Wednesday, October 8, 2008

My favourite Bengali writers are all dead and dying

Dearth of real writers in current Bengali literature

It’s autumn festival time in India, and you get some days off your work -medical practice, in my case. For years on end, I’ve used this "puja" time reading new works of Bengali literature, which have a way of landing in the market by way of special editions of almost every Bengali daily and periodical. These are really tomes, and you’ll get in each of them several novels (5 to 8 on an average), and more than a dozen stories by established and upcoming authors among other things. It’s practically impossible to read all of them, - it doesn’t make sense also – but you can choose your picks.

Until last year, I was a sucker for this Puja literature, and geekily bought and read quite a number of mags. This year I’ve not bought a single mag and ai’nt reading any work at all - decidedly of course. Though I wish to read a long essay by Taslima Nasreen published in Bangla Statesman. In it Taslima has written about her nightmarish brush with the Marxist Government during her last Kolkata sojourn.

Puja tomes have changed hugely from what they were in the past. Once these were focused on literature, now the shift is towards entertainment, following in the current trend of the market. So, what you find in them are all kinds of schlock things, and writers who can write them.

For the past few years I had pared down my reading list to just these writers: Shyamal Gangopadhyay, Sandipan Chattopadhyay, Debesh Roy, Mahasweta Devi( a contender for the Nobel), Udayan Ghosh, Subimal Mishra. Shyamal Gangopadhyay, Bengal’s Marquez, died a few years ago. Sandipan is also dead. Udayan died last year. Mahasweta, being engaged now with her activist work most of the time, is not writing much fiction these days.

So, I’m left with Debesh Roy. Now, here was a writer who had life-experiences, knowledge, and writing prowess to write big novels which I’ve always enjoyed, and spoken highly of. He has steadfastly written quality fiction in spite of poor response from readers and publishers.

But strangely for me, when the Singur mass-movement started last year against the Marxist government's forced acquisition of farmers’ land for SEZ, Debesh Roy actively took side with the government. This was a stand against the underdogs whom he has championed for all of his life! It was painful for me. i let him die in my consciousness as a writer. Now I'm no longer interested in his work.

Subimal Mishra is another of my favourite authors. He’s anti-establishment, and like Udayan Ghosh, never wrote for any commercial mag. Yesterday I called him to learn where I could find his new writing. His phone rang, but there was none to pick up the receiver. For a while, he had been keeping in bad health – complications of his long-standing diabetes actually. I was worried. So I dashed an e-mail to his translatorV.Ramaswamy(Harper Collins’ India would publish Subimal's selected stories next year)enquiring about his whereabouts. Ramaswamy's e-mail reply: “I tried to contact him too. No idea. Might be shifted to hospital.”

Tuesday, October 7, 2008

Dumb down your work, or...

Real Writers be damned!

"I have had a weird feeling that I'm being dumbed down by my publishers and it's interesting there's an agenda of how it should be in the marketplace.I'm amazed they are even trying it on"

--Dame Margaret, British novelist who takes over as chair of The Society of Authors.

Top novelist feels pressure..

Wednesday, October 1, 2008

Nobel Prize for Literature 2008

Is it Haruki Murakami this year?
Once again, the Nobel Prize season is here. The prize announcements will start next week with medicine, and end as always with literature. In all probablity the Nobel Prize for literature will be announced on Oct 16 this year.

The punters have been already at it. Their hot favourites this time are:
Claudio Magris at 3/1
Adonis at 4/1
Amos Oz at 5/1
Joyce Carol Oates at 7/1
Philip Roth at 7/1
Don DeLillo at 10/1
Haruki Murakami at 10/1
Les Murray at 10/1
Yves Bonnefoy at 10/1
Arnošt Lustig at 14/1


Horace Engdahl, Swedish Academy's permanent Secretary, has already frustrated the American authors and their fans with his statement,
"The U.S. is too isolated, too insular. They don't translate enough and don't really participate in the big dialogue of literature."Full Report here

Murakami, Murray and Bonnefoy are three big contenders this year. All of them are winners of Franz Kafka Prize, regarded by many as a precursor to the Nobel. Murakami, of course, has the best chance but the Nobel jury has a healthy aversion to the bestselling authors.

Have you read Claudio Magris , the topper of the list? Do you know which language he represents? No prize for guessing.

Last word: the 18-member Nobel award jury is quite unpredictable, and is used to spring a surprise. Think it selected Elfriede Jelinek, though for good reason, whom nobody ever thought to be a winner!

(updated -5 october) Adam Kirsch responds to Horace Engdahl's remark on American writers in Nobel Gas in Slate.

(updated -6 October) Another good but more balanced response to Horace Engdahl's remark in the New York Times
Lost in Translation? A Swede's Snub of US Lit.

Monday, September 29, 2008

The Jewel of Medina

Will it be an Important Book?

Things that happened after Salman Rushdie's The Satanic Verses have not yet faded from our memories. Violence, murder, Fatwa, round-the clock security cover for the writer outside his house. Fortunately for us, the great writer survived all this, and is still alive and writing.

From all indications, the Rushdie book rerun is going to happen with Sherry Jones' The Jewel of Medina to be released in October this year. The only difference is that while Rushdie's was a literary work, Sherry's is a mass-market pulp.

I just read through the Prologue available on the net. In a typical historical-fiction style, she tries to recreate Prophet's physical relationship with one of his child-brides named Aisha. I had no idea that the prophet had child-brides. What I knew about him was that he married a lady called Khadiza some years senior to him.

I don't know where the writer gets her facts from and whether the sources of her research are authentic. But what I'm more bothered about is the subject of her choice. It's more prurient than blasphemous. And for sure, she does not write it from any sense of any kind of conviction. All talk about women empowerment and freedom in this context are shit. This is out and out a commercial venture. Of course, it's a bestseller that has presold.

Back to my reading. The prologue is a polished and professionally edited piece that is intended to whip your emotions, but actually reads bland and contrived. It might excite morons, but I'd wager that few discerning readers would go past it into the first chapter of the book.

I feel pity for the author. Allah forgive her!

Prologue to The Jewel of Medina

Sunday, September 28, 2008

Jose Saramago News

I'm equally excited and disappointed that Jose Saramago, the Nobel Laureate, has started a blog since Sept 17. Excited because I can't think of someone like Saramago's stature can embrace blogging as a medium, and that too at 85. Disappointed because he's writing in Portuguese, not in English.

Anyway, take a look at it
Saramago's blog

I tried to read it using Google's translation tool, but failed to figure out anything. I think it's related to George W. Bush.

Could anybody translate it for me?

Saturday, September 27, 2008

Project 10^100: a writing geek review

Sometimes, you get a barely 200-word ad more compelling and enjoyable reading than a fashionable book. Most fashionable books suck because of their no-brainer stuff and lack of insights, and it feels like time wasted to read such books. But read this ad: not only it's intellectually stimulating and interesting, it also touches a chord, and evokes the best in you as a human being.

“Never in history have so many people had so much information, so many tools at their disposal, so many ways of making good ideas come to life. Yet at the same time, so many people, of all walks of life, could use so much help, in both little ways and big.
In the midst of this, new studies are reinforcing the simple wisdom that beyond a certain very basic level of material wealth, the only thing that increases individual happiness over time is helping other people.”
(In this consumerist climate, it sounds like an advice from a spiritual guru, but you would like it because there is a truth ingrained in it.)

"In other words, helping helps everybody, helper and helped alike."
(Great play of words – almost mesmerizing!)

“The question is: what would help? And help most?
At Google, we don't believe we have the answers, but we do believe the answers are out there. Maybe in a lab, or a company, or a university -- but maybe not.
Maybe the answer that helps somebody is in your head, in something you've observed, some notion that you've been fiddling with, some small connection you've noticed, some old thing you have seen with new eyes.
If you have an idea that you believe would help somebody, we want to hear about it. We're looking for ideas that help as many people as possible, in any way, and we're committing the funding to launch them. You can submit your ideas and help vote on ideas from others. Final idea selections will be made by an advisory board.
Good luck, and may those who help the most win.”
(I’m not sure it’s wholly a noble and altruistic cause. There might be a cause behind this cause. Nevertheless, I like the content and the way it’s delivered.)

But I’m not submitting any new idea for the project. What any other new idea can a writing geek have except that more and more people read more books by real writers to know the other people, to know the various human conditions, to know the world, and in the process morphing into as human as humanly possible?

Tuesday, September 23, 2008

The importance of being Philip Roth

"I don't have any sense of audience, and least of all when I'm writing. The audience I'm writing for is me, and I'm so busy trying to figure the damn thing out, and having so much trouble, that the last thing I think of is: "What is X, Y or Z going to be thinking of it?"

Philip Roth is 75, and has just published a new novel called Indignation . Now, you'll find a flood of reviews in various magazines, and across the web. Ignore it. It's time to read some good interviews with the great living American novelist.

The story of my lives
An audience with Philip Roth (Thanks to John Self for the link)

Saturday, September 20, 2008

Amazing tribute for DFW

NSCAR Cancels 2008 season schedule

"LOUDON, NH—Shock, grief, and the overwhelming sense of loss that has swept the stock car racing community following the death by apparent suicide of writer David Foster Wallace has moved NASCAR to cancel the remainder of its 2008 season in respect for the acclaimed but troubled author of Infinite Jest, A Supposedly Fun Thing I'll Never Do Again, and Brief Interviews With Hideous Men.

In deference to the memory of Wallace, whose writing on alienation, sadness, and corporate sponsorship made him the author of the century in stock car racing circles and whom NASCAR chairman Brian France called "perhaps the greatest American writer to emerge in recent memory, and definitely our most human," officials would not comment on how points, and therefore this year's championship, would be determined."

Friday, September 19, 2008

Why paint a gloomy picture of the world?

