Satanic Verses Posts

Freedom of Speech and Prix Voltaire Prize, 32nd IPA Congress, 11-13 Feb 2018, New Delhi

From 11-13 February 2018 the 32nd International Publishers Association (IPA) Congress was held at Taj Palace Hotel, New Delhi. The International Publishers Association (IPA) is the world’s largest federation of national, regional and specialist publishers’ associations. Its membership comprises 70 organisations from 60 countries in Africa, Asia, Australasia, Europe and the Americas. The congress was organised in Delhi along with the collaboration of the Federation of Indian Publishers ( FIP).

It was a wonderful congress with multiple panel discussions that fortunately ran in succession rather than in parallel and many fascinating conversations were to be had on the sidelines. It was a phenomenal gathering of publishers from around the world. The full programme can be accessed here.

Day two the discussions continued as energetically as before. The highlights of the events on this day were the panel discussion on “The threat of self-censorship in publishing”. It was chaired by Kristenn Einarsson, CEO Norwegian Publishers Association; Chair, IPA Freedom to Publish Committee and the panelists were Trasvin Jittidecharak, Silkworm Books, Thailand and Jürgen Boos, President and CEO, Frankfurt Book Fair, Germany. 

The Keynote speech was delivered by Norwegian publisher William Nygaard. On 11 Oct 1993 he was shot three times in the back outside his home. Although the crime was never resolved it is widely believed that this was linked to the fatwa William Nygaard received for publishing Salman Rushdie’s Satanic Verses. Both before and after the attack he has been a great defender of the freedom to publish and of free speech. His speech begins at 2:49:41 in the YouTube link given below:

Kristenn Einarsson during the course of conversation remarked that through libel laws economic sanctions are being imposed so allowing not necessarily governments but also people in power to really hit you economically if you publish something they don’t like or go to court with. So just a threat of that is hindering publishing.” Juergen Boos confirmed that the perception of self-censorship is on the rise particularly with the more and more populist governments being elected to power. At 3:32:12 Kristenn Einarsson remarks that the panel should have included an Indian publisher who could not make it and then opened the discussion to the floor except that once again no Indian stood up instead Edward Nawotka, Bookselling and International News Editor, Publishers Weekly spoke. He can be heard speaking off camera. ( Another equally telling observation is that while composing this blog post I discovered that Amazon India does not sell Rushdie’s Satanic Verses despite selling all his other books! )

Later in the day the 2018 IPA Prix Voltaire award ceremony was held. The award was given to Chinese-born Swedish scholar Gui Minhai who is a prolific writer often commenting on Chinese politics and political figures. He is one of the three shareholders of Causeway Bay Books in Hongkong. He went missing in Thailand in late 2015. It was received on his behalf by his daughter Angela Gui. “I think that my father’s version of optimism is perhaps precisely the kind that Voltaire describes. It’s an optimism that in the face of unimaginable cruelty still believes in change. And it’s an optimism that isn’t crushed by lies, force and humiliation.”

Bangladeshi Publisher Faisal Arefin Dipan was given a posthumous Special Award. He was brutally hacked to death inside his office at the hands of suspected religious extremists for his association with secular science writer Avijit Roy and other freethinking, secular and atheist writers on 30 October 2015. His widow, Razia Rahman Jolly, told the audience, “We have sacrificed our sunshine. We are in darkness,” but she promised to continue her husband’s work and keep publishing books in Bangladesh. In fact 12 July 2018 was Dipan’s birthday and Jose Borghino, Secretary General, IPA tweeted:

Months after the panel discussion was recorded at the IPA in Delhi, prominent Tamil publisher Kannan Sundaram, Kalachuvadu Publications, who is known for publishing Perumal Murugan, delivered a talk at the May Sahitya Mela in Dharwad, Karnataka, on May 26. It was published as an article for Scroll “As intolerance grows, India needs a brand of secularism that keeps a distance from religion, caste: Today, majoritarian fundamentalism is the biggest threat to a writer and an artist’s free expression.” ( 9 July 2018) This is what Kannan Sundaram says:

If one truly believes in freedom of expression, one has to fight to preserve the right of expression for ideas that one cannot stomach. For many people who consider themselves progressives, freedom of expression is often about fighting for the right to express only ideas they believe in. Some argue that freedom of expression is allowed only for rational thought. For ideas they consider regressive, they demand a ban and prosecution by the state. This strain of thought we know has led to the imprisonment and murder of writers throughout modern history by various regimes claiming to be revolutionary. Fascism can come from the right, left or centre of the ideological spectrum. It may come from any ideology or even from an ideological vacuum if people blindly and reverentially follow a demagogue.

