Aditya Shankar is an Indian poet, flash fiction author, and translator. His poems, fiction, and translations have appeared or are forthcoming in the Moon Park Review, The Ghost Parachute, Indian Literature, Modern Poetry in Translation, The Little Magazine, The Ghost Parachute, Canada Quarterly, Chandrabhanga, Asiawrites, The Four Quarters Magazine, Muse India, Anti Heroin Chic, Dissident Voice, Cliterature and elsewhere. His published books of poetry are After Seeing (2006) and Party Poopers (2014). He lives in Bangalore, India.
Reviewed by Mitali Chakravarty
Title: Losing Kei
Author: Suzanne Kamata
Publisher: Leapfrog Press
Losing Kei, a novel by Suzanne Kamata, an American expatriate living in Japan, highlights the story of a mother who abandons her child, torn by the clash of cultures. Kei is the child from a marriage sundered by the incompatibility of the parents. The American mother leaves the Japanese father and their six-year-old son. Set in Japan, the focus of the story is on the mother’s struggle and inability to adjust to her marriage with a Japanese man in his own country.
Jill Parker, the mother and the protagonist, states at the very beginning of the story, ‘I came to Japan because a man had broken my heart.’ The author uses the perspective of the protagonist to narrate the story in first person. Jill takes an art scholarship to Japan to get over her boyfriend, Philip. When she meets her well-to-do Japanese spouse, Yusuke, a businessman who owns an art gallery, she is down and out. She has no money to pay her rent and works in a bar in Tokushima City to support herself. Yusuke is the solution to her monetary hardships and heartbreak. Jill marries Yusuke, telling him that she is exploring the world like Blondelle Malone, a nineteenth- early twentieth century impressionist artist who never married. However, unlike Malone, Jill is willing to marry. Jill doesn’t speak of her earlier heartbreak to Yusuke. As she struggles to conform to her Japanese marriage, she grows increasingly resentful of parental interference. The last straw for her is when Yusuke’s father dies and her husband declares that they would have to continue looking after his mother and live in the same house. For Jill, Yusuke’s grief at his father’s death is unattractive as is his clean-shaven face, which makes him seem ‘like a stranger’.
As she leaves him and her young child, one is left gaping at the heartlessness and self-centeredness of an irresponsible mother who is unable to put a child’s needs above her own.
(From Arts Equator. Link to the complete article given below) The Sight/Unseen Asian Drama Conference was a two-day […]
Translators uplift Korean literature to global heights (From The Korea Herald. Link to the complete article given below) […]
Book review of The Magic Circle by Charmaine Chan
Reviewed by Mitali Chakravarty
Title: The Magic Circle
Author: Charmaine Chan
Total number of pages: 302
Publisher: Ethos Books, 2017
The Magic Circle is a memoir by Charmaine Chan written for her sister who died of cancer. This book was justifiably short-listed for ‘The Singapore Literature Prize, 2018’. According to Jennifer Chen, the editor of The Peak, it is ‘a breathtaking rumination’.
The book is an attempt to recreate the sister she knew for her niece, Yazmin, and to bring the youngster closer to her maternal heritage and culture. Elaine, the sister who dies of cancer, spent a major part of her life in New Zealand and eventually married a New Zealander; her daughter, born and bred in New Zealand, was merely six when the mother passed away. On the brink of death, Elaine made an impassioned plea to her globetrotting sister, Charmaine Chan, writer, journalist, editor, poet and former lawyer from Singapore. ‘Don’t let Yazmin forget her Asian side, make sure she knows all the Asian dishes I love,’ she whispered. ‘Don’t let her forget me…’
Charmain Chan kept her promise and spent a decade creating a perfect memoir for her niece. She writes, ‘For her (Yazmin), I have sealed them(memories of Elaine and her heritage)into black and white, preserved them in print.’
The book is poignant when it deals with sorrow and the impending death that looms over her sister. A skilful weaver of words, Charmaine Chan creates a tapestry of images and feelings that bring to the fore a lively, vivacious woman cut off from her propensity to enjoy life by the throes of a lingering death, a loving family, grief, a childhood full of sunshine and youthful nostalgia about a sister who formed part of a ‘magic circle’. The three sisters born and brought up in Singapore eventually moved to different corners of the world and had what Chan called ‘a magic circle’, an invisible bond, which was sundered by the untimely death of the middle sister Elaine.
The antonym of depression is more realistically a sense of normalcy rather than elation or happiness, but the bridge is most definitively enablement.
When I was in medical school I had a fall and I broke my arm. I missed an important exam and had to wear a fracture cast for a long duration. When I returned to college, people rushed to me – friends, acquaintances, and even strangers who saw the cast. It was a symbol of pain and disability. People offered to write notes, carry my bag, drop me home and pick me up. People came up to write messages on the cast. Some would write a positive greeting, some an uplifting quote; there were a few jokes, a batman cartoon in between. There was a lot of warmth, but what I remember most fondly is the transformation in these individuals. Ordinary people like you and me with everyday problems pushing so hard so to make a difference. They were a team – doctors, family, friends and strangers. They identified with that simple image of a cast and stepped up for their mate. It made me feel more comfortable with the disability and confident that I would pull through. Today I wonder. What if it wasn’t a fracture? What if it was a mental illness like depression? Would people still react the same way? Neither do most people with the problem want to open up about it nor do the people around them recognize it without something as colossal and substantial as a cast.
