Jokha Alharthi, an Omani writer, is the first Arabic author to win the Man Booker International Prize 2019 for her novel, Celestial Bodies.She shares her award with the translator of her book, academic Marilyn Booth who teaches Arabic literature in Oxford.
This international award was initiated in 2004 to complement the Man Booker Prize that went to a book published in English in England. It was given every two years for the author’s “continued creativity, development and overall contribution to fiction on the world stage”. It recognised the writer’s body of works rather than any one title. It was only in 2016, that the award started being given for a single title and would be shared between the author and the translator.
The story of this year’s winning title, Celestial Bodies, revolves around the life of three sisters who marry and move out into the world. The chairperson of the panel of judges, Bethany Hughes said, “Through the different tentacles of people’s lives and loves and losses we come to learn about this society – all its degrees, from the very poorest of the slave families working there to those making money through the advent of a new wealth in Omanand Muscat. It starts in a room and ends in a world.” Bethany Hughes was joined on the judging panel byphilosopher Angie Hobbs, writer, translator and chair of English PEN Maureen Freely, novelist and satirist Elnathan John and essayist and novelist Pankaj Mishra.
The insistence on creating art for art’s sake may appear to be aimed at rich connoisseurs. But it originally expressed the frustration of artists with nouveau-riche consumers. In the early 19th century, artists had been, if not unacknowledged legislators, then high priests of a sacralized art — the replacement for transcendental ideals in a secularized society. Schiller produced a grand theology of the new aesthetic religion, claiming that art was essential to the growth of moral and rational faculties in human beings. Poet-prophets such as Lord Byron, Adam Mickiewicz, Victor Hugo and Sandor Petofi ambitiously imagined new political communities. Contrary to Auden’s belief, poetry made much happen, briefly at least.
With the rise of Hindu nationalist Narendra Modi culminating in this week’s election, Pankaj Mishra asks if the world’s largest democracy is entering its most sinister period since independence: The Guardian
Narendra Modi shows his inked finger after casting his vote in Ahmedabad. Photograph: Amit Dave/Reuters
In A Suitable Boy, Vikram Seth writes with affection of a placid India’s first general election in 1951, and the egalitarian spirit it momentarily bestowed on an electorate deeply riven by class and caste: “the great washed and unwashed public, sceptical and gullible”, but all “endowed with universal adult suffrage”. India’s 16th general election this month, held against a background of economic jolts and titanic corruption scandals, and tainted by the nastiest campaign yet, announces a new turbulent phase for the country – arguably, the most sinister since its independence from British rule in 1947. