Billionaire Raj by the former Financial Times Bureau chief in India, James Crabtree, is a journalistic assessment of not only how the British Raj in India has been replaced by entrepreneurs and politicians who work symbiotically to create a close nexus of exclusive crony capitalism but also gives an optimistic outlook for the future… with a few strings attached.
The book comes across as a series of clear well-researched articles strung together thematically in logical order. From British Raj, India moved to ‘License Raj’, where a license was needed to start any venture. Once that was lifted, the age of billionaires sets in. He has compared this period to the Gilded Age of American history, an era in the nineteenth century of robber barons and rich bankers, just after the American Civil War.
Crabtree plunges in with stories of people he calls ‘Bollygarchs’, a new term which has evolved to define billionaire-entrepreneurs with Russian oligarchic tendencies like, Vijaya Mallya, Ambani and Adnani and more. The best way to understand the Bollygarchs is perhaps to imagine the flashy Bollywood culture (like that seen in the Bollywood blockbuster Kabhi Khushi Kabhi Gham) brought to life.
Three Idiots, The Reluctant Fundamentalist and Crazy Rich Asians have made history in cinema and they started out as mere books, Five Point Someone by Chetan Bhagat, The Reluctant Fundamentalist by Mohsin Ahmad and Crazy Rich Asians by Kevin Kwan.
Bhagat was cited by The New York Times as “the biggest selling English language novelist in India’s history” and was also included in the Time magazine’s list of the world’s 100 most influential people. Ahmad’s book made it big not just in its own rights, climbing up to #4 on the The New York Times Bestseller list and winning multiple awards and accolades, the film catapulted his book as one that addressed humanitarian concerns and won the German film award for peace and at least five more international awards. Kwan also made it to the Times list of the hundred most influential people and was named as “five writers to watch” on the ‘Hollywood’s Most Powerful Authors’ in The Hollywood Reporter. Their cinematic launches helped them make it huge!
But did you ever wonder how their books made it to the big screen? How did they sell their film rights? And as an author, what all should you be looking out for when you sell your book’s film rights?
Today, we meet the man who can help authors evade controversies and make it from books to movies… He is the man who has made it a business to help writers sell their books to film-makers. Meet Siddharth Jain, the founder of The Story Ink (TSI), India’s first story company for premium content for screen. It is also “India’s No.1 Book to Screen Adaptation Company” and has sold the adaptation rights of almost 70 books to Producers/Studios in India. It is now expanding its footprint by solving the story problem for Indian regional language content producers and international producers, who are searching for local stories for global audiences.
TSI was founded in April 2018 by Jain who had earlier worked for India’s largest OTT (over the top) — Hotstar.com (now acquired by Disney from Fox), iRock Films, Adlabs Films (Reliance Entertainment), Hyperion Studio — Los Angeles and Baazee.com (Ebay India). In a recent interview with scroll.in , Jain said that five years from now he sees himself “reading a book a day” and curating great stories for films. In this exclusive interview, he explains how books are made into films… through options agreements.
Title: Squeaky Wheels: Travels with My Daughter by Train, Plane, Metro, Tuk-tuk and Wheelchair
Author: Suzanne Kamata
Publisher: Wyatt-Mackenzie Publishing, 2019
Squeaky Wheels: Travels with My Daughter by Train, Plane, Metro, Tuk-tuk and Wheelchair by award-winning author Suzanne Kamata is more than just a memoir. It is a travelogue written by a mother about travelling with her disabled daughter, a manual on parenting, not only for a disabled child but also for a normal one, a heart-warming account of an expat well able to adjust and enjoy her life in a country where she was not born and an extensive guide to living cheerfully and with optimism despite hurdles.
Suzanne Kamata moved to Japan to teach English, fell in love and married a Japanese man. She gave birth to premature twins one of who suffers from cerebral palsy. Though Kamata’s daughter, Lilia, spends her life on a wheelchair, she loves travelling and dreamt of going to Paris. To realise her daughter’s dream, Kamata applied for a grant to travel to Paris and to write this book. She received a grant from the Sustainable Arts Foundation to fund her trip to Paris. In an earlier interview , Kamata explained that though for funding the writing of this book, she won the Half the Globe Literati Award in the novel category, her narrative is “actually a memoir”.
Vital Possessions is a collection of poems, haikus, monologues and photographs by award winning Singaporean poet and photographer Marc Nair. The content reflects the tussle between city life and nature.
