By Neha Mehrotra

Janice Pariat is the author of Boats on Land: A Collection of Short Stories, Seahorse, a novel and The Nine Chambered-Heart, a novella, published by HarperCollins India in November 2017 and HarperCollins UK in May 2018. In 2013, Janice won Sahitya Akademi’s Young Writer Award and the Crossword Book Award for Fiction; in 2015, she was shortlisted for the Hindu Literary Prize for her novel Seahorse.

Janice studied English Literature at St. Stephens College, Delhi and went on to study History of Art at the School of Oriental and African Studies in London. She currently lives in Delhi; among other things, writes a monthly literary column ‘Paperwallah’ for The Hindu and teaches creative writing at Ashoka University.

The Nine Chambered Heart is currently being translated for publication into six languages, including Italian, Spanish, French and German.

Janice Pariat.jpg
Janice Pariat

How do you identify as a writer?

By writing? I don’t see what else would suffice. Although I’d hasten to add that identifying as a writer implies something of a stasis–and I think, for me, it’s about “being” a writer or seeing that identity (as with all?) as something that’s perpetually in flux. One is always “becoming” a writer. It isn’t some pleasant destination you arrive at, at the top of a mythical hill. It’s also an identity to which people are keen to prefix with labels – “woman”, “Northeast”, “Indian” – while I would prefer to shrug them all off. Labels say very little about me, and tend to skew expectations of what I should write, the kind of stories I should be telling, where my books should be set.

What impels you to write, especially the kind of books you write?

I’m afraid I’m not very good at anything else – painting, pottery, playing a musical instrument. I feel kinship though with literature and books and writing. Reading impels me to write. As does remembrance, and memory. Bleakness. Joy. Frustration. Fun. Anger. Sadness. At the risk of sounding like one of those terrifically earnest people, writing is at the very centre of everything I do because it helps me make sense of the world, to record it, unravel it, and give it away. They say we write the books we want to read? Perhaps. I guess I write the books I do to explore aspects of myself, and other people and the world that most intrigue me.

Tell us about your most recent piece of writing apart from what you have published.

A terrible poem which must never see light of day. Hastily scribbled notes, which may make it into the next book. To be honest, I’ve been reading more than writing this summer.

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By Neha Mehrotra

Head of the English department at Ashoka University, Saikat Majumdar is an academic, novelist and critic. He is the author of Silverfish (HarperCollins, 2007), Prose of the World: Modernism and the Banality of Empire (Columbia University Press and Orient Blackswan, 2013 and 2015), The Firebird (Hachette 2015 and 2017). The Scent of God (Simon and Schuster) is forthcoming in 2019.

The Firebird was one of Telegraph’s Best Books of 2015 and a finalist for the Atta-Galatta/Bangalore Literature Festival Fiction Prize in 2015 and the Mumbai Film Festival Word-to-Screen Market in 2016. His 2013 book on global modernisms was a finalist for the Modernist Studies Association Annual Book Prize in 2014.

In addition to being published by major journals such as PMLA, NLH: New Literary History, Cambridge History of the Indian Novel in English, Modern Fiction Studies, and Literary Activism: A Collection of Perspectives, Saikat’s writing also features regularly in mainstream publications such as The Hindu, Outlook, Times Higher Education, Hindustan Times, Los Angeles Review of Books, Times Literary Supplement, Indian Express, Caravan, Scroll, Telegraph, and Times of India.

Saikat Majumdar
Saikat Majumdar

How do you identify as a writer?

Primarily as a novelist. That’s the core to which I keep returning. I do other kinds of writing too, but I realize I do them all on a novelist’s terms. So my literary criticism is criticism by a novelist, and my nonfiction and newspaper essays are often novelistic in spirit and style. Not to say they are ‘fictional’ – hopefully I speak the truth when I mean to – it’s rather about the assumption of a voice of my own and a kind of an eye through which I see the world and think about it. Even when it’s the real world and not a fictionally crafted one. But since I actually do different kinds of writing, I like the term ‘writer’ and the looseness it evokes, and the way it avoids attaching itself to any particular genre or book. I’m not a fan of the word ‘author’ unless it’s used in connection to a particular work – it carries too much authority.

What impels you to write, especially the kind of books you write?

A ghost grabs me and makes me. Seriously, I don’t choose any of the themes or stories of my books – they always choose me and when I realize I have no choice whatsoever but to write, I know I have a real book there. Usually it’s a ghost from my past. A bit different with newspaper articles, or contributions to edited volumes or collections and there is more conscious choice there. But the books, the most important things, especially the novels, I can only write when I feel that absolute compulsion, and at one level I can never make out where they come from.

Tell us about your most recent piece of writing apart from what you have published.

This morning I put the finishing touches to an essay on Calcutta that is part of an anthology of writing by novelists on the cities they’ve written about, Writing in the City, edited by Stuti Khanna, with contributions from Siddharth Chowdhury, Manu Joseph, Amitava Kumar, Indra Sinha, Amit Chaudhuri, Rupa Bajwa, Anjum Hasan, Manju Kapur and several others. Much looking forward to seeing this in print and how everybody has approached the subject.