In today’s context, majoritarian fundamentalism is the biggest threat to a writer and an artist’s free expression. If the Bharatiya Janata Party rules for another term, with full majority, it is sure to cause untold harm to the idea of India.

Intolerance is not a Hindutva creation. All ideologies, and political, religious movements and political parties in India have contributed to increasing intolerance. There is not one political party in India that has ever endorsed freedom of expression except mouthing it when it suits them. It is part of no political party’s manifesto. This soil was nurtured by intolerance over the decades by all political formations. Now, Hindutva has sown its seeds, watering it with blood and reaping it electorally. Yet, few have learnt the lesson. Hindutva intolerance cannot be met by anti-Hindutva intolerance. The real counter is to meet it with tolerance, discussion, debate, peaceful demonstration and campaigns – which are all, of course, relatively tougher options. We have to draw on the positive aspects of our tradition that have nurtured strong unifying points for different milieus and cultures.

Writers have always faced intolerance from family, neighbourhood, religion and caste. No government or party has ever supported their right to write. What is different now is that Hindutva organisations have been able to knit together multiple castes under their platform and launch major campaigns against writers or simply bump them off with hired killers.

A new definition of secularism in India has to define secularism as maintaining equidistance from all religious and caste formations.

The next important thing is to prepare a policy paper on freedom of expression and convince all secular parties to discuss and accept it.

Only time will tell how much freedom publishers and writers genuinely have, can they contribute to the cultural quotient as mentioned by Richard Charkin earlier at the congress or do many subscribe to the policy of self-censorship?

Read more about the congress on the IPA blog maintained by James Taylor.

13 July 2018 

JLF 2017 Preview

My article on the preview for JLF 2017 was published on Bookwitty.com on 30 December 2016.)

Get Ready for the 10th Anniversary of the Jaipur Literature Festival  - Image 1

The first time I attended the Jaipur Literature Festival (JLF) at Diggi Palace Grounds, Jaipur it was small enough so that once could drive the car straight up to the main steps of the building. Today, the parking is a fair distance from the palace and the only way to reach the venue is through multiple barricades and a screening counter. Once inside though, there is a wonderful, festive air with an explosion of colours in the décor, the happy buzz of excited people milling about and conversations streaming through various marquees. Termed one of the greatest literary events, it is also a free one. Since it began, the JLF has welcomed 846,000 visitors, 1874 speakers, conducted 1272 sessions and partnered with more than 1400 organisations.

The JLF is also crucial because it is situated in a geographical space that is at the heart of a significant book market. It is planned soon after the Christmas break and a few months after the Frankfurt Book Fair (FBF) so publishing professionals flying in from around the world can follow up on their FBF conversations and combine them with a holiday in India.

In January 2017, it will be the 10th anniversary of the Jaipur Literature Festival. The three directors since its inception are Sanjoy Roy, Namita Gokhale and William Dalrymple. The festival has evolved over the years to include different elements such as Jaipur BookMark – a B2B platform for publishers, a children’s section and a cultural event every evening. The Festival has expanded internationally to host annual events at London’s Southbank Centre (2014 onwards) and Boulder, Colorado (2015 onwards). In 2017 the Jaipur BookMark will launch a new scheme to support emerging writers and budding authors are invited to apply for a New Writers’ Mentorship Programme: The First Book Club.

