The Singapore Book Council, which organises the Asian Festival of Children’s Content (AFCC), has decided to postpone the 11th edition of AFCC from 28–31 May to 3–4 October 2020, in view of the evolving COVID-19 outbreak in Singapore and around the world. In response to the situation, AFCC will be scaling down the festival to two days and making parts of the festival digital.
As a prelude to AFCC, the Book Council will also be organising the popular Book Illustrators Gallery (BIG), an exhibition that showcases the best illustrations from Asian picture books from 1–30 June 2020 at the National Library Building.
In 2062, world-leading researcher Toby Walsh considers the impact AI will have on work, war, economics, politics, everyday life and, indeed, even human death. Will automation take away most jobs? Will robots become conscious and take over? Will we become immortal machines ourselves, uploading our brains to the cloud? How will politics adjust to the post-truth, post-privacy digitised world? When we have succeeded in building intelligent machines, how will life on this planet unfold? What lies in store for homo digitalis—the people of the not-so distant future who will be living amongst fully functioning artificial intelligence?
Based on a deep understanding of technology, 2062: The World That AI Made describes the choices we need to make today to ensure that the future remains bright.
For centuries, Rajasthan has been a gold mine of oral traditions and histories, with Padma Shri Vijaydan Detha being one of the foremost storytellers of all time.
Giving a new lease of life to his writings, Timeless Tales from Marwar is a handpicked collection of folk tales from the everlasting works of Detha’s celebrated Batan ri Phulwari meaning ‘Garden of Tales’. Collected and written over the span of nearly fifty years, this fourteen-volume assortment of Rajasthani folk stories earned him the moniker-the Shakespeare of Rajasthan.
This selection-retold in Detha’s magical narrative style complete with vivid imagery-offers some of the oldest and most popular fables from the Thar Desert region. Discover tales of handsome rajkanwars (princes), evil witches, exploitative thakars , miserly seths, clever insects, benevolent snakes and more. Vishes Kothari’s vivid English translation introduces one of the most venerated figures in Rajasthani folk culture to a wider audience. This tribute to Detha’s rich legacy is a collector’s edition for all ages.
On the 103rd Birth Anniversary of her father, well-loved writer and Bollywood persona, Nabendu Ghosh, senior journalist Ratnottama Sengupta gives a recap of last year’s celebrations where Sahitya Akademi award winner Shirshendu Mukherjee, an important Bengali writer, talked on her father and his contribution to literature.
By Ratnottama Sengupta
It was the 102nd birth anniversary of Nabendu Ghosh. The bookstore celebrated the day with actor Ramanjit Kaur’s dramatised reading of ‘Fatima’s Story’ from That Bird Called Happiness, an anthology of stories by Nabendu Ghosh translated to English. Feminist writer Sreemoyee Piu Kundu focused attention on the women protagonists who outnumber and outweigh the men at the centre of the stories in the collection by the Bengali writer.
The most significant part of the evening unfolded when renowned Bengali writer Shirshendu Mukherjee started speaking of Nabendu Ghosh’s writing. Significant, not only for its impact on him when he was a young reader, but also because like his senior, Mukherjee too has lent weight to the Indian screen with his stories and scripts. So, when the author of watershed novels like Rashmonir Shonadana (Rashmoni’s jwellery, later screened as a highly popular movie, Goynar Baksho, meaning ‘The Jewel Casket’, by Aparna Sen), Manab Jamin ( Man and Earth) and Ghoon Poka (Woodworm) started to speak, Ratnottama Sengupta simply played the tape recorder.
Shirshendu Mukhopadhyay’s speech on Nabendu Ghosh at Starmark/ 27 March 2019, Starmark, Kolkata, 27th March 2019. (Translated from Bengali by Ratnottama Sengupta)
The Partition of 1947, that carved Pakistan out of India, affected many people, both directly and indirectly. Close to 2 million lives were lost in an unprecedented genocide; 14 million people were uprooted. The resultant refugee crisis affected generations that followed. Sectarian violence became endemic. Carnage and sexual violence was intense; mass abductions and forced conversions were on a scale not seen for a long time. “Some 75,000 women were raped, many of them were disfigured or dismembered,” William Dalrymple wrote in The New Yorker of June 22, 2015.
