The first Africans came to Japan in 1546 in a Portuguese ship as slaves and shipmates.  But that did not impact Japanese lore as much as the black samurai who came to Japan in 1579 in the service an Italian Jesuit missionary from  the Indies, India in the case of this missionary. (The term Indies was inclusive of the South East Asian areas influenced by Indian culture.)

His story has captured much media attention this year with Chadwick Boseman of Black Panther (2018) fame cast as the black samurai for an MGM movie and with Netflix planning an animation on him.

When the young man arrived in Kyoto in 1579, he was not a samurai. He rose to be one after a powerful Japanese  feudal lord, Oda Nobunaga, in the Sengoku period (1467 to 1600) took a fancy to him. He became a famous samurai known as Yasuke . After the death of his master, he became a ronin, a samurai without a master.

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Reviewed by  Haimanti Dutta Ray

 

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Title: Beyond the Himalayas Journeying through the Silk Route

Text: Goutam Ghose, Michael Haggaig

Photographs: Goutam Ghose

Publisher: Niyogi Books

Date of publication: 2019

Beyond the Himalayas Journeying through the Silk Route is  joint collaboration by award-winning Indian filmmaker Gautam Ghose and British writer and producer, Michael Haggiag. Ghose in his introduction has named this  venture ‘a film-book’ because it is based on his five-part documentary, a cinematic marvel, also named Beyond The Himalayas.

Made in 1996, his documentary had been screened extensively on Doordarshan (India), Discovery and BBC in the late 1990s. The book, Beyond the Himalayas, commemorates the silver jubilee of the journey he undertook to make the documentary in 1994. Ghose writes in his introduction:“The so-called ‘present’ is a fraction of fractions between  the past and the future and hence the present moments are stored in our memory as recent or remote past. …. This book narrates one such vivid memory , a once-in-a-lifetime kind of adventure.”

In his introduction to the book, Ghose reveals how he came across old negatives and slides which featured  their journey through the meandering valleys and endless deserts of the fabled Silk Road more than two decades ago in a ‘caravan’ of jeeps. Breath-taking reproductions of these negatives and slides intersperse the narrative which is based on the script of the documentary.

 

Munshi Premchand(1880-1936), born as Dhanpat Rai Shrivastav, was one of the foremost Hindi writers of the early twentieth century. He has to his credit more than three hundred short stories, fourteen novels, many more essays, letters translations and plays and even a film script.

His short story Shatranj ke Khiladi was made into an award winning film by Satyajit Ray as were a number of his other works by noted directors, like Hrishikesh Mukherjee.

With his reformatory zeal and an ability to create empathetic overtones, Premchand was a prominent writer in Hindi who was appreciated more after his death than before. Writes David Rubin, late translator and scholar, in The World of Premchand (Oxford, 2001): “To Premchand belongs the distinction of creating the genre of the serious short story—and the serious novel as well—in both Hindi and Urdu. Virtually single-handed he lifted fiction in these languages from a quagmire of aimless romantic chronicles to a high level of realistic narrative comparable to European fiction of the time; and in both languages, he has, in addition, remained an unsurpassed master.” Interestingly, Rubin taught for a number of years in Allahabad and Rajasthan Universities in India and is also known to have translated not only Premchand but also another very well-known Hindi poet, Suryakant Tripathi ‘Nirala’.

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Film Critic, author, journalist, director… Ratnottama Sengupta

Ratnottama Sengupta is a well-known personality in the world of media and films in India.

Formerly Arts Editor with The Times of India, she has been writing for newspapers and journals, participating in discussions on the electronic media; teaching mass communication, writings books on cinema and art, programming film festivals and curating art exhibitions. She has written widely on Hindi films; served the CBFC, the NFDC Script Committee, the National Film Awards jury and has herself won a National award. In recent times she has authored, translated and edited Chuninda Kahaniyaan, Kadam Kadam, Me and I, That Bird Called Happiness. In 2018, she debuted as a film director with And They Made Classics, a film that captures the journey of her eminent father, an award winning screenwriter cum author, Nabendu Ghosh.