The Festival has celebrated and hosted writers from across the globe, ranging from Nobel Laureates and Man Booker Prize winners to debut writers, including Amish Tripathi, Chimamanda Ngozi Adichie, Eleanor Catton, Hanif Kureishi, His Holiness the 14th Dalai Lama, Ian McEwan, JM Coetzee, Margaret Atwood, Mohammed Hanif, Oprah Winfrey, Orhan Pamuk, Pico Iyer, Salman Rushdie, Stephen Fry, Thomas Piketty, Vikram Seth and Wole Soyinka, as well as renowned Indian language writers such as Girish Karnad, Gulzar, Javed Akhtar, MT Vasudevan Nair, Uday Prakash, the late Mahasweta Devi and U.R. Ananthamurthy.

Get Ready for the 10th Anniversary of the Jaipur Literature Festival  - Image 2

This January, the Jaipur Literature Festival expects to welcome over 250 authors, thinkers, politicians, journalists, and popular culture icons to Jaipur. Sanjoy Roy said “Our prime focus is on history of the world, given that it was the 70 years of India’s Independence [in 2016]. In a new collaboration with the British Library they have loaned us a version of the 1215 AD Magna Carta which will be on view at Diggi Palace. A series of sessions on freedom to dream will look at inspiration for the future. We have a new partnership with The Museum of Modern Art (MoMA) that will look at sessions on art and migration.”

Namita Gokhale added that at the JLF “We are always trying to listen in as many languages as possible. This time there will be speakers from all over Europe and more than 20 Indian regional languages will be showcased.”

Controversies and the JLF also seem to go hand in hand. In 2012 Hari Kunzru, Ruchir Joshi, Amitava Kumar and Jeet Thayil read out passages from Salman Rushdie’s banned book The Satanic Verses and had to leave Jaipur hurriedly before the police arrived to arrest them. Another time the Shell oil company was one of the sponsors, which created a stir since, among other things, it is infamously associated with the tragic execution of Nigerian writer Ken Saro-Wiwa. At the time, the JLF administration said they do not look at the color of money. This year too, there is disappointment already being expressed at representatives of the Hindu fundamentalist group RSS being invited to speak at JLF but as the organizers point out they stand for diversity.

Be that as it may, the 2017 edition of JLF promises to be as exciting as ever. The magnificent line-up of authors includes Paul Beatty, Alan Hollinghurst, Valmik Thapar, Amruta Patil, AN Wilson, Alice Walker, Mark Haddon, Ajay Navaria, Mrinal Pande, Richard Flanagan, Arshia Sattar, Arefa Tehsin, Eka Kurniawan, Tahmima Anam, Chitra Banerjee Divakaruni, Marcos Giralt Torrente, Kyoko Yoshida, David Hare, Margo Jefferson, Deborah Smith, Jeremy Paxman, Hyeonseo Lee, Francesca Orsini, John Keay, Jon Wilson, Kate Tempest, Mihir S. Sharma, Neil MacGregor, Rishi Kapoor, Sholeh Wolpé, Sunil Khilnani, and Vivek Shanbhag. Sessions have been planned on translations, revisiting history, conflict, politics, memoirs, biographies, nature, poetry, spirituality, mythmaking, women writing, travel writing, freedom of expression, children’s literature and book releases.

Some of the prominent sessions are:

Writing the Self: The Art of Memoir: Bee Rowlatt, Brigid Keenan Emma Sky and Hyeonseo Lee in conversation with Samanth Subramanian

Lost in Translation: Francesca Orsini, Deborah Smith, Paulo Lemos Horta and Sholeh Wolpé in conversation with Adam Thirlwell

Migrations: Lila Azam Zanganeh, NoViolet Bulawayo, Sholeh Wolpé and Valzhyna Mort in conversation with Tishani Doshi

The Tamil Story: Imayam Annamalai and Subhashree Krishnaswamy in conversation with Sudha Sadhanand

In Search of a Muse: On Writing Poetry: Anne Waldman, Auður Ava Ólafsdóttir, Ishion Hutchinson, Kate Tempest, Tishani Doshi and Vladimir Lucien in conversation with Ruth Padel

Lost Kingdoms: The Hindu and Buddhist Golden Age in South East Asia: John Guy introduced by Kavita Singh

Before We Visit the Goddess: Chitra Banerjee Divakaruni in conversation with Shrabani Basu