Both Nabendu Ghosh and I were affected indirectly. We — his family and ours — were not among those who had to cross over with bedding on their heads and mats under their arms. We were among the fortunate ones who were safely housed in the ‘new’ homeland. We faced no trauma while leaving our roots behind. But the loss of our birthplace created a deep wound that has refused to go away with the passage of time. It is a dull ache that has now become a part of my ribcage. I am not certain about Nabendu Da since he was only four years old when his father, a successful advocate in Patna High Court, had relocated from his family home in Dhaka. But for me the loss of my homeland — the soil my ancestors had lived in and where I had grown up on, which I knew as my own country, which was part and parcel of my identity, of my very being — had overnight become a ‘foreign’ land — is a sorrow that still weighs on my soul even at this ripe age of 77 years.
Publisher and date of publication: Speaking Tiger, 2019.
Earthquake Boy is the latest novel by Leela Gour Broome, a Western classical music and English Literature teacher. She is also an environmentalist. She has contributed to children’s literature by writing numerous short stories, series of pun cartoons, and cartoon strips for a children’s newspaper and magazine. Three of her other books include Flute in the Forest, Red Kite Adventure, and The Anaishola Chronicle. She conducts story-telling and reading sessions for school children and, language-and-literature-related events and workshops for young readers at literature festivals.
Broome’s Earthquake Boy is a historical fiction, a novel based on the Gujarat earthquake in 2001, with 26 January as the fateful day and Bhuj as its epi centre. UNICEF in its report on India (Gujarat) Earthquake 2001 estimated that more than 8,000 children were orphaned and more than 1,000 were left unaccompanied. Binna, a shortened form of the Hindi word Bey Naam, which translates to “the boy without a name” in the novel is the protagonist of Broome’s story and through Binna, she also tells the story of the many “Binnas” who were left desolate, homeless and with little hope from the quake.
Natural disasters come unwarned, often violent, furious, calamitous and woeful. Children fall in the vulnerable section of the community in times of natural disaster. Historical fiction on natural calamities for children such as this one, can help create awareness about the hardships that children go through in such times but to shed light on realities that one might have or not experienced, thus broadening the horizons and diversity of thought among the readers. Such stories while painting the harshness of life and disasters, also communicates the beauty of profundity in human spirit.
I arrived in Bombay towards the end of the monsoon. This had always been one of my favourite seasons as an adolescent, but I now found myself looking at it in a different way. It made a mess of the roads, and the city seemed to founder under it. I realized with a certain wonder that I was seeing it as a foreigner; that I was seeing it as a foreign city, though it was less than five years since I had lived there. My encounters with people I had previously known had a certain dreamlike quality: their personalities, familiar before, now seemed seen through a kind of mist. I was treated with some awe, because I had won the Hawthornden. I assumed a posture of arrogance, and secretly felt a little ashamed. The newspapers spoke of the book I had come to write.
Actually, I hadn’t planned this book at all; the thought of starting on it slightly terrified me. I didn’t know where or how to start: I had never tried anything like this before. In these circumstances, as often in the past, I consulted my father. He said, ‘I imagine you want to write this book as an outsider looking in. I couldn’t do that myself, about India. The only way I can help is by imagining that you are an outsider.’ There was a slight double edge to this remark, untypical of him. But then he was entitled to it.
Sameer Arshad Khatlani is an author-journalist based in New Delhi. He has been a Senior Assistant Editor with Hindustan Times, India’s second-biggest English newspaper with a circulation of 10 million daily, since July 2018. Khatlani worked in a similar capacity with The Indian Express, India’s most influential newspaper known for its investigative journalism, until June 2018.
Born and raised in Kashmir, he began his career with the now-defunct Bangalore-based Vijay Times in 2005 as its national affairs correspondent. He joined Times of India (TOI), one of the world’s largest selling broadsheets, in 2007. Over the next nine years, he was a part of the paper’s national and international news gathering team as an Assistant Editor. Khatlani has reported from Iraq and Pakistan and covered elections and national disasters. He received a master’s degree in History from prestigious Jamia Millia Islamia University in New Delhi.
Khatlani is a fellow with Hawaii-based American East-West Center, which was established by the US Congress in 1960 to promote better relations and understanding with Asian, and the Pacific countries through cooperative study, research, and dialogue. Penguin in 2020 published Khatlani’s first book, The Other Side of the Divide: A Journey into the Heart of Pakistan. Eminent academic and King’s college professor, Christophe Jaffrelot, has called the book ‘an erudite historical account… [that] offers a comprehensive portrait of Pakistan, including the role of the army and religion—not only Islam’. In this exclusive, Khatlani talks of his learnings from the journey into Pakistan and his extensive research on these issues.
Your book is about your around a week-long sojourn to Pakistan as a journalist for Times of India. What event were you covering for TOI and which year was this? Was it prior to Modi being elected the PM?
I went to Pakistan in late December 2013 for my first and last trip to that country at the invitation of the World Punjabi Conference for a peace conference in Lahore. This was five months before Prime Minister Narendra Modi took office in the summer of 2014 and around the time my former employer—Times of India—was involved in a campaign called Aman ki Asha for promoting greater people-to-people contacts between India and Pakistan for conflict resolution.
The Merman and the Book of Power is the retelling of a qissa, a classic storytelling form in Urdu. This epic novel combines myth with history to give us a glimpse of the evolution of civilisation.
Author Musharraf Ali Farooqi works have been critically acclaimed and have been a finalist for both, Man Asia Literary Prize 2012 and DSC Prize for South Asian Literature 2008 apart from being longlisted for IMPAC/Dublin Literary Prize. Along with being a writer, he is also an editor, translator and founder of the Storykit Program.
As Farooqi says in the Author’s Note, “This book merges the parallel histories, myths and multiple personas for Apollonius of Tyana, Hermes Trismegistus and Alexander the Great in the Western and Eastern literary canon, and the various religious, occult and apocalyptic traditions associated with them.”
It was an October morning when the call came from the hospital. Anwesha’s Puja vacation was not yet over. Her eyes were glued to the laptop screen when her phone rang. She heard and quietly went and stood near the kitchen door where Bina di was cutting vegetables. Though the news was not at all unexpected, yet Anwesha could not find the words to express it. Bina di, who had worked in the house for the last fifteen years, looked up and saw Anwesha standing.
The stillness of the moment conveyed the loss. She pulled her anchal (loose end of a saree) over her mouth to stifle a sob.
Anwesha changed into her jeans and shirt, took her handbag and went out. She called two of her colleagues who had always been with her through thick and thin.
Anwesha wished Kuhu mashi (maternal aunt) was by her side but she was visiting her daughter in Sydney. She was her mother’s childhood friend and had stood behind their family like a rock.
A good part of his day would be spent waiting, which of course was not very likeable — not because he had nothing else to do, but because Time liked him very much, or so it would seem to him. That thought was disgusting; the notion that it was in fact a fact was dreadful. Time liked him so much that she stayed with him, refusing to pass and even if she did, she would stretch herself all over him, like a monstrous dragon spreading its wings, eclipsing the sun and spitting a shadow all over the ground. I am using an example from my fantasy, may be because it is easier for the human mind to conjure fantastical elements, to explain Time. But in all honesty, and this has taken serious courage to write, Time was not a dragon to him, she was something much more terrible, much more torturous and horrible to even contemplate- she was eternal.
Time was in love with Argos. It was a bestial kind of love-savage, pure and perhaps too much to be contained in meek words that I put here. She fed off Argos, and Time was one hungry beast, gluttonous and without the slightest mercy.
The world of Singlit glowed from March 7th 2020 to March 15 th 2020 with different events to promote Singaporean literature. Adequate precautions were taken to keep the participants and visitors safe. Kitaab participated in the event aswell.
Kitaab books at the Singlit Station
Of the sixty events planned, thirty five had to be cancelled for the COVID-19 situation. They had workshops, and book sales and most interesting of all what Singlitis famous for — noir fiction. Here is a description of how the spoken word poet Deborah Emmanuel conducted the event.