There couldn’t have been a more appropriate title for Sangeetha Sreenivasan’s tale of lesbian love, and the demons it unleashes—in the mind, and within that tenuous network of bloodlines called family. Acid is the euphoria of lovers in an embrace; it is the psychedelia of fragile relationships; Acid is the agony of separation, and the paradoxical ecstasy of unravelling, of wasting away, of turning into a shadow.
The echoes of the above sentence reverberate throughout the book. For what is chaos? That which resides inside one’s head and reaches the heart slowly but is supposed to remain hidden: not shown or shared. The short stories in this book are not supposed to jolt you out of your quiet existence nor will they attempt to. But by giving a glimpse into lives it sends across a powerful message of the various forms of ‘waiting’ that one has to live with.
The fascination with our Indian inherited legends and myths had led Malashri Lal and Namita Gokhale to edit a book a few years ago called In Search of Sita: Revisiting Mythology wherein they collected different accounts of Sita that coexist in myth, literature and folktale. Sita is one of the defining figures of Indian womanhood, yet there is no single version of her story.
Uzma Jalaluddin’s Ayesha at Last is an interesting novel about the way Muslim social life is lived in Canada. The language used by Jalaluddin, though crisp and current is also loaded with an English literary sensibility. Shakespeare is quoted eleven times from the plays and twice from the sonnets. The blurb on the book describes it as a ‘modern day Muslim Pride and Prejudice’ nudging the reader softly to accord the novel a recognizable space in the ever expanding universe of English fiction being written across diverse cultures.
Amitav Ghosh seems to have reached a new point of eminence in his creative journey with Gun Island. In 2016, he published The Great Derangement—a book that deliberates on climate change and examines how collective denial of it is obfuscating our desire to address questions related to drastic fluctuations in the weather pattern. He emphatically concludes that art and literature of our age function in ‘modes of concealment’ and occlude everyone from ‘recognising the realities of their plight’.
All the Lives We Never Lived is to be read with great pleasure at the sheer beauty of the prose and with deep attention to the delicate emotions of the characters. A highly dramatic beginning hooks the reader’s curiosity immediately. ‘In my childhood, I was known as the boy whose mother had run off with an Englishman. The man was in fact German, but in small town India in those days, all white foreigners were largely thought of as British.’