Prathap Kamath’s published works are Ekalavya: a book of poems(2012), Blood Rain and Other Stories (2014) and Tableaux: poems of life and creatures (2017). His poems have been anthologized in The Dance of the Peacock: An Anthology of English Poetry from India (Hidden Brook Press, 2013), and published in journals like Lakeview International Journal of Literature and Arts, Chandrabhaga, Muse India, Open Road Review, Modern Literature, Madras Courier, Literary Yard, Tuck Magazine, ONE, The Wagon Magazine etc. He teaches English under the University of Kerala.
Queen Victoria statue in full grandeur in Charing Cross Lahore
“The longer you look at an object, the more of the world you see in it. No matter how particular the scene, if you stare long enough you will see the whole world in it.” These words, from the pen of Flannery O’Connor, refer to that split second when we can “see things for what they really are” and they led me to reflect upon which “objects” could offer an understanding of the “whole world”,
Recently, monuments across the globe have become the subject of controversy. After eighty years at the University of Cape Town, the bronze of white supremacist Cecil Rhodes was removed; at the University of North Carolina, Silent Sam, a Confederate statue, was taken down and, in San Francisco, a 19thCentury monument, Early Days, demeaning to Native Americans, was uninstalled. Where for decades they had previously stood accepted as part of the landscape, now these statues outraged viewers. Altered circumstances meant they represented an uncomfortable “truth”, which some argued should not be commemorated, but also in fact, ought to be erased.
What is certain is that a monument’s power ebbs and flows with the passing of time, resonating or jarring with the past as the present changes.
Each time a viewer stops to look closely at a statue, it reveals a new meaning. Whenever it is revisited, a different significance emerges, because while the statue stays intact in its fixed location the viewer and the world continue to change. Furthermore, as history unfolds, a statue will emphasise, reveal, hide or quash stories. This makes it “a place” rich in possibilities for both metaphorical and literal epiphanies and fertile ground used by artists and writers to offer what Joseph Conrad described as “a glimpse of truth”.
Bani Abdi is an artist who uses a statue to provide a platform for an alternative narrative about the Empire. Her modern art installation Memorial to Lost Words, “a song installation based on letters and songs from the first World War” of Indian soldiers in her own words, focused on the suppressed stories of the Raj which she highlighted by changing the sounds around the imposing monument of Queen Victoria at the Lahore Museum.
“So, you know nothing? Everybody’s talking about it.”
Reba raised her eyes from pages of her book and looked at the eager face staring at her. “Well, it takes place at least three times every month,” she observed complacently. “I don’t see why I should be interested in this particular one. Only last week there was a dispute between Keramot Chacha (Uncle) and his nephew on land.”
“This isn’t just any arbitration!” said an irritated Amina. “You’re so much into those precious books of yours that these days you barely notice the people around you.”
Closing the fat volume of test-papers in her hand with a thud, Reba looked at the young woman in front of her. She said as politely as she could, “Look, I’ve the HSC (Higher Secondary School Certificate) exam coming up. I’ve no time for gossip right now.”
“And then you’ll probably go to town to study at a big college and won’t remember any of us. You’ll be a hoity-toity miss and forget all about your friends in the village!”
“Wait a minute– what’s the matter with you? Why are you acting like this?”
The vivacious author of the Mahabharat– based Aryavarta Chronicles, a Singapore-based writer and an academic, Krishna Udayasankar, talks to Zafar Anjum about her journey as a writer and the future she sees for herself…
Indigo Girl is a coming-of-age novel by Suzanne Kamata, an award-winning novelist who resides in Japan. A sequel to the young adult novel Gadget Girl, a book that won multiple awards including the APALA (Asia Pacific American Award for Literature) Honor award in 2013-2014, the story centres around the life of the protagonist, Aiko Cassidy.
Aiko is a biracial and a bicultural teenager with cerebral palsy. Raised by a single mother, who now has a new family, she questions her idea of belonging and home. She yearns to know more about her biological father and the many questions that shroud her existence.
Aiko is excited about her summer break and looks forward to the solo trip from Michigan (USA) to Tokushima (Japan). It is her first visit to Japan, the place she describes as “where I belong” as she pictures it as “the land of Ghibli and iced matcha lattes, land of indigo and cat cafes and manga and J-pop”. Although she is 15 and has cerebral palsy, she is independent and confident like any other teen and thinks that she is old enough to speak for herself. The trip that was meant to be a summer getaway — to connect to her biological father and to inspire the book she was working on — ends up opening a whole new window to life for Aiko.
