In this literary essay, Ramlal Agarwal explores the classic novel A passage to India highlighting how readers were drawn to the novel because it was about India, a subject close to the heart of the British and the Indians.
In the 1940s and the 1950s there was one novel the students and scholars of English literature in India were taken up with and that was E.M.Forster’s A Passage to India. It was essentially prescribed in all courses in English literature, it was discussed in all highbrow magazines and there could be no seminar without it. It was one book no teacher or student of English literature could afford to neglect. But with the passage of time, like all classics, it receded from the center-stage to the back-stage.
A glimpse from Anuja Chandramouli’s Mohini – The Enchantress (Published by Rupa Publications India, 2020)
Prelude: A Hint of Hope Borne on a Dream
The storytellers tended to go into raptures describing her sublime, flawless beauty, waxing eloquent about the perfection of her form and features, not to mention the heaviness of her bosom, supported as it was by an impossibly narrow waist. Captivating eyes with so much depth that most wanted nothing better than to plunge into those twin orbs, exploring the secrets within for the rest of time; lustrous tresses that cascaded in waves of silk, nearly caressing the earth over which she glided with effortless grace; luscious lips that mischievously promised endless delights and so on and so forth.
Though they were mostly males who could not or did not want to look beyond the sumptuous perfection of her physical attributes, none of it was an exaggeration. For she was bewitching and her beauty had a power of its own, which could simply not be discounted. And yet, when it came right down to it, her beauty was almost beside the point.
The fifty-odd poems in this collection all reflect the different hues of life as well as different stages of growth of a person. The poems find themselves divided naturally into four sections: Green (birth), Yellow (disillusion), Purple (rebirth), and Red (self-realization). The irrepressible current of life, in its various manifestations, runs through them all.
Gone Away: An Indian Journal by Dom Moraes (with an introduction by Jerry Pinto)
Publisher: Speaking Tiger
Year of publication: 2020
Price: INR 294 (E-book)
One of the most unconventional travelogues ever written, Gone Away covers three months of Dom Moraes’ life spent in the subcontinent at the time of the Chinese incursions on the Tibetan border in 1959. In that short time, a remarkable number of memorable things happened to him, some of them the sort of fantastic situations that could only enmesh a poet, perhaps only a young poet—a visit to a speak-easy in Bombay; an interview with Nehru and an hour spent closeted with the Dalai Lama in Delhi; and a meeting with the great Nepalese poet, Devkota, whom he found already laid out to die by the side of the holy river Basumati. After a short stay in Calcutta, where he tried, with limited success, to investigate the lives of prostitutes, he went up to Sikkim, the north-eastern border state into which no visiting writer had been allowed for almost a year.
Namrata reviews One Drop of Blood by Ismat Chugtai based on the battle of Karbala.
Published by Women Unlimited (An Associate of Kali for Women), 2020
Featured in Hindustan Times as one of the interesting books early this year, One Drop of Blood by Ismat Chugtai is a unique book in many ways. Firstly, it is the last work of Ismat Chugtai and secondly, it so different from her usual line of work.
One drop of Blood is based on the battle of Karbala fought in 680 A.D. in present-day Iraq between Yazid, the reigning Caliph and his mighty soldiers and Imam Husain, the grandson of Prophet Muhammad with his small army. According to the Islamic calendar Muharram is the first month of the year and the second holiest month, after the month of Ramzan. Muharram is also a period of mourning the martyrdom of Imam Husain and his family (including his infant grandchild) in the battle of Karbala.
Everyone has a place they return to time and again or a thing they simply can’t resist while on vacation. Think beloved mountains or beaches, spas, street food, an 18-hole course or bungee jumping, et cetera. For me, it’s World Heritage Sites*: majestic reminders of a glorious, often mysterious past, scattered all over the globe, to be guided through, explored solo, photographed and cherished.
My search for such sites led me to Lothal — an enigmatic lost port-city, one of the central characters in the mysterious drama of the subcontinent’s origins. Part of a national obsession – the Indus Valley Civilisation: perpetually hiding in plain sight, its broken cities scattered across the north and west. Its script continues undeciphered, its story always tantalisingly beyond reach — confined, until that moment, within the yellowing pages of my schoolboy history books, with their prim descriptions of planned cities, streets meeting at right angles, baked bricks and standardised weights.