Marc Nair takes us on a journey through ASEAN countries — Taiwan, Japan, Indonesia, Malaysia and of course Singapore. He finds nature pushing its way through the crevices of city life. In one of his haikus, accompanied by a photograph of a worn out wall with grass growing out of the gaps, he writes,
“Nature never fails
to push against the grain
of forgotten cities.”
When I see the picture and read the lines, what springs to my mind is the St Paul’s church in Malacca, built in 1521, a forgotten church of a bygone era. The monument has vegetation growing out of crevices, which many old buildings would have. However, a sense unique hopefulness is brought to the fore by Marc Nair’s brevity of words to create a picture perfect perspective.
Surrounded by the grandeur of the Himalayas in the Doon valley, it strikes me that the mountains only serve to unite with their allure of serene remoteness. People find the aloofness of mountains attractive and set about exploring and conquering them as they do the raging seas; thus, advancing the human race not just by exposure to geographic or cultural novelties but also intellectually, by challenging their own comfort zones. Words do similar things for writers. Writers get drawn out of their comfort zones to generate ideas that stimulate.
In a world connected by clouds and birds that do not accept geo-political barriers, thoughts and ideas waft from region to region, sometimes gaining local colour but always creating a sense of interconnectedness. To harness these ideas into a stream, writers need an easy access to a forum that reaches out to the rest of the world. This forum would have to be a confluence where words from writers reach out to unite, probe, create, describe and move all mankind.
Title: The Best Asian Short Stories 2018 Editor: Debotri Dhar Series Editor: Zafar Anjum Publisher: Kitaab Buy
The Best Asian Short Stories 2018 is a collection of nineteen short stories, that saunter through the wonderland of Asia to dwell on vignettes of life in the vast continent. Edited by Dr Debotri Dhar and series editor Zafar Anjum, the second volume of the series has a mix of stories by eminent and upcoming writers.
Our emotions are played on from all angles as each story flavours our palate with different moods. We pause to smile over an unusual light-hearted Goan romance among the elderly in Geralyn Pinto’s “Cakes” and cringe with horror at the impact of acid attacks on women, a reality in Bangladesh and Pakistan as portrayed by Reba Khatun. Dr Rakshanda Jalil’s story with the tale of Zuliekha’s transformation from a shy Muslim girl to a glamorous club diva brings to mind Eliza Doolittle, heroine of Bernard Shaw’s Pygmalion, except this story has a twist which colours it with class stratification that are essentially Indian.
“Festival”, a translated story from Japan, gives us a glimpse of the intermingling of old and new in a country that retains its traditions despite its modernity. William Tham Wai Liang’s nostalgic “At the Moonlit River’s Edge” brings us close to the theme that has been explored in The State of Emergency, the 2018 Singapore Literature prize-winning novel – the communist insurgency in 1950s Malaya. Strangely, Martin Bradley’s “Bougainvillea”, set in modern day Malaysia also hovers around the same theme as the protagonist journeys to Ipoh in search of his father’s grave, his father having lost his life in 1951 during an encounter with communist insurgents. However, this is a story that transcends the angst of history to bring in themes of friendship and wonder generated by the multicultural flavour of life in this region. We have another lovely story of ASEAN friendship in the Singaporean Thai romance named after the delicious Thai dessert, “Mango and Sticky Rice”.
The unusual and paranormal have been explored by a couple of writers. “The Rescuer” is a supernatural adventure set in a Japanese railway station, a strange tale that leaves the reader stupefied! “The Grey Thread” by young Vanessa Ng is another one that explores an unusual, bizarre journey into a world of paint and paper.
Some of the stories fiddle with recent natural disasters and contemporary issues. The impact of the historic cloudburst in the Himalayas in 2013 and the arbitrariness of all existence is explored in “The Cosmic Dance”. “Begin Again”, set in Phillipines, explores teen adjustment issues. “For Chikki’s Sake” not only comments on marital issues, parenting but also on caste based marriage, which still exists in parts of India. The dichotomy that exists in women’s world between feminism and reality in India is well captured in “Don’t Even Ask! Poochho Mat!” “The Amulet” explores the disappointment of a diva; “The Bureaucrats’s Wife” reflects the breakdown of values in a rich man’s home; “Lola’s Honeymoon” is a strange tale which gives a glimpse of moneyed life as does “The Cycle”, though this story does ascend social boundaries drawn by economic barriers and the futility of addiction to drugs and violence.
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.