Kohinoor: Anita Anand and William Dalrymple introduced by Swapan Dasgupta

The Dishonourable Company: How the East India Company Took Over India: Giles Milton, John Keay, Jon Wilson, Linda Colley and Shashi Tharoor in conversation with William Dalrymple

Brexit: A.N. Wilson, Andrew Roberts,, Linda Colley, Surjit Bhalla and Timothy Garton Ash in conversation with Jonathan Shainin

Rewriting History: The Art of Historical Fiction: Adam Thirlwell, Alan Hollinghurst and Shazia Omar in conversation with Raghu Karnad

Civil Wars: From Antiquity to ISIS: David Armitage introduced by Raghu Karnad

The Biographer’s Ball: A.N. Wilson, Andrew Roberts, David Cannadine, Lucinda Hawksley, Roy Foster and Suzannah Lipscomb in conversation with Anita Anand

Ardor: On the Vedas: Roberto Calasso in conversation with Devdutt Pattanaik

Things to Leave Behind: Namita Gokhale in conversation with Mrinal Pande and Sunil Sethi

That Which Cannot be Said: Hyeonseo Lee, Kanak Dixit, Sadaf Saaz and Timothy Garton Ash and in conversation with Salil Tripathi

The Art of the Novel: On Writing Fiction: Adam Thirlwell, Alan Hollinghurst, NoViolet Bulawayo and Richard Flanagan in conversation with Manu Joseph

Footloose: The Travel Session: Aarathi Prasad, Bee Rowlatt, Brigid Keenan, Nidhi Dugar and Simon Winchester in conversation with William Dalrymple

The JLF 2017 will run from January 19-23rd.

    PubSpeak: Total Recall

    PubSpeak: Total Recall

    My column, “PubSpeak”, in BusinessWorld online focuses on the Wendy Doniger book controversy. Here is the url to it:   http://businessworld.in/news/economy/total-recall/1266222/page-1.html   . ) 

    Jaya Bhattacharji Rose On 11 February, Penguin Books India reached a compromise drawn up in a Delhi Court that insisted it cease the publication and sale of American Indologist, Wendy Doniger’s book The Hindus: An Alternative History in India within six months. Dina Nath Batra of Shiksha Bachao Andolan Samitri had filed a civil suit against the publishers to withdraw from circulation all copies. Given that Batra had filed the case four years ago and it was still subjudice, the news of this compromise spread like wildfire. Later that day, Doniger issued a press statement “I was, of course, angry and disappointed to see this happen, and I am deeply troubled by what it foretells for free speech in India in the present, and steadily worsening, political climate. And as a publisher’s daughter, I particularly wince at the knowledge that the existing books (unless they are bought out quickly by people intrigued by all the brouhaha) will be pulped. But I do not blame Penguin Books, India. Other publishers have just quietly withdrawn other books without making the effort that Penguin made to save this book. Penguin, India, took this book on knowing that it would stir anger in the Hindutva ranks, and they defended it in the courts for four years, both as a civil and as a criminal suit. They were finally defeated by the true villain of this piece — the Indian law that makes it a criminal rather than civil offense to publish a book that offends any Hindu, a law that jeopardises the physical safety of any publisher, no matter how ludicrous the accusation brought against a book.”Wendy Doniger

    PBI logoPenguin Books India released a statement on 14 February stating “a publishing company has the same obligation as any other organisation to respect the laws of the land in which it operates, however intolerant and restrictive those laws may be. We also have a moral responsibility to protect our employees against threats and harassment where we can…. The settlement reached this week brings to a close a four year legal process in which Penguin has defended the publication of the Indian edition of The Hindus by Wendy Doniger. We have published, in succession, hardcover, paperback and e-book editions of the title. International editions of the book remain available physically and digitally to Indian readers who still wish to purchase it.”

