and his mum fled Bamiyan in Afghanistan from the clutches of the Taliban. The mother-son pair moved to UK but six years after being based there were being forcibly deported back to Afghanistan despite saying how dangerous their homeland continued to be. Shadow, a young adult novel, is set in a detention camp called Yarl’s Wood, Bedfordshire, UK. While terrifying to read, Morpurgo does end as happens with his novels, with a ray of hope for the young reader. Unfortunately reality is very different. So while helping tiddlers connecting the dots with reality is a sobering exercise for them, it can be quite an emotional roller coaster for the adults.
In an attempt to look the other way, I read a delightful chapter book called Tiny Geniuses : Set the Stage! by Megan E. Bryant. It is about these historical figures who are resurrected into present day as mini figures by a couple of school boys. In this particular book, the two figures wished for are Benjamin Franklin and Ella Fitzgerald. It can make for some amusing moments as the school boys try and complete their school projects. A delightful concept that is being created as an open-ended series arc. It did help alleviate one’s gloomy mood a trifle but only just.
Read this literature with a strong will, patient determination and a strong stomach. Otherwise read the daily papers. For once you will find that the worlds of reality and fiction collide.
The DSC Prize for South Asian Literature 2018 was awarded to Jayant Kaikini along with his translator Tejaswini Niranjana for their book No Presents Please. The winner was announced by the DSC Prize jury chair Rudrangshu Mukherjee at the Tata Steel Kolkata Literary Meet on 25th Jan, 2019, where eminent writer Ruskin Bond presented the trophy to the winning author and translator. Jayant Kaikini is a Kannada author and dramatist who has won the Karnataka Sahitya Akademi prize four times. He has also written regular newspaper columns, screenplays, dialogues and lyrics for Kannada films. Tejaswini Niranjana is a cultural theorist, translator and author. She is currently professor of cultural studies at Lingnan University, Hong Kong, Tejaswini Niranjana is a Sahitya Akademi prize-winning translator.
In the citation, jury
Chair Rudrangshu Mukherjee, said, “The jury decided to award the DSC Prize for
South Asian Literature 2018 to No
Presents Please by Jayant Kaikini which has been translated by Tejaswini
Niranjana and published by Harper Perennial. The jury was deeply impressed by
the quiet voice of the author through which he presented vignettes of life in
Mumbai and made the city the protagonist of a coherent narrative. The Mumbai that
came across through the pen of Kaikini was the city of ordinary people who
inhabit the bustling metropolis. It is a view from the margins and all the more
poignant because of it. This is the first time that this award is being given
to a translated work and the jury would like to recognize the outstanding
contribution of Tejaswini Niranjana, the translator.”
The six
shortlisted authors and books in contention for the DSC Prize this year were Jayant Kaikini: No Presents Please (Translated by
Tejaswini Niranjana, Harper Perennial, HarperCollins India), Kamila Shamsie: Home
Fire (Riverhead Books, USA and Bloomsbury, UK), Manu Joseph: Miss
Laila Armed And Dangerous (Fourth Estate, HarperCollins, India), Mohsin
Hamid: Exit West (Riverhead Books, USA and Hamish Hamilton, Penguin
Random House, India), Neel Mukherjee: AState Of Freedom (Chatto
& Windus, Vintage, UK and Hamish Hamilton, Penguin Random House, India) and
Sujit Saraf: Harilal & Sons (Speaking Tiger, India)
No Presents Please: Mumbai Stories is not about what Mumbai is, but what it enables. Here is a city where two young people decide to elope and then start nursing dreams of different futures, where film posters start talking to each other, where epiphanies are found in keychains and thermos-flasks. From Irani cafes to chawls, old cinema houses to reform homes, Jayant Kaikini seeks out and illuminates moments of existential anxiety and of tenderness. In this book, cracks in the curtains of the ordinary open up to possibilities that might not have existed, but for this city where the surreal meets the everyday.
Jayant Kaikini, author of the DSC Prize-winning book No Presents Please, reading from the book in Kannada at the Award Ceremony, Kolkata, January 2019
Here are excerpts from an interview with Jayant
Kaikini conducted via email.