Having grown up in an atmosphere surrounded by all the Bollywood greats, Ratnottama Sengupta gave Team Kitaab an exclusive with stories of growing up amidst Bollywood legends like Dilip Kumar, Meena Kumari and Nutan, taking us with her through her unique journey to both penmanship and films. We present her journey to you in two parts…

Part 1

Team Kitaab: What made you choose your calling that of a person who writes on cinema? From what stage in your life have you been writing, especially on cinema?

Ratnottama: Sometimes, life decides your choice of calling…

I was born into a household which had books on the shelves, on the table, on the bed, underneath the bed too. I grew up ‘playing’ with books, ‘reading’ books even before I knew the alphabet, looking at the illustrations and admiring the images. Since my father was an MA in Literature, he had the cream of world literature in his ‘library’. And because he was simultaneously writing screenplays (for most of the major names of Hindi screen through 1950s-60s), he would get the film magazines and cine broadsheets too. So I grew up symbiotically connected with the parallel worlds of letters and images.

By Lwin Mar Htun ( The Irrawady)
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The Art of Hearing Heartbeats, the globally popular romance novel set in Myanmar by German author Jan-Philipp Sendker, is to be made into a movie with shooting scheduled to start next year.

Published in 2002, The Art of Hearing Heartbeats was the first book by the author. It was the beginning of a series, with the second book, Well Tempered Heart, released in 2012.

The novels have proven successful not only in Myanmar but worldwide, being translated into 35 languages including Burmese. They are set in Myanmar’s popular tourist destination, the hill town of Kalaw in Shan State.

The main producer of the film is Danny Krausz of Austria’s DOR Film, with Germany’s Detlev Buck set to direct.

“Currently, they are casting the actors in Thailand, [Myanmar] and other countries. I and other [crew] members went to Kalaw last month for location scouting,” Sendker told The Irrawaddy.

The Art of Hearing Heartbeats is a romance mystery novel set in Kalaw featuring Burmese characters. Young lawyer Julia Win seeks to track down her father four years after he disappeared in Myanmar. She meets U Ba, a mysterious man who knows many things about Julia through her father. U Ba tells the story of her father’s first 20 years of life—a mystery love story about which her family knew nothing.

Prior to writing the novel, Sendker traveled to Myanmar many times starting in 1995.

(Continue reading in The Irrawady)

 

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Reviewed by Shikhandin

It Takes a Murder

It Takes a Murder
Author: Anu Kumar
Publisher: Hatchette India (2013)
Pages: Paperback, 281
Buy: Available on Amazon and in book stores

 

It seems like years since I first read Anu Kumar’s It Takes a Murder. In reality, it has been only five. A recent news item reminded me of her book — it has been long listed in this year’s MAMI (Mumbai Academy of Moving Image) Words to Screen Awards. This certainly is interesting and goes to show that reposeful books have lives of their own. I remember that I had enjoyed it – its literary, ruminative, lyrical prose. Now, spending the summer in the unlikeliest of places, a city that everybody tries to escape during this season, I thought of browsing through it, re-reading parts with care while glossing over other bits. At the end of it, I found, unsurprisingly, that my original reactions had remained the same, except for a heightened awareness of Kumar’s prose. It felt like walking down a place I had visited before, only noticing more details the second time round. It’s a good feeling, comforting, I must add, when impressions first formed have no cause to change. It reiterates my feeling of the quiet timelessness of Kumar’s It Takes a Murder.

The book involves a murder (obvious from the title) — that of a prominent resident of Brooks Town. But Kumar’s book is no ordinary murder mystery. It is not a literary thriller or a suspense story, but a literary novel – a dark one, with layered characters that demand closer scrutiny, events that need to be re-looked against a larger historical backdrop.

The narrative, innocuous like a sluggish river, is nevertheless punctuated with suspenseful and hold-your-breath passages, even as it deals with the most basic of all human relations – love. The story is narrated in flashback by an unreliable witness, one who keeps the reader guessing about everything, including the true inclination of her heart. She keeps feeding morsels of information in every chapter, just enough to whet the appetite (or should I say to keep the starved from dropping off?), and sometimes a little more. It’s a device that serves more to throw one off the track than reveal the truth. Finally, towards the end of the novel, she reels the reader in and actually confides, laying bare the whole web of intricacies.