The Prospect of Miracles revolves around the life of Pastor Pius Philipose or rather, his death. Interestingly, in this long-awaited novel, author Cyrus Mistry’s primary character is a dead man. His seemingly natural death is perceived as unexpected to his adorners while his wife experiences the opposite. The rest of the story is about what everyone including his wife think of him.
Mistry — the novelist, needs no introduction. His novel Chronicle of a Corpse Bearer won the DSC Prize for South Asian Literature in 2014 while his other works have also won many awards and accolades. However, it must be noted that this is the first time, he has moved beyond writing about the Parsi community. Almost all his previous works revolved around the culture, with primary characters also being Parsi. His early works were clear reflection of all his observations of growing up as a Parsi in Mumbai. Few years ago, he moved to a non-descript location in South India which seems to have largely inspired him to write this story.
Set in Kerala, the story has the fragrances of that state neatly wrapped within. From lush cardamom farms, to the coconut trees swinging in the air. From the delectable flavours of the local delicacies cooked in coconut oil to the festive celebrations throughout the year — this story has it all in the backdrop while the core story unravels for the reader. While talking about the culture and traditions of Kerala, he also talks about the oppression and the staunch belief system prevalent there.
Reading Cyrus Mistry’s work is like walking through years of patriarchy prevalent in our society. Clearly reminiscent of one the many characters from Anita Nair’s literary gem Ladies Coupe, this book promises to leave a reader perplexed. With a complex array of characters and a non-symmetrical plot line, Mistry invites you in a world which is so similar to the real world and yet so different.
(Sourced by Bangladesh country editor, Farah Ghuznavi)
Title: Dust Under Her Feet
Author: Sharbari Zohra Ahmed
Publisher: Tranquebar/ Westland, 2019
The particularly enchanting quality about Sharbari Zohra Ahmed is her ability to make under-discussed historical eras come to life while still holding potent resonance in the present era. Dust Under Her Feet, Ahmed’s debut novel, measures how much and how little we’ve changed both in South Asia and on a global scale, by drawing us into a rather cinematic setting.
The novel subverts our collective imagination of the 40s in India, a decade that was largely defined by the lead-up to Independence and the death of the British Raj. Our protagonist, Yasmine Khan, shows us a micro-culture of the second World War from her point of view. She has us compellingly engaged with the U.S army presence in Calcutta. The novel is set against the backdrop of the Chinese-Burman-Indian Theatre that evolved when the United States went in support of the Chinese against Japan.
Calcutta, because of geographical proximity, was critical to facilitate resource trade. The Allied forces built the Ledo Road that connected India to China, to deliver supplies, and a significant portion of the workforce was American. In fact, the road also came to be known as the Man-a-Mile road because of the number of American casualties during its construction. The Ledo road played a large role in facilitating the movement of US troops from India through Burma and into China during the early 40s.
About: When mythical creatures commit a real crime, who gets to be the judge? It was always the same dream, a dream that began with darkness and blood. When Assistant Commissioner of Police Aditi Kashyap is called upon to solve a gruesome triple homicide, she is dragged into the terrifying world of the Saimhas — werelions — who have lived alongside humans, hiding amongst them, since ancient times.
About: Thippy, the beautiful ‘girl from the outhouse’. Ashwath, only son of a feudal family of landowners. A love that could never be blessed by Destiny.
Disillusioned by his family’s rejection of his love for Thippy, stifled by its traditions and conservative ways, Ashwath leaves Bangalore for a university town in America’s Midwest. It is 1981, and the American economy is booming. Ashwath enjoys the three C’s of success: a condominium, a car and a credit card. But a decade later, when the market crashes, he sees the other side of the American dream—joblessness, dingy one-room tenements, and loneliness.
Casting its shadow over it all is Neel Kamal, his family home in Bangalore, now a piece of prime real estate. Ashwath is compelled to return after twenty-five years to lay claim to his inheritance. He finds that he has returned to a city changed unrecognisably by new wealth, a family who are strangers to each other, and a home that is now a contested piece of real estate, valuable enough to kill for. His childhood love has been transformed into the reigning deity of a new age ashram. His attempts to meet her lead to a violent spiral of events.
No Illusions in Xanadu is a murder mystery novel by Ruby Gupta, a professor working in Dehradun Institute of Technology, India. This is her eighth book, having published seven others comprising of fiction and non-fiction books. No Illusions in Xanadu is the second book in her mystery and crime series featuring a dapper detective, Professor Shantanu Bose.
Life in Mumbai came to a standstill when the handsome, charming and legendary Bollywood superstar Rajvir Kapoor was found dead in his study room. He was shot to death on the 30th floor of his swanky new home, Xanadu, named after the hi-tech home of Mandrake the Magician, one of the first super-heroes of the early twentieth century popularised by comic strips of the same name.
Rajvir’s body was discovered by his domestic help, Rose, who then called his wife Pallavi. A popular television host, Pallavi was at a meeting discussing her new talk show with India TV channel when she was informed of her husband’s death. Masking her shock after the telephone call, Pallavi quickly excused herself and rushed home. As she regained control and composure in her luxury car, Pallavi remained skeptical as she had seen Rajvir alive a few hours ago. Both of them had hosted the grandest party in Xanadu where the country’s elite – celebrities, business associates, family and friends – were in attendance. Xanadu, compared by the author to the Ambani home, was the place to be!