JBR: There is a loveliness of
everyday life in your stories which convey the variety of people who live in Mumbai
and yet you manage to capture the quietness of each person. How do you manage
this so beautifully? Do you revise your stories often?
JK: I am deeply absorbed by the human world. May be there is a
collective calm deep within, which binds us all and at the same time liberates
us too. I don’t revise or chisel my stories. I write with a pen. I don’t type.
JBR: Are you a people
watcher? How do you build characters especially of the
women?
JK: We all are extensions of each other, like jigsaw puzzle pieces. We
make sense only in the context of each other. Every individual is special.
There is no deliberate attempt to build any character. I create an open space
for them to evolve and grow on their own.
JBR: How do you develop plot in a
short story? How do you manage to keep the tension in a storyline?
JK: It’s not an essay or a feature writing or a film script. Yashwant Chittal,
eminent Kannada writer (whose novel Shikari
is available in English translation now), used to say ‘I don’t write what I
know. I write to know’. I belong to that school. You must get lost to find something new.
JBR: Why Mumbai? It is a massive
melting pot of languages, cultures and dialects. I am guessing that the stories
in Kannada probably preserved some of these inflections but English does not
allow it. How do you come to terms with the flattening of the diction in
English?
JK: Because Mumbai is Mumbai. The most liberating urban space where you
feel free with a stranger. This city of plurality speaks in a ‘singular ‘
language of its own, like … “tereko, mereko”. I love it. Even the tone is
distinctly homogeneous. So it is difficult to get it exactly in Kannada too. In a way each story by itself is a new
language of images and expression.
JBR: Is the English translation
exactly like the Kannada text or were there modifications made to the
text?
JK: It’s exactly as the Kannada text, minimum deviation or modification.
Maybe because Tejaswini Niranjana too is a ‘Mumbai chauvinist’ like me and a
poet. Translation is always safe in the
hands of a poet. Since a poet is deeply tuned to ‘unsaid’ of the text.
JBR: Oral storytelling is a way
of life in India. In your case too although you speak Konkani, you opted to
write in Kannada and now are translated in to English. Do you think being
multi-lingual and familiar with diverse ways of telling stories informs the
literary structure of your printed short story? If so, how?
JK: Multilingual sensibility is a precious virtue of our country. More so in a big city. In Mumbai I speak in
my mother tongue Konkani at home, in Hindi with fellow commuters in the local
train, in English with colleagues at the workplace and in English with my
senior colleagues and come back home and wrote in Kannada. Dagdu parab,
Antariksha Kothari, Mogri, Mayee, Toofan, and Madhuvanti are not Kannada speakers
but they come into my stories and talk in Kannada. Isn’t it heartening? As Tejaswini points out, these stories break
the stereo type of perceiving individuals only with their linguistic identity.
As I said earlier, story itself is a new language.
JBR: Does the form of a short story
define your search for a subject?
JK: I don’t search
for subjects or stories. It is the other way. They are in search of me. Each
story has its own body and soul. The shape of fish is hydro-dynamically
designed for swimming. The shape of a bird is aerodynamically designed for
flying. In the same way form and structure of a story is designed by its soul.
JBR: Do you think there are
differences in the short story form of Kannada, Konkani and English?
JK: Differences have to be there. Ongoing life is ‘ unstructured’ and ‘non-literary’.
Through the window of a story we try to make sense out of it. So each window
has to be different in its viewpoint and aperture.
JBR: What is the principle of
selection of these stories as some date from the 1980s and some are as recent
as a few years ago? And yet the English translation are not arranged
chronologically. Why?
JK: Though a bunch of stories, this book collectively works as a larger
single fiction. Tejaswini and me impulsively picked 16 stories from my 5 anthologies,
based on their variety and resonance. Order in which they are compiled, too was
done jointly and impulsively.
JBR: What was the literature you were
familiar with as a child and in your early days as a writer?
JK: The reader and writer within me was born in 1970’s when Kannada
modernist movement was at its best. My father Gourish Kaikini was a writer, scholar,
thinker, journalist and staunch radical humanist. So there was an overdose of
literature at home and as a child I was not amused then. I started reading and
writing when I went away from home to another small town for my college
education. If I look back, I think it was to combat homesickness and culture
shock of switching over to English medium from Kannada medium in education. Reading,
writing, extracurricular activities nurtured my self-esteem in an unfriendly
new environment.