László Krasznahorkai interview

Q: In a situation like this, what do writing and literature give you? What do books mean? Obviously, not the way out. Nor does writing function as a form of personal salvation for you. Then, shall we say it is the gentlest form of rebellion? Or does it play the role of issuing certain signals?

A: Whenever I manage to state my view in its full extent, my partner in conversation, anywhere in the world, invariably reminds me, “If you paint such a gloomy picture of the world, then why write?” This is a subtle way of asking why I don't shoot myself in the head right there and then, and indeed, why I hadn't done so a long while ago. My critical remarks do not mean that I think or have ever thought that literature could directly interfere with the workings of the society it criticises or rejects. The impact that a writer can exert over his or her own society is far more subtle, almost indecipherably complex and indirect, working through a number of transformations. I even doubt whether at such a degree of remoteness you can still call this an impact and an influence. In Oriental cultures, this question has found an almost radical solution: art had absolutely nothing to do with the direct, palpable reality of its own age. On the contrary, real artists were not “members” of their own society, in the same way that saints never are. This way, the art they produced did not exist as an integrated, definable, graspable part of society. Instead, it found its place in an emphatically spiritual space which nonetheless was still perceived as a part of reality.

László Krasznahorkai is a contemporary Hungarian master of apocalypse who inspires comparison with Gogol and Melville.

Monday, September 15, 2008

When a real writer kills himself

David Foster Wallace was a brilliant humanist writer

..all great writers -- and I have no doubt that he was one -- have a preeminent purpose: to tell the truth. David Foster Wallace's particular vocation was to allow us to see just how fraught and complicated, how difficult yet how necessary, that telling had become -- not just for him, but for all of us. What will we do without him?

DFW was only 46. He had talent to burn, time to write, had a nice teaching job in a college, and had people reading and loving his books. So, why did he kill himself?

DFW was a master of byzantine prose and virtuoso thinking. He was an acknowledged post-modernist who had great imagination and intellect. So, why did he kill himself?

In a country where empathy is considered a weakness, DFW had empathy and compassion - a lot of them - for his fellow human beings and was a brilliant humanist writer. So, why did he kill himself?

He was not happy at the new trends of the publishing world.

He was not happy at the chaos and insanity spiralling around him in his own country.

At one point he must have stopped to see the point of life.

What an end for a truly great and creative mind!

Thursday, September 11, 2008

Booker shortlist

Linda Grant is my choice

“These novels are intensely readable, each of them an extraordinary example of imagination and narrative.”

In his press conference, Michael Portillo, the chair of the Booker jury, does not utter the word 'literature' even once. He does not emphasize on the originality or voice of any writer. Evidently, the focus of the Booker award has shifted from the quality fiction to the popular/pulp fiction. And the judges are no longer interested in literary fiction alone. Now it can be any kind of fiction, even a bad thriller, that the jury can take into consideration. What a shift for the prestigious literary award!
-------------------------------------------------------------------The Man Booker Prize 2008 shortlisted novels are:
Aravind Adiga The White Tiger (Atlantic)
Sebastian Barry The Secret Scripture (Faber and Faber)
Amitav Ghosh Sea of Poppies (John Murray)
Linda Grant The Clothes on Their Backs (Virago)
Philip Hensher The Northern Clemency (Fourth Estate)
Steve Toltz A Fraction of the Whole (Hamish Hamilton)
This year's judging panel is chaired by Michael Portillo former MP and Cabinet Minister. He is joined by Alex Clark, editor of Granta; Louise Doughty, novelist; James Heneage, founder of Ottakar's bookshops and Hardeep Singh Kohli, TV and radio broadcaster

------------------------------------------------------------------ As we all know, the Booker longlist this year was mediocre. They took all sorts of fiction based on their new criteria -even such crappy books as Child 44 and Girl in a Blue Dress. It was expected they would pare down to a shorter, reasonable shortlist this year. Nope. The shortlist has six titles, and most are the kind that you would give up reading half-way and even in case you finish them, you would never like to recall your reading experience.

The only book that I liked is Linda Grant’s The Clothes on their Backs.It is based on 70's immigrant experience, and addresses various questions about the nature of suffering and survival. It is an outstanding work in terms of both theme and treatment. Of course, I would like this title to be the winner.

But I’ve kind of hunch that Linda would not make it in the final round. Amitav Ghosh is in the list, and he is now the best and most suitable contender by establishment metrics. All efforts might now be directed to make him the winner.

Tuesday, September 9, 2008

From a Jorge Louis Borges interview

Below are some quotes from a 1984 Borges interview I came across in le rubi. Here is a real writer talking without any pretension about his world of reading and writing.

"I’ve read very few novels in my life; for me the foremost novelist is Joseph Conrad."

"For me reading and writing are two equally pleasurable activities. When writers talk about the torture of writing, I don’t understand it."

"Since I have committed the indecency of turning eighty-five, I confirm without melancholy that my memory is full of verses and full of books. I can’t see past the year 1955—I lost my reader’s vision—but if I think about my past life, I think of course about friends, lovers also, but I think most of all about books. My memory is full of quotes in many languages."

"I hope to be totally forgotten. I believe that this is death."

Saturday, September 6, 2008

Being contemporary

A real writer's take

MR: What makes a literary work of its time? What makes it contemporary in an interesting or meaningful way? Do you care about being contemporary?

JPT: Literature has no real political or social role to play. Its role is primarily aesthetic. It’s an art. But it must absolutely offer a view of the world. I think writers should necessarily talk about the contemporary world; they should read it, decipher it, and reconstitute it. My choice of having Fuir take place in China, quite independently from my trip there in 2001, brought to light a desire to focus on the present, on the contemporary world as it is being built today, a world that is forever alive, moving on and transforming itself. China represents what is contemporary, in my mind. At some point in Fuir, we’re both in Paris and in China, it’s both daytime and nighttime, and the characters, connected by a cellphone, are both in a night train in China and standing in the sun outside of the Musée du Louvre in Paris. In the past, it would not have been possible to write that scene, for the obvious reason that cellphones did not exist 15 years ago. Starting from a new object of daily life, one discovers a new use of the novel.


Jean-Philippe Toussiant interview here

Wednesday, September 3, 2008

Obituary of an unremarkable man

My father – the first imposing figure in my life – died yesterday. He was a doctor, and a negativist, but one of the very few contented men I’ve encountered in my life. He was eighty four, and lived life in a profound way.

He died of acute bronchopneumonia, but the real disease was the cancer of lung. He had cancer of the larynx twenty years ago, but was treated successfully for it with radiotherapy, and had almost a normal life, devoting time to three passions of his life – crosswords, Bengali cinema, and cricket.

Perhaps every man can sense the arrival of death in due time, but he knew it more in advance and accurately. He kept his eyes shut tight, refused to eat or respond to our interrogations, and on rare occasions when he opened his eyes, he fought hard to check his tears. The message was clear: he was unwilling to depart. But what was more remarkable was that he was in a sulking mode till his last moment.

I’m the eldest of his ten children, and have not lived with him much. Circumstances had so much to play around against developing a strong bond between us. He was a domineering father and always wished that I follow his advice to the full. I revolted. I liked writing, but he discouraged it. I was more inclined to intellectual and literary things. He would not approve it. He wanted me to become a doctor following in the tradition of our family. I decided not to oblige him. So at my first chance, I left the family – I was eighteen at the time - to pursue my own passion and kind of snapped all relations with him. It meant lots of struggle for me, but the fun thing is I ended up being a doctor myself graduating from a premier medical college in Bengal. He had the last laugh.

His attitude towards other children was different. He proved a careless father to them. So barely had I started my medical practice than they began to gravitate to me one by one. I had to fend for them. I had to take care of their education. And he never sent any help whatsoever.

He joined us many many years later when my siblings were somewhat settled, and some sisters married off. And then he opted to live with my youngest brother, an engineer-turned-entrerpreneur, who was going great guns at a very young age. My father sold out all his property in the country, and must have brought a good, if not large, sum with him. He never discussed it with me, and I never enquired him of it.

At one point, I lived several blocks away from him. I saw him in the market, scanning fish, vegetables and fruits before buying them. Sometimes I saw him on the road taking his morning walk. Sometimes he would visit my flat for a brief while. He seemed to be fond of my son. I have heard them discussing cricket.

When I visited him at my youngest brother’s residence, he was either busy fiddling with his crossword with dictionaries scattered around him or seeing some live cricket match on TV with so much attention that he didn’t notice me. But when he noticed, he welcomed me with a shy smile and asked me to sit down, but no further words, and our conversation never progressed.

We celebrated his 80th birthday with great style. As usual, he was impeccably dressed in his starched while dhoti, and punjabi, and seemed to enjoy the party. When asked to say something for the occasion, he said that he was indeed a very happy man, and had no grouse or complaint against anybody or anything as such, but would fervently wish that some, at least one of our children, might be a doctor.

He was not a successful doctor for whatever reasons, but a good clinician. He had great love for his profession.

In his deathbed, when he had severe spasms of breathlessness, he said to me in one lucid moment, “I have never harmed anybody in my life. So, why do I suffer this way?”

I had no reply for him.

Is there any relation between one’s karmas and sufferings? I’m not sure.

Tuesday, August 26, 2008

10 reasons why you should read Arundhati Roy

Arundhati Roy is one single writer who has never disappointed me, and who always gives value for my time. I can read her any time any day. Give me a new Arundhati piece, and I'm into it in an instant, reading and savouring it word for word - literally. She is a window for me. She is my idea of a real writer.

So, what's it that draws me in? Or, why should you read her?

1. She has poetry in her prose. Or, music. If you love literature, you can't miss it.

2. She writes about sensitive, yet important subjects that other writers would carefully avoid for reasons of libel and/or personal security( e.g. globalisation, judiciary, dams, nuclear tests).

