Kim Văn Kiều, or the Tale of Kiều, by Nguyễn Du (1765-1820), is a jewel in the crown […]
In a beautifully refurbished colonial building next to George Town’s coastal thoroughfare, a tight-knit yet diverse crowd is […]
By P.N. Balji
Title: Asia Reborn
Author: Prasenjit K. Basu
Publisher: Aleph Book Company
Asia reborn… but what next?
He is a keen watcher of Asia, having spent the last 25 years putting the economies of this wonder continent under his microscope. Economist Prasenjit K Basu is eminently qualified to write this weighty tome, which runs into 680 pages. His research is painstakingly done with the notes and references alone going into 41 pages.
At first flush, Asia Reborn is intimidating. The title doesn’t seem to tell anything new and the voluminous nature of the book might put off many potential readers who want information on the go. Still, those interested in a deeper perspective of Asia and why some countries succeeded and others failed will find it worthwhile to plumb through its pages.
The author’s style is engaging; he makes sure that his research findings don’t interfere with his prose. He adds spice to his narrative with anecdotes that will keep the subject matter alive. For example, he brings to life one about Lee Kuan Yew. The former PM was among other students at Raffles College when they heard an explosion at the Causeway. The Allied forces had blown a hole in the Causeway to stop the Japanese army from moving into Singapore during the Second World War in 1942. The principal asked the students what the explosion was about. LKY’s reply: ‘That is the end of the British Empire.’
… Recently, the Swedish Academy responsible for the dictionary of Swedish language added the new gender neutral pronoun hen to the […]
From the collection Love and its Seasons, Publisher: Mulfran Press (September 1, 2017) 1. Laila’s husband said to her: […]
The stories of Javanese cultural hero, Prince Panji Inu Kertapati, dating from the 13th century, mark the development […]
Pramoedya Ananta Toer is widely regarded as one of Indonesia ‘s best writers. At a young age, he joined […]
By Sucharita Dutta-Asane
Aamer Hussein was born in Karachi in 1955 and moved to London in 1970. He has been writing short stories since the mid-80’s and has been anthologized across multiple languages. He has written six short story collections, a novella Another Gulmohar Tree and a novel The Cloud Messenger. A master of lyrical writing, his knowledge of languages and cultures informs his story telling. His most recent book Love and its Seasons has been published by Mulfran Press, UK.
Sucharita Dutta-Asane (SDA): Aamer Hussein ji, welcome to Kitaab, and thank you for agreeing to this interview.
Your writing is an inspiration in its lyrical intensity, its telling use of fables and folktales and in the knowledge of cultures and languages that layer your stories and their vast range of characters. They explore rich inner worlds with compassion and empathy that require intense involvement with the characters. This cannot come easily to any writer. How do you approach your writing? Do you usually know what you will write and how you will write it, or do you follow a process that is organic, the story and its characters leading you by the hand?
Aamer Hussein: I’d say that in most cases it does lead me by the hand. I sit down with an image, a line or an impulse, then the story takes un-imagined pathways and the characters do things I had no idea they were planning to do. Often the end is in sight when I begin and I do often know what I want to write, for example when I use a traditional story as a template, or when, as in my new collection, I was inspired by my mother’s diary about her singing; but there is always an element of surprise even in the process of retelling. And in what we now call life writing, there is the crucial question of arranging memories in a pattern and seeing what they reveal, which often is surprising.
SDA: The search for ‘home’ and the inevitable running away from it, the rootless-ness and at times the aimless wandering – this theme and its traces can be found across most of your short fiction as well as in Another Gulmohar Tree and The Cloud Messenger. What does ‘home’ mean to you as a writer and as somebody witnessing the evolving concept of exile and refuge in the world today? Does language, rather than any kind of physical manifestation, contain the sense of ‘home’ / homecoming?
AH: I’m wary of talking about multiple homes but in this case I must. There’s Karachi, the city I was born in and to which I often return (I’m going back in a fortnight), which remains home in some visceral sense – that location between desert and Arabian Sea is where my clay belongs. It’s at the seaside there, near where my father and grandfather lived, that I feel that sense of homecoming. I ran away from it for many years and now I keep running back. There’s London where I’ve worked and lived all my adult life, but I only feel at ‘home’ in my neighbourhood by a canal and in a small, central part of the city where I once studied and taught. I also have a lost maternal ‘home’ where my grandparents lived in Indore. So yes: I wander among my homes and my notions of home. I’m not in any way an exile or a refugee; today I feel like a fairly privileged expat. Yes, language as well – or rather the page on which I write, where I look for a landing place. That place too is ambivalent, as I read Urdu when I feel homesick, but rarely write in my mother tongue from any sense of nostalgia; English seems to be my memory-language, so yes, that’s a home too. Urdu is a retreat.
SDA: In The Cloud Messenger language seems to be a character with multiple layers waiting to be discovered. In Another Gulmohar Tree, Usman says, ‘You don’t choose the language you write in, it chooses you.’ With your polyglot sensibility and sensitivities, how important has this knowledge of languages been for your writing? Has it created creative dilemmas for you or given a sense of freedom that has helped your storytelling?
In Livemint, Sana Goyal explores whether the UK market has ‘space for Asian fiction in translation’. Over the past […]
By Mitali Chakravarty
Author: Joginder Paul
Translated from Urdu by: Sukrita Paul Kumar & Hina Nandrajog
Publisher: harper Perennial
Blind interfaces between being a thriller and a symbolic multi-layered novel. It starts in a home for the visually impaired and soars into the political and social arena of the world in which we live. Mr Joginder Paul, the author, based this story on his experiences in a blind people’s home near Nairobi during his sojourn as a teacher in Africa. In the book, he has relocated the home to India and the inmates are Indians.
Through the course of his narrative, he highlights the struggle faced by people with vision and without vision. He uses ‘sight’ symbolically to contrast physical, moral, intellectual and value-based vision. Some of the blind have a ‘third eye’ with which they can sense the world around them. Some of them are excellent craftsmen and have ‘eyes on their fingers’. The blind are so attuned to their condition that they fear external sight. Being free of vision gives them a sense of freedom in their interactions with each other and with the world around them. One of them, a basket weaver, claims, ‘… if my eyes begin to see, my fingers will go blind.’ When an inmate regains sight, he loses his sense of orientation. He feels threatened that he will be turned out of the home, the only shelter the blind trust.
The beautiful blind Roni finds herself in a brothel when she leaves the security of the home. Eventually, after a brief marriage with a man with sight, she is compelled to re-seek the shelter of the home. Roni, who has ties with at least five men through the narrative, finally marries an inmate of the home, Sharfu.
Unfortunately, Sharfu steps out to buy barfi for Roni, stumbles on an abandoned dead body, and, unable to convince the police of his innocence, he is taken into custody.