Title: State of Emergency Author: Jeremy Tiang Publisher: Epigram Books, 2017 Number of pages: 245
Jeremy Tiang’s State of Emergency won 2018’s Singapore Literature Prize (SLP) for fiction. Kate Griffin, one of the judges for the award, wrote in an article, “Erasing Histories” (https://nationalcentreforwriting.org.uk/article/erasing-histories/): ‘State of Emergency, Jeremy Tiang’s beautifully written first novel, highlights a lesser known side of Singaporean history, exploring the leftist movements and political detentions in Malaysia and Singapore from the 1940s onwards, through the stories and memories of an extended family.’
Focused mainly within the local and Malayan Chinese community, the Communist movement found refuge in the jungles of Malaysia. The novel traces the development and then the quelling of this movement through the stories of three generations of Jason Low’s extended family. Jason’s wife, Siew Lee, chooses Communism over her family and leaves for the jungles of Malaya, partly to save herself and partly to live by her beliefs. Jason loses his sister in the 1965 Konfrontasi terrorist bomb blast in MacDonald House where she worked in a bank. The Konfrontasi was an Indonesian reaction to oppose the colonial decision for the formation of a separate Malaysia (of which Singapore remained a part till August 1966). These political movements in the ASEAN rip through the fabric of the Low family, tearing it apart. Though his daughter continues to work as a Singapore government official, his son leaves him to immigrate to the United Kingdom and Jason Low finds himself in a ‘C’ class geriatric ward.
He wears a tattoo of a typewriter on his right arm as a mark of his trade, as his “stigma”. He wrote a poem about his tattoo. He writes what he believes, no longer with a typewriter (as he did when he started to write in the 1980s). This is a writer, who, despite staying rooted to his surroundings, sees no boundaries in literature. He reads what comes his way and does not specifically think of literature in terms of regions, like ASEAN. That writing is universal and remains borderless is well borne out in his interview as in his writing and the influences they have had…
The author of 13 books across multiple genres, including five volumes of poetry, two children’s detective novels and a trilogy of humour stories, Felix Cheong has been invited to perform his works at international festivals all over the world, including Edinburgh, West Cork, Austin, Christchurch, Sydney, Bangalore, Hong Kong and Ubud. Cheong is the winner of Singapore’s National Arts Council’s Young Artist Award in 2000, and holds a Master’s in Creative Writing from the University of Queensland. In 2010, he was named by Readers Digest as the 29th Most Trusted Singaporean. He is currently an adjunct lecturer with the University of Newcastle, Murdoch University, Singapore University of Social Sciences and LASALLE College of the Arts. Felix Cheong’s latest collection of poetry is B-Sides and Backslides: 1986-2018.
Mitali: You have been writing poetry for more than two decades now. What made you start writing poetry?
Felix: Like sex, you always remember the first time. It began innocuously enough when I was in junior college (high school in Singapore). As a geeky teen blessed with all the social skills of a wallflower, I could only impress a classmate, on whom I had a crush, by writing her a Valentine’s Day poem. It was handwritten on a card I had made; such was the entrepreneurial spirit I had back then. But as Auden famously says, ‘poetry makes nothing happen’; so nothing happened. In any case, it was bad poetry at its finest hour, which I would have cheerfully disowned now!
Mitali: In your latest book, B-Sides and Backslides, you have spoken of how both T. S. Eliot and Beatles fascinated you. What is it in T. S. Eliot’s poetry or in the Beatles’ compositions that had this effect on you? Do they still draw you as much or do you feel that you have got over your fascination? In “We are the Salary Men”, you say that while ‘We may be the hollow men but the least we own is our honesty to know…’
Felix: Beatles’ music was instrumental in making me pay close attention to words and by extension, poetry. I remember spending hours – talk about the devil finding work for idle hands to do! – trying to write down what they were singing (thank goodness there was no Google back then). Through the sheer act of transcription, I had my first lesson in poetic rhythm. I loved – and still do – the musicality of their lyrics, such as “A Day in the Life”, “Eleanor Rigby” and “She’s Leaving Home”.
Eliot’s poetry, particularly “The Love Song of J. Alfred Prufrock’, affected me in a different way when I read it at the still-impressionable age of 22. It sprung me into a modern diction that spoke to my sense of alienation. It was also Catholic in the way it articulated spiritual emptiness. I recall memorising parts of the poem while preparing for my first-year university exams. His cadences and imagery would imprint themselves on my early poetry.