3. She has more brains for a writer, and is endowed with a sharp analytical mind.

4. She is a one-woman army and can take on the establishment without considering about the consequences.

5. She has astounding skill to garner facts and figures about India (the emerging superpower to some)and the world.

6. She is a rare independent writer with integrity, who is never afraid of asking questions.

7. She has great imagination to enrich her work.

8. She writes less, and never ever any crap - whether fiction or non-fiction.

9. She did not blush when people were clapping on her Booker award occasion.

10. She has no blog or any account on Facebook or You Tube.

Now, read Arundhati Roy's New Article at Outlook India magazine.

Wednesday, August 20, 2008

Sea of Poppies : Two readers

READER A:
I have just finished Sea of Poppies and am on a high, the euphoric state that occurs when I have read a masterpiece for that is what this book is. It is perfection. And I am so glad to read that this is the first of a trilogy on which he is working already.

A sweeping, complex narrative, a large cast of characters and the most extraordinary use of language, combining 19th century Anglo-Indian with Bhojpuri, Bengali and Hindi with no concessions to Western readers. It is gripping stuff and I was mesmerised, eyes transfixed on the page. The story telling is so masterly without any hiccups or laboured prose, it carries one away as on the crest of a wave.

The last time I felt like this was on completing Midnight's Children in '81 just before the Booker Prize was announced and I did a victory dance in front of the telly and went to see Rushdie two days later. One could do that then!

I still haven't read In An Antique Land but will do so now. I am hooked.

READER B:
I have no interest in Amitav Ghosh and his writing. I had only read Shadow Lines. I don't consider his writing to be literature. He works hard on his books, especially in terms of research. But that does not amount to literature. Besides, in the context of Indian apartheid and the opportunistic duplicity of writers, Ghosh included, I have no interest whatsoever in their output.

People like Ghosh write, an elaborate artifice, precisely to produce the kind of reaction you felt. But it has nothing to do with India. It does'nt come from there nor does it go there. And most of all, not only does it not contribute an iota to change in the apartheid situation, it only reinforces the charmed narcissism of the English-reading class.

(Source: my inbox. Names withdrawn because I've not sought their permission. My apologies.)

Wednesday, August 13, 2008

Literary teddy bears!

"Do you believe Indian writers published by the West have conformed to a specific style?

Not so much a style as a certain formula, limitations on content, the expectation of a cultural- social-spiritual-exotic biriyani, good for an evening out for the White Masters, not too hot, not too aphrodisiac, an Anglofriendly masala, not politically or sexually impudent. Have you noticed that teddy bears don’t have sex organs? They want us to be their literary teddy bears, pettable and dispensable at will. I am an independent, autonomous human being with sex organs, and I refuse to be a Western reader’s teddy bear! But many of us oblige."

Guess who's talking. Not any familiar published Indian author, for sure. Note his in-your-face tone and style. One needs balls to talk like this. Here's a writer who is not bothered to be as as savvy, clever and politically correct as other Indian writers. He just speaks as he thinks and experiences. It is as simple as that. And it's not bullshit. It makes sense.

Richard Crasta writes quality books for his own literary pleasure, publishes them himself, and sells them too. Publishers and distributors have never favoured him, but he has his fans and some of his books are best sellers.

He's my idea of a writing geek.

MORE

Wednesday, August 6, 2008

Alexander Solzhenitsyn

The only book by Alexander Isayevich Solzhenitsyn I have read is Gulag Archipelago, and that too at a very young age when I had little experience of the real world. I remember I didn’t like the book much because it was more journalism and history than literature, and I found the writer very crass in his critcism of Vladimir Lenin, who he thought to be the person responsible for the vast system of prisons and labour camps in Russia.

But it was an awesome work in terms of first-hand testimony and primary documents of interrogation routines, prisoner indignities, camp massacres and other inhuman practices.

I’ve always wondered how, under constant surveillance of the KGB, he worked on this colossal book living in a camp with single-minded dedication and effort. He had to do his writing secretly, and as soon as he was done with a few pages of writing, he smuggled those pages onto his trusted friends scattered across the Soviet –to different friends at different times to save his work. This way he built up a huge, gigantic work – published later in three tomes from Paris.

He was an extra-ordinary dissident. He had amazing guts. He was a real writer.

If not for anything else, Solzhenitsyn would be remembered for this work alone.

LINK:

Aleksandr Solzhenitsyn

Alexandr Solzhenitsyn: The Nobel Prize in Literature in 1970

Wednesday, July 30, 2008

50 Best Translated Books from last 50 years

The Translation Association of the society of Authors is 50 years old this year, and to mark its anniversary, it has released a list of 50 best translated books from the last 50 years.
Some of these titles you must have read and liked so much that you never felt they were translated works. Yes, they were all master translators with love of literature in their DNA, who devoted their time and efforts to translating the real writings by real writers. We, as readers, could never be more grateful to them. Without them we would have never known these great authors the way we know them.

Two of my favourite translators from the list are Gregory Rabassa, who translated Hundred Years of Solitude by Garcia Marquez, and Michael Henry Heim, translator of Milan Kundera. On one occasion Kundera candidly admitted that his translated work is much better than his original work!

So, love the translators, and respect their efforts!

The list has been sent by my translator friend V.Ramaswamy

LIST

1. Raymond Queneau – Exercises in Style (Barbara Wright, 1958)

2. Primo Levi – If This is a Man (Stuart Woolf, 1959)

3. Giuseppe Tomasi di Lampedusa – The Leopard (Archibald Colquhoun, 1961)

4. Günter Grass – The Tin Drum (Ralph Manheim, 1962)

5. Jorge Luis Borges – Labyrinths (Donald Yates, James Irby, 1962)

6. Leonardo Sciascia – Day of the Owl (Archibald Colquhoun, 1963)

7. Alexander Solzhenitsyn – One Day in the Life of Ivan Denisovich (Ralph Parker, 1963)

8. Yukio Mishima – Death in Midsummer (Seidensticker, Keene, Morris, Sargent, 1965)

9. Heinrich Böll – The Clown (Leila Vennewitz, 1965)

10. Octavio Paz – Labyrinth of Solitude (Lysander Kemp, 1967)

11. Mikhail Bulgakov – The Master and Margarita (Michael Glenny, 1969)

12. Gabriel Garcia Marquez – 100 Years of Solitude (Gregory Rabassa, 1970)

13. Walter Benjamin – Illuminations (Harry Zohn, 1970)

14. Paul Celan – Poems (Michael Hamburger and Christopher Middleton, 1972)

15. Bertolt Brecht – Poems (John Willett, Ralph Manheim, Erich Fried, et al 1976)

16. Michel Foucault – Discipline and Punish (Alan Sheridan, 1977)

17. Emmanuel Le Roy Ladurie - Montaillou (Barbara Bray, 1978)

18. Italo Calvino – If on a Winter’s Night a Traveller (William Weaver, 1981)

19. Roland Barthes – Camera Lucida (Richard Howard, 1981)

20. Christa Wolf – A Model Childhood (Ursule Molinaro, Hedwig Rappolt, 1982)

21. Umberto Eco – The Name of the Rose (William Weaver, 1983)

22. Mario Vargas Llosa – Aunt Julia and the Scriptwriter (Helen R. Lane, 1983)

23. Milan Kundera – The Unbearable Lightness of Being (Michael Henry Heim, 1984)

24. Marguerite Duras – The Lover (Barbara Bray, 1985)

25. Josef Skvorecky – The Engineer of Human Souls (Paul Wilson, 1985)

26. Per Olov Enquist – The March of the Musicians (Joan Tate, 1985)

27. Patrick Süskind – Perfume (John E. Woods, 1986)

28. Isabel Allende – The House of the Spirits (Magda Bodin, 1986)

29. Georges Perec – Life A User’s Manual (David Bellos, 1987)

30. Thomas Bernhard – Cutting Timber (Ewald Osers, 1988)

31. Czeslaw Milosz – Poems (Czeslaw Milosz, Robert Hass, 1988)

32. José Saramago – Year of the Death of Ricardo Reis (Giovanni Pontiero, 1992)

33. Marcel Proust – In Search of Lost Time (Terence Kilmartin, 1992)

34. Roberto Calasso – The Marriage of Cadmus and Harmony (Tim Parks, 1993)

35. Naguib Mahfouz – Cairo Trilogy (Olive E. Kenny, Lorne M. Kenny, Angela Botros Samaan, 1991-3)

36. Laura Esquivel – Like Water for Chocolate (Carol Christensen and Thomas Christensen, 1993)

37. Bao Ninh – The Sorrow of War (Frank Palmos, Phan Thanh Hao, 1994)

38. Victor Klemperer – I Shall Bear Witness (Martin Chalmers, 1998)

39. Beowulf (Seamus Heaney, 1999)

40. Josef Brodsky – Collected Poems (Anthony Hecht et al, 2000)

41. Xingjian Gao – Soul Mountain (Mabel Lee, 2001)

42. Tahar Ben Jelloun – This Blinding Absence of Light (Linda Coverdale, 2002)

43. W.G. Sebald – Austerlitz (Anthea Bell, 2002)

44. Orhan Pamuk – Snow (Maureen Freely, 2004)

45. Amos Oz – A Tale of Love and Darkness (Nicholas de Lange, 2004)

46. Per Petterson – Out Stealing Horses (Ann Born, 2005)

47. Irène Némirovsky – Suite Française (Sandra Smith, 2006)

48. Vassily Grossman – Life and Fate (Robert Chandler, 2006)

49. Alaa Al Aswany – The Yacoubian Building (Humphrey Davies, 2007)

50. Leo Tolstoy – War and Peace (Richard Pevear, Larissa Volokhonsky, 2007)

Compiled by Shaun Whiteside (Chair, TA) and the Committee of the TA (Don Bartlett, Alexandra Büchler, Martin Chalmers, Nicholas de Lange, Sarah Death, Marueen Freely, Daniel Hahn and Christine Shuttleworth).

