Literature
Though Kamban’s iRamavataram is considered the greatest poetic work of the Tamil language and has served as a source for numerous retellings into English, including C Rajagopalachari’s, Wentworth’s translation of the first canto, the Balakanda is probably the first proper ‘translation’ of even a part of it. The introduction sets the stage, as it were, for the translation itself to unfold. Unlike the Valmiki Ramayana, which is composed in a single metre, the shloka, said to be named thus as it was born out of shoka, grief, when Valmiki witnessed a hunter kill one of a pair of mating cranes, Kampan’s Tamil masterpiece has no less than eighty-seven varieties of metres which are employed to create varied effects.
Ruskin Bond is perhaps undoubtedly India’s favourite short story writer and novelist. From children to young adults and grown-ups, there is no category that is left untouched and unmoved by his stories—through the easy-flowing style and the languid descriptions that transport the reader into the mountains of Landour or the hills of Dalhousie or into the surrounding forests, with their accompanying ‘songs’. David Davidar, in the foreword to this collection calls Bond ‘ambidextrous’—a perfect word to describe the man whose oeuvre has mesmerized and influenced at least three generations of readers.
Harini Nagendra is Director of Research at the Azim Premji University and leads the University’s Centre for Climate Change and Sustainability. She has authored several scientific publications and books on the planet and its ecosystems. The Bangalore Detectives Club is her first foray into fiction.A murder mystery featuring a 19-year-old protagonist, the book is based in Bangalore in the 1920s. Young, beautiful, upper-class wife of a doctor, Kaveri the protagonist, could well be the heroine of a young adult book of fiction, which is almost what TBDC is.
Professor GJV Prasad’s abundant creativity offers us a smorgasbord of options from which to choose—poetry, fiction, criticism, academic writing and translation. Currently, it is his translation into English of Ambai’s Tamil stories, taking ‘a seed from one soil’ and planting it into another, that is bringing in the praise he so richly deserves. His long-standing passion for writing poetry in English, I’m sure, has aided in honing his skills as a translator.
Syeda Javeria Fatima’s collection of poems is not as whimsical as the title suggests; in fact, it is quite the opposite to it. Written in simple rhyme schemes, the poems voice the observations of a child’s world which has been marred by experiences too mature for her. Divided into sections that range from spiritual belief to romantic love, and her mother’s sacrificial omnipresence for her family members to friends that include her schoolmates and her grandparents, Fatima’s poems are a gamut of emotions both personal and relatable at the same time.
Mashani Sahara Dilli is an important book for many reasons, one of which is its sheering honesty. This Odia novel tells us stories that are marginal to the aspirational India we are supposed to inhabit these days. These are narrated from the vantage point of Anurag, a Government of Odisha officer who is now posted in Delhi for work.
2022
Several years ago, Nilanjana S Roy had defined the current crop of Indian Writing in English novelists as a ‘Doon School-St. Stephens’ conspiracy’. It was an interesting but true observation since the writers who were popular at that time were all products of these elite institutions and were quite adept at imitating western culture and simultaneously wrote in a style that was quite polished and urban.
In Teaching a Horse to Sing, Delshad Karanjia ventures on a journey of retelling ‘tales of uncommon sense’ from all around the world, a task that seems as fantastical as the title at first. To enter into this book of wit, wisdom, humour, and most of all, a deep appreciation for the art of storytelling, is to fall down a rabbit hole. Whimsical and fleeting alike, the stories collected in this book are a homage to popular tales that are both cultural and social, whispered across time and all over the world, in similar iterations, lending a universality that is tinged with the local every time a tale is read.
Anuradha Roy is one writer who always takes you by surprise. Each of her books has a story with an intensity that is rare. Each of her books is a joy to read. The Earth Spinner is one such tale. Indian women’s writing in English has successfully moved from the world of domesticity to the more complex world of emotions, ambitions, landscapes. A world that makes you think. A world that draws your attention to differences that determine, decipher, and help us deconstruct the existential discourse.
