Critically acclaimed, award winning author Rahman Abbas needs no introduction. A Mumbai based fiction writer whose book Rohzin won the prestigious Sahitya Akademi Award in 2018, Abbas is known to captivate the readers with unique storylines and unforgettable characters. Since his debut in 2004 with Nakhalistan ki Talaash ( The Search of an Oasis), he has penned one masterpiece after another. From winning awards to having his books translated into various foreign languages, he has done it all. Rohzin was not only the first Urdu novel to be discussed in Germany, it was also adopted as a part of Urdu curriculum in INALCO. Sometime last year, he won a research grant for his next novel and travelled to Europe.
Reviewed by Sucharita Dutta-Asane
Title: That Bird Called Happiness – Stories
Author: Nabendu Ghosh; ed. Ratnottama Sengupta
Publisher: Speaking Tiger, 2018
Nabendu Ghosh was born in Dhaka, raised in Patna, then a part of the Bengal Presidency, moved to Calcutta in 1945. In 1947, India woke up to its ‘tryst with destiny’, but this destiny had two heads, creating a splintered sense of national identity and geographical boundaries. On the eastern side of the country, Bengal was divided not just by a line but also, unnaturally, by language. With Urdu imposed as the national language on a Bengali speaking population, books from West Bengal could not be sold in East Pakistan. By then Nabendu Ghosh was already a prominent voice in Bengali fiction.
In 1951, when Bimal Roy asked him to script movies that would become classics of Hindi cinema – Bandini, Abhimaan, Devdas, Sujata, among others, he moved to Bombay. Though these films were based on stories by other literary greats, Nabendu Ghosh had already found his footing and the subjects that would preoccupy him in his own stories and novels: the social and political upheavals of the time, famine, Partition, riots, socio-cultural mores, and most significantly, love.
That Bird Called Happiness is a collection of translated stories of Nabendu Ghosh, edited by his daughter Ratnottama Sengupta, a national award-winning journalist, writer and film director. The nine stories in this collection are narratives of a newly formed nation, still nascent in its certainties and assurances, mindful of the social dogmas that were briefly subsumed by the larger ‘ism’ of nationalism. The writer’s stance is bold, reformist; it searches for language in which to explore the newness of thought, of an emerging nation-hood played out in individual lives, as in “The Path” and in social groupings as in “Full Circle”.
On May 7 th, 1861, was born a man who left an indelible mark in the world of literature, philosophy, music, education and on the lives of many people. He wrote the national anthem for at least two countries, India and Bangladesh, and influenced the writer of the national anthem of a third country, Sri Lanka.
Rabindranath Tagore, the first non- European Nobel prize winner, was a remarkable man. Despite having his songs picked for national anthems and providing inspiration to other national anthem writers, he was critical of a system that drew borders among men and created hatred or intolerance. He withdrew from the politics of nationalism. He wrote: “…my conviction (is) that my countrymen will gain truly their India by fighting against that education which teaches them that a country is greater than the ideals of humanity.”
Reviewed by Namrata Pathak
Author: Nabina Das
Publisher: I write imprint (2017)
Of Dough, Clay and a Nation: Brewing up a Rebellion in Nabina Das’s Sanskarnama
If you have to fold
to fit in
it ain’t right
By Yrsa Daley-Ward
These words, minimal, adroitly sculpted and bare, tell us about women and shapes – how women are aligned to shapes and how these shapes strikingly constrain them. Like Yrsa Daley-Ward, if a woman has an affinity towards what is ‘shapeless’ or nebulous, Nabina Das’s Sanskarnama, Poetry for Our Times, tolls similar bells. The alliance is quite daring, even bursting at the seams, though Das’s is a loud clarion call that is difficult to miss, and more so she is not always looking at the imbroglio by installing a framework of gender to flatten everything. There are vivid convergences between Das and Daley-Ward that teased me in many ways. But Das’s Sanskarnama holds me captive as it seeks to answer the number of questions it raises, a charming peculiarity that leads to the installation of more than one worldview, the onset of intriguing possibilities. The text provides you an exposition, you trace a line of thought only to realise later that you are standing at crossroads, a mesh of thoughts, rather, coagulation. Das gives you the freedom to take any route you want, to chalk out your own road map. You are that traveller-flaneur who sucks in the cityscape wholeheartedly. You let your hair loose and dance in the streets, your heels digging deep, marking your share of fragile secrets as you slip in and out of your incarnate ‘shape’. All the while the poet takes sideways glances at you, lest you stop dabbling in the dirt, slush, mud, clay, and earth, lest you undo the primordial instincts in you, lest you cease to ‘unmake’ yourself; overall, you emerge and dissolve, and how badly you pine for this dissolution.
The burning hope in Das to configure ‘free spaces’ in a country that has otherwise gone to the ‘gau rakshaks’, the saffron-clad yogis, the conserver of our rigid ‘sanskar’ makes her test her limits to such an extent that the poet raises her fangs, spits venom, and this she does even at the risk of being branded anti-national.
Editor’s Note: fivebooks.com took this interview in 2009. They call it one of the saddest interviews on their […]
by Nilanjana Sengupta
I was fortunate to be a part of the first Irrawaddy Literary Festival – the first of its kind Myanmar has known in perhaps half a century. It was organised at the Inya Lake Hotel, Yangon in February 2013. Winter and early spring are the traditional seasons for literary talks, or sarpay hawpyawbwe in Myanmar. This particular morning was cool, the air having lost its chilling bite and indolent, white cotton-ball clouds were reflected in the blue waters of the Inya Lake. Aung San Suu Kyi arrived amidst unprompted and seemingly unending applause – she was the festival patron and was to participate in two of the panels.
During the course of discussion she confessed to her lack of admiration for the character of Ulysses and in the same breath declared Victor Hugo’s Jean Valjean to be an all-time favourite. This was greeted with surprise and the possible reason for her rejection of the cultural icon of individual self-assertion over a petty French convict, jailed for his 40 sous theft, whose climactic act of heroism consisted of carrying his former enemy through miles of Parisian sewers, was debated at length. I too wondered… till late into the night, the thought going round in slow, concentric circles in my mind even as I kept a wary watch for the gecko I had spotted crawling the walls of my lonely hotel room. Uff, I will think of it tomorrow, I finally decided, why does everything in Myanmar have to be so complicated?