Thursday, July 24, 2008

Arundhati Roy's New Fiction

Arundhati Roy has not written any fiction since the publication of her Booker-winning novel The God of Small Things in 1997. She was busy, besides her activist’s work, penning brilliant and phenomenal essays about nuclear testings, dams, globalization, Indian judiciary and about things most writers would not dare to touch. So her returning to fiction after this long sabbatical– eleven years to be exact – is itself an exciting news for literary folks. But this is a short story for now, she would follow up with her second novel soon.

Arundhati’s “Briefing” is about a fort in the hills, a real invincible fort, built with stones from surrounding hills, a result of massive investment of labour and money. It is not so much a story as a narrative. No story-line (a real writer is never bothered about it), no human characters except the narrator, and no twists. And it has a lot of subversive material (in a recent interview, Arundhati describes fiction as “more subversive…more mysterious”).

As we have seen in her other writings, she lets her imagination in full play here in this story also. The fort’s location in the hills leads us to snow. Snow is not naturally found these days atop hills. So comes warming of planet, and hot natural snow. In the final part of it, you see the narrator wishing the fort razed so the ecology returns to the land and snow falls again.

Arundhati is the kind of writer who gets evolved as a writer everyday. Don’t expect her handle the same things the same way from her every time. In every new piece she reinvents herself, and reveals something new. The subject of this story is another proof that she is trying to take herself to a loftier level.

But the story has some flaws. First, despite a fresh subject, you hear Arundhati’s too familiar angry non-fiction voice here in this story also. Initially, it’s hard to believe that you’re reading a work of fiction. She incorporates details of snow-manufacturing business in a non-fiction way. And then her swipe at capitalism is also blunt. The end too is simplistic. Where is the subtlety and mystery of fiction?

It seems that Arundhati has not yet been able to unplug herself fully from her non-fiction mode. After all, she has been into it way too long.

Arundhati needs to put her fiction-writer’s cap tightly.

Sunday, July 20, 2008

Hey, how many books did you sign?

Of course, it is one of those trivia. I should not have written about it. But it involves one of our real writers, and I kind of reacted. So I can’t help write it.

On one occasion during his recent promotional tour for his latest novel, Salman Rushdie signed as many as 1000 books in 57 minutes. All very well for someone who looms bigger with his new writing success. But the galling thing is, Rushdie has begun bragging about it. He went so far as to write a letter to The Guardian that he has made a signing record with this, beating Malcolm Gluck, the wine writer, who signed 1,001 copies in 59 minutes in 1998.

Gluck questioned about the veracity of this claim. Did Rushdie put in his intials, he queried. Rushdie quickly added: Let me be clear. I didn’t initial the books, but signed my full name.

So, here’s the controversy, and please join in!

I tried to do a little math, but soon gave up on it realizing it was a waste of time. Does it really matter if somebody signs his name in just about 3.42 seconds or less? It’s absolute rubbish. We did such competitions in our school days.

I wish Rushdie had not bragged about it at all. Not only was it in bad taste, it also spoke unfavorably about his persona.

Tuesday, July 15, 2008

Midnight's Children Revisited

The occasion of the Best of the Booker award prodded me to revisit the Midnight’s Children after one long decade, if I remember it right. For constraint of time, I read it randomly, beginning in the middle, skipping pages, and finally ending with the first page.

Saleem Sinai –variously called Snotnose, Stainface, Baldy, Sniffer and Buddha –is still fantastic. The episode of his being baldy at the age of ten – the outcome of an angry school-teacher’s assault –shocked me again but what hurt me more was the cruelty of his classmates his age who made him a permanent object of ridicule for his baldness. His losing a finger in the fight with friends is equally painful for me. Fortunately for me, Rushdie made Saleem a rich man’s son, and that indeed had a check on my overactive lacrimal glands.

I had forgotten about Saleem’s Hanif uncle and Pia aunty, who were associated with Bollywood, one as a failed script writer, and another as a failed actress. They were still an interesting read, and I enjoyed Saleem’s interaction with them.

Midnight’s Children, I feel this time, has a strong storyline, or rather a string of compelling episodes. They alone can carry you along with their own force, even if you ignore the sub-text.

And it’s an overwhelmingly Indian story. Hindu gods, myths, Indian foods (chutney specially), Muhammad, Pakistan, Indian democracy, election, you name anything. It left me wondering how foreign readers got to crack all these. Then Rushdie’s humour is not always as good as his wits, and he can bore you to death with his endless babble with Padma, the perennial woman in his life. But he’s marvelous in his observations on India’s politics, people, culture and other sundry things.

What’s so special about Midnight’s Children? You get bits of tragedy in almost every episode. An undercurrent of pathos flows throughout the entire text, and finally seeps into your consciousness to form a huge grey.

In its content and style, Midnight’s Children brings about a huge paradigm shift in English writing. It was a great risk-ridden experiment for a writer whose first book simply vanished without a trace. I cannot but appreciate Rushdie’s courage and confidence. But at the same time I’m surprised that even after so many years and so many good and bad novels down the line, Rushdie has the same mindset, and his writing style remains the same – with all its components intact, only a bit jaded by time.

Now, from the first page:

I was born in the city of Bombay…once upon a time. No, that won’t do, there’s no getting away from the date; I was born in Doctor Narlikar’s Nursing Home on August 15th,1947. And the time? The time matters too. Well than; at night. No, it’s important to be more…On the stroke of midnight, as a matter of fact. Clock-hands joined palms in respectful greeting as I came. Oh, spell it out, spell it out; at the precise instant of India’s arrival at Independence.

Saleem Sinai's sojourn begins.

Friday, July 11, 2008

What You should Expect in Kafka Papers

What do you expect in the newly discovered Kafka papers? Any new stories or novels? Little chance. Max Brod scanned it all and published every worthy stuff. Notebooks or letters? Probably yes. According to one of his biographers, Franz Kafka used to maintain notebooks, and had filled twenty notebooks with his writing. Some of Kafka’s letters might be in the papers.

As we all know, Kafka gave away all his manuscripts to his close friend Max Brod. Prior to his death at age 41, he instructed his friend to burn all of his writings. Brod in his good sense ignored his friend’s order, and kept them with him. In the wake of the Nazis invading Prague, Brod had to flee, but he took utmost care to carry along with his valuables the two suitcases stuffed with Kafka writings. Later, he oversaw the publication of most of his works in his possession.

The newly discovered papers are part of Brod’s possession, which he didn’t publish for whatever reasons. May be Brod did not consider them publishable, or those contained material not suitable for readers at that time. But they are still important, and can shed light on the great writer.

Kafka has always been a literary puzzle. With just a few stories published during his lifetime, he got noticed only posthumously. Then he never finished any of his novels except The Metamorphoses.
Yet he was an iconic writer and influnenced the world litearture in a big way.

I have always seen Kafka as an author who foresaw the horrors of capitalism, and used them exclusively in 'The trial' and his other writings.

The world Kafka had lived and written about has changed hugely since. Capitalism has now come a full circle with all of its horrible attendants. The Kafka papers, at this juncture, may prove to be an interesting read.

Sunday, June 29, 2008

Perish before you publish

Book industry is now at an all-time low. Real writers have a very tough time publishing their books. In fact, their odds increase everyday with the already dumbed-down publishing houses now targeting the lowest common denominator.


"Publishing is in a well documented state of economic and structural chaos and worried about whether its physical end-product will even exist in the future. In short, it's now dealing with the problems that my own industry - magazines - faced seven years ago. Sadly, the book industry seems to be responding in the same way - by retreating into safe, middle of the road ideas and a particularly stubborn intransigence.

It didn't work for magazines - dumbing down content and aiming for the lowest common denominator didn't boost any existing title's ABC - and it won't work for books either. The good titles that do get published are too often lost in an attempt to make them look unthreateningly "mainstream"."


Read the whole article at Justin Quirk's blog

Wednesday, June 25, 2008

So What if Chetan Bhagat's not a real writer?

Chetan Bhagat’s latest novel – his third in a row – has reportedly sold 5,00,000 copies since its release last month(Over-hype? One source says only 60,000 copies of the book have been printed till now). He’s being touted variously as people’s writer, a publishing phenomenon, and young voice of India. His publisher is now sending boxes of candy to media offices to celebrate the huge success of the book. Chetan, on his part, is taking a well-earned sabbatical before he begins working on his next novel. Meanwhile, the Bollywood has decided to film two of his books.

All very nice for Chetan and his publisher, but many people (even some of his fans) have now started complaining. Here is a list:

 His work lacks literary merit.

 His writing style is clunky.

 He cranks out ‘read and throw’ stuff.

 He has little life-experience.

 His books have silly titles (e.g, Three Mistakes of My Life, One Night@ the Call Centre)

 He has no world-view.

 His social critiquing is random and unfocussed.

 He has chutzpah!

Of course, these things suck. But then people should know Chetan is no real writer. He’s simply a pulp-fictioneer with Luck. How can you expect real writing from him?

Thursday, June 19, 2008

Why I'm a Shalom Auslander Fan

The thing is, you get fewer and fewer real writers these days.

I discovered Shalom Auslander quite by chance. Caught in a bad mood, I was frantically browsing the net one day when I stumbled upon his columnA Terrible Experience. I wanted to read just the first paragraph, but I was gripped. It had so much funny kind of punch that I found myself reading through it. And I loved the piece absolutely. Here was a writer who wrote what he exactly wanted to write!

That's how I became his fan.

I like Shalom's attitude, his style. He reminds me of Mark Twain, but only faintly.

Shalom is crazy, intelligent, irreverent, believer, hilarious and gloomy - all at the same time. He does not care about political correctness. He has always something to say, and he says it like it is - without worrying the least about the repercussions. Who would not love such a natural and real writer?

Shalom has a book called Beware of God . All the stories of this book revolve around the idea of God. "I have a 'Beware of Dogs' sign on my house," says he,"I feel the same way about God." If it seems like blasphemy, he does not really mean it. Does he believe in God? "Yes, I do because I want to not," he said in an interview.

