babelDo you like writing horror — spooking people?

Or a thriller?

Here is a contest that allows you to create those shivers down the spine with terrifying, horrifying tales from the worst of your nightmares or surrealistic fantasies.

The contest ends January 30th, 2020.

Books to Film by Mitali Chakravarty

 

Little Women Poster

Humility. Kindness. Gratitude.” and “Love is the answer.”

— The Good Day I Died: The Near-Death Experience of a Harvard Divinity Student by Desmond Kon Zhicheng-Mingdé

Desmond’s post-structuralist book was released in good time to be wrapped as a Christmas present in Singapore — with the values he speaks of, it deserves that. Meanwhile, on Christmas, 2019, was released a film in United States that spoke of similar values — a film called Little Women adopted from a quasi- autobiographical series written from the 1860s to1880s by Louisa M Alcott, a movie that hopes to take Singapore by storm from 16th January, 2020.

As of January 12, 2020 — in two weeks of its world release — the film grossed $74 million in the United States and Canada, and $33.2 million in other territories, for a worldwide total of $107.2 million. It has won much critical acclaim and was chosen by both the American Film Institute and the Time magazine as one of the top ten films of 2019. At the 77th Golden Globe Awards it received two nominations; in the British Academy Film Awards, it received five and six Academy Awards nominations —  with all three-nominations naming Saoirse Ronan for the Best Actress and the last two including Florence Pugh for the Best Supporting Actress, and Greta Gerwig for the Best Adapted Screenplay.

With a star-studded cast — Meryl Streep, Emma Watson, Saoirse Ronan, Pugh, Timothée Hal Chalamet, James Norton — and more, the family drama centring around the American Civil War had the audience at the screening in its grip. It was little surprising while leaving the hall at the Singapore preview, that a woman was excitedly talking to a friend in part-Chinese part- English about how she empathised with the characters in Little Women. And through the screening, one could sense the audience palpitate emotionally in waves with murmurs rising and falling in a crescendo — fully absorbed by the events on the screen.

An exclusive interview with Avik Chanda

By Gargi Vachaknavi

 

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Avik Chanda is an author who is a Jack of multiple genres and, unlike the saying goes, emerges the master of most – including that of a best-selling non-fiction book. He has authored a book on the Mughal prince, Dara Shukoh, and it did so well that it beat William Dalrymple’s The Anarchy to the top of the Asian Age best seller list and even now it continues in the top ten bestseller’s list. 

Chanda has two decades of global Big 4 Consulting experience. He is a business adviser, entrepreneur, trainer and a speaker at the Outstanding Speaker’s Bureau; a regular contributor to Harvard Business Review Ascend and a columnist for The Economic Times. Recently, he has been nominated for the Forbes India 2020 ‘Great People Managers’ list. He is also now venturing into another one of his newbies — a start-up in the human resource technology domain which he has christened NUVAH ( ‘new’ was his explanation for the word which he spelt in all caps).

Avik Chanda has been published in more than twenty international journals and anthologies, including Queen’s Quarterly, Stride Magazine, Envoi, Aesthetica, and First Proofs (Penguin India). He has had a solo exhibition of paintings and published two poetry collections in Bengali (Protibhash and Jokhon Bideshe) and one in English, Footnotes (Shearsman, UK). His debut novel, Anchor, was published by Harper Collins in 2015, to high critical praise. His business book, From Command To Empathy: Using EQ in the Age of Disruption (Harper Collins, 2017), addresses the need for greater emotional enablement in the Indian workplace. The book received praise from leaders across both industry and academia, was widely featured in the national press, and is shaping collective consciousness in favour of better work-life integration. In 2018, the book was selected for Amazon India’s Best Reads under the category, Business, Strategy and Management.

Dara ShukohHis third book with Harper Collins, Dara Shukoh: The Man Who Would Be King, was published in October 2019. This work has received glowing reviews from world-renowned academics, authors and commentators, garnered tremendous attention in the national press, featured at prestigious literary meets, been acquired by Audible for audio-book rights. Juggernaut Books is also promoting the book as a mini blockbuster — publishing excerpts from the book — and it has also been on the Bestsellers’ List right since its publication. In this exclusive interview, Chanda reveals more about his muti-layered personality and his work.

 

When and why did you start writing? What moved your muse?

