Critically acclaimed, award winning author Rahman Abbas needs no introduction. A Mumbai based fiction writer whose book Rohzin won the prestigious Sahitya Akademi Award in 2018, Abbas is known to captivate the readers with unique storylines and unforgettable characters. Since his debut in 2004 with Nakhalistan ki Talaash ( The Search of an Oasis), he has penned one masterpiece after another. From winning awards to having his books translated into various foreign languages, he has done it all. Rohzin was not only the first Urdu novel to be discussed in Germany, it was also adopted as a part of Urdu curriculum in INALCO. Sometime last year, he won a research grant for his next novel and travelled to Europe.
Tan Kaiyi in conversation with Tunku Halim: The Dark Lord of Malaysian Horror
In Tunku Halim’s illustrious career in horror writing, his beginning could be the strangest story of all in the history of the genre.
His first ever published work was Everything the condominium developer should have told you, but didn’t, containing his musings on buying condominiums during the Klang Valley real estate boom in the ‘90s. He followed that up with a sequel, Condominiums: Purchase Investment & Habitat, before publishing his first ever horror novel, Dark Demon Rising, in 1997. The hero of the story is Shazral, a city lawyer, who returns to his home kampong to attend his father’s funeral. It is there that he realises that he has been given a supernatural inheritance, in the form of a Hantu Penanggal, a Malay nocturnal vampiric entity.
In recent times, the ‘Opioid Crisis‘ has taken the world by storm. When one says opioid crisis, the immediate questions to come to the mind are, What is it about? What is this opioid dependency so many medical practitioners seem to be talking about?
Today, we have with us Dr. Aafaque Akhter, one of the co-authors of the book Opioid Odyssey which aims at answering all of this and much more.
Published by Penguin Ebury Press, 2020
Pegged on journalist Sameer Arshad Khatlani‘s visit to Pakistan, The Other Side of the Divide provides insights into the country beyond what we already know about it. These include details on the impact of India’s soft power, thanks to Bollywood, and the remnants of Pakistan’s multireligious past, and how it frittered away advantages of impressive growth in the first three decades of its existence by embracing religious conservatism.
Rituparna Mahapatra in conversation with Tishani Doshi
“Girls are coming out of the woods,/ wrapped in cloaks and hoods,/ carrying iron bars and candles/ and a multitude of scars.”
“Even those girls / found naked in ditches and wells, / those forgotten in neglected attics, / and buried in riverbeds like sediments / from a different century”.
These lines from the title poem of Tishani Doshi’s book, ‘Girls are coming out of the woods‘ in 2017, came at a time when the world, India, in particular was waiting to explode & rage at the heinousness towards the ‘female’. Doshi painted an imagery about what it meant to be a woman; the dangers of being one, on a larger canvas, talking about women brutalised and murdered ; their stories refusing to be forgotten. It touched the nerve of a society attuned to not ‘speaking out’. This book went on to be shortlisted for the Ted Hughes prize in 2018.
Anuradha Kumar, the author of Coming Back to the City, Mumbai Stories, in conversation with Mitali Chakravarty
Anuradha Kumar has been writing for two decades and in that span of time has authored eight novels, including Letters for Paul (2006), It Takes a Murder (2013) and two works of historical fiction written under the psuedonym of Adity Kay: Emperor Chandragupta (2016) and Emperor Vikramaditya (2019). She also writes for younger readers, and contributes to Scroll.in, Economic and Political Weekly, thewire.in, theaerogram.com, and other places. She was awarded twice (2004, 2010) for her stories by the Commonwealth Foundation, and has received awards from The Little Magazine and Hindu-Goodbooks.in. Recently, she has brought out a novel, Coming Back to the City, Mumbai Stories. In this exclusive, she tells us more about her journey as a writer.
You have written eight novels and children’s stories/books. How many years of your journey as a writer does that span?
About two decades. I’d my first collection of short stories out from Writers’ Workshop in 2002. What I remember is the lovely handwritten note Prof. Lal (who set up the workshop) sent me in acceptance of my manuscript; that, and a translated copy of his Avyakta Upanishad. I sort of remember what he wrote in that note. For a long time, those words encouraged me. I forgot them at times, but early words of encouragement and support stand by you, especially in not so good times.
Can you tell us about your latest book, Coming Back to the City, Mumbai Stories? How did it come about? You have been living overseas, did you return to Mumbai and then write it?
An exclusive interview with Avik Chanda
By Gargi Vachaknavi
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.
His 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.
Booker Prize-winning author and activist Arundhati Roy has become one among many prominent figures to criticise the implementation of the […]
In the 1860s, roughly 20,000 Chinese from the Guangdong province were shipped to America to labour at building the transcontinental railways. They came for the lure of gold. However, few of them moved outside their camp or learnt English. They faced a lot of hardships, breaking rocks and living for a pittance. What drove them there? What did they face?
Author Gordon H. Chang has uncovered the plight of these workers in his latest book, Ghosts of Gold Mountain: The Epic Story of the Chinese Who Built the Transcontinental Railroad. Chang is Olive H. Palmer Professor in Humanities at Stanford University. He has written a number of books on Asian-American history and US–East Asian interactions.
Washington Independent Review of Books says Chang “ has dedicated himself to speaking for a group that cannot speak for itself, even in absentia. He’s dubbed them the ‘ghosts’ of his title because, while the work they did was about as tangible as it gets, their individual identities have evaporated.
(On Bimal Roy’s 110thBirth Anniversary, Ratnottama Sengupta traces his enduring affair with books.)
“Bimal Da and I – particularly I, being a writer – always looked to literature for story, the raw material of cinema. People can and do write original scripts for the silver screen, but we did not prefer that because it tends to be hurried writing. We preferred to source our films from books because a writer has already worked on an idea, on the character, on the logic of their action, and its final resolution…”
–Nabendu Ghosh(1917-2007) in And They Made Classics…
He was already a recognised name in Bengali literature when Nabendu Ghosh met Bimal Roy, his film guru. Bimal Roy was a voracious reader. The reasons for this were many.
To begin with Bimal Roy, since school days, had been friends with Sudheesh Ghatak, brother of Manish Ghatak who is better known to Bengali readers as Jubanaswa, a radical writer of the Kallol era introducing modernism, who drew litterateurs like Tarashankar Bandopadhyay (1898-1971) to his house. The entire family had the gift of story-telling — and not only the eldest brother but also his daughter Mahasweta Devi (1926-2016) and his youngest brother Ritwik Ghatak (1925-1976). Even Sudheesh Ghatak has won accolades for this art.
Eventually, Bimal Roy’s penchant for photography took him to New Theatres (NT) which had, since its inception, transcreated the major novels and stories of writers like Rabindranath Tagore, Bankim Chandra and Sarat Chandra. In fact NT produced not only Tagore’s own Natir Puja (The Dancer’s Prayer, 1932) but also the comedy, Chirakumar Sabha (Bachelor’s Conference, 1932) and Arghya (Offerings, 1937), besides Kapal Kundala (Bankim Chandra, 1933), Dena Paona (Give and Take, 1931), Palli Samaj (Rural Society, 1932), Grihadaaha (House on Fire, 1936), Devdas (1936), Bardidi (Elder Sister, 1939), Kashinath (1943), Biraj Bou (Biraj the Wife, 1946), and Ramer Sumati (The Redemption of Ram, 1947) — all from Sarat Chandra stories.