Two novels by Rahman Abbas, a Sahitya Akademi award winning novelist in Urdu, have been picked by Penguin Random House for their Vintage imprint, which is known to publish “the world’s most thought provoking and powerful books”. Both the novels are acclaimed. Rohzin won the Sahitya Akademi award in 2018 and Khuda Ke Saaye Mein Aankh Micholi was awarded the Maharashtra State Akademi Award in 2011.
Rahman Abbas said, “I have lost many things in my life due to my decision to write my novels, exactly as I wanted to write them but fortunately, I have regained a lot without compromising on my writing. The news that my two novels would be published by Penguin-Random House in English has pleased me beyond words. It’s like a dream coming true before my eyes. I’m very thankful to Zafar Anjum of Kitaab and Jayapriya Vasudevan of Jacaranda for having made it possible.”
About: Set in different cities around the world, Elaine Chiew’s award-winning stories travel into the heart of the Singaporean and Malaysian Chinese diasporas to explore the lives of those torn between cultures and juggling divided selves. In the title story, four writers find their cultural bonds of friendship tested when a handsome young Asian writer joins their group. In other stories, a brother searches for his sister forced to serve as a comfort woman during World War Two; three Singaporean sisters run a French gourmet restaurant in New York; a woman raps about being a Tiger Mother in Belgravia; and a filmmaker struggles to document the lives of samsui women—Singapore’s thrifty, hardworking construction workers.
About: An English Writer is a story about a forgotten English poet/writer, C.J Richards (retired I.C.S) who lived and worked in Burma for over 35 years as an Indian Civil Servant. He retired in 1947 and settled in Swarraton, Hampshire in UK. Although he wrote seven books and many articles on Burma and UK, not many people know much of him and his life. The novel “An English Writer” explores the life of the English writer and defines his connection with both communities, Burma (Myanmar) and Britain as a poet and writer. The story, set in present Yangon, transports people back into the times of the English writer, C. J Richards, from 1920 to 1947 and then to 1976.
Kamila Shamsie is a British Pakistani writer who was given the German Nelly Sachs Prize.This award, named after the 1966 Nobel laureate, is given to a writer whose work shows “tolerance, respect and reconciliation”.
Kamila Shamsie herself expressed regret over the committee’s recent decision:
“In the just-concluded Israeli elections, Benjamin Netanyahu announced plans to annex up to one third of the West Bank, in contravention of international law, and his political opponent Benny Gantz’s objection to this was that Netanyahu had stolen his idea; this closely followed the killing of two Palestinian teenagers by Israeli forces – which was condemned as ‘appalling’ by the UN Special Coordinator for the Middle East Peace Process,” she said.
Aysha Baqir, is an author with mission, vision and commitment. A development consultant in Singapore, she was born and raised in Pakistan. She has recently launched her powerful, debut novel titled Beyond the Fields. Growing up in Pakistan, it was not a norm for parents to send their daughters to colleges abroad. But for Aysha, things were different as her parents agreed when she won a scholarship to pursue her studies at Mount Holyoke College. Her university experience sparked her passion for development and Aysha chose to return to Pakistan where she discovered that girls and women in villages needed access to economic resources before they could voice their demands for social justice.
She founded Kaarvan Crafts Foundation in 1998, shortly after completing her MBA. A pioneering economic development not-for-profit organisation, Kaarvan Crafts Foundation, is focused on poverty alleviation through the provision of business development and market-focused trainings for girls and women. Aysha headed the foundation until 2013 when she relocated to Singapore. She is a member of the Singapore Writers Group since August 2013 and is currently working on her second novel.
Kye Lee: Your debut novel, Beyond the Fields, is hauntingly beautiful. How did the idea come about for this book? What moved your muse? Had you ever written before? Did any writers, films or art have anything to do with it?
Aysha: Beyond the Fields is the story about a young village girl called Zara. Zara is carefree – she has dreams, she wants to study, and wants to become someone important. She loves kairis (raw mangoes); so, she disobeys her mother and steals into the orchard. And then on one ordinary day, Zara’s twin sister, Tara, the one she is closest to in the whole wide world, is kidnapped from the fields while they are playing a game of hide and seek and raped.
Having worked in the villages of Punjab in Pakistan for over fifteen years, I wanted to show the plight of village girls and women. Thousands of girls and women are assaulted each year and the abuse continues without any substantial family, community, or legal support. And, just not in Pakistan, but across cultures and continents.
I deliberately set the story under Zia-ul-Haq’s regime. I was twelve years old when my mother dragged me to a march called by WAF or Women’s Action Forum. Being an introverted teenager who studied in American School, I didn’t want to go. But my mother insisted saying it was important for me to see what was happening in our country.