The stigma surrounding mental illness including depression remains a barrier to people seeking help throughout the world. Talking about depression whether with your family member, friend or a medical professional in multiple settings like schools, work place, and social media helps break down this stigma. One person talking about depression gives courage to a thousand to come forward and seek help. This is the core of the World Health Organization’s (WHO) campaign for World Mental Health Day observed on 10 October every year, with the objective of raising awareness of and mobilizing efforts in support of better mental health. Last year the campaign theme was ‘Mental health in the workplace’ and it focused upon people working together, people from different walks of life, from different countries coming forward, talking about depression and seeking help as a vital component of recovery.
(From Lithub. Link to the complete article given below) The first fiction I ever read in Chinese was […]
(From the Paris Review. Link to the complete article given below) … The story of Bulgakov’s Margarita is […]
SCIENCE AS CULTURE
Many Indian scientists, competent in their fields of specialization, know less about science as a form of knowledge, or the kind of reasoning involved in the scientific method that can also be applied to other forms of knowledge. This might explain their surprising and tacit acceptance of some of the more ridiculous statements made by non-scientists on the fantasy-based claims pertaining to science as supposedly practised by our ancient ancestors. This reduces their ability to recognize the difference between the remarkably impressive knowledge of premodern Indian thinkers in some of the sciences, and the infantile fancies that are often projected in their name by those ignorant of science in both premodern and in current times. The reasons for doing the latter are more often political rather than due to any scientific assessment.
The onus is not only on the scientist but also on the historian. Not enough attention has been given by historians to integrating the ideas related to the sciences from earlier times to other aspects of culture. The historian’s intervention from this perspective would require the re-crafting even of some historical formulations. This is being done for some other aspects in recent historical reinterpretations. One of these is the notion of ‘civilization’ as a somewhat fixed and continuing historical unit.
Used more casually in the earlier centuries to refer to the softening of manners and to artistic and literary achievements, it became a widely accepted unit of history from the nineteenth century, coinciding with colonial perceptions of history. The world was divided into discrete, geographically bounded areas each with a dominant culture, recognizably different in intellectual, aesthetic, technological and religious attainments, all of which were associated with urban centres, the use of scripts, the existence of a state and of an organized social order. In A Study of History, the British historian Arnold Toynbee counted twenty-six such civilizations, each rising in response to challenges and declining when the response was inadequate. More recently the count has been reduced to eight in Samuel P. Huntington’s The Clash of Civilizations and the Remaking of World Order. As a spokesman of the American political right wing, his theory that the future of the world will revolve around the clash of civilizations inspired by religious identities seems to envisage conflicting civilizations as a replacement for the cold war.
Reviewed by Dr Madhu Kelkar
Title: Indian Cultures as Heritage – Contemporary Pasts
Author: Romila Thapar
Publisher: Aleph Book Company, 2018
Pages: 222 pages
Culture influences our values, world view, loyalties, behaviour and much more. Very often it is equated with civilisation a term that came to be used to describe societies that boasted of extensive territory, sophisticated language, literature, art and architecture, and above all, a single religion. Under the colonial influence, culture came to be redefined simply as a way of life of elite groups, for instance Aryans in the case of India. Unfortunately, our current understanding of Indian culture is overshadowed by this erroneous interpretation. Heritage, both cultural and natural, consists of ideas, objects and practices; contributes to quality of life, gives us a cultural identity and connects us with our past. India’s cultural heritage has always been subject to debates. While traditional historians favour the ‘unity in diversity’ approach in order to project a homogenised Indian identity and presumably invoke the spirit of patriotism, Thapar, in her latest book, Indian Cultures as Heritage Contemporary Pasts, does exactly the opposite.
A fearless, frequent and outspoken critic of our dogmatic and communal interpretations of the past, Thapar’s book does not to go into the historical aspect of the making of Indian culture but provides glimpses of what is often omitted, marginalized, trivialized or is even considered irrelevant to its understanding. Drawing on her lectures and essays, published in the recent past, this book challenges the idea that Indian culture is the monolithic phenomenon it is often portrayed as in Indian historical writing or what is being currently imposed on the Indian citizens by cultural nationalists. Identification with a single culture, she argues, despite the existence of many in the country, is risky since it tends to dismiss all that does not conform to the mainstream forms, perpetuates inequality and silences all kinds of reasonable resistance. Culture is deeply linked with historical developments and bound to change. But the two differ as well. While history narrates and explains the past, culture can invent the past without any historical evidence. Therefore, one has to guard against spurious history which can be manufactured by culture. Thapar’s argument that we need to subject the Indian culture to rigorous historical scrutiny and juxtapose historical and cultural forms to understand their interface is highly relevant, especially in the present context when cultural forms are being subjected to identity politics due to ignorance and lack of general or intellectual interest in other cultures, within and outside the subcontinent.