    What followed the announcement perhaps was only a natural outcome given the speed at which social media helps communicate information. There was public outrage at this development— newspapers, print, digital, and, of course, social media forums. A number of commentators, journalists, and even Penguin authors wrote passionately against Penguin Book India’s decision to destroy the book. Arundhati Roy in an open letter spoke of her distress and said “You owe us, your writers an explanation at the very least”. Nilanjana Roy, author and member of PEN Delhi wrote on censorship and how to remain free; Jakob de Roover in an outstanding essay “Untangling the Knot” discussed the complexities of governance, judiciary and free speech; journalist Salil Tripathi commented perceptively on the issue on many platforms ; Stephen Alter wrote, “Both as a writer and as a reader, I am deeply offended that anyone should dictate what I may read or write”; Penguin author and essayist, Amit Chaudhuri reiterated that “It’s important that the law protect all texts”; and Antara Dev Sen, Editor, The Little Magazine, wrote that the Indian Penal Code “Section 295A targets ‘deliberate and malicious acts (which include speech, writings or signs) intended to outrage religious feelings of any class by insulting its religion or religious beliefs’. In an age of identity politics and hurt sentiments, this has been used frequently by politically motivated people to stifle free speech. But back in 1957, the Supreme Court had ruled that only when there is a ‘deliberate and malicious intention of outraging religious feelings’ is it an offence under this law. Higher courts in India have consistently ruled in favour of freedom of speech and have protected books and people hauled to court under this law.”

    In fact, two Penguin authors, Siddharth Varadarajan and Jyotirmaya Sharma, asked for their contracts to be terminated. Another Penguin author, Arshia Sattar (who has translated Valmiki’s Ramayana and the Kathasaritsagara from Sanskrit to English) expressed her dismay at the “complete capitulation” of the firm and how her “pride and that faith has been shaken…of being with a publishing house that protected its people and the books they wrote”.

    A counter legal initiative perhaps was expected. According to the website, Legally India, advocate Lawrence Liang, part of the Bangalore-based Alternative Law Forum, has issued a 30-paragraph legal notice to Penguin India, claiming that the publisher has violated freedom of speech laws and readers’ rights by agreeing to destroy all copies of Wendy Doniger’s book ‘The Hindus’. The notice sent on behalf of Liang’s clients, Shuddhabrata Sengupta and Aarthi Sethi, argues that because Penguin has agreed to withdraw the book from India and destroy all copies, after a legal dispute with a religious group, it has “effectively acknowledged that it is no longer interested in exercising” its ownership in the work and should surrender its copyright to the Indian public. Sengupta is a Delhi-based artist and writer, while Sethi is an anthropologist with a “deep interest in Hindu philosophy”, according to the legal notice. Both are “avid bibliophiles” and were apparently “delighted” when Penguin published Doniger’s book, “and as people who have closely followed the scholarly contributions of the said author they regard this book to be a significant contribution to the study of Hinduism. They consider Ms Doniger’s translations of Indian classical texts and her work on various facets of Hinduism from morality in the Mahabharata to the erotic history of Hinduism as an inspiration for their own intellectual pursuits.”

    At the recent Globalocal event (German Book Office, New Delhi’s annual B2B conference on publishing), a regional language publisher wondered if it was possible for any other publisher to option this book and publish it, after all it has not been legally banned in this territory. Echoing this sentiment, Shamnad Basheer, IPR lawyer, writing in Spicy IP, reflected upon the pros and cons of compulsory licensing, and whether it was possible if a publisher decides to stop publication, one could apply for a compulsory license.

    Globally Penguin has been in the news related to their peripheral businesses and their merger with Random House. In 2012, Pearson PLC (of which Penguin Books India is a part of) acquired the self-publishing firm, Author Solutions, for $116 million. But in 2013, this deal soured as a number of disgruntled authors filed lawsuits against Author Solutions for its poor service. In the landmark case pertaining to ebooks and agency pricing, in April 2012, the US Department of Justice sued Apple and five publishers, including Penguin, for conspiring to raise prices and restrain competition. This was done after Amazon filed a complaint with the Federal Trade Commission. In 2013, Penguin was obliged to pay $75 million. George Packer observes in the New Yorker, “an enormous sum in a business that has always struggled to maintain respectable profit margins”. On 1 July 2013, the global merger between Penguin Books and Random House was announced. It was a strategic alliance, forged as a response to the growing presence of Amazon in the publishing industry. The formation of Penguin Random House (PRH) has created a group that has 25 per cent of the market share. A merger comes at a cost of resources that have to be taken into account for the new firm to begin work on a strong footing.

