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The Reading Life with Parul Sehgal, Book Critic at the New York Times

On Privacy, Profile Writing, and Avoiding the First Person
Interview: Durga Chew-Bose

In Sehgal’s “First Words” columns for the Times Magazine, on topics like privilege and its devalued import, or cultural appropriation, or the rhetoric surrounding the use of ‘survivor’ in place of ‘victim,’ or in 2015, the frequency of ‘flawless,’ Sehgal recasts today’s usage (or erosion) of faddish language, recontexualizing occurrence in favor of meaning, ideological precedent, and perspectives that are rarely centered. There’s nothing showy about her criticism. Sehgal finds the thread and invites her reader to see not just as she sees, but to marvel at how she’s arranged her discoveries just so.

Sehgal is so precise and alive to, it seems, the pursuits and even strange tendencies authors of varied spheres might share—that lettered chromosomal-ness—that even the most popular-reviewed ‘it’ book, reads like an exclusive. An interception. Of Arundhati Roy’s two-decade-later return to fiction, with her novel The Ministry of Utmost Happiness, Sehgal wrote this past summer in The Atlantic: “You will encounter no victims in this book; the smallest characters are endowed with some spit […] From the fine-grained affection that stirs [Roy’s] imagination springs an ethical imperative—after all, how can one appreciate the world without desiring to defend it? And it must be defended not merely from war or political calamity, but from that natural, more insidious phenomenon: forgetting.” Her interrogation of Roy’s novel is a perfect instance of Sehgal positioning literary criticism beyond a work’s achievements or shortcomings, and locating its value not only within a literary tradition, but beyond. How art and criticism provide dynamic ways for understanding instead of limiting how to be a person in this world. And more urgently, how to pay attention.

ON GROWING UP

I was born outside of D.C. We moved a lot—every three years. I lived in Delhi, Manila, Budapest when I was little. I think I thought we were on the run, because it was always so abrupt. I remember my mother found me in the library of my school in Manila when I was nine, and she was like, “Okay, we need to go home early and pack.” And I was like, “Where now?” And she said India. It was a life of jump cuts.

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Tigers, snakes and monkey-brains: How to write about India if you’re a tourist

Once you are actually in India, get yourself a blog. Write about real India, meaning, the dirt-lined streets and that smell, writes Sayantani Dasgupta: Daily O

1. Prepare for your trip by watching Indiana Jones & the Temple of Doom. Pay special attention to two scenes in particular, first, where Amrish Puri offers human sacrifices and the other, when Indian kings and dignitaries work through a feast of baby snakes, beetles, and chilled monkey brains.

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2. If one evening, your yoga class ends early or you are feeling extra adventurous, go home and watch Slumdog Millionaire. Be warned, though: its Indian protagonist won’t sound anything like the people you will actually meet in India.

3. Eat at Indian restaurants. Learn how to make paneer, lassi, and curry at home. Pat yourself on the back for your global awareness when you perfect the pronunciation of naan.

4. Practice how to say “namaste”, “haan”, and “theek hai”, the only three words/phrases you will ever need.

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