The traffic on the Amity Causeway linking Singapore and Malaysia was especially heavy for a Thursday, which put Dennis Quek even more on edge. He took a deep breath as he approached the first entry point station, hoping that he could swallow any obvious distress signs that the inspection machine might detect.
Finally, Dennis reached the front of a long queue. His car was pulled automatically into the right spot before the inspection machine. The hazy blue light filled the whole car, followed by the voice of the machine. “One person in vehicle. A driver, no passengers.”
Dennis nodded. He then turned his head to the right, ready for the facial identification. This time it was the warm, lemony light that filled the front of the inspection machine. Dennis squeezed out an awkward smile, thinking this was best for the situation. The smile was starting to get uncomfortable when the machine finally announced the identification.
Here is a contest named after a famous American author, a Nobel laureate, John Stienbeck, from the twentieth century.
Entries of upto 5000 words can fetch a prize of $1000 and publication in the prestigious Reed magazine, California’s oldest literary journal.
Book Review by Namrata
Title: Animalia Indica –The Finest Animal Stories in Indian Literature
Editor: Sumana Roy
Publisher: Aleph Book Company (2019)
Edited by Sumana Roy, Animalia Indica is a first of its kind collection of animal stories in Indian literature. From classic story tellers like R.K.Narayan, Premchand, Rudyard Kipling to the most recent maestros like Kanishk Tharoor, Perumal Murugan, and Nilanjana Roy, this collection features them all.
Sumana Roy is a Siliguri based author whose previous works include a non-fiction title (How I became a tree), a fiction novel (Missing) and a poetry collection (Out of Syllabus). She went on to win the Shakti Bhatt First Book Prize and the Tata Literature Live! First Book Award in 2017 for her debut book How I became a tree.
This anthology, with its beautiful cover, has twenty-one stories about humans and animals. It can easily be called a collector’s edition with the who’s who of Indian literature featured within. Not all of the collection is made of short stories. There are some poems; excerpts; two are novellas and one is an entire novel in its own. The selection is classic! It includes stories translated from regional languages and from Indian writing in English, with interesting end-notes about the narrative, authors and translators. The magic of the stories makes something written in 1981 an equally intriguing read as one written recently. What makes the book even more eye catching and unique, are the sketches by Rohan Dahotre before each story (he has also done the stunning cover). Depicting the animal/s featured in each story, these black and white sketches set the tone for every tale that follows.
It had happened again. He could hear it in the flatness of her voice. He felt that familiar rage taking shape inside his head, but forced himself to concentrate on her voice. “Yes,” he said, “I have noted down the list. Shall I repeat it, Didimoni?”
“No, no need, just bring it over when you have the time,” she replied, her voice flat and exhausted.
If he could, he would have rushed over with the groceries right away. But that would not help. Making a tremendous effort, he kept his mind on his work, on Barun da’s endless chit chat and instructions. He even managed to smile at one or two of his jokes. As they shut down the shop, Barun da helped him to load the three or four grocery bags, for the home deliveries Rongon would make before he went home. And, as every day, Barun da called after him—“Go home straight after the deliveries, Rongon—those boys are not good for you! And come on time tomorrow.”
As Rongon cycled away, he thanked the Universe for bringing him to Barun da’s doorstep, and as he did unfailingly, as he thanked the Universe, he remembered to register his complaint against it. But there was no time— here was the Banerjee house, and he got off his cycle to deliver the bag of groceries. As he completed the next three deliveries, his heart began to quicken. He slowed down as always, his emotions slowly spooling away from his control, slowing his cycle, tightening his voice, clamping down on his soul.
It’s just you and me, on the counter stools, enjoying our ice cream as the buzzing, shuddering air conditioner labours to tame the exuberant heat of sunlight, blazing through the windows. Just another one of our summertime visits to Harfu’s Creamery. Until in strolls who you could be, all seersucker and gabardine in assured motion. With the charisma of a star actress on break during a movie shoot, she orders two scoops, one sweet cream, the other ginger, all topped with crushed pistachios—clearly a superior selection to our picks: my blueberry single scoop and your mango double with coconut shreds.
You, as usual, pay her no attention and carry on like she’s not even there. I, however, become that much more enamoured with her. As she stands mere steps from me, my senses gather delightful nuggets of detail.
