Why do postcolonial states turn penal colonies into tourist destinations? Devil’s Island in French Guiana, Robben Island in Cape Town, South Africa, Penang in Malaysia or Port Blair in the Andamans seem to compete for a place under the sun; their contemporary fame ill accords with their past notoriety.
‘Of all the men in the world, of all the doctors in the world, of all the fathers in the whole world. I happened to be the one present in that place at that time.’ This line from Mirza Waheed’s Tell Her Everything immediately brought to mind that iconic dialogue from the iconic movie Casablanca: ‘Of all the gin joints, in all the towns, in all the world, she walks into mine…’
In 1988 Upamanyu Chatterjee, a Patna born career bureaucrat, published English, August: An Indian Story. The novel, Chatterjee’s first, was a literary sensation. Turning into a cult novel, it transformed the Indian English writing space forever. Very few novels, we must admit, have played such a significant part in our literary scene as Chatterjee’s English, August did; indeed, Agastya Sen is a young man impossible to forget and so is Madna, the small town tucked away somewhere in the vast Indian landmass.
In late 2018 both The New York Times and The New York Review of Books carried long reviews of Tamil writer Perumal Murugan’s One Part Woman following its reprint for the American trade book market by Grove Atlantic. Controversy following the murderous threats to the author no doubt played a part in the attention it received. But it was also a symptom of changed times.
If one were to play the game…
‘How is one supposed to look like one’s religion?’ With these opening lines, the author, Rakhshanda Jalil sets the premise of her book which questions the common imagination of Muslims as a community. Through various essays, Jalil stresses that all the Muslims are not cut from the same cloth. The book is divided into four broad themes of identity, culture, literature and religion containing ten essays in each chapter.