    In Oct 2013, Penguin Random House announced the completion of its purchase of Ananda Publishers Private Limited’s minority stake in Penguin Books India. It plans to invest Rs 55 crore or $8.6 million for this stake buy. As banker-turned-author Ravi Subramanian, with whom in June 2013 Penguin Books India signed a two-book deal worth an estimated Rs 1.25 crore (approx $210,700) wrote on his blog with respect to Doniger’s case, “publishing is a business”. For any firm, particularly in publishing, this is a lot of money being moved around its balance sheets.  Naturally the ripple effect of these financial adjustments will be felt even in the local markets—it is like conducting business in a global village where in the context of a globally contacted world, the minimum consumption that people desire is also influenced by what is going on elsewhere.

    Similarly, with the Doniger case, Penguin Books India has probably taken an informed business decision, based upon a global strategy when it signed this deal on 11 February, in order to preserve a healthy English-language publishing market in India.

    Chiki Sarkar, Publisher, Penguin Books India, in a guest blog post in 2012 during the Banned Books week, had this to say: “Injunctions make things costly, time consuming, and take our energies away from the work we are really meant to do. And so we try and avoid them as much as possible. Apart from the fact that we don’t fight hard enough for them, I wonder whether it means we impose a kind of self-censorship on ourselves.”

    Ironically this latest controversy broke exactly twenty-five years after the fatwa was issued against Salman Rushdie for his ‘Satanic Verses’ published by Penguin. At the time, his publishers stood by him and did not pulp the book. The fact is publishing is a business that is built upon the creative energies and emotions of people. India is also a functioning democracy. Freedom of speech is the right of every citizen. With the General Elections less than a hundred days away, the need for openness, frank conversations without any inhibitions, and certainly not a capitulation to any ideological position is imperative.

    Scholar-journalist and historian Mukul Kesavan points out that that selling books is not like selling any other commodity. Publishers have moral responsibility and a publisher voluntarily agreeing to withdraw a book has previously been challenged with the case of James Laine’s book on Shivaji in 2007. Oxford University Press voluntarily agreed to withdraw the book. An FIR was issued against the publisher and printer of the book in Pune (one charge, under Section 153 A, was ‘inciting class hatred’) and the printer was actually arrested. When the case (‘Manzar Sayeed Khan vs State Of Maharashtra, 2007’) came up before the Supreme Court, however, the government of Maharashtra’s case against the author and the publisher of the book was found to be wanting. So, there is a precedent by the Supreme Court to rule in favour of free speech.

    Nevertheless, the Wendy Doniger book controversy raises a bunch of issues pertaining to the publishing industry. Questions about legislation and the freedom of speech, what are the ethics involved in publishing, do readers and authors have a right that they can exercise, what does it mean for licensing, do possibilities exist in a mixed environment of digital and print publishing such as do readers have a choice?

    Finally does this self-censorship by a publishing firm mean an inadvertent promotion for self-publishing, encouraging authors to be responsible for their books completely? Interestingly in a space of less than six weeks I have heard John Makinson, CEO, Penguin Random House and Jon Fine, Director, Author & Publishing Relations, Amazon talk about their publishing businesses and both have stressed upon the importance of discoverability of an author. This controversy could not have come at a better time for Doniger and even Penguin. They have achieved the Streisand effect whereby in an attempt to censor a piece of information, it has had the unintended consequence of publicising the information more widely. It has achieved what no PR could have—a boost in sales.

    21 Feb 2014 

    “‘Unsafe’ was a feeling he was familiar with.”

    “‘Unsafe’ was a feeling he was familiar with.”

    Joseph Anton

    Salman Rushdie’s memoir Joseph Anton was released in 2012. Well before it was published it was being discussed–what will be said, what will not, will it live up to expectations etc. The title is borrowed from the names of two writers whom Rushdie admires, Joseph Conrad and Anton Chekhov. The nearly 600 pages are preoccupied with a decade of living under the fatwa, a death threat issued by Ayatollah Ruhollah Khomeini of Iran ordering Muslims to kill Rushdie having written Satanic Verses. From the announcement of the news on 14 February 1989 till the threat perception was reduced to level four by Scotland Yard, Rushdie documents his complete bewilderment, growing frustration, simmering rage and absolutely disgust at the reactions of many who did not support him. He meticulously records his growing isolation from family and friends; the desperation at wanting to socialise but never being able to, at least not without prior planning with the police officers deputed to protect him; and then his growing rage at the hijacking of freedom of expression especially at the altar of religious zealots. He does not mask his distaste for his colleagues in the creative industry who fail to support him, including the “big unfriendly giant Roald Dahl”.

