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Indira Chandrasekhar is a scientist, a fiction writer and the founder and principal editor of the short fiction magazine Out of Print. She also curates an annual short story contest along with DNA, called the DNA-OoP Short Story Prize. Indira has a Ph.D in Biophysics. She worked in scientific institutions in India, the US and Switzerland, before turning into a full time writer and editor. She co-edited the short story anthology, Pangea in 2012, Thames River Press, along with British author and Editor Rebecca Lloyd. Indira’s stories have appeared in Eclectica, Nether, Cosmonauts Avenue, Far Enough East, The Little Magazine, Guftugu and others.
Polymorphism, her first story collection, presents nineteen tightly wrapped and elegantly told stories in genres ranging from science fiction to slip stream to literary, often blurring the boundaries. The visual cues and the lingering effect created by her stories are at times disconcerting, even disturbing, and always memorable. As the blurb on the back cover says, ‘…Textured by the author’s scientific research on biological molecules and deeply informed by family stories, the collection explores humanity’s driving obsessions of life, fertility and relationships with tender, surreal expression.’
In an email interview Indira Chandrasekhar shares her writing journey and her views on the short story form with Shikhandin for Kitaab.
Shikhandin: First the obvious question, when did it all start, the writing, i.e.?
Indira: Writing fiction – as an adult – is significantly linked to place, to relocation and to realignment. I was working as a scientist at the Swiss Federal Institutes of Technology in Zurich when I returned to India to live in Mumbai, a city I did not really know. It was as if settling into, rediscovering, restoring my identity in the context of the place that was home, and yet wasn’t, unleashed a need to find creative expression outside the more fundamental cultural framework of science. I started drawing again, and writing. The writing took precedence – as if the story asserted itself and wanted to find an outlet.
Shikhandin: You have a Ph.D in Biophysics, and you write stories. Is it like straddling two boats? Share your unique experience with us.
Indira: Thank you for that question. In some ways, yes, it could be seen as if I straddle two ways of interpreting the world. The one, structured, logical and fact-based. The other surreal, fantastical and fictional. And yet, ultimately, I see both ways as related to making sense of existence, be it through the interactions of minute molecular entities that influence how the biological, the mamallian, the human system functions, or through the complex relationships between individuals that impact the way we think about ourselves, live our lives and construct our societies.
Shikhandin: Tell us about your magazine Out of Print. Why this name in particular? How did this journey begin?
Indira: Out of Print emerged as a consequence of trying to place my own writing in literary magazines and journals. At the time, this is around 2010, there were few literary journals in India and South Asia available to writers of short fiction. Some wonderful people supported the idea and we managed to get started. We decided to create an online journal and yet truly pay tribute to the – I am struggling for the phrase: classical, traditional, standard, 20th Century – perhaps a better way of putting it is, the ever-evolving literary traditions we have used to understand and constantly tell stories. In other words, because we were emerging from the familiar print form, I called the magazine Out of Print.
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So, what have you decided?’
Directly above her is a scarlet minivet; he is a striking bird, with his scarlet and black plumage, and is sitting patiently, as if presenting himself to her. She tries to find the best angle for the picture. The branches of the tree are bare—it is almost winter—and the bird is flamboyant against the stark skeleton.
‘Are you going to answer?’
Her foot snags on a jutting root as she presses on the button and the bird flies away, casually, as if judging that enough time has been given and now he must move on.
On the viewing screen, she is left with a red blur, the exact colour and ferocity of anger. His voice is tinged with that colour, now, and every so often.
Beyond the small waterhole, a scarlet flash in a jackfruit tree.
She makes her way swiftly to the foot of the tree. The bird is perched, motionless, above her, his long tail balancing him just so. She raises her head, peering through the viewfinder trying to position the bird.
Warm breath against her neck. ‘What the hell do you think you are playing at?’ He tugs at her shoulder; she loses her balance and throws an arm out, gripping the tree trunk. The bird flies away soundlessly.
‘Listen, you have to decide one way or the other.’ His voice is now jagged with fury.
She is keeping him from the cricket match on TV; even on a holiday, in the middle of the forest, he remains glued to the screen. But he too is keeping her from her birds. Her jaw assumes a stubborn set. She thinks of all the times he has remained wedded to the television: when she lay ill in bed with dengue fever, shivering and frightened; when she walked their newborn son to sleep at night, frantic with pain from the C-section incision and worry; when she wanted to watch the birds on a late night programme.
‘Excuse me,’ she says and pushes past him, to the steps at the base of the small hill. She runs up the steps easily. He follows—she can hear him cursing—as he pants his way up slowly.
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