I’ve been passionate about books for as long as I can remember, and I suppose there came a time when I wanted to start writing my own books. Around the years 2003-2007, there was an earlier spate of writing — poetry, in English and Bengali. I produced a couple of collections besides publishing in individual magazines. The current run began about six years ago. In this period, I’ve published a novel, Anchor, a business book, From Command To Empathy, and my latest book, a biography of the Mughal Prince, Dara Shukoh — all three published by Harper Collins.

By Gargi Vachaknavi

War is peace.

Freedom is slavery.

Ignorance is strength.

― George Orwell, Nineteen Eighty-four

 

Doublespeak in Orwell’s novel, Nineteen Eighty-four (1949), was a way in which an oppressive regime brainwashed its common population. In Aldous Huxley’s Brave New World (1932), people were fed ‘soma’ and taught rhymes in praise of the intoxicant so that they would live in a state of morbid obedience. In both the books, rebellion or democratic principles were non-existent. The contexts in these novels were based on world orders around the two world wars and while much is being quoted from Hitler’s and Himmler’s regime to create parallels, the fact that we are witnessing the triumph of democracy gets lost in the goriness of the events.

‘Hum Dekhenge’ has been at the fringes of a controversy with a panel condemning the non-Hindu status of the poem. Faiz Ahmed Faiz had written this poem against the Zia regime in 1970s to inspire people to look forward to better days – a secular attempt to energise people weighed down by the burdens of tyranny. Intolerance for another world view seems to stare us in the face and generate endless violence and bloodshed. This situation brings to mind a story written by Satyajit Ray which won him national and international acclaim in 1980 — a dystopic story but with a positive end — a story that earned kudos as a film called Hirak Rajar Deshe (In the Land of the Diamond King). It is a sequel to the 1969 production of Goopy Gyne Bagha Byne — another one of Ray’s highly regarded and awarded masterpieces.

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A DVD cover of Hirak Rajar Deshe

Hirak Rajar Deshe depicts a totalitarian regime by the Hirak Raja or the Diamond King who brainwashes people with the help of a machine called ‘jantarmantar’ and a weird scientist who feeds rhymes into it, rhymes like these, which could be perhaps seen as eternal because they seem to be playing out the current reality with all the attacks on universities and their inmates —

Lekha pora kore jei, onahare more shei

(Those who study, die of starvation)

 

Janaar kono shesh nai, janaar cheshta britha tai

(There’s no end to learning, so to try to learn is pointless)

Compiled by Mitali Chakravarty

In 1980, Satyajit Ray made a movie with a story he had written which won him both national and international acclaim — Hirak Rajar Deshe (In the Land of the Diamond King). A sequel to his earlier Goopy Gyne Bagha Byne, this film depicts a tyrant who brainwashed people with a machine to think: “Lekha pora kore je, anahare more she (Those who study, die of starvation).”

Does this strike a chord? 

Perhaps that is why we find educational institutions coming under flak and violent strikes on professors and students who are trying to study and lead a peaceful life. The attack on Jawaharlal Nehru University students yesterday has the social media filled with empathy for the victims. Is this reenactment of Hirak Rajar Deshe?

Poetry by well-known writers of yore used to  express student solidarity and hope has also been coming under attack. In Kanpur,  IIT (Indian Institute of Technology) students organised a meet to show solidarity towards the students of Jamia Millia Islamia in Delhi and recited a well-known poem  by Faiz Ahmed Faiz, a 20th century legend who was even nominated for the Nobel Prize. One of the faculty and fifteen students initiated a complaint  and demanded expulsion of the protest organisers, accusing them of “spreading hate against India”. A panel was set up to ban the poem. The empowering poem that led to all this controversy  is called ‘Hum Dekhenge’ (we will see). 

Rahman Abbas
Rahman Abbas

Rahman Abbas, the 2018 Sahitya Akademi winner for Urdu, had much to say in favour of Faiz’s poem: “It is disgusting to have to give clarifications of Faiz’s poem ‘Hum Dekhenge’ to absolve it from being called critical of the Hindu faith or any faith. It is as absurd and laughable as  absurd as claims such as the RSS was a cultural wing of the Jamat-e-Islami of Pakistan, or Rabindranath Tagore’s Novel Gora was anti-Christian, or Kabir had mocked Charlie Chaplin in his dohe*. Such absurd parallel could only be drawn by an insane or moron appointed to create deflection and disharmony.