    Interestingly he uses the third person technique to write. As if he is a dispassionate observer of what Joseph Anton experiences, though at times “Salman” does intrude and speaks, introspects and reflects. It is curious that many of the reviews ( a few are reproduced below) comment upon the technique recognise it to be a unique way of writing, but do not understand the import of it. Whereas if you read any written account by a woman of a trauma that she has experienced, when the moment comes to describe the actual event, she inevitably switches to the third person narrative. ( It is rare indeed for it to be ever written in the first person. And if it is, then it is usually a draft that has been worked upon extensively till it is worked out of the system of the victim.) In Joseph Anton Rushdie describes a period of his life that must have been fraught with anxiety for every second of the day and night. So it is not surprising that even though he had his diaries to refer to he opts to use a technique that makes the memory of living with terror 24×7 easier to write about. It is fascinating to see him use a writing technique that is normally not associated with men.

    Joseph Anton is a detailed account of what happened in that frightful decade of Rushdie’s life, but also consists of references to his family and friends. It is a delightful balance of the personal and professional aspects of a very public figure. Graham Greene was amused that Rushdie had got into more trouble than Greene himself ever had! Whereas Gabriel Garcia Marquez never asked him about the fatwa. They had a straightforward conversation about writing and books, much to the relief of Rushdie. And of course the famous literary spat that John le Carre and Rushdie had in 1997. It was finally called off in November 2012 ( http://www.guardian.co.uk/theguardian/from-the-archive-blog/2012/nov/12/salman-rushdie-john-le-carre-archive-1997 and http://www.guardian.co.uk/books/2012/nov/12/salman-rushdie-john-le-carre ). The ups and downs with the family, understanding his parents and their marriage and his utter and complete adoration for his two sons born eighteen years apart — Zafar and Milan– comes through very clearly. The passages on publishing, literary agents, sale of rights, publishing schedules makes one wonder whether the digital age revolution has really changed anything at all. The details, the arguments, the negotiations are the same, whether it was in the 1980s or now. There are moments when the editorial inputs should have been stronger since the text tends to get a little clunky and tedious, yet it reads well.

    Years ago I recall attending a literary event where Salman Rushdie with Padma Lakshmi were also present. It was at the Oxford Bookstore, Statesman House, New Delhi. They were (I think) guests of William Dalrymple who was at the store to do a reading. For a long time I reflected upon that evening, but after reading Joseph Anton, a lot is explained especially the sheer joy of Rushdie at being able to live a normal life.

    Whenever Rushdie writes non-fiction he does it extremely well. Those years of being “invisible” and yet not, being catapulted onto the front pages of the newspapers worldwide gave him the confidence to speak clearly and strongly. He says what he wants to say. One of the most recent examples being the speech he gave at the concluding dinner at the India Today Conclave, New Delhi held on 18 March 2012. ( http://www.youtube.com/watch?v=tNzGgYvz92s). He insists that everyone should be allowed to speak without fear. He never really did, now he definitely does not, feel the need to mince words. I liked Joseph Anton.
    30 May 2013

    Salman Rushdie Joseph Anton: A Memoir Jonathan Cape, London, 2012. Hb. pp. 650 Rs 799

      Examples of reviews of the book, dwelling upon the third person technique

    http://observer.com/2012/10/gone-underground-in-a-new-memoir-salman-rushdie-looks-bach-at-his-fatwa/ “The first thing readers will notice about this memoir is that the memoirist has written it in the third person. It is not a perspective often associated with self-awareness.”

    http://www.thedailybeast.com/articles/2012/09/18/11-revelations-from-salman-rushdie-s-memoir-joseph-anton.html “…the book is written in the third person, as if a ‘biography’ of Rushdie/Anton…”

    Pankaj Mishra in the Guardian (http://www.guardian.co.uk/books/2012/sep/18/joseph-anton-salman-rushdie-review ) “In his memoir, where Rushdie bizarrely decides to write about himself, or “Joseph Anton”, his Conrad-and-Chekhov-inspired alias, in the third person, … .