"Sadness and tears have never been the goals of my reading, or my writing, and I can't imagine why they would be. I thought that was the goal of the Drudge Report, of the Evening News: “Now With TWICE the Misery.” Murder, war, rape, global warming, global cooling. Then the five-second clip of the squirrel waterskiing. Tears in the writer? Tears in the reader? This is some kind of victory? Catharsis, I know. No amount of dragging a reader over the miserable coals of a writer's miserable imagination can’t be excused by catharsis, by the waterskiing squirrel: The lovers live on, only without legs, a home, or a future. Oh, and she'll get raped. Him, too. But they LIVE, damn it, they LIVE. Mother, father, and children are burned to death in a house fire, but a rat in hole somewhere has learned an important lesson about life. I'm not buying it. I purchase more novels than I can possibly write off as expenses (trust me, I've tried), and put most of them down before I'm a third of the way through. Call it laziness if you like. I call it prudence: I can only kill myself once, and I'd like the book that makes me do so to be really worth it. I've read enough of them through, though, to know that if there's a baby, it will die. If there's a dog, it will be shot. A heart, broken. A family, torn apart. A city, demolished. A tire, flattened. A toe, stubbed. A nail, bent. A cup of tea, spilled. But cathartic, always cathartic."

Sunday, June 15, 2008

A real writer first and foremost

The Wall Street Journal has published an interview - in an odd format, though - with Salman Rushdie. A question and answer format would be more appropriate. In such interviews, we like to read what a writer says -in the exact, unedited version - without any commentary from the interviewer

"There was a number of ways in which such an event could cripple a writer," Mr. Rushdie says of the death sentence that lasted until 1998, when the Iranian government withdrew support for it. "One way was that it would frighten you into innocuousness – that you would suddenly try and avoid writing anything that could in any way upset anyone. Which would essentially mean you couldn't write anything. Or, it could provoke you into vindictive writing. Kind-of revenge fiction. And I thought both of those things would destroy me, because they would turn me into a creature of the attack."

Read the whole interview A Writer, Not a Martyr

Wednesday, June 11, 2008

When J.K.Rowling delivers like a real writer

Let me confess: I've never been able to bring myself to like J.K.Rowling's work. But her background and struggle fascinate me. Below is her Harvard University Convocation address, which I truly liked. Why did'nt she go in for some real writing alongside/instead of her usual, no-brainer stuff? In this speech, she sounded just like a real writer should. Thanks to my friend
V.Ramaswamy, who has an interesting habit of sharing with me whatever he reads and likes
.

President Faust, members of the Harvard Corporation and the Board of Overseers, members of the faculty, proud parents, and, above
all, graduates,

The first thing I would like to say is 'thank you.' Not only has Harvard given me an extraordinary honour, but the weeks of fear and nausea I've experienced at the thought of giving this commencement address have made me lose weight. A win-win situation! Now all I have to do is take deep breaths, squint at the red banners and fool myself into believing I am at the world's best-educated Harry Potter convention.

Delivering a commencement address is a great responsibility; or so I thought until I cast my mind back to my own graduation. The commencement speaker that day was the distinguished British philosopher Baroness Mary Warnock. Reflecting on her speech has helped me enormously in writing this one, because it turns out that I can't remember a single word she said. This liberating discovery enables me to proceed without any fear that I might inadvertently influence you to abandon promising careers in business, law or politics for the giddy delights of becoming a gay wizard.

You see? If all you remember in years to come is the 'gay wizard' joke, I've still come out ahead of Baroness Mary Warnock. Achievable goals: the first step towards personal improvement.

Actually, I have wracked my mind and heart for what I ought to say to you today. I have asked myself what I wish I had known at my own graduation, and what important lessons I have learned in the 21 years that has expired between that day and this.
I have come up with two answers. On this wonderful day when we are gathered together to celebrate your academic success, I have decided to talk to you about the benefits of failure. And as you stand on the threshold of what is sometimes called 'real life', I want to extol the crucial importance of imagination.

These might seem quixotic or paradoxical choices, but please bear with me.

Looking back at the 21-year-old that I was at graduation, is a slightly uncomfortable experience for the 42-year-old that she has become. Half my lifetime ago, I was striking an uneasy balance between the ambition I had for myself, and what those closest to me expected of me.

I was convinced that the only thing I wanted to do, ever, was to write novels. However, my parents, both of whom came from impoverished backgrounds and neither of whom had been to college, took the view that my overactive imagination was an amusing personal quirk that could never pay a mortgage, or secure a pension.

They had hoped that I would take a vocational degree; I wanted to study English Literature. A compromise was reached that in retrospect satisfied nobody, and I went up to study Modern Languages. Hardly had my parents' car rounded the corner at the end of the road than I ditched German and scuttled off down the Classics corridor.

I cannot remember telling my parents that I was studying Classics; they might well have found out for the first time on graduation day. Of all subjects on this planet, I think they would have been hard put to name one less useful than Greek mythology when it came to securing the keys to an executive bathroom.

I would like to make it clear, in parenthesis, that I do not blame my parents for their point of view. There is an expiry date on blaming your parents for steering you in the wrong direction; the moment you are old enough to take the wheel, responsibility lies with you. What is more, I cannot criticise my parents for hoping that I would never experience poverty. They had been poor themselves, and I have since been poor, and I quite agree with them that it is not an ennobling experience. Poverty entails fear, and stress, and sometimes depression; it means a thousand petty humiliations and hardships. Climbing out of poverty by your own efforts, that is indeed something on which to pride yourself, but poverty itself is romanticised only by fools.

What I feared most for myself at your age was not poverty, but failure.

At your age, in spite of a distinct lack of motivation at university, where I had spent far too long in the coffee bar writing stories, and far too little time at lectures, I had a knack for passing examinations, and that, for years, had been the measure of success in my life and that of my peers.

I am not dull enough to suppose that because you are young, gifted and well-educated, you have never known hardship or heartbreak. Talent and intelligence never yet inoculated anyone against the caprice of the Fates, and I do not for a moment suppose that everyone here has enjoyed an existence of unruffled privilege and contentment.

However, the fact that you are graduating from Harvard suggests that you are not very well-acquainted with failure. You might be driven by a fear of failure quite as much as a desire for success. Indeed, your conception of failure might not be too far from the average person's idea of success, so high have you already flown academically.

Ultimately, we all have to decide for ourselves what constitutes failure, but the world is quite eager to give you a set of criteria if you let it. So I think it fair to say that by any conventional measure, a mere seven years after my graduation day, I had failed on an epic scale. An exceptionally short-lived marriage had imploded, and I was jobless, a lone parent, and as poor as it is possible to be in modern Britain, without being homeless. The fears my parents had had for me, and that I had had for myself, had both come to pass, and by every usual standard, I was the biggest failure I knew.

Now, I am not going to stand here and tell you that failure is fun. That period of my life was a dark one, and I had no idea that there was going to be what the press has since represented as a kind of fairy tale resolution. I had no idea how far the tunnel extended, and for a long time, any light at the end of it was a hope rather than a reality.

So why do I talk about the benefits of failure? Simply because failure meant a stripping away of the inessential. I stopped pretending to myself that I was anything other than what I was, and began to direct all my energy into finishing the only work that mattered to me. Had I really succeeded at anything else, I might never have found the determination to succeed in the one arena I believed I truly belonged. I was set free, because my greatest fear had already been realised, and I was still alive, and I still had a daughter whom I adored, and I had an old typewriter and a big idea. And so rock bottom became the solid foundation on which I rebuilt my life.

You might never fail on the scale I did, but some failure in life is inevitable. It is impossible to live without failing at something, unless you live so cautiously that you might as well not have lived at all – in which case, you fail by default.

Failure gave me an inner security that I had never attained by passing examinations. Failure taught me things about myself that I could have learned no other way. I discovered that I had a strong will, and more discipline than I had suspected; I also found out that I had friends whose value was truly above rubies.

The knowledge that you have emerged wiser and stronger from setbacks means that you are, ever after, secure in your ability to survive. You will never truly know yourself, or the strength of your relationships, until both have been tested by adversity. Such knowledge is a true gift, for all that it is painfully won, and it has been worth more to me than any qualification I ever earned.

Given a time machine or a Time Turner, I would tell my 21-year-old self that personal happiness lies in knowing that life is not a check-list of acquisition or achievement. Your qualifications, your CV, are not your life, though you will meet many people of my age and older who confuse the two. Life is difficult, and complicated, and beyond anyone's total control, and the humility to know that will enable you to survive its vicissitudes.

You might think that I chose my second theme, the importance of imagination, because of the part it played in rebuilding my life, but that is not wholly so. Though I will defend the value of bedtime stories to my last gasp, I have learned to value imagination in a much broader sense. Imagination is not only the uniquely human capacity to envision that which is not, and therefore the fount of all invention and innovation. In its arguably most transformative and revelatory capacity, it is the power that enables us to empathise with humans whose experiences we have never shared.

One of the greatest formative experiences of my life preceded Harry Potter, though it informed much of what I subsequently wrote in those books. This revelation came in the form of one of my earliest day jobs. Though I was sloping off to write stories during my lunch hours, I paid the rent in my early 20s by working in the research department at Amnesty International's headquarters in London.
There in my little office I read hastily scribbled letters smuggled out of totalitarian regimes by men and women who were risking imprisonment to inform the outside world of what was happening to them. I saw photographs of those who had disappeared without trace, sent to Amnesty by their desperate families and friends. I read the testimony of torture victims and saw pictures of their injuries. I opened handwritten, eye-witness accounts of summary trials and executions, of kidnappings and rapes.

Many of my co-workers were ex-political prisoners, people who had been displaced from their homes, or fled into exile, because they had the temerity to think independently of their government. Visitors to our office included those who had come to give information, or to try and find out what had happened to those they had been forced to leave behind.