Rizia Rahman was one of the most eminent authors of Bangla Literature. Among others, she received the Bangla Academy Literary Award, Ekushey Padak, and Arannya Literature Award for her outstanding contributions to literature. An author of more than 50 novels, she passed away on 16 August 2019.
Presented by Library of Bangladesh and translated by Arunava Sinha, Letters of Blood —Rokter Okkhor (1978) — is a novel by the late Rizia Rahman that explores the lives of the women who have been (directly and indirectly) forced into prostitution, and examines how the intricacies of their lives hold them captive in a physically and mentally hostile ecosystem. It is a window into a system that lives on the fringes of the society constantly bobbing on fickle grounds.
The novel is populated by characters from as young as twelve to as old as being on the brink of death — a feat that reflects the reality seen in the brothels.
Kusum is a fourteen-year-old, often starving and sick, whose “undernourished body hasn’t amassed enough capital”. Because she hasn’t received any customer for two days, she hasn’t been able to eat. For many women in the brothel, who are still under the control of their pimps, life is like that — the more the customers, the further the shadow of starvation. When she steals a little food, out of desperation, Kalu, her pimp, beats her black and blue as everyone else goes on about their business. No one bats an eye. The pimps are free to kill the women in their clutches without anyone sparing a glance.
Literature about the Hiroshima and Nagasaki bomb blasts has been around for quite sometime. But it is perhaps the first time that the story of a hibakushahas been told for middle-grade readers in America with Kathleen Burkinshaw’s novel, The Last Cherry Blossom.
The novel is the story of Burkinshaw’s mother, Toshiko Ishikawa Hilliker, who was victimised by the nuclear blast during her own childhood. She married an American and moved to USA and never spoke of her nuclear war experience till at the end of her life when she saw her daughter forced to quit her career because of a debilitating neurological condition as a result of her mother’s exposure to the nuclear blast, eventhough Hilliker had been at “ home” in Japan and less affected.
Burkinshaw has put down her mother’s story as she heard it. The novel also evolved as we are told: “At age 12 in 2010, Burkinshaw’s daughter, Sara, came home upset one day after classmates said the infamous mushroom cloud that had engulfed Hiroshima was ‘cool’.
‘The need for human connection and emotion is timeless, and I don’t think the kids who were talking about that mushroom cloud were doing anything to be cruel,’ Burkinshaw said. ‘They just didn’t know. They needed to have that connection.’”
San Lin Tun is a writer from Myanmar who wants to create a school of writing in “Myanmar English”. He writes and publishes in English. Recently, he published one of the few novels in English written and published within the Burman borders. The novel is historically important because you do not find too many novels published in English within Myanmar, though San LinTun very humbly calls himself, “a third-generation writer in English”. His novel, The English Writer, brings to life CJ Richards, a civil servant who turned writer during the last days of the British Raj, about a time when Burma was part of the Indian empire.
The storyline shuttles between 2016 and the early twentieth century. Richards’s story is related to two young men very deeply interested in literature, called Oo and Lin, by an older man well-versed about the author’s life, U Aung Aye Myint. The setting brings to mind Satyajit Ray’s famed detective Feluda ( based on Arthur Conan Doyle’s Sherlock Holmes) who would consult his uncle Sidhu every once in a while to unearth a mine of information on any given issue. However, Uncle Sidhu was based on Mycroft and the discussion was mostly not literary as it is in San Lin Tun’s novel and the visits were repeated. Here the story is given at a single sitting.
Flavoured with contrasts between the eras and cultures of the Raj and current day Myanmar, we get a glimpse of a country where bookshops still seem to thrive and young men roam about in longyis, their traditional wear. The style of writing reminds one of Henry Feilding’s Joseph Andrews though rendered in modern Myanmar English. The story is direct and detailed with minimal layering used to add realism to the telling.
One of the most interesting observations made by the protagonist Lin, who develops a curiosity about Richardson after reading his poems, is a comparison he makes between this writer and George Orwell, who was also stationed in Burma.
After reading the poetry book, Lin wanted to find more books by the same author. He found that the author’s sentiment towards local people was quite different from other foreign authors who wrote about Burma.
Especially George Orwell, who wrote a novel set in Burma of that time. The novel was so well-known that almost every visitor enjoyed reading it. But Lin disagreed with some of the points in the novel, mainly those concerned with the portrayal of Burmese characters.
It is interesting to note his observation because when one reads Orwell’s Burmese Days, one reads more about the British stationed in Burma and not really the Burmese. The sketch of Burmese is used by Orwell to expose the cruelty, the harshness and the lack of sensitivity in his own countrymen. The Burmese and Indians are coincidental. They are there to play out the stories of the pukka sahibs at the Englishmen’s club.
