Recently, Sahitya Akademi Award winner for Urdu, Rahman Abbas, journeyed to the Institut National Des Langues et Civilasations Oriesntales (INALCO) in Paris to deliver a lecture. Translated Urdu novels are gaining in popularity and getting translated into multiple European languages, like German and French, he surmised. Novels in Urdu evolved around the 1940s-1950s with writers like Intezar Hussain and  Quartulain Haidar and books like Do gaz Zameen by Abdus Samad and Makaan by Paigam Afaqui. Makaan  is said to have been a major influence even on novelist Vikram Seth. 

Farhan Ahmad, Urdu lecturer, INALCO, Paris tells us about the talk given by Rahman Abbas in France.

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Sahitya Akademi Award winner Rahman Abbas with Academics in France

 

On 5 November 2019, INALCO, invited Sahitya Akademi Awardee, Urdu Novelist Rahman Abbas, to deliver a lecture on the topic “The Contemporary Indian Urdu Novels” in France. 

 The co-director of the department of South Asia and Himalaya studies and research scholar, Shahzaman Haque, introduced Abbas to faculty members and the students and said that Rahman Abbas was one of the major contemporary Urdu novelists of India. He thanked his department and his laboratory PLIDAM (Pluralité des langues et des identités) for financing the travel and accommodation of the Urdu author. 

He said that Rahman Abbas’s novel Rohzin had already been translated into German and would soon be available  in English, French and Hindi too. There is a growing demand for translation of Rohzin and other novels of Rahman Abbas in France. Rahman is known for his unique style of narration and his dealing with human sensibilities.

By Mitali Chakravarty

 

Hisham Bustani, the editor of this year’s Best Asian Short Stories from Kitaab, is an award-winning Jordanian author of five collections of short fiction and poetry. He is acclaimed for his bold style and unique narrative voice, and often experiments with the boundaries of short fiction and prose poetry. Much of his work revolves around issues related to social and political change, particularly the dystopian experience of post-colonial modernity in the Arab world. His work has been described as “bringing a new wave of surrealism to [Arabic] literary culture, which missed the surrealist revolution of the last century,” and it has been said that he “belongs to an angry new Arab generation. Indeed, he is at the forefront of this generation – combining an unbounded modernist literary sensibility with a vision for total change…. His anger extends to encompass everything, including literary conventions.”

Hisham’s fiction and poetry have been translated into many languages, with English-language translations appearing in prestigious journals across the United States, United Kingdom, and Canada, including The Kenyon ReviewBlack Warrior Review, The Poetry ReviewModern Poetry in TranslationWorld Literature Today, and The Los Angeles Review of Books Quarterly. In 2013, the U.K.-based cultural webzine The Culture Trip listed him as one of Jordan’s top six contemporary writers. His book The Perception of Meaning (Syracuse University Press, 2015) won the University of Arkansas Arabic Translation Award. Hisham is the Arabic Fiction Editor of the Amherst College-based literary review The Common, and the recipient of the Rockefeller Foundation’s prestigious Bellagio Fellowship for Artists and Writers for 2017. In this exclusive, he talks of what went into the selection of the stories and what makes him write.

 

You are author of five collections of short stories, poetry and hybrid forms. How many short story collections have you edited before? Were they in English or Arabic?

Hisham: I have a long list of editorial credits behind (and before) me. First of all, I am currently the Arabic Fiction Editor of the Amherst College-based literary review The Common, responsible for curating an annual country- or theme-based portfolios of Arabic short stories in English translation. So far we two of those portfolios were published, one from Jordan (Issue 15, Spring 2018) and the other from Syria (Issue 17, Spring 2019). The forthcoming portfolio in Issue 19 (Spring 2020) will feature stories in translation from Sudan. These portfolios are simultaneously published in Arabic in the Egyptian literary newspaper Akhbar al-Adab. So I’ve established alongside The Common’s editor-in-chief Jennifer Acker, and Akhbar al-Adab’s editor-in-chief  Tariq al-Taher, a trans-Atlantic literary collaboration in that respect.