JBR: Who are the writers you admire
and who have influenced your writing?
JK: Yashwant Chittal, Shantinath Desai, A K Ramanujan, U. R.
Ananthamurthy, P. Lankesh, Shivram Karanth, Kuvempu, Bendre, Thirumalesh . . .
and many more have groomed and enriched my sensibilities and love for life and
literature.
JBR: What has it been like winning
the DSC Prize?
JK: It was unexpected but it is a good news for Kannada, short story form and the talent of translation. Any award is like a pat on the back of marathon runner from a cheering onlooker. You have to accept it with a smile and keep running. Pat is not the goal.
I was trying to hide behind stories, to construct fictions, instead of facing facts. I asked myself: how are facts faced? I knew the answer: facts are faced with evidence, with data, with numbers. Fiction cannot be outnumbered; it cannot be proved. But facts, yes, I have known all my working life, I have built my business on it — facts can be proved.
Tabish Khair’s Night of Happinessis about Anil Mehrotra, a businessman, and his right hand man, Ahmed. Anil Mehrotra relies completely on Ahmed irrespective of whether it was day or night or a holiday. The added advantage for Anil was that Ahmed was a polyglot and the astute businessman Anil knew “People are generous when you speak to them in their language. They are nicer, happier; ‘Their hearts unlock a room for you in their distant homes.’ ” This was an asset in the import/export business.
Night of Happiness is about Anil trying to find out more about Ahmed’s past life particularly after one stormy night of working late in the office Anil had offered to drop Ahmed home. Ahmed invites Anil to have tea and maida ka halwa ( a sweet dish made out of flour and sugar), a special dish made on Shaab-e-baraat or “Night of Happiness”– a day when the departed souls are remembered by Muslims, much like other faiths too set aside a similar period of time to honour their dead such as All Souls Day for the Christians or the period of Shraadh for the Hindus or Dia de los Muertos ( Day of the Dead) as is observed in Mexico. Anil has an unnerving experience at Ahmed’s home and decides to investigate further. He hires a private detective to dig up facts about Ahmed’s past. During the course of investigation a string of details emerge that Ahmed had never hinted at in all the years he worked with Anil Mehrotra.
The story itself is crafted in a manner that distances the author from the sentiments being expressed in the story as the narrator says he found the manuscript in a hotel drawer and proceeds to read it. Be that as it may the first person narrative of the makes the plot very powerful and the pace sharp. Ostensibly it is a story about Anil trying to ferret out facts about his trusted colleague and yet it is thinly veiled fiction about a dialogue between Hindus and Muslims calling out the popular held myths about a Muslim. It rings so true because it can very well be a real conversation. Both the Hindu narrator of the manuscript, Anil Mehrotra, and Ahmed, a Muslim, are portrayed sensitively. While the investigator works like the chorus of a Sophoclean drama supplying the necessary information to the main action while gently rebutting Mehrotra’s assumptions of Ahmed’s life.
When Ahmed served Anil at his home, he insisted he had offered halwa prepared lovingly by his wife, Roshni, who never makes an appearance. Anil is perplexed since there is no halwa on the plate and Ahmed seems to be relishing an imaginary dish. Tabish Khair neatly introduces the element of madness in the novella with this simple act. Witnessing Ahmed’s odd behaviour at home prompts Anil to hire the private investigator. It is then the personal history of Ahmed comes tumbling out—the time he spent as a guide of Buddhist monuments in Bihar to earn a little extra income to support his widowed mother and himself, meeting his wife Roshni, their shift to Surat, the Gujarat riots of 2002, and his final move to Mumbai. So Ahmed’s mental turmoil viewed as madness by his employer or the mental agitation of Anil himself may be interpreted in many ways. It can be very real while being a comment on the horrifically disturbing times we live in leading one to ask existential questions like “Who is actually mad? What is madness?”