I shall never forget the African torture victim, a young man no older than I was at the time, who had become mentally ill after all he had endured in his homeland. He trembled uncontrollably as he spoke into a video camera about the brutality inflicted upon him. He was a foot taller than I was, and seemed as fragile as a child. I was given the job of escorting him to the Underground Station afterwards, and this man whose life had been shattered by cruelty took my hand with exquisite courtesy, and wished me future happiness.

And as long as I live I shall remember walking along an empty corridor and suddenly hearing, from behind a closed door, a scream of pain and horror such as I have never heard since. The door opened, and the researcher poked out her head and told me to run and make a hot drink for the young man sitting with her. She had just given him the news that in retaliation for his own outspokenness against his country's regime, his mother had been seized and executed.

Every day of my working week in my early 20s I was reminded how incredibly fortunate I was, to live in a country with a democratically elected government, where legal representation and a public trial were the rights of everyone.

Every day, I saw more evidence about the evils humankind will inflict on their fellow humans, to gain or maintain power. I began to have nightmares, literal nightmares, about some of the things I saw, heard and read.

And yet I also learned more about human goodness at Amnesty International than I had ever known before.

Amnesty mobilises thousands of people who have never been tortured or imprisoned for their beliefs to act on behalf of those who have. The power of human empathy, leading to collective action, saves lives, and frees prisoners. Ordinary people, whose personal well-being and security are assured, join together in huge numbers to save people they do not know, and will never meet. My small participation in that process was one of the most humbling and inspiring experiences of my life.

Unlike any other creature on this planet, humans can learn and understand, without having experienced. They can think themselves into other people's minds, imagine themselves into other people's places.

Of course, this is a power, like my brand of fictional magic, that is morally neutral. One might use such an ability to manipulate, or control, just as much as to understand or sympathise.

And many prefer not to exercise their imaginations at all. They choose to remain comfortably within the bounds of their own experience, never troubling to wonder how it would feel to have been born other than they are. They can refuse to hear screams or to peer inside cages; they can close their minds and hearts to any suffering that does not touch them personally; they can refuse to know.

I might be tempted to envy people who can live that way, except that I do not think they have any fewer nightmares than I do. Choosing to live in narrow spaces can lead to a form of mental agoraphobia, and that brings its own terrors. I think the wilfully unimaginative see more monsters. They are often more afraid.

What is more, those who choose not to empathise may enable real monsters. For without ever committing an act of outright evil ourselves, we collude with it, through our own apathy.

One of the many things I learned at the end of that Classics corridor down which I ventured at the age of 18, in search of something I could not then define, was this, written by the Greek author Plutarch: What we achieve inwardly will change outer reality.

That is an astonishing statement and yet proven a thousand times every day of our lives. It expresses, in part, our inescapable connection with the outside world, the fact that we touch other people's lives simply by existing.

But how much more are you, Harvard graduates of 2008, likely to touch other people's lives? Your intelligence, your capacity for hard work, the education you have earned and received, give you unique status, and unique responsibilities. Even your nationality sets you apart. The great majority of you belong to the world's only remaining superpower. The way you vote, the way you live, the way you protest, the pressure you bring to bear on your government, has an impact way beyond your borders. That is your privilege, and your burden.

If you choose to use your status and influence to raise your voice on behalf of those who have no voice; if you choose to identify not only with the powerful, but with the powerless; if you retain the ability to imagine yourself into the lives of those who do not have your advantages, then it will not only be your proud families who celebrate your existence, but thousands and millions of people whose reality you have helped transform for the better. We do not need magic to change the world, we carry all the power we need inside ourselves already: we have the power to imagine better.

I am nearly finished. I have one last hope for you, which is something that I already had at 21. The friends with whom I sat on graduation day have been my friends for life. They are my children's godparents, the people to whom I've been able to turn in times of trouble, friends who have been kind enough not to sue me when I've used their names for Death Eaters. At our graduation we were bound by enormous affection, by our shared experience of a time that could never come again, and, of course, by the knowledge that we held certain photographic evidence that would be exceptionally valuable if any of us ran for Prime Minister.

So today, I can wish you nothing better than similar friendships. And tomorrow, I hope that even if you remember not a single word of mine, you remember those of Seneca, another of those old Romans I met when I fled down the Classics corridor, in retreat from career ladders, in search of ancient wisdom:

As is a tale, so is life: not how long it is, but how good it is, is what matters.

I wish you all very good lives.

Thank you very much.






Thursday, June 5, 2008

Big Events and Real Writers/3

Like all epochal events, Nandigram offers a lot of fodder for a real writer. You may have noticed stories – especially in Bengali for its proximity to the land – centering on it in many literary magazines. I have read some of them, and not all of them are bad. A novel based on the turmoil, again in Bengali, is now in circulation. I don’t want to comment on it because I’ve not read it. But from the hype, it seems like a quick rehash of things you already read in the newspapers.

For real writing, you need a little distance from real time and space. But the thing is, big events are irresistible for writers. Just find out how many novels – even by well-known authors - have appeared on 9/11 and you’ll see most are crap. The sole purpose of the publishers of these books is to quickly cash in on the big event.

Do you see any novel on America’s Iraq war? There has been a crop of non-fiction books on it. But I have yet to come across any story or novel on it. Perhaps some real writer in Iraq is working on it in the solitude of his damaged home amid occasional bomb and mortar bursts.

Can one write a novel simply by visiting the region, and staying a couple of weeks talking to people and getting a feel – otherwise doing research on the subject? This is the standard method for fiction writers today. This is also the reason why you feel bored reading most of the novels in these times. It’s like writing novel with software. How can you expect verve and nuances from a writer who has not lived by and with his subject for long enough? Not even a writing geek is expected to perform it.

So, hopefully, someone some day will come up with a magnum opus based on Nandigram. The big event has thrown a challenge to the powers-that-be. It has sent an alert to those who care about human race and civilization. It may have inspired those in the lower economic stratum of society all across the world. May be it’s a turning point in history, and a harbinger of bigger things to come.

It’s huge challenge for a real writer, and a writing geek to convert all these into his fiction. But then real writing is always a lot of hard work and sweating it out.

Tuesday, June 3, 2008

Big Events and Real Writers/2

Any epochal event is hot stuff for non-fiction writers, and you find a lot of them come up with tomes, mostly garbage, to cash in quickly on it. Some fiction-writers also would churn out stories/novels in a similar fashion. But they are all hacks, not real writers.

For a real writer, a big event is a boon in that there is enough of material for him to write about. But he’s not a reporter or a media commentator or any such hack. He simply faces it. He watches and feels the churning without being carried away by any emotion. He experiences the place and people reeling under the impact of the event. Now he thinks outside the box and places everything in larger political and economic perspective. Finally, he organizes his storyline and characters with insight and vision. No easy job.

A real writer would never deliver it hot. He has to live with his material for a while before he starts writing. If he tries to make it quick, he might be responsible for a bad book. Remember Maxim Gorky’s Mother? It was a hugely publicized book back then, and many devoured it. But it was propaganda literature, no real novel. No discerning reader would want to read the book now.

A real writer always comes up with original and quality content. The content may be a bit dark, dull at times, even not entertaining enough, but a distilled thing nevertheless bearing the hallmark of an enlightened mind. It’s something edifying, and transcends the reader to a new level.

Take for instance Midnight’s Children by Salman Rushdie. I don’t know how long he had taken to write this novel, but he was definitely seized by the cataclysm of Indo-Pak subcontinent after independence. He got Saleem Sinai to experience all the good, bad and ugly things of the time. It was history, literature and sociology rolled into one. A marvellous book.

Few books can match its real writing.

Sunday, June 1, 2008

Big Events and Real Writers/ 1

Epochal events are always the great triggers of real writing. Whether it’s the old “Quite Flows the Don” or the recent “The inheritance of Loss’, you see a common link: both the novels had as their background the events that were convulsing their part of the world. While in Mikhail Sholokhov’s novel, it was the bloody Bolshevik struggle in Russia, Anita Desai’s book had in it India-Nepali insurgency in the mountains.

Sholokov had first-hand, and up-close experience of the Bolshevik war, and he watched the day-to-day happenings with passion and interest. He chronicled these things, and ended up writing a 4-volume classic. Anita felt the pleasure and pinch of the insurgency living through it, and converted her experience into a great novel – with great insight and wisdom.

The point of writing all this is that real writers involve themselves in big events instinctively. What better way to get their material from something that unfurl before them in an inexhaustible fashion!

Now, it’s the age of liberalization. Liberalization, the much-hyped do-gooder to the people, has already proved itself an evil thing across many parts of the world. Millions of people have become poorer and dislocated in its wake. The interesting development is that the victims in different regions have now stood up against the forces of liberalization – the local governments in most cases – in a unique way.

Two names come instantly to my mind: Singur and Nandigram in India. People of Singur provided the first spark. They vehemently protested the forced acquisition of land from the farmers, and refused to part with their land at whatever costs. The government, - a Marxist government at that – cracked down on the people, and grabbed their land without even settling their dues. A motor car company came up soon on the land thus acquired.

In Nandigram, it’s a different story. As if taking a cue from Singur, the people of Nandigram put up a stiff resistance against the government when it tried to grab land for a multinational company. The government’s police force and the goons of the ruling party together let loose an unprecedented terror in the region which culminated in a genocide. The rumble of protests from across the country and the world following the massacre put the government on back foot and forced it to quit its chemical hub plan in Nandigram.

In recent panchayet election, the people of Singur, Nandigram and those places where the government had grabbed land, have routed the Marxists in the first chance. It’s really a body blow to the forces of liberalization.

Is any real writer watching? Or is he already at work?

Monday, May 26, 2008

Sobhaa De: Antithesis of a Real Writer

I remember I was amused when Sobha De added an extra 'a' to her first name some time ago, following advice from her astrologer. After all, she was a much-publicized writer of our times with suposedly modern sensibilities!

