The teacup rattled, sending spurts of black liquid onto the saucer. Grandpa grunted. He ignored the wafts of steam that curled out of the cup like fine strings floating in the air. He kept his eyes on the typewriter as his fingers drummed on the keys, weaving crisp black letters on paper. Grandma shook her head, knowing that there was no way Grandpa was going to inch away from the machine.
For as long as I could remember, it was the same routine every morning at ten. Grandpa, or Tok as my siblings and I fondly called him, would crouch on a stool in front of his butter-yellow Remington typewriter. He would take a Good Morning towel and rub the machine until it gleamed like Aunty Noh’s marble table. Satisfied, he would load a sheet of paper and turn the carriage knob. After adjusting the paper arms, he would set his fingers free to do the jig on the keys, competing with the sound of Grandma’s ladle on the wok as she busied herself in the kitchen.
Reena Prasad’s poems have been published in The Copperfield Review, First Literary Review-East, Angle Journal, Poetry Quarterly, York Literary Review, Lakeview International Journal, Duane’s Poe Tree, Mad Swirl etc. She is also the Destiny Poets UK’s Poet of the year for 2014 and one of the editors of The Significant Anthology released in July 2015. She was adjudged second in the ‘World Union Of Poet’s’ poetry competition, 2016 and won an award for poetry in the 2016 As ‘You Like It International Poetry Contest’, commemorating the 400th anniversary of Shakespeare. She won the Reuel International Prize for poetry, 2018.
Did you know the first science fiction with aliens and outer space was written in Greek in the second century, almost two thousand years ago?
The novel, A True Story, was written by Lucian of Samosata, an author of Assyrian descent. He wrote of aliens and outer space and battles between the residents of the sun and moon and also a battle inside the stomach of a whale. It seems like a highly amusing plot from the current day perspective.
British critic, academic and novelist Kinglsey Amis wrote about A True Story in New Maps of Hell: A Survey of Science Fiction (1960): “I will merely remark that the sprightliness and sophistication of True History make it read like a joke at the expense of nearly all early-modern science fiction, that written between, say, 1910 and 1940.”
Sheila Dikshit died at eighty one, mourned by hundreds of people all over the world.
While all the world knows of her as the longest serving Chief Minister of Delhi and a loyal Congress worker, did you know she has also authored a book which she published in 2018, called Citizen Delhi- My Times, My Life?
The book summary tells us: ”Interestingly, she never wanted to be in politics, but destiny willed otherwise – a destiny shaped by her liberal upbringing in a Punjabi household. Brought up to be independent, she chose her life partner from another part of India. And that started it all.
It was the rainy season. July, Some Year, Some Place.
Against the serenely cool breeze of the after-rains, Tuli’s little face stood still, warm, a throbbing circle of fire and smoke. She had a little round face, very big eyes, a pug-like nose set right in the centre of her face, and small lips — like one fine petal of a red tulip. Her eyelashes were wet. The before-tears had run their course. She breathed in rapid, short gasps – each lasting less than a second – the gasps, moving somewhere behind the throat and the nose. They came in groups of three and sometimes two. She blinked from time to time, looking out through the window facing which she sat, cross-legged, on the chair that Baaboo, her father, had built for her so that she could see the world outside the window of her room.
A wooden chair with tall legs and a round seating space with a pillow on it. On the lower portion of the chair was a small box-like structure with three steps carved into it. Baaboo had made it for Tuli to be able to climb to and down from the high chair.
The inside of the back-rest of the chair had an engraving that said ‘Baaboo’s Tuli’. Baaboo had engraved it for his little Tuli two years ago; she was six then. She had sat on it many a time. In fact, before she went to bed at night, most nights, Baaboo had read her stories while she would sit on that high chair dangling her legs, leaning a little on her Baaboo with her lips stuck into a small pout. The pout was the measure of Tuli’s concentration. Much before he finished reading her the stories, the dangling of the legs would stop, and the weight of her little body would gather on Baaboo like the many bubbles from the ‘bugbugi’ settling on one. The many flurries of bubble from soapy water blown through the circular ring on streetsides? Tuli called those bugbugi. Like she called her father ‘Baaboo’, not Baba or Papa or Dad or Daddy or Bapi.
