By Mitali Chakravarty
Shweta Taneja’s story named as pre-finalist in French Grand Prix de l’Imaginaire
The Best Asian Speculative Fiction (2018) is like a rebellious shout to change the world with its threat of futuristic dark stories. Many award-winning and well-known writers like Kiran Manral, Vrinda Baliga, Rochelle Potkar, Park- Chan Soon, Tunku Halim and Eldar Sattarov, have contributed to the anthology. The stories have covered different areas of the genre called speculative which the editor, Rajat Chaudhuri, an established voice in this field, calls, “our adorable, shape-shifting, slippery creature”.
Zafar Anjum, the series editor of the Best Asian series and publisher, explained how the Speculative fiction anthology came about and the editor was chosen: “It was an idea suggested by one of our authors, Anuradha Kumar, and when we got in touch with Rajat to work on an anthology of speculative fiction, he readily agreed. Rajat had done reviews for us before and we always admired his writing, so it was a natural choice.”
Chaudhuri picked Shweta Taneja’s story, ‘The Daughter That Bleeds’, for the Editor’s Choice Award. And now, it has been picked as a pre-finalist in the prestigious French Grand Prix de l’Imaginaire. This French award was first given in 1974 for science fiction and later stretched to the emerging genre of speculative. Winners include Ursula Le Guin (2008), Ken Liu (2016) and Carolyn Ives Gilman (2019). The French Ambassador to India, Emmanuel Lenain, has tweeted about this, tagging Kitaab and Chaudhuri.
Chaudhuri has remarked that Taneja’s story fits into Margaret Atwood’s formulation of this genre. In his introduction he tells us, “Atwood’s test for the speculative is on the touchstone of possibility … Marking a clear break from some of the improbabilities of science fiction, her formulation stresses on this aspect of possibility as the sine qua non of the speculative.” Shweta’s story is “about a market for fertile women who have become rare in a post-apocalyptic India”.
It was not always easy for John to understand Zoe’s English, but this time all he had to do was to look where she was pointing.
In the middle of the track was a large otter, standing on its hind legs. It was looking in their direction. John and Zoe, unable to move lest they disturb the creature, kept quiet. After some minutes, another large otter bounded from a pool to the right of the track, slowly passed across the track and into another pool on the other side. It was quickly followed by a troop of much smaller otters hastening across the track. When all the others had vanished into the pool, the guarding otter followed suit.
“Well, it’s the first time I’ve seen an otter traffic warden,” said John, as they both fell about laughing.
The sandy track became more defined as a road and, as the jeep climbed to the top of yet another hillock, before them lay a series of three huge, interconnected dredge holes. They had become filled with water; around them were trees and bushes. The expanse of water seemed to stretch for at least a couple of kilometres. Green islets, dotted here and there, added yet more mystery to that already intriguing expanse of water.
Today, when latitudes shift, cultures collide, and we are all travellers in one form or another, in ways perhaps unprecedented, these stories must be told.
— Dr Debotri Dhar, editor TBASS 2018
Putting together an anthology of short stories is not easy. Reading across a continent and picking from among the best of its writers and their stories is a daunting endeavour. TBASS 2018 is the fruit of this undertaking — 24 writers, 13 countries — led by Dr Debotri Dhar, Editor, TBASS 2018 and Zafar Anjum, Series editor.
‘The winners of TBASS 2018 are Rakhshanda Jalil (India), Aditi Mehrotra (India), and Martin Bradley (Malaysia; originally UK),’ said Dr. Debotri Dhar. ‘I also loved the translation of Japanese writer Mogami Ippei by Avery Udagawa (Thailand; originally USA), and there were many other excellent entries, from more than 13 countries.
‘While Rakhshanda Jalil is a seasoned writer known to many in South Asia, Aditi Mehrotra is an aspiring Indian writer whose story delightfully juxtaposed textual passages and news clippings on women’s empowerment with everyday life vignettes of domesticity from small-town India. Martin Bradley’s story highlighted the intersecting themes of travel, historical memory, and communication across differences. Today, when latitudes shift, cultures collide, and we are all travellers in one form or another, in ways perhaps unprecedented, these stories must be told.’
‘The response to TBASS 2017 has been tremendous. That really encouraged us to continue the series and redouble our efforts,’ said Zafar Anjum, Series Editor of TBASS and founder of Kitaab. ‘TBASS tries to represent the best of Asian voices, and we are specially keen to provide a literary platform to emerging, new voices from the region. The sheer writing talent that we have gathered in this volume is a testament to Asia’s creative fecundity.’
- Rakhshanda Jalil (India) Story title: ‘Diamonds are Forever’
- Aditi Mehrotra (India) Story title: ‘Don’t Ask! Poocho mat!’ firstname.lastname@example.org
- Martin Bradley (Malaysia; originally UK) Story title: ‘Bougainvillea’ email@example.com
- Also, Avery Udagawa (Thailand; originally US) Story title: ‘Festival Time.’ Translation of Japanese writer Mogami Ippei. She is working on the translation rights. firstname.lastname@example.org