Four years after the publication of their first anthology of graphic narratives, Longform returns with this eagerly awaited second outing, with eighteen texts from India and abroad. This visually and textually provocative collection of stories breaks boundaries and exposes fault lines of the ‘invisible India’ and the world at large, with an unflinching honesty and empathy for all those who fall off the map or are erased from it.
Sonnet Mondal’s fifth collection of poetry, An Afternoon in My Mind, is a compelling portrayal of contemporary times, when personal grief merges with pandemic loss and loneliness. The book consumes readers and makes them believe that Mondal’s sorrow is their own. It is evident that the poems in this collection are written as a cathartic release, and hence they become an exercise for readers in collective healing.
After Bloodline Bandra (2014), Godfrey Joseph Pereira returns to Bombay in this provocatively titled historical fiction, to document the story of Charlie Strongbow, Cross Island and the erstwhile ‘urbs prima in Indis’, Bombay, in the 1940s and 1950s. The brick red, orange and blue cover with the silhouette of a boat, and a bird aggressively pushing through a torn page, arouses curiosity and promises a story that is full of surprises.
If one could travel as easily as the mind tours the world in a matter of seconds, where would one go? Would one go to a place from memory or a to a place one hasn’t ever ventured to even in one’s wildest dreams? Who would a traveller such as this meet and what would be the stories one would inadvertently become a part of?
The English word ‘dry’ doesn’t even begin to cover what the Urdu word ‘khushk’ conveys. Khushk pricks and chafes, like the continuous rubbing of sandpaper. There is bruising, never enough for the sort of attention that makes one rush to the Emergency Room, but bad enough to remain a painful slow burn. As a metaphor for unacknowledged damage, there couldn’t be a better term.
The Book of Dog is an anthology of 45 stories and is an ode to canine companionship expressed through essays, dramatized tales, poems and pictures. The book features contributions from leading voices in eclectic domains: animal welfare activists; academics; media personalities and journalists; bestselling authors, poets, filmmakers and playwrights; graphic artists, and chefs.
2022
She donned many mantles. It is a well-known fact that Mahasweta Devi (1926-2016), the Bengali novelist, short story writer, playwright, essayist, columnist, editor, and above all a socio-cultural activist, had relentlessly worked for decades highlighting the problems of the rural poor and the tribals. Standing as she did at the intersection of vital contemporary questions of politics, gender, class and caste, she was perhaps the most significant figure in the socially committed literature field.
An itinerant and renowned journalist with a distinguished career and several books to his credit, Saeed Naqvi continues his literary output with a play in three acts. It would be difficult to give details about the play and yet do justice to its ringing tones of anger over a heritage betrayed, or the distress over what has come to pass.
Akbar: A Novel of History is an English translation of Shazi Zaman’s Hindi novel Akbar (Rajkamal, 2016). The novel had attracted lots of critical attention and was applauded for its intricate narrative weave, historical authenticity and creative scholarship. In its present English avatar, the author repositions himself as a writer-translator to revalidate his labour of love and make it available to a potentially larger readership.
2021
In October of 2017 California’s raging wildfires burnt down Sophia Naz’s home, taking everything, heirlooms, paintings, signed books, inter alia treasures, carelessly strewn around homes that bear witness to living—family photographs, handwritten journals, ‘the material history of a lifetime’. Her 2021 collection of poems, Open Zero is less a math of that uncountable loss, or its archiving—for its calculus, as the obliquely eponymous poem ‘After, math’, muses, ‘must be left at memory’s table’. The poems here map the fire’s aftermaths—of all that follows the event of loss.
With the arrival of his new collection, Anthropocene, a multi-genre book of poetry, literary prose and photography—Sudeep Sen takes a vertical plunge into deep history. From being a poet of Distracted Geographies, he now ventures to be a poet of distracted geologies and its sedimented pasts. If in his earlier major collection Fractals, he could be seen traversing across ravaged war zones from Kargil to Gaza to trace remnants of life—in this latest book, the entire planet with its disoriented seas, skies, seasons and sites, becomes his theatre of concern.