Title: The Day We Went Strawberry Picking in Scarborough
Author: Ranu Uniyal
Publisher: Dhauli Book, 2018
Ranu Uniyal, an academic teaching at Lucknow University, is an important poetic and literary voice writing in India. Her poems speak of the human experience, of sufferings, love, pain, angst, unfulfilled desires and unsaid thoughts. Uniyal’s poems give voice to feelings and expressions that reach out. The Day We Went Strawberry Picking in Scarborough is Uniyal’s third volume of poems after December Poems (2012) and Across the Divide (2006).
Professor John Thieme, a postcolonial scholar and critic from University of East Anglia, describes the poems in the volume as “Circling around tart and tough memories” saying that the poems in the volume under consideration “reinvigorate the possibilities of elegiac verse”. He adds, “Lost tongues speak with forceful new accents, making Ranu Uniyal one of the most original voices writing in India today.”
China is in the limelight again with Beijing announcing a children’s books expo to be held there this week, from July 17th to 23rd.
The first bi-lingual version of the J.K. Rowling’s Harry Potter series, will be part of the available fare. In this version, the left page will have the story in English and the right in Chinese. Earlier, they had a monolingual Chinese version.
A popular Chinese Children’s novelist, Professor Cao Wenxuan of Peking University, recepient of the 2016 Hans Christian Andersen Award, also called the “Nobel Prize for children’s literature”, will be presenting his new mystery fare. A collection of children’s classics spanning the last thirty years by well-known writer Yin Jianling will be nestling with other attractions presented in this expo.
“ In 1915, one of the fathers of modern Korean literature, Yi Kwang-su, laid out his modern manifesto. ‘We are a new people, without ancestors, without parents, that came from Heaven in the present.’ (Kim Hunggyu, 194.) This belief was amplified in 1930 by Ch’oe Caeso, who argued, ‘In terms of contemporary culture, our attitudes are dominated by those of Western culture, and not by those from the Choson period and before,'” wrote Charles Montgomery , who taught English, Literature, and Translation Department at Dongguk University, Seoul.
Choson, also known as Choseon or Joseon, was the dynasty that ruled Korea for the longest period — five hundred years — before the Japanese invasion in 1910. Though Japan had tried to invade Korea earlier in 1592 and 1597-98, their impact at that time was minimal.
However, in the twentieth century, the Japanese invasion lasted longer —for four decades — till Japan was defeated in 1945 at the end of the Second World War by the dropping of an atom bomb. Subsequently Korea was split along the 38th parallell, one part being allied to the American and the other to Soviet Union. The pain of this partition was projectedbeautifully by Park Wan Suh in her classic novel, Was The Mountain Really There?.
Author of two poetry collections, Kit Fan (范進傑) was born in 1979 in Hong Kong and currently resides in the UK. His first volume Paper Scissors Stone (Hong Kong University Press, 2011) won the inaugural Hong Kong University (HKU) Poetry Prize, and his second collection As Slow As Possible (Arc, 2018) was a Poetry Book Society Recommendation for Autumn 2018 and listed in The Guardian’s 50 biggest books of Autumn 2018 and in The Irish Times Best Poetry Books of the Year. Other accolades include being shortlisted for the 2017 TLS Mick Imlah Poetry Prize and The Guardian 4th Estate BAME Short Story Prize consecutively in 2017 and 2018. His novel-in-progress Diamond Hill, about the last shanty town in Hong Kong, received a Northern Writers Award 2018. A regular reviewer for the Poetry Review, Kit’s work traverses between Hong Kong and European cultures and histories, as well as between poetry and fiction.
As part of an ongoing collaborative project entitled ‘Anglophone City Poetics and the Asian Experience’, Kit talks to Tammy Lai-Ming Ho and Jason Eng Hun Lee about his first poetic influences, his migration to the UK as a young writer, his musings on Hong Kong from afar, and his perspectives on the evolving Asian cityscape.
Tammy Ho & Jason Lee: How long have you been writing poetry? Can you list some important moments in your early experiences as a poet?
Kit: I’ve been writing for roughly 18 years. One of my first inspirations came from a commission by Hugh Haughton who challenged me to write a poem about me being brought up by and in a library. Other important moments include: reading Elizabeth Bishop’s ‘Crusoe in England’; meeting Christopher Reid who asked me to send my poems out to editors; having my poem ‘Reading Thom Gunn’s Notebooks at Bancroft Library’ published in the Poetry Review (UK).