Book Review by Samarpita Mukherjee Sharma

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Title: You Beneath Your Skin

Author: Damyanti Biswas

Publisher: Simon & Schuster India, Sept 2019

You Beneath Your Skin by Damyanti Biswas came into my radar when I was reading few excellent thrillers by Indian women authors. I had already been won over by the clever skills with which each of those stories had been crafted, so my expectations were on a rise. The blurb of the story says that You Beneath Your Skin is about relationships and crimes set in Delhi. However, what the last sentence might make you believe, the story isn’t your run-of-the-mill kind of crime committed by people in some relationship.

What You Beneath Your Skin  about is a whole lot of different yet related aspects of life. From personal relationships, each different from the other, to professional relationships, the story is mainly about Anjali and Jatin. While it has a lot to do about their relationship, there is a lot else that is quite important to the story that hold ground without taking allegiance from the protagonist couple.

We have Anjali, a single mother of Indo-American descent with an autistic teenage son. Anjali is a psychiatrist and works at a hospital. Her work extends to NGOs and the downtrodden. This takes her to the dark underbelly of the national capital, Delhi. She is shown as an independent woman who has a lot in her plate yet tries her best to add more to it and make everything work. Her son Nikhil is a teenager — a quite problematic age as it is — his autism adding to troubles for the mother-son duo. Nikhil’s condition, Anjali’s treatment of it, and how situations are handled have been described in a very smart and sensitive manner through the eye of someone who has probably worked with similar situations.

By Dr Naina Dey

Lucy Villa was a beautiful house almost palatial in grandeur and standoffishness. Built on a large patch of sloping land it was surrounded by a once lush garden of myriad fruit trees and exotic flowering plants. Now with years of neglect, the fruit trees had gone wild and the plants that had managed to survive, were smothered by weeds and brambles. No shears trimmed the wayward shoots, no one watered the plants that stood under the scorching sun and waited for merciful rain. The only fountain had run dry, its water trough sickly yellow and green with slime, its stone fairy now decrepit. At night however, Lucy Villa was an elfin realm. Its colourless walls, broad balustrades, wide balconies and layered terraces, gleamed in the moonlight though its tall elegant windows looked dark and forbidding.

Lucy Villa was named after the wife of a sahib who had it built with the intention of enjoying the quiet of this far-flung town and to entertain the occasional guest. Unable to bear the death of his beloved collie and then of his childless wife, the sahib had returned to England leaving the house under the care of a friend who lived in the city. That was more than two decades ago. At present it was under the supervision of an attorney, a little bald sly-eyed man.

When we entered the house, it was still furnished with whatever Hamilton sahib had left behind. Moth-eaten carpets and teak furniture inlaid with delicate floral motifs in brass adorned the living room. The rest of the rooms were bare their dusty floors emanating a suffocating musty smell. The house itself was still in excellent condition despite the neglect barring a few damp patches. The walls had been white-washed for the new tenants. It was a pity that a house fit for a prince was in disuse for this long. It also became evident shortly after we had moved in that this was a house of disrepute.

As I stood one evening under the oleander tree just outside the walls, two Sikh boys on a scooty had screamed raucously – “Bhootiya Bungla (haunted bungalow)!” and sped away as fast as they could leaving me confused and angry. True, the house stood by itself, its high walls and garden isolating it from the rest of the neighbourhood. It was hardly unusual for houses which were once dwelling places of the rich, who preferred privacy, to be associated with strange stories once they had been abandoned.

By Farah Ahamed

The aim of tragedy, according to Aristotle is to bring about a ‘catharsis’; to arouse in the spectators’ pity and fear and to purge them off these emotions so that they left the theatre with an understanding of the ways of gods and men. The audience witnessing the changes in the fortunes of the protagonist creates the catharsis. He wrote:

“Tragedy is an imitation, not of men, but of action and life, of happiness and misery.”