We are told C J Richards wrote because he missed his life in Burma. Even to this day, expats find it difficult to go back and settle into their own countries. Described as the adult third culture kids’ (ATCK) syndrome, the term applies to people who evolved a hybrid culture like Richards in San Lin Tun’s novel or the protagonist John Flory and even the pukka sahibs in Burmese Days. They evolved a culture in between their country of birth and the country they spent their lives in. This was first identified by Ruth Useem in 1950 and the syndrome is evident in CJ Richards who does not like living in England after his retirement and keeps reliving his Burmese days with his writing and occasional trips to Burma. Born in Burma, CJ Richards finds many positives in the local culture as does Flory in Burmese Days.
We have seen such characters in stories written during this period by authors who lived and grew within the Indian subcontinent but did not belong to the local culture. However, perhaps, very seldom have we experienced such a positive account given of a British officer by the people who suffered under the regime of the Raj. To explain his unique stance and the culture of Myanmar, Sanlin Tun gave us an exclusive interview.
What made you pick the life of CJ Richards as a subject for your book?
I firstly found his poetry book on Burma/Myanmar and he called that Rainbow Land and Other Burma Verses. When foreign writers visit or pass Yangon and write about Burma or Myanmar, they mostly write in prose, not in poetry. This was one of the reasons I became interested in the author. But I could not find any relevant facts on his life though I searched the Internet. I wondered why he had sunk into oblivion though he had a number of his literary works. That made me curious. So, I thought that it would be nice for me and other people to find out more of his life and I decided to reconstruct it through the medium of a novel.
Isa Kamari is a well-known legend in the Singapore literary community. He has won numerous awards — the Anugerah Sastera Mastera, the SEA Write award and Singapore Cultural Medallion, the Anugerah Tun Seri Lanang. He has been written about and discussed in Universities. With ten novels, nine of which have been translated into English — and some into more languages like Arabic, Mandarin, Urdu and Turkish — three poetry books and plays under his belt and one novella written in English by him, one can well see him as a maestro of storytelling.
The last translation of his novel Kiswah has been launched in November at the Writer’s Festival in Singapore. Isa, a reformer at heart who claims to write only when he is very moved, authored and published three novels together in 2002. Intercession was to do with much needed comments on Islam — an outcome of the 9/11 bombing in New York; The Tower was to do with an individual’s own journey through materialism to a more spiritual plane and the last, which is what will be dealt with here, was Kiswah, a critique on the effects of pornography on young minds.
Most of Isa’s books can be seen as the journey of the protagonist towards self realisation. The issues he takes up are of global concern, though he claims to focus on the Malay community in his books.
About: War, loss, love, compassion, nightmares, dreams, hopes and catastrophes; this is literary Asia at its best. From a wide range of geographies spanning from Palestine to Japan, from Kazakhstan to the Malaysia, mobilizing a wide array of innovative narrative styles and writing techniques, the short stories of this anthology, carefully curated by one of Asia’s prominent and daring writers, will take you on a power trip of deep exploration of local (yet global) pains and hopes, a celebration (and contemplation) of humanity and its impact, as explored by 24 writers and 6 translators, many of whom identify with many homes, giving Asia what it truly represents across (and beyond) its vast territory, expansive history, and many traditions and languages. This book is an open celebration of multi-faceted creativity and plurality.
Contributors:JOEL DONATO JACOB (Philippines); LANA ABDEL RAHMAN (Lebanon): RAZIA SULTANA KHAN (Bangladesh); DEENA DAJANI (Palestine); ALAN IRID FENDI (Syria); SAMIDHA KALIA (India); SCOTT PLATT-SALCEDO (Philippines); ANITHA DEVI PILLAI (Singapore); ANGELO WONG (Hong Kong); ODAI AL ZOUBI (Syria); SIMON ROWE (New Zealand / Japan); SEEMA PUNWANI (Singapore); VRINDA BALIGA (India); NAMRATA PODDAR (India / USA); T.A. MORTON (Ireland / Hong Kong); HAMID ISMAILOV (Uzbekistan); SUCHI GOVINDARAJAN (India); YD CHANG (China / Malaysia); JOLIN KWOK (Malaysia); IMRAN KHAN (Bangladesh); YAN TI (Taiwan); ZIRA NAURZBAYEVA (Kazakhstan); KAISA AQUINO (Philippines); JOSE VARGHESE (India)
About: Unconfined to a single theme, this new collection of twenty short stories by Tunku Halim offers five distinct worlds—the paranormal mysteries from ‘The occult world’, with its dark settings reveal supernatural existences in the characteristic Halim style.
And so, begins the poignant story of Tara’s birth, her survival and her death. Anniqua Rana’s Wild Boar in the Cane Field is a testimony to the old adage — survival of the fittest. Her observations of life of women in rural Pakistan combined with her knack of storytelling, ensures a reader is left enthralled.
Anniqua Rana lives in California with her husband and two sons. Apart from teaching English to immigrants and international students in community college, she also writes essays on gender and education.
Rana’s novel, Wild Boar in the Cane Field, journeys rural Pakistan where amidst the cane fields and smell of spices, we are introduced to Tara and her mothers. The prose is evocative and lyrical with descriptions that come alive in every passage.