The extra 'a' seems to have worked fine for her. Every year she is climbing higher up on the totem pole of authorship. She has recently launched her glamorous book called Superstar India amid great fanfare. Given her connection and luck brought in by the extra 'a', she is going to have rave reviews for this book. It may end up being a bestesller even. All is possible in the current environment.

But I'm not going to either buy or read the book. If I can read into the hype or buzz that floats around it, the book must be all fluff and crap a la "India Shining" campaign of the erstwhile Bharatiya Janata Party Government.

Friday, May 23, 2008

A Plug For Myself

It has been a fortnight that Smashwords Inc has published my debut novel
SHADOWLAND. It took me two years to write the novel. I shopped it for about seven years, but did not get any publisher.

There were however some accolades from top literary agents who read through my novel. Paul Cirone, an American agent, rejected me with these words: I think you are a solid writer, smart and polished, and it's hard for me to say why it's not right for me. Yet another agent, a British one, David Godwin said of my MS: "Much of the writing is wonderful." Alban Miles, an editor of Random House, commented: "It's a strong story based on a believable character. I did enjoy reading it."

There was an American agent(I don't want to name) who in fact loved my MS, and asked me not to send it to any more agent. After two months, he sent me a rejection letter stating that he had his editor friend to read through it, and the editor opined that it was too bold for a first-time author. That day I knew the fate of my MS, and stopped, from then on, pitching any more query letter to any agent or publisher.

The MS sat in the nook of my laptop for another year. Then I stumbled upon a wonderful fellow called Mark Coker.

Thanks to Smashwords Inc - a visionary startup of Mark's - my novel now gets a home, electronic though. It is also selling. The only thing I want to say about it is that much of real life finds its way into my book. And I never dictate my characters. They all move, act and talk as freely as they should, and as a writer, I just narrate their activities honestly.

Friday, March 21, 2008

Taslima Nasreen leaves India

Taslima had to leave under intense pressure from Govt of India. Of course, Pranab Mukherjee and his cronies (Buddhadeb being one of them) are gloating over it, but in a poem, just before departure, Taslima, in her true- to- herself form, lambasts “secular” India for kowtowing to Muslim fundamentalists just for vote-politics.

Personally I’m happy that her ordeal is somehow over, and she has found freedom once again, though in a land where few people talk her mother tongue (this is an important issue with her, and something cardinal to choosing her place of living). She can now breathe in freely in open space and take care of her failing health – especially her retinopathy.

Taslima still has an illusion: she hopes to come back to India in August.

Why India again, Taslima? Have you not had enough of it in terms of its hypocrisy, double talk, and persecution mentality?

Do you think India would welcome you back ? Ever?

Sunday, March 2, 2008

Rushdie as Novelist

Is Salman Rushdie spent as a novelist? There is speculation about it, but on reading “Shalimar, the Clown”, I strongly feel he’s not. Not yet at least. The creator of “Midnight’s Children” can still deliver.

His earlier novel, “The Ground Beneath Her Feet” disappointed me. But this time I loved the prose, voice, theme and even the drama of the novel. I enjoyed every bit of Shalimar.

The novel is full of interesting characters based in different junctions of history, politics and places across the glove. You can love them, hate them, and even have mixed feelings about them, but what ultimately emerges in the narrative is a chronicle of our times.

Terrorism is the theme of the novel, but it has that Rushdiesque property to it. The storyline is simplistic: Noman, a simple, happy-go-lucky Kashmiri youth converts to a terrorist to take revenge against Max Ophuls, the American Ambassador, who seduced his ravishingly beautiful dancer-wife Boonyi while visiting Kashmir, and even fathered a daughter by her named Kasmira. To fulfill his mission, he traverses across many countries and terrorist outfits to reach Max. He kills Max while serving as his driver, and then goes on to kill his wife, by then a wretched woman dumped by Max. At the end, two characters remain: Norman and Kashmira. Rushdie builds up a great drama about them in the last chapter.

But this is the surface of the story. At its core there is a different and poignant sub-text. As you go through the novel, you feel it in the gut that a state sinks and gets ravaged by both terrorists and the Indian army without any check whatsoever, secularism gives way to fundamentalism, riots lead to mass exodus, and hapless people writhe under new waves of assault, brutality and dehumanization, and are stripped of innate human values culture and heritage along the way. What prevails is politics, the ugly politics – both Indian and international variety.

Expectedly, Rushdie writes scathingly, without fear, against the state, system and the powers-that-be. Sometimes, it reads like a non-fiction. But it is great fiction in conception and treatment. Shalimar, the Clown is easily his best novel after Midnight’s Children.

I’ve not read such a good novel in a long time.

Monday, February 4, 2008

SAVE TASLIMA

“Was any poet ever house-arrested by anybody?
There might be politics about a poet,
There might be violence and fire on account of her,
But nobody ever house-arrested her, no country ..”

-- Taslima Nasreen

Taslima Nasreen, the controversial Bangladeshi poet and writer, is in deep trouble. The government of India, which gave her asylum, has now dumped her in an undisclosed house in Delhi, ostensibly for safety reasons, but actually to appease the fundamentalists of a particular community for political gains. She has been barred from going outside her room and meeting any friends for past two months. She has just a laptop and a cell-phone, and a lizard on a wall as her company. The internment naturally takes its toll on her health, demoralizes her spirit, and disrupts her writing in a big way.

There have been protests, not many though, across India from writers like Mahasweta Devi and Arundhati Roy, ex-PM Indrakumar Gujral, ex-bureaucrat Muchkunda Dube and many others. But the Delhi government is unfazed as ever as if it’s not an issue at all. It does not give a damn about her health. When Taslima fell ill recently, a young doctor was dispatched to treat her. The doctor almost killed her by overprescibing. She had to be finally admitted into ICU, AIIMS, Delhi. But surprisingly, she was ferried back to her house from the hospital within six hours.

Taslima’s is a case of nasty human rights abuse. She is an internationally known writer, and whether you like it or not, she has her own conviction and deals with the real, hard things of life (religion being one of them) which few writers dare in these times. Why would she be interned at all, and this in a country which touts itself as the biggest democracy of the world? Is she a political activist? Is she a threat to India?

Poor Taslima! Her travails as a writer began years ago when she was hounded out of her own country Bangladesh by the fundamentalists. She had to leave for, and stay in Europe for a while before she made up her mind to base in secular India. She chose Kolkata, Bengal her second home. But the so-called Marxist government of Bengal didn’t put up with her for long, and they forced her out of Kolkata overnight in a savage manner. Delhi took charge of her now. One expected it would look into the much-heckled writer’s case sympathetically following in the tradition of great Indian democracy.

But it proves to be a travesty. The government at the centre just connives with the state government to shut her up in a more ghastly way. In fact, it wants Taslima to leave the country for ever. In Indian democracy, the value of minority votebank is more important than the dignity of a worthy writer!

As of now, Taslima is withering away day by day, and she loses her desire to live.
She works out her frustration in a poem recently written from the ‘safe house’ of Delhi.

“From now on, don’t speak the truth, Taslima
This is not the age of Galilio,
Even in this 21st century, you’re pushed aside for your truth
By the society, exiled off your country, house-arrested in another country…
Don’t speak the truth, Taslima.”

Courtesy: Dainik Statesman, Kolkata

Wednesday, December 5, 2007

VICIOUS

I have a short-story posted on writelit.com.

Vicious


It's about contemporary India. Please have a look if you feel interested.

Tuesday, December 4, 2007

Exiled Taslima

Taslima, it seems, has lost her favourite city Kolkata for ever. Bengal Government does not want her back. The UPA government in Delhi, ever eager to please its ally, has decided to keep her on a tight lease in some remote place in India. A caveat has been served on her to the effect that she must not write any stuff that can hurt the sentiments of "our people".

How absurd! India is the land of a wide viariety of people with different tastes, cultures and stupidities. How can you write real stuff without hurting any of them? And who's going to judge your writing?

Sunday, November 25, 2007

Taslima in turmoil

Taslima Nasreen, the exiled Bangladeshi writer, loses her home in Kolkata. On Nov 22, the Bengal police had shunted her out of the state on the plea that it can't provide her security in the wake of spiralling demand by Muslim fundamentalists that the government cancel her visa.

She was sent to Rajasthan, but Basundhara didn't put up with her. She tried to send her back to Kolkata, but then L.K.Advani intervened. She was sent to Delhi instead, and as of now, is living in a Rajastan guest house.

Taslima now faces the heat of Indian politics. The leftists don't like and support her because of erosion of Muslim vote bank. Hindu bigots wants to help her because her work , to some extent at least, serves their anti-Muslim propaganda, and mind you, she is a Muslim by birth.

The irony is, she has no politics, and writes things as she thinks right.

There is however, an interesting twist to the whole affair. Pressed by top Kolkata intellectuals and thinkers, the leftist government in Bengal invites her again to Kolkata. As things stand, she would return, because she loves the city and its people, and because she has no other option left. But would it be the same Kolkata to her? How is she going to deal with the big humiliation and anguish she experiences now?

Monday, September 17, 2007

Indra Sinha

Writers are like scavengers. We collect dirt, grimness of life, misery, happiness, feelings of despair and elation, of hope and frustration of the real people. Facts are turned into readable fiction that ultimately make the reader ponder over the real issues raised from these facts.

So here comes a writer who thinks exactly the way a real writer should. Toff upbringing, years in advertising, a legend of a copywriter, then quitting it all for realistic fiction. And he is focussed on the underdog. I'm a bit surprised that his brilliant novel Animal's People - so long unnoticed - has been shortlisted in Man Booker award this year.

Yes, it's Indra Sinha. Read a first-person account of his obsessions and writing.