The further distancing of the authorial voice by presenting facts from the investigator’s report further lulls the reader into accepting the “make-believe world” of the “literary thriller”. Whereas Night of Happiness is much more than that! For one it is using fiction to remind people of the pogrom orchestrated in living memory and how its long shadow is still cast upon modern India. It’s within this century and less than a generation old but sufficiently long for many people, particularly the young and the diaspora, to have conveniently forgotten about it. More likely been brought up in an ahistorical environment so these dastardly facts have no impact.
Tabish Khair is a well-known novelist but is also increasingly known for his opinion pieces published regularly in the Indian newspaper Hindu. These are well-argued, thoroughly researched, thought-provoking commentaries on socio-political events playing out in different parts of the world. It is quite possible that much of the preliminary work involved for these articles laid the bedrock of Night of Happiness. Certainly the publication of Night of Happiness close on the heels of the widely acclaimed novel by Mohsin Hamid Exit West raises the bar of literary fiction by many notches as both novels are able to focus on the horrific sectarian violence sweeping through the world. It is as if lessons from history were never learned. Both the authors, Tabish Khair and Mohsin Hamid, are writers of subcontinent origin who are also widely respected on the global literary stage. So when such powerful literary icons raise disturbing questions of a socio-political nature through their art, they must be heard.
Tabish Khair’s Night of Happiness begs the question if it is really “Art for Art’s Sake”? Whatever the reasons for the existence of Night of Happiness, it is unputdownable.
Read it. Share it.
Tabish Khair Night of Happiness Picador India, Delhi, 2018. Hb. pp. Rs. 450
Mohsin Hamid’s latest novel Exit Westpublished nearly a year ago in spring 2017 was received positively worldwide to rapturous reviews. Despite the extremely long and breathless sentences with innumerable sub-clauses the story itself moves smoothly while unveiling a bleak yet monstrously fragile world of migrants, violence and lawlessness. It is told through the lives of Saeed and Nadia but the narrator remains in complete control, much like a cameraman choosing to tell the story through selected frames. The prose is structured almost like a slow dance fusing reality with elements of speculative fiction. Take the black doors for instance which open like portals to another land, not necessarily another dimension of time, leading refugees away from one physical space to the next.
This aspect of the story has in fact resulted in an incredible art installation in London. It can be viewed till 20 February 2018. According to The Bookseller, Penguin Random House UK has teamed up with Audible and Jack Arts to celebrate the paperback launch of Exit West. To quote the article:
Penguin is partnering with Jack Arts and Audible to celebrate the paperback publication of Mohsin Hamid’s Exit West (Hamish Hamilton) with an interactive poster installation on Commercial Street, London.
Working with Jack Arts, themes explored by the Man Booker shortlisted novel such as movement and migration – and, as Penguin puts it, “the thin boundaries that exist in our world” and “the doors between neighbours” – will be “brought to life” in the form of poster art.
Taking a recessed wall space on Commercial Street, Penguin and Jack Arts have replicated the book jacket artwork of Exit West and installed posters with book extracts and cityscapes from locations in the book. Functioning doors open onto the posters, inviting people to engage with the story and to “rethink what the doors around them might mean”, according to Penguin. The campaign strapline reads: “You sometimes need a way out. You always need a way in.”
Penguin also teamed up with Audible, identifying the Commercial Street site profile as “directly overlapping” with Audible’s audience. The audiobook retailer is tagged on the installation and will promote the audio edition of the book to its four million UK social followers. Exit West will be an Audible Editorial pick and a recorded interview with author Mohsin Hamid will be available as an Audible Session.
The book’s author, Hamid said: “It was kind of magical for me to see the black doors on Commercial Street, to discover they could open, and to find words from Exit West inside.”
It is very exciting to see how many forms a good story will take. More so in this information age when readers have very high expectations and there are behavioural changes apparent in how people approach a book. With the blending of formats making it available in physical reality is truly marvellous — just as this unique book.
Read it if you have not already done so!
Mohsin Hamid Exit West Hamish Hamilton, an imprint of Penguin Random House, 2017. Hb.pp. 230 Rs 599
My monthly column, Literati, in the Hindu Literary Review was published online ( 6 September 2014) and in print ( 7 September 2014). Here is the url http://www.thehindu.com/books/literary-review/literati/article6386263.ece. I am also c&p the text below. The post from Malorie Blackman’s Facebook wall has been used with her permission.