    <strong>Mind your words: Who decides what we should read?</strong>

    Mind your words: Who decides what we should read?

    Mind your words: Who decides what we should read?

    The Jaipur Literature Festival 2012 did not slink by unnoticed. It is a literary extravaganza which reaches out to the masses, rather than being reserved for the upper echelons of society or the intelligentsia. Everybody is welcome to mingle and rub shoulders with the glitterati of literature. It is easy to spot Gulzar, along with Tom Stoppard or as this year proved, even Oprah! The one event that overshadowed the entire festival and its rumbles continue to be heard even now, was the controversy surrounding Salman Rushdie’s presence — will he, won’t he come was the question on everyone’s lips. What were the legal repercussions for the four writers—Amitava Kumar, Jeet Thayil, Hari Kunzro and Ruchir Joshi — who attempted to read out passages from Satanic Verses? When it was finally announced that Rushdie will not attend in person, but will address the gathering via a video conference, it was little consolation. But then that too was scuttled, leaving a fuming Rushdie having to address a television audience later that evening, via a link up with NDTV.

    Curiously the ban on Satanic Verses is a customs ban that does not allow the book to be imported into the country. The larger question then left for everyone to tussle with – was this a form of censorship? Are we not at a liberty to read what we like? Do we have the freedom to read what we like? Or shall there be those who sit in judgment upon what we can or should not read? Questions that are not always easy to answer. It has spawned various forms of protests, signing of online petitions to most notably “flash reads” which included reading passages from works on 14 Feb – the day, 23 years ago, when the fatwa against Rushdie was announced. Plus a day in that has in recent times become synonymous with the harassment inflicted upon young lovers by vigilantes, based upon the absurd argument that Valentine’s Day is a Western intrusion upon Indian culture. According to Salil Tripathi, one of the participants of flash reads, it was organized “at different locations in five cities, Bangalore, Kochi, Kolkata, Mumbai and New Delhi, about a hundred people—readers, writers, artists, engineers, lawyers, professionals, students, and consultants—came with sheets filled with words and ideas that someone somewhere wanted suppressed. We were at Lodhi Gardens, on the bridge overlooking the duck pond, in the shadow of the ruins of another era, where writers who defied the state and those in power often met a ghastly end.”

    But bear in mind the reception to a book in different countries. In Germany, more than sixty years after World War II is over, Adolf Hitler’s Mein Kampf is a banned text. It is not available in bookstores. If anyone wishes to read it, it can only be accessed by special permission, providing a valid reason, from a library. Unlike in India, where for many years it is a bestseller. It is always amongst the most popular titles in pirated editions, and only recently has begun to be visible in bookstores. It is available in English and other regional languages.
    Today, India is the largest democracy in the world, but it is also considered to be a large book market, with a voracious appetite in print and electronic formats and in any language, not just English. Controversies like those surrounding Satanic Verses open larger debates like pertaining to censorship, how far can one go without hurting the religious sentiments of another group, the impact of such an action on institutions and of course being responsible for the consequences of one’s action — is it to be those who are the catalysts of such change or the festival that inadvertently provided a platform for these readings? With the Internet, many of these bans become counter-productive as exemplified by Oscar-nominated director Ashvin Kumar who uploaded his latest film, Inshallah, Kashmir: Living Terror, on 26 Jan 2012, within 24 hours, he struck 50,000 views. In Dec 2011, it was estimated that India is the third largest Internet user population in the world, with over 120 million users. So it is ironical there is such a hullaballo around Satanic Verses being read in public, since the entire text is available online.

    (This article was first published in Books & More, April-May 2012, p.58

    Jaya Bhattacharji Rose is an international publishing and literary consultant. She may be contacted at [email protected] Her twitter handle is @JBhattacharji

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