Born and raised in Central Hawkes Bay, New Zealand, he moved to Australia where he graduated from Royal Melbourne Institute of Technology. Simon Rowe not only has a passion for words, but also indulges in photography. Many of his works have appeared in TIME (Asia), the New York Times, the Weekend Australian, the South China Morning Postand the Paris Review. His short stories have been published in Flesh: A Southeast Asian Urban Anthology (2016), Another Time Another Place: A Collection of Short Stories (2015) and Noir Nation: International Crime Fiction No. 3(2013). He holds an MA in Writing from Swinburne University of Technology and is currently a foreign language instructor at Kwansei Gakuin University. He recently published another short story, ‘The Summer Hills of Pourerere’ , a story that talks of three teenage misfits forging a path through a harsh rural environment.
In this exclusive interview, he talks about travel, writing and teaching from Japan, the inspiration behind his stories, and his life as an English lecturer.
Kye Lee: Your stories have appeared in numerous publications. What made you start writing and for how long have you been writing?
Simon: That’s a long story! Growing up in rural New Zealand during the 1980s, my window on the world was National Geographic magazine. Naturally, I wanted to be a travel writer and photographer. My first story was about backpacking from Melbourne to Cape Tribulation in far-north Australia. I sold that tale to a newspaper in Melbourne and with the money bought an onward ticket. This became my existence for the next fifteen years and took me around the world three times. I finally settled in Japan where I now write short fiction, screenplays, and a blog called ‘Seaweed Salad Days’, about life in a traditional Japanese neighborhood.
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Times Bureau chief in India, James Crabtree, is a journalistic assessment of not only how the British Raj in India has been replaced by entrepreneurs and politicians who work symbiotically to create a close nexus of exclusive crony capitalism but also gives an optimistic outlook for the future…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.
“When, years later I myself became a writer and was asked, ‘Are you a Haitian writer, a Caribbean writer or a Francophone writer?’I would always answer that I took the nationality of my reader, which means that when a Japanese reader reads my books, I immediately became a Japanese writer,” said Haitian-Canadianwriter Dany Laferriere in his novel I Am a JapaneseWriter (2008), which was originally written in French and then translated to English.
These words were used by Teju Cole, the first Gore Vidal Professor of the Practice of Creative Writing at Harvard, to illustrate how translations bond readers and authors. Translated works transcend the barriers of language and ethos as long as they touch the human heart. By touching deep emotions they create bonds and links to mankind. He talks of how lives are lost over refugee crisis and borders and says “literature can save a life”.
Brought up between US and Nigeria, Cole developed broad world views. Cole’s forte are novels and essays, including the much acclaimed Open City (2011) which wasnamed ‘Best Book’ in more than twenty end-of-the year lists, including The New Yorker, The Atlantic, The Economist , Newsweek/The Daily Beast, Kirkus Reviews. It was also named a New York Times Notable Book —one of the ten top novels of the year by both Time and National Public Radio (USA).
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.
Based as a newspaper reporter and climate blogger in Taiwan, since 2011 I’ve been promoting the rising ‘cli-fi’ movement to boost the literary fortunes of ‘climate change fiction’, a new genre of literature now accompanying ‘sci-fi’ within modern literature’s classification system. I’m not a novelist or a short story writer myself, just a reader and what I described as ‘a climate activist of the literary kind’. I use my PR skills learned over a lifetime of newspaper and magazine work in North America, Europe, Japan and Taiwan to communicate my cli-fi passion with editors, novelists, literary critics and fellow readers.
I’m not the only one doing this now. There’s a veritable army of PR people and literary critics shepherding cli-fi novels and short story anthologies into publication in over a dozen languages. What started out as a small movement in the anglophone world in 2011, has now become a global phenomenon among literary people in India, Singapore, Sweden, France and Australia. among other nations.
So what is cli-fi? As a subgenre of science fiction, it crosses the boundary between literary fiction and sci-fi to imagine the past, present, and future effects of man-made climate change, allowing readers to see what life might be like on a burning, drowning, dying planet. But the genre also encompasses writers who pen utopian novels and short stories full of hope and optimism. Cli-fi is not all dystopian and nightmarish visions of the future. There’s a lot of room for hope and better days, too.