The 10-book challenge
There is a 10-book challenge circulating on Facebook. The idea is to put together ten books that have stayed with you as a reader. Reading the lists circulating on posts is an interesting exercise. There were the expected names such as Enid Blyton, P. G. Wodehouse, Jane Austen, William Golding, Graham Greene, Sue Townsend, Gerald Durrell, Ogden Nash, Ayn Rand, Henry Miller, Mary Stewart, L. M. Montgomery, Coetzee, Julian Barnes, J D Salinger, Harper Lee, Toni Morrison, Charles Dickens, Seamus Heaney, Douglas Adams and Michael Ondaatje. Those from or of South Asian origin included familiar names such as Vikram Seth, Arundhati Roy, Upmanyu Chatterjee , Rokeya S. Hossain, Rohinton Mistry, Khaled Hosseini, Mohsin Hamid, Khushwant Singh, Amitav Ghosh, Salman Rushdie, Jamil Ahmed, Arun Kolatkar, Kiran Nagarkar and Qurrulatain Hyder. In translation there were a handful, many repeated often–Sukumar Ray, Saratchandra Chattopadhyay, Bibhutibhushan Bandopadhyay, Gabriel Garcia Marquez, Carlos Fuentes, Haruku Murakami, Franz Kafka, Umberto Eco, Marjane Satrapi, Nikos Kazantzakis, Fyodr Dostoevsky, Orhan Pamuk, Mario Vargas Llosa, Leo Tolstoy, and Roberto Calasso. Surprisingly Shakespeare, Valmiki’s Ramayana, The Bible, Hermann Hesse, Khalil Gibran, C. S. Lewis, Roald Dahl, Agatha Christie, A. A. Milne, Hemingway, Neil Gaiman, Goscinny and Uderzo’s Asterix and Obelix series, Herge, Bill Watterson, J.K. Rowling, Philip Pullman, J. R. R. Tolkein, Henry James, Oscar Wilde, Lewis Carroll, Paulo Coelho and J. M. Barrie were not mentioned as often as I expected them to be. ( The names have not been listed in any particular order.) These catalogues are useful since they remind us of what makes “classic” literature. Yet there are deafening silences. I scoured lists from different regions, hoping to discover authors and books popular in those cultures—these could be in translation or different categories, titles that are rarely heard of overseas; it was not to be. Majority of the titles mentioned were of internationally established household names.
These games have their uses. Many authors are discovered through conversations. At the same time vast amounts of literature are not easily recalled. For instance, literature in other languages apart from English was rarely acknowledged and women writers continued to be in a minority. Children’s literature too was not often referred to all though many lists consisted of books read as children. Hence it is not surprising that there has been a call by many international writers to discuss diversity in books–a campaign started in May ( http://weneeddiversebooks.tumblr.com/ ). The hashtag –#WeNeedDiverseBooks and #diversityinbooks—on Twitter is worth reading for examples from around the world, across genres, languages and regions. An unfortunate fallout of this campaign was the racial abuse Malorie Blackman, Children’s Laureate ( 2013-15) faced in UK. As she wrote in a Facebook post “I talked about diversity in literature walking hand in hand with inclusion. I talked about the books for our children being more diverse so that we see more stories featuring children/YA with disabilities, travellers, LGBT, protagonists of colour, diverse religions, classes and cultures. Not once did the phrase in the banner headline pass my lips because I don’t think in those terms.” This was misrepresented in a banner headline as “Children’s books have ‘too many white faces’”. Since then the news corporation responsible for this story has apologized to her on Twitter.
Discovering authors
Nury Vittachi, author and keynote speaker at the recently concluded JumpStart pointed out that three out of four people are Asian or African. So to find the young adult title The Fault in Our Starsby John Green is a bestseller, selling more than 5.7 million copies, is curious. In fact it contributed to the success of Penguin Random House worldwide generating revenues of €1.5bn (£1.2bn) in the six months to June 2014. Surely there are other titles that have been equally well-received by readers, but not so prominent?