“Faiz Ahamd Faiz is best known for being a revolutionary poet who aesthetically merged romanticism with the desire for a revolution, a social struggle or peoples uprising against the tyrant rulers. His poetry and life were a struggle to become the voice of the voiceless — it challenges dictatorship and repression. ‘Hum Dekhenge’ can be seen as the voice of the masses against the tyrant rulers or dictators who have subjugated poor people. The poem is a beacon of hope against darkness spread by authoritarian regimes. The poet imagines a world where tyrannical persecutors would be defeated and people will govern crushing falsehood and its followers. The tyrant rulers will be humiliated when their crowns will be thrown off and the people will reclaim being the God of the planet. The people will rule — we all are people — and we should celebrate that time and that day as it is a victory of people over tyrannical systems.

A short story from Nepal by Sushant Thapa

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Recently, Fai had got more interested in her studies. She was a loner. Her mother used to do daily chores for neighbours against a sum of money. Her father had a small shop that sold  second hand goods and knick-knacks that he got from the dealer — some of them were antiques – more like trinkets. The merchandise in his shop fascinated Fai.

Her father narrated to her stories about these strange objects. He unraveled the mysteries of the town and wove stories around them to try and sell the objects to his clients.  The dealer provided him with goods sold in auctions by  museums and by abandoned high schools and tour groups. Rusty sleeping bags, mountaineering gears and all kinds of skiing stick– even golf clubs, a tiara discarded by someone who did not understand its value — such merchandise were the focal points of his stories.

Her father kissed her on her forehead and told her a story every night before she went to sleep. These stories were woven around the objects in his shop. They were not like the story of Big Fish in America. The story of the Big Fish was from the story book she got from the school library. It was a strange tale — the hero’s daddy would turn out to be the fish at last which had swallowed the ring of hero’s mommy. The library at Fai’s school would only allow them to borrow one book for the weekend.

An experimental narrative from Myanmar

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A city is emitting fragrance without a reason — such a sweet, soothing smell! People living in this city behave like bees. They go hurriedly, work fast, eat quickly, sleep less, do not gamble, quarrel less, and laugh a lot. The city is very beautiful and splendid. It has spacious parks, tall trees, perfect housing, clean air and is plastic free. The residents enjoy their lives to the fullest. Children can play happily at all times and everywhere lost in wonder — as if they were in a perpetual Disneyland. Peace and harmony reigns supreme. The city is charming and stately. Even big cities like Paris, New York, Venice, Sidney or Tokyo cannot compete in beauty and grandeur to the fragrant city.

The residents are very hardworking, energetic, and ambitious. Also, they do not much care about any politics, even, social, and economic matters. They are only focused on attaining satisfaction in life. They tend to do what they think is right — informally and independently. They have no worries over food, cloth, and shelter. They have plenty. The system is very good; there are no hurdles that need to be overcome in everyday life. The long term plans provided by the government are perfect. They welcome any immigrants who come to this city heartily. Food is abundant, people are sweet, and places are nice and fanciful.

They communicate with each other using their special olfactory lingua franca. Only the city dwellers can understand. They just only have to conjure ideas which travel like waves. These waves spread from their brains and touch another person’s skin or any part of the body, they can accept the waves and decipher the meaning. They do not have to exert to make a sentence. They do not have to speak like us or worry about knowing a language. They can communicate with each other easily.

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“When I stand before thee at the day’s end, thou shalt see my scars

and know that I had my wounds and also my healing.”

~ Rabindranath Tagore

We have all experienced pain of some kind — heartbreak, illness, distress, abuse, violence, disaster, loss, grief. What kind of personal suffering have you endured and weathered? If one were to navigate such trauma, what are some of the coping mechanisms? How, then, will you render your personal experience into lyric and narrative, to transform the pain into something of profound beauty? Poetry has long been known to be one of the great traditional healing arts, alongside dance, music, painting, theatre. As a creative practice, poetry can become a remarkable way to enhance personal healing, wellness and change. It can be as mending as it is ameliorating, as renewing as it is restorative.

This anthology will be edited by Eric Tinsay Valles and Desmond Kon Zhicheng-Mingdé, scheduled for publication in 2021.

The year 2020 is here and if you are reading this message, we thank you for being with us and wish you a very Happy New Year!

This year has a special significance for Kitaab: we celebrate our 15th anniversary. That’s a relatively long time in the life of a webzine in this day and age of short attention spans, isn’t it?

Well, we are not patting ourselves on the back but please allow us to take us down the memory lane for a while to appreciate why we feel how we feel at this juncture of time.

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