IMG_0810To Die in Benares*, (2018) translated from the French by Blake Smith, is a collection of seven stories, which have this cathartic effect.  I will illustrate this by analysing the first story “A Paper Boat in the Ganges”, which centres on the life of Fougerre who has to confront Aristotlean obstacles in his life; colonialism, mythological gods, and fate. Set in Pondicherry at a time when it was still under French occupation, the story covers almost fifty years and presents a compressed montage of brisk, vivid scenes each with intense gesture and detail.It opens with these weighty lines:

“India is probably the only country where fate’s grip on the lives of individuals is so easily accepted. Life isn’t fair. People say it a lot. People hear it said still more often.”

The introduction sets the sombre mood for fate to hijack the character’s life with the ‘epic proportions of the cruel Gods of ancient Greece’. We find the two protagonists — Manu and his Tamil friend, Fougerre — in the sixth grade at a school managed by the French Government. The school is attended by French, and Indian students whose fathers are retired French soldiers or French functionaries, who have a strong attachment to French culture and some Tamilian students like the narrator, Manu, and Fougerre who are less so.

Fougerre, in particular, is an “outsider”. He is a dark-skinned Tamilian, which his white French classmates associate with their servant classes. A reticent and timid boy from a more modest background than his white French classmates, Fougerre is hardworking, bright and meticulous. His white peers copy his perfect homework, and resent “his remarkable brilliance”, because he reminds them of their servants. Manu, in particular, is jealous of Fougerre’s artistic skills.

By Gargi Vachaknavi

The Singapore Writers’ Festival stretched to ten busy days with events glittering on the literature of Asian diaspora. The opening was by a Booker winner from Jamaica,  Marlon JamesPico Iyer was another major highlight as were local Singapore legends like Edwin ThumbooIsa KamariSuchen Christine Lim and Meira Chand .

IMG_0692One of the attendees caught the excitement of the event. Upcoming writer Elaine Chiew, who just released her debut collection of short stories called The Heartsick Diaspora with Penguin, had a lot to say: “I caught Marlon James’ Festival Prologue and Roxanne Gay’s Lecture: ‘Understanding Identity Through Pop Culture’, and lots of programming in between, including catching the exhibition on Eurasian Singaporean writer Rex Shelley (which I loved, especially Brian Gothong Tan’s stunning multi-media display), ‘Literature and Pioneer Women’, ‘First Dates and So Many Feelings’, ‘What Being Brown In The World Means’, ‘Language and the Body’, ‘Writing in Dialect’, and ‘What’s the Most Versatile Singlish Word’.” Elaine Chiew has been attending the festival since 2016. This year she attended as an author and a panelist.

IMG_0480Aysha Baqir, writer and social activists explained: “This is my first time as a featured author in Singapore Writers Festival. My novel, Beyond the Fields, a fiction about a young village girl (in Pakistan) on a quest for justice, was published earlier this year by Marshall Cavendish. I have attended the last two Festivals and like the previous years I am delighted to listen to and meet the wide diversity of authors and panelists.  This year I am particularly enjoying the relevance of the sessions to current life events and issues — migration, special needs, mental health, and diversity.”

Kitaab also launched three books during this festival: a translation of Isa Kamari’s Kiswah, Shilpa Dikshit Thapliyal’s Masala Chai, a collection of poems and the Best Asian Short Stories (2019).

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Isa Kamari and Zafar Anjum launching Kiswah

Kiswah kicked off the start of the Kitaab launches with Isa Kamari explaining how he conceived the novel as a reaction to the needs of the times. Kamari said in answer to moderator Mitali Chakravarty’s query that he was getting the translations done to be read more widely. Earlier he had been translated even to Urdu by Kitaab. Zafar Anjum, the founder of Kitaab, explained: “Isa’s Intercession was translated into Urdu — the first work of Singaporean and Malay fiction to be translated into Urdu. The plan is also to get it translated into Hindi and we are working on it.”

Thapliyal’s Masala Chai came next. Thapliyal was accompanied by Singapore writer Robert Yeo on stage. Yeo had mentored her collection. Moderated by Dr Pallavi Narayan, the poetry launch was vibrant and interesting.