A Tale of Laughter and Wickedness

Sunday, August 26, 2007

Jia Zhangke

"..those artificial landscapes, are very significant. The landscape in the World Park includes famous sights from all over the world. They're not real, but still they can satisfy people's longing for the world. They reflect the very strong curiosity of people in this country, and the interest they have in becoming a part of international culture. At the same time, this is a very strange way to fulfil these demands. To me, it makes for a very sorrowful scene. The World Parks in Shenzhen and Beijing might as well be the same place. Every time I went to one of the parks for the shooting, I saw all the tourists and how overjoyed they were to be there, and for me it was all very sad. How should I put it? This is what Chinese reality is like. And so, in the film, a lot of action takes place under the “Arc de Triomphe”, or in front of the “Taj Mahal”, or in “London”, or in “Manhattan”. Of course all of these landscapes are fake. But the problems our society faces are very much Chinese issues, and I think all this is not unrelated to that. We're living in a globalised age, in a world saturated by mass media, in an international city, as it were. But despite all that, the problems we're facing are our own problems. So these landscapes are intimately related to what's going on in the film."

I do find a lot of food for thought in ideas of independent filmmakers like Jia Zhangke, the underground filmmaker of China who now goes aboveground with his film, "The World".

An interview with Jia Zhangke

Sunday, August 19, 2007

Taslima Nasreen

Kill Taslima and take money. A new fatwa from the clerics of Bengal, touted as the most secular state of India! They have also sought her ouster from this state within one month, otherwise they would murder her. Taslima has now been living in Kolkata on a visa that gets renewed for six months every now and then. Which itself is a precarious living of sort.

I'm no fan of Taslima, but I have some regard for her. I loved her 'Lajja'- that wonderful novella about the atrocities on minorities in Bangladesh soon after Babri Mosque demolition. It takes a lot of courage and humanity to write such a book. She has plenty of these things, but she seems to have an agenda against the males in most of her writings, which is silly. I appreciate her rant against religions, but she never seems to get her reading of the society right, for whatever reasons.

But is it right for the clerices to announce fatwa for her?. Here is Asghar Ali Engineer, a Mumbai-based Islamic leader, in an article in The Times Of India":

I disagree with Taslima's views and think she is ignorant of Quranic teachings. But holding that view does not give anyone the right to violently attack her or incite people to attack her.

Wednesday, August 15, 2007

Norman Mailor on writing novel

The Paris Review has published an interview with Norman Mailor in its current issue (Issue 181,Summer 2007). Sorry, no link. You have to purchase the issue.

if you’re writing a good novel then you’re being an explorer—you’re getting into something where you don’t know the end, where the end is not given. There’s a mixture of dread and excitement that keeps you going. To my mind, it’s not worth writing a novel unless you’re tackling something where your chances of success are open. You can fail. You’re gambling with your psychic reserves. It’s as if you were the general of an army of one, and this general can really drive that army into a cul-de-sac.

Sunday, August 12, 2007

Net writer

When I think anybody can be a blogger and publish shit on the net, I get a little demoralised. But then net is, at the same time, an avenue - very affordable indeed - where a talented writer can get to build up his audience bit by bit(may be not that worthy in the current market scenario) by publishing his work. I have kind of vision that the digital will one day be at par with the print and be as valued and respected by the audience. Give it some time to evolve.

Here is an article

In the year 2017, I'm a god

from a paid blogger who thinks along my line.

The Net will be seen as a repository of current and historical primary-source texts, its authors ambitious thoughtful writers, belle-lettrists, feuilltonists, memoirists, epistolary writers, daybook-keepers, fiction writers, poets, literary travel writers, pensées writers, epigrammists, unpaid journalists, humorless shits, propagandists, hacks, ranters, pollyannas, pricks, and illiterates—the same rogues as in print.

Thursday, August 2, 2007

Vision in writing

Never let go of your vision. Listen to the opinions of teachers and friends and agents and editors and publishers but listen closer to your own voice. It is your job to bring your vision to someone. It is not your job to bring their vision to someone. That is not what art is all about.

RON SAVAGE has an inspiring and insightful
anecdote
from his writing life.

Tuesday, July 24, 2007

Personal stories

I'm pretty impatient with contemporary novels that don't have some kind of political or philosophical bent—or, at the very least, a strong sense of humor about the limitations of the personal. It's easier to write novels, of course, that lack an abstract, large scope, partly because that's where the literary mainstream is—in a kind of interpersonal, material realism that's microscopic instead of macroscopic—and partly because we're trained in personal stories from the time we're born. It's a natural, unconscious medium for us. The never-ending narrative of our daily lives is everywhere and we're steeped in it. I want to write past that narrative because it's a trap. It fosters an entrenched conviction that life is all about the individual self and its problems.

Read the full interview with Lydia Millet at

Page 23

Lydia Millet is the author of six novels including Oh Pure and Radiant Heart, the PEN USA award winning My Happy Life, and her forthcoming How the Dead Dream. I haven't yet read any of her books, but I like this interview, and put her on my reading list.

Wednesday, July 18, 2007

Potter Menace

It's not safe, in the face of mammoth media blitz for Harry Potter across the globe on the eve of latest book in the series, to churn out something against Harry Potter stuff and its writer J.K. Rowling. But now's really the time to stand against them.

I have said it already in
Harry Menace
and want to say it now that Harry Potter stuff is simply overblown crap, and children are learning little out of them.
Read a
similar observation by Nicholas Lezard at Guardian Unlimited bookblog.
This is the kind of prose that reasonably intelligent nine-year-olds consider pretty hot stuff, if they're producing it themselves; for a highly-educated woman like Rowling to knock out the same kind of material is, shall we say, somewhat disappointing.

Children exposed to this kind of writing aren't learning anything new about words, or being stretched in any way; as Harold Bloom said, they're not going to be inspired to go off and read the Alice books, or any other enduring classic.

People go hoopla because they're delighted that Rowling has got children reading books - big, fat books without pictures at that. Can't argue with that: and maybe they will learn something about sheer reading stamina in the process. But it's all too easy.

The popular writer whose style is most similar is, it suddenly occurs to me, Jeffrey Archer (all those dead adverbs). All that paper, all those trees felled, all those words ... surely Rowling could have chosen some better ones, or put them together in a more exciting way?

She has, in her grasp, the power to galvanise minds instead of reeling out cliché after cliché. Will The Deathly Hallows do this? I hope so. But I fear not.

Sunday, July 15, 2007

Gerald Jones

Gerald Jones is a quirky but talented writer. Once I often visited his
website not so much for his writing as for information and e-mail addresses of some literary agents I was then desperate to get in touch with.

I found myself visiting this site today after a long time. What struck me, he still continues to lambast the publishing establishment in his own "call-a-spade-a-spade" style. It's nice to learn,though, that he's a published writer now.

Here is from his latest entry:

"I ain't got no phone. I had it pulled 'cause of people callin' all the time. Who needs the aggravation, right? The interruptions."

How cool is it being the world's greatest living writer? Very. If I wrote senseless slop for fame and fortune I'd have to hide out, wear me some fancy sunglasses and run around with an entourage to keep the paparazzi at bay. This way I get nothing but priceless peace and quiet...and the intimation of all that joy my immortal soul's gonna get to have when people finally discover what morons their forefathers and foremothers were. O frabjous day!

Sunday, July 8, 2007

Murakami and Music

Have you noticed the rhythm, melody and harmony in Haruki Murakami's prose? These are important to him,and he has learnt to use them from music - especially from Jazz, which has been his lifelong passion and obsession. Murakami tells in this article
how he turned into a novelist from a Jazz aficionodo.

Your style needs to have good, natural, steady rhythm, or people won’t keep reading your work. I learned the importance of rhythm from music — and mainly from jazz. Next comes melody — which, in literature, means the appropriate arrangement of the words to match the rhythm. If the way the words fit the rhythm is smooth and beautiful, you can’t ask for anything more. Next is harmony — the internal mental sounds that support the words. Then comes the part I like best: free improvisation. Through some special channel, the story comes welling out freely from inside.
All I have to do is get into the flow. Finally comes what may be the most important thing: that high you experience upon completing a work — upon ending your “performance” and feeling you have succeeded in reaching a place that is new and meaningful. And if all goes well, you get to share that sense of elevation with your readers (your audience). That is a marvelous culmination that can be achieved in no other way.

Thursday, July 5, 2007

A lapsed rebel

In Arise,sir Salmanin Oulook magazine,Priyambada Gopal evaluates Salman Rushdie's works and laments his changes as a writer.

After the fatwa and relocation to America, Rushdie changed from a fiercely principled writer into one who was less willing to be be consistently and equally critical of all tyranny. A man who had written of the 'folly' of trying to contain a writer within passports now invoked an insistently American 'we'.

Wednesday, July 4, 2007

Research for Fiction

Fiction writers go where news reporters and historians dare not tread: into characters' heads, into the dreams they lose at the moment of waking, into the memories forgotten, the fears never articulated even to themselves. We do all this, even while making stuff up or distorting and embellishing "what really happened" for the sake of a dramatic arc; and, in so doing, we claim our ability to convey emotional truths, more revelatory about a time and place than any series of facts. If I were a historian I am sure this kind of talk would drive me crazy.

Kamila Shamsie, Pakistani novelist, has an interesting
article in the Guardian.

Sunday, July 1, 2007

Sterile & fertile writing

David Mitchell, British novelist, talks about his new novel-in-progress in an interview, special to the Japan Times

Somewhere between history and imagination


Writing a novel is full of stops and starts and paths not taken, or taken and then untaken, or paths best not taken but taken anyway. How the book ends up looking and how I might describe it now could be two very different beasties. I will say that my intention is to write a bicultural novel, where Japanese perspectives are given an equal weight to Dutch/European perspectives. It's the most demanding thing I've ever tried to do. The research is a trackless swamp, and the book wishes to be written in ways that historical novels are not usually written in. It feels as if I am having to invent its "cinematography" as I go along. On good days, it's an exhilarating ride; on bad days I crawl along feeling travel-sick and disconsolate and wishing I'd left university and got myself a proper job.

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