Discovering an author is a riddle, paradoxically not easily resolved even in the age of information. Altaf Tyrewala writes “How miserable it must be to want only what one wants. I don’t remember people being so disinterested in the unfamiliar. Folks these days seem annoyed when they encounter something that they haven’t already cross-checked, as if the perpetually connected sizzle of their web-wired lives precludes the possibility of anything still remaining unknown.” (“New and Second-hand”, Engglishhh: Fictional Dispatches from a Hyperreal Nation)
Last week while speaking in a panel discussion to celebrate “Kitaabnama: Books and Beyond” completing one year of programming on Doordarshan television, it struck me this series addresses many of these challenges that affect publishers—diversity, discoverability, and accessing new markets. Kitaabnama’s format of having a conversation in the first half, followed by an author reading in the second half, and allowing it to be multilingual, immediately opens a new world of literature to the viewers.
Today it is possible to discover books in many ways. For instance, Martin Amis’s new novel—The Zone of Interest–a holocaust comedy, set in fictional Auschwitz, failed to interest his regular German and French publishers and it may struggle to find readers overseas. Yet the buzz about it on the internet suggests otherwise. So discoverability and diversity in books is possibly easily overcome with multiple formats to disseminate information about books and access authors.
The mantra that most writers suggest is the best way to hone one’s craft. The same holds true for reviewers, publishing professionals and anyone else in this profession of letters. In order to improve the skill one seeks to excel at, it is best to read as much as possible. Yet there is always more to learn about an author. Usually a good interviewer creates a portrait of the author that is deftly written and sharp in its analysis of their writing. ( It is fascinating to observe the interviewer being influenced by the writer, evident in the style of writing, the form the interview takes shape and at times even in the vocabulary.) With the internet becoming a repository of information about authors, their lives and anything else of remote interest to them and being at times to connect with contemporary authors in real time via social media platforms, the need to publish a book of author interviews seems to be futile. Having said that I have thoroughly enjoyed reading How to Read a Novelist by John Freeman and British Muslim Fictions by Claire Chambers. Two exquisite collections of excellent interviewers engaging with authors. In a matter of few pages they are able to introduce the author, give a bit of personal history (if required and relevant to the interview), a perspective on their oeuvre and highlight at least one essential aspect of the author that makes their writing unique. When John Freeman interviews Sarajevo-born, now settled in Chicago, Aleksandar Hemon, Freeman observes: ‘Hemon has been widely praised for the unexpected images this style creates, but it was not, he says, the hallmark of a deliberate, honed, and in some cases mapped out. “I wanted to write with intense sensory detail, to bring a heightened state.” He is a sentence writer who counts beats as a poet does syllables.’ (p.134) Or what he has to say of Michael Ondaatje — “Genres bleed between books in Ondaatje’s work.” Or about E. L. Doctorow that “his novels don’t read like researched books but restored originals, recently rediscovered.” Similarly Claire Chambers too has wonderful insights about the authors she meets whether it is Nadeem Aslam, Kamila Shamsie, Aamer Hussein or Mohsin Hamid to name some of them. The hard work that both John Freeman and Claire Chambers put into familiarize themselves with the authors is masked so well that each interview seems to effortlessly done. Yet it is obvious that considerable thought has gone into the preparation for every interview. They seem to be acutely aware of not being “over-prepared”, instead focusing on having “an actual conversation with all the unpredictability and freshness of a good one”.
The beauty of each interview is that there is something for every reader to glean—it could be a person discovering an author for the first time or of a reader familiar with the author being interviewed. There is a restraint and a respect that each interviewer has for their author that shines through every profile. It also helps achieve the fine balance of the professional and personal dimensions of an author being presented without it seeming to be voyeuristic. Just enough of the authors personal lives, descriptions of their homes or even of their peculiar habits, such as Kazuo Ishiguro never likes to discuss what he is writing till he is done with it. These are two books worth buying, treasuring, reading for pleasure, to ponder over and if a student of creative writing, essential reading.
While reading these books, there were two other books from India that I recalled — Just Between Us: Women speak about their writing and The Big Bookshelf . Books published a long time ago, but continue to be relevant since they too consist of author interviews. The Big Bookshelf is based upon the years of experience Sunil Sethi had as host of NDTV’s Just Books. (http://profit.ndtv.com/videos/watch-just-books) It ran for many years to finally end in summer of 2013. All though in October 2013, the state television channel, Doordarshan, launched a books programme called Kitabnama:Books and More. ( Link to episode 2:http://www.youtube.com/watch?v=wPCp8QyqAD4 ) It is a weekly programme, designed and curated by author Namita Gokhale. ( She is also one of the directors of the Jaipur Literature Festival.)