At a distance of just 80km from my hotel, Lothal was perfect. Lying forgotten in its ruinous state, Lothal was perfect.
Gujarat’s well-laid roads zipped past as we hurtled towards our destination. Bountiful rains this year, the driver Ratan informed me curtly, as we passed soaked paddy fields that glittered in the morning sun. Unprecedented. Looking out at the gentle, jovial cumulus clouds that glided past, I prayed that they withhold their yield until at least that evening.
Starting her career as a journalist with Malayala Manorma, K.R.Meera went onto become a prolific and acclaimed Malayalam writer of short story collections, novellas, novels and children’s books. Her very first collection of short stories, Ormayude Njarampu (2002) won several regional awards. Her magnum opus and most famous novel, Aarachaar (Hangwoman) was translated into English by J. Devika in 2014. It won the prestigious Odakkuzhal Prize in 2013, the Kerala Sahitya Akademi Award in 2014, the Sahitya Akademi Award in 2015 and was shortlisted for the DSC prize for South Asian literature in 2016. J. Devika once again is Meera’s translator of The Angel’s Beauty Spots. A writer, translator and feminist, she is a teacher and researcher at the Centre of Development Studies in Kerala.
The book comprises three novellas through which the book’s jacket says, “K.R. Meera explores the tragedy, betrayal and violence that arise out of the dark heart of love.” The first novella, The Angel’s Beauty Spots begins with Angela’s murder at the hands of her estranged ex-husband in full gaze of her two young daughters, the older one from him and the younger from a married ex-lover. Driven by a blind love, she had married this man only to discover the evil in him — when he pimps her to his friend in their own house. That their older daughter is privy to this, makes Angela feel that something has died within her.
Nabina Das’s poems appear in Poetry Foundation, Prairie Schooner, Indian Literature (National Academy of Letters), Caravan, Sangam House poetry, The Indian Quarterly, Economic and Political Weekly, Dhaka Tribune, The Yellow Nib Anthology (Queens University, Belfast), and Six Seasons Review, among several others. Her third poetry collection and fifth book Sanskarnama (Red River, 2017, India) has been mentioned as one of the best poetry books of 2018 (OPEN Magazine). Nabina is a 2017 Sahapedia-UNESCO fellow, a 2012 Charles Wallace creative writing alumna (Stirling University, Scotland), and a 2016 Commonwealth Writers feature correspondent. Born and brought up in Guwahati, Assam, India, Nabina’s other poetry collections are Into the Migrant City (Writers Workshop, 2013, India), and Blue Vessel (Les Editions du Zaporogue, 2012, Denmark). Her first novel is Footprints in the Bajra (Cedar Books, 2010, India) , and her short fiction volume is titled The House of Twining Roses: Stories of the Mapped and the Unmapped (LiFi Publications, 2014, India). A 2012 Sangam House, a 2011 NYS Summer Writers Institute, and a 2007 Wesleyan Writers Conference creative writing alumna, Nabina is the co-editor of 40 under 40, an anthology of post-globalisation poetry (Poetrywala, 2016, India).
Rati Agnihotri is a bilingual English-Hindi writer, poet and television journalist. She did her BA (Hons) in English Literature from Miranda House, University of Delhi, and MA International Journalism from University of Leeds, UK. She runs the poetry group ‘Moonweavers: Chaand ke Julaahe’ in the city along with other fellow poets. Her book of poem, The Sunset Sonata, was published by the Sahitya Akademi. Her English poems have appeared in Indian Literature, South Asian Ensemble, Nether Magazine, Dead Flowers: A Poetry Rag, The Challenge, Muse India, Kritya and others. Her Hindi poems have been published in Pakhee, Retpath, Samvadiya, Yuddhrat Aam Aadmi, Parikatha,among others. She also translates poetry and nonfiction from Hindi to English. Agnihotri’s previous assignments include a fellowship at Radio Deutsche Welle’s south Asian department in Bonn, Germany. She currently works as a correspondent for China’s CNC World TV and based at their office in New Delhi.
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 GhostParachute, Indian Literature, Modern Poetry in Translation, The LittleMagazine, The GhostParachute,Canada Quarterly, Chandrabhanga, Asiawrites,The Four Quarters Magazine, Muse India, Anti HeroinChic, Dissident Voice, Cliterature and elsewhere. His published books of poetry are After Seeing (2006) and Party Poopers (2014). He lives in Bangalore, India.