Ted Chiang is an American born Chinese writer , a technical writer in a software company, who has never written a novel, meandered through short stories and novellas and yet won multiple awards for his works. His telling centres around science fiction.
Chiang’s parents migrated from China to Taiwan with their families during the Communist revolution and then to America.
His 1998 novella, Story of my Life, was made into a Hollywood film, Arrival, in 2002 . Both the review and the movie were given a “10 out of 10” in the Kirkus Review. It’s major themes being language and determinism, the story is spun out by a linguist called Dr Loius Banks who has an unborn child in her womb and faces aliens. The novella has won numerous awards and accolades.
Reviewed by Debraj Mookerjee
Title: The Revenge of the Non-vegetarian
Author: Upamanyu Chatterjee
Publisher: Speaking Tiger; 2018
Some book titles are a giveaway. Given the political climate in India today, with so many conversations centred on the subject of meat eating, one might be forgiven for assuming that The Revenge of the Non-vegetarian, Upamanyu Chatterjee’s seventh book, a novella, is a satirical take on contemporary India. In English August(1988), and in The Mammaries of the Welfare State (2000), Chatterjee’s pen is acerbic, and educated-middle-class-privilege tipped, displaying a wit that wafts out of the 1970s generation in mainstream Delhi University. The temptation is to assume that Non-vegetarian presents more of the same. It does not. It is a sombre story, set in a small town (Batia) in early post-Independence India, and told with uncharacteristic restraint.
The Revenge of the Non-vegetarian features Agastya Sen’s father (who we met in English, August, writing peremptory letters to his ennui-stricken son), and hearkens back to an older milieu, both in terms of the frame, and in the person of Madhusudan Sen, ICS, sub-divisional magistrate in the small town of Batia. The murder of six people who Sen considers friends, or the murderer that sparks the tale of revenge, present little mystery. The suspense is built by the narrative that unfolds from the edges of the grim event and the role Sen plays in giving shape to it over a period in time with issues swiveling around death penalty. Unlike his spiritually dispirited son from the celebrated debut novel, in this somewhat less ambitious novella, Sen is self-possessed, intellectually restrained, committed to the world in which he enjoys the trappings of state power, and a steadfast friend.
By Ratnottama Sengupta
Steven Spielberg’s ET
Satyajit Ray’s Book Travails with the Alien
Sketch by Satyajit Ray, Bonkubabur Bondhu
So much of sci-fi uses science as a starting point and then uses fiction to fill up the gaps in our present knowledge. We use what we know today to imagine a different tomorrow –- a better tomorrow — for the world. Still, sooner rather than later, sci-fi that looks out-dated as science fiction becomes a scientific fact. Don’t we all know that Sage Valmiki wrote in Ramayana of the Pushpak Vimana ( mythical flying chariots in Hindu lore) and the giant bird Jatayu that clashed in mid-space aeons before the Wright Brothers wrote their names into aviation history or before the Central Science Laboratory in UK estimated that worldwide, the cost of bird-strikes to airlines had soared to US$ 1.2 billion annually!
But why does this possibility of fiction becoming a fact excite me? Admittedly because of my association with Me and I, which my father, well-known author and scriptwriter Nabendu Ghosh, had written for his two grandsons, and was translated by my son Devottam Sengupta for his grandpa’s birth centenary. Published by Hachette India, the novel breaks the barriers of space and time. Let me quote from the synopsis to give readers a glimpse of this. “They all had the same question for Mukul: ‘Why didn’t you recognise us? And why did you look so dark?’ Mukul was perplexed. The day had started as any other Sunday morning would, with him going out to meet his aunt, his friends and his mentor Noni Kaku of the Telescope. But when everyone, including his own parents insisted that he was lying about his whereabouts, Mukul had to look around for this imposter. And he found Lukum, who had travelled light years to meet his intergalactic ‘twin.’ Little did Mukul know that he had set out on the longest Sunday of his life…”
Translations of Premchand
Translations of Premchand
Translations of Premchand
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’.
Reviewed by Mitali Chakravarty
Author: Isa Kamari
Tweet, published in 2016, is the award winning ASEAN writer Isa Kamari’s first attempt at writing a novella in English. Isa Kamari is a Malay writer who has had seven out of his nine novels translated to English. With Tweet, he decided to take a ‘short-cut’ and write in English himself, he said during a panel discussion – Exploring Literature in the Languages of ASEAN, 2018.
Tweet refers to birdcall. It is a double stranded metaphysical novella. On one level, it focuses on the exploration of Singapore’s famed Jurong Bird Park by a young Singaporean child Ilham and his grandfather, Jati. As he reaches the end of his trip to the park, Ilham comes face to face with his inner dream. ‘He has decided what he wants to be when he grows up.’
The second strand is a journey made by different species of birds in quest of the legendary Simuk, or the Simorgh, brought to life by the 12th century Persian poet, Farid-ud-din Attar, in his famed poem, Conference of Birds. The birds in both the poem and in Tweet make an astounding discovery as they fly in quest of the mythical being.
Both the strands are woven into a single fabric of the story by the elusive ‘green man’, Khidr. Khidr becomes a part of the extended reality of Ilham and the birds as they journey through their parallel universes of discovery. Khidr has been syncretised over time as an angel, a saint, a warrior, a mythical being… and even associated with Alexander the Great. The illusive ‘green man’, the quest of the birds and Ilham’s unique way of viewing the bird park adds to the suspense of the novella. You read on, egged by curiosity.