New Delhi, October 21, 2013: The longlist for the DSC Prize for South Asian Literature 2014 was announced at the Goethe-Institut, Max Mueller Bhavan today, by noted Indian editor, writer and literary critic, Antara Dev Sen, who is chairing the jury panel for the prize. The final list of 15 chosen titles includes 3 works translated from Indian languages and comprises 4 debut novels along with the works of established writers. The longlist reflects a rich and healthy diversity of publishers across geographies including representation from the UK, US and Canada. With several acclaimed novels on the longlist, choosing the final winner for the 2014 edition of the DSC Prize for South Asian Literature would be an interesting and challenging task for the jury panel.
There were over 65 entries for the coveted US $50,000 prize this year, from which the jury has compiled the longlist of 15 books that they feel best represents the eclectic and vibrant voice of the South Asian region. The jury panel comprises international luminaries from the world of literature and books- Antara Dev Sen, editor, writer and literary critic and chair of the DSC Prize jury, Arshia Sattar, an eminent Indian translator, writer and a teacher, Ameena Saiyid, the MD of Oxford University Press in Pakistan, Rosie Boycott, acclaimed British journalist and editor and Paul Yamazaki, a veteran bookseller and one of the most respected names in the book trade in the US.
The longlisted entries contending for the DSC Prize for South Asian Literature 2014 are:
Anand: Book of Destruction (Translated by Chetana Sachidanandan; Penguin, India)
Benyamin: Goat Days (Translated by Joseph Koyippalli; Penguin, India)
Cyrus Mistry: Chronicle of a Corpse Bearer (Aleph Book Company, India)
Joydeep Roy-Bhattacharya: The Watch (Hogarth/ Random House, UK)
Manu Joseph: The Illicit Happiness of other people (John Murray, UK & Harper Collins India)
Mohsin Hamid: How to Get Filthy Rich in Rising Asia (Hamish Hamilton/Penguin, India)
Nadeem Aslam: The Blind Man’s Garden (Random House, India)
Nayomi Munaweera: Island of a Thousand Mirrors (Perera Hussein Publishing, Sri Lanka & Hachette India)
Nilanjana Roy: The Wildings (Aleph Book Company, India)
Philip Hensher: Scenes from Early Life (Faber & Faber, USA)
Ru Freeman: On Sal Mal Lane (Graywolf Press, USA)
Sachin Kundalkar: Cobalt Blue (Translated by Jerry Pinto; Hamish Hamilton/Penguin, India)
Shyam Selvadurai: The Hungry Ghosts (Double Day Publishing, Canada)
Uzma Aslam Khan: Thinner Than Skin (Clockroot Books/Interlink Publishing, USA)
Speaking on the occasion, Antara Dev Sen, Chair of the jury commented “We are delighted to present the longlist for the DSC Prize 2014, which offers a wonderful variety of experiences from India, Pakistan, Sri Lanka and Bangladesh, and reflects much of the exhilarating and bewildering diversity that is the hallmark of South Asian fiction. The list includes celebrated, award-winning authors as well as powerful new voices, and I am particularly happy that it includes novels in translation from other Indian languages.
The novels range from the conventional to the experimental, from amazing tales sprawling across continents and generations to stories brilliantly detailed in a small, almost claustrophobic canvas. Several of these books are about violence – many about war, terrorism, conflict – underscoring what the contemporary South Asian experience is inescapably defined by. Many examine otherness – due to migration, caste or sexual identity, terror, alienation. Through extraordinary storytelling and sensitivity, these novels offer us a sense of history, a sense of loss and the invincibility of hope.” she added.
The jury will now deliberate on the longlist over the next month and the shortlist for the DSC Prize will be announced on Wednesday, November 20, 2013 at The London School of Economics in London. The winner will be subsequently declared at the DSC Jaipur Literature Festival in January 2014.