Book Review by Suvasree Karanjai
Title: Best Asian Speculative Fiction
Editor: Rajat Chaudhuri
Series Editor: Zafar Anjum
Publisher: Kitaab, 2018
Speculative fiction can no longer be dismissed as low-brow, trashy or pulp, or at the very least, unimportant and weird fantasy if one reads the collection edited by Rajat Chaudhuri, The Best Asian Speculative Fiction. To many readers’ surprise, this marginalised genre has lot to contribute philosophically to the dream of a technocrat’s world. The present age that can be well-described as an era of artificial intelligence (AI) is surely complementary to human intelligence developed with the purpose of mitigating our works in future. But the rise of AI and the philosophy of technocracy have, at the same time, given rise to multiple speculations regarding future of humanity — the fear of Frankenstein.
Speculative fiction is too large a subject to be represented exhaustibly in a book or a collection of Asian speculative narratives. The unique character of this specific genre lies in an impossibility to hold all its threads within a watertight definition. It encompasses several genres under its shed. Chaudhuri’s The Best Asian Speculative Fiction is indeed a suitable example of this broad compass. We are on an enchanting rollercoaster ride as we leap from one imaginative narrative to another coming from diverse authors from sixteen countries of Asia plus more diasporas.
Reviewed by Debraj Mookerjee
Title: Upcountry Tales – Once Upon a Time in the Heart of India
Author: Mark Tully
Publisher: Speaking Tiger; 2017
Mark Tully, like the organization he worked for, the BBC (British Broadcasting Corporation), where he was bureau chief, is almost a household name in India. He straddles two worlds in one, as evident in the present collection of seven short stories, Upcountry Tales – Once Upon a Time in the Heart of India. He is in a sense the outsider looking in. He is also the insider looking out. He’s British, and he represented the BBC for thirty long years, a media organisation both respected and disliked by the Indian establishment for its insightful and, therefore, often embarrassing, reportage. But India is also his chosen land, where he was born and spent his early childhood, and where he continues to live after his bitter parting with the BBC in 1994. He is, to borrow and twist a little from writer-critic UR Ananthamurthy’s definition of arguably a far great person, a ‘critical outsider’ (Mahatma Gandhi is referred to by Ananthamurthy as a ‘critical insider’).
Tully’s early books are documentary tracts. No Full Stops in India (1988), his third work, however, comprises a collection of journalistic essays that mark his interest in the changing contours of an India in the remaking. Upcountry Tales is historically located in exactly that period — the 1980s. His other collection of short stories, The Heart of India, was published way back in 1995. He continued with his interest in getting under the skin of the India experience with titles like India in Slow Motion (2002), written in collaboration with Gillian Wright, his partner. Tully later wrote India’s Unending Journey (2008) and Non-Stop India (2011). These books together gather around them an agglomeration of engaging themes — about an India being churned from within and without, and an outsider/insider trying to decode and disseminate that churning.
There is very little light in this cell. I stare at her through the iron bars. She looks angry. There is no remorse in her eyes. She is tired, I know she is. I am tired too, like her and Siraji and the two other porters in our small team. But why is she angry? Her smile is gone. Why does she look at me like that? Like I am a stranger? She is the only mzungu here, and people are staring at her.
My name is Lucas Mtui and I have spent the last five days with her. I am not a stranger to her. I am an assistant guide of the Kilimanjaro National Park (KINAPA), but after this I am not sure if I will be, because she has taken away my name and given me a number. She says I am a thief.
This is a contest based in Portland, Oregon, for emerging writers — people who have self-published or who have not really been published widely. The stories can be up to 6000 words and should be unpublished.
Get your quills ready for the contest ends 31 st August.
The award is US $ 3000, publication and more…
Stephanie looked up at the corner of the kitchen. The dome was blinking again, but this time with a green light.
“No harm done.”
“I see you started cooking.”
Was that a hint of disapproval in her voice?
“Well yeah, I mean, I had no choice, you were taking longer than expected, and I just had to start first or else I would have no time before—”
“Stephanie, if you had waited, we could have saved eighteen minutes of preparation and cooking time. Furthermore, the spice level in your ayam buah keluak is too high for Sylvia Chan, and the amount of garlic too low for Siti Anissa.”
“How can it be too little garlic? I followed Mama’s recipe to the letter, the only thing I changed was to add sambal.”
“I tailor the recipe accordingly, depending on who you are cooking for. The taste preferences are shared with me by the Dianas of your guests.”