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Singapore writer Robert Yeo, poet Shilpa Dikshit Thapliyal and moderator Dr Pallavi Narayan

Book Review by Nabina Das

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Title: Bulletproof: A Journalist’s Notebook on Reporting Conflict

Author: Teresa Rehman

Publisher: Penguin Random House India, 2019

Conflict journalism is a term that evokes certain hard-hitting images in the head. These are mostly to do with the news coverage of militaristic activities, hyper-masculine behavior and code of conduct, and a breakdown of order in a state or society. And the immediate corollary that follows is that a male journalist must be at the helms writing about wars and skirmishes across countries and continents, an extraordinary brave and exclusive act. This nearly is a post-colonial post-truth — if one may use such jargon — even in the 21st century. The first thing that comes in the reader’s mind after reading Teresa Rehman’s Bulletproof is the sense of foreboding laced with hope and empathy. Unlike a lot of war or conflict journalists we have known and read, she shuns frills or any show of sensationalism. More than conflict, her focus is peace.

An award-winning journalist specializing in combat reporting from the Northeast and Kashmir, Rehman recounts in this book her dangerous forays in a matter of fact tone. The chapters are each devoted to major assignments she undertook as a fulltime journalist. The book starts with the meeting with Th. Muivah, the vastly charismatic leader of Naga liberation, chief of the Nationalist Socialist Council of Nagaland (Isak-Muivah). It’s a fascinating account full of details one doesn’t see in run-of-the-mill reports on Naga insurgency from especially mainland India. Here one sees Muivah not simply as a militant Naga leader, but as a human being with a sense of humor, and “Uncle” to his followers.

With most accounts of conflict journalism being a male bastion that is also loud and demonstrative, Rehman writes in a remarkably balanced voice sans any overt dramatization. As a woman writing about experiences that normally would have any seasoned journalist all warped and twisted, her accounts flow with grace and human consideration. The reader also gets glimpses of places like Dimapur, its dingy hotels, the alleyways, and even of the accompanying driver or attendant (who apparently had no clue why Rehman was visiting Nagaland).

By Meenakshi Malhotra

 

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Nabaneeta Dev Sen

What do you say when a doyenne in the field of literature dies? That she was a colossus in the field of literary studies? Any summing  up  of the achievements of Nabaneeta Dev Sen would sound and seem like  a comprehensive survey of a substantial chunk , if not the entire field of comparative literature in India.

Nabaneeta Dev Sen was one of the finest minds in the world of literature, in terms of both her creative and critical work. A pioneer in the field of Comparative Literature, she is often perceived  as having played a transformative role in  transforming  Comparative  Literature  as a discipline in India,  from a mechanical reading of texts across languages to a rigorous theoretical discipline. Nabaneeta Dev Sen’s scholarship brought her international fame and acclaim. She was not only a scholar and researcher , but also a popular teacher both in Jadavpur, as well as in the many institutes where she taught ranging from reputed academic institutions in the United States, the United Kingdom, Mexico, Germany, France, Japan and Israel. A graduate of Presidency College, she had  masters’ degrees from Jadavpur and Harvard universities and a PhD from Indiana university.

sandeep kumar mishra

Sandeep Kumar Mishra is an outsider artist, poet and lecturer in English Literature. He has edited a collection of poems by various poets — Pearls (2002) and written a professional guide book — How to be (2016) and a collection of poems and art — Feel My Heart (2016).

Website – https://www.sandeepkumarmishra.com/

Blog- https://sandeepmishra551974.wordpress.com/

Twitter- https://twitter.com/sandeep551974

Facebook- https://www.facebook.com/sandeep551974

Email- sandeepmishra551974@hotmail.com

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A Nobel laureate, a legend and a writer par excellence who can perhaps only be imitated but never surpassed — Rabindranath Tagore lived and wrote more than a century ago. Yet, he lives on through his works and becomes the nodal point of festivals, arguments and awards.

Tagore founded the University of Shantiniketan, which he named Visva Bharati. Tagore himself gives us the purpose of having this institution:“Visva Bharati represents India where she has her wealth of mind which is for all. Visva Bharati acknowledges India’s obligation to offer to others the hospitality of her best culture and India’s right to accept from others their best.” 

Gandhi-Tagore
Tagore, Gandhi and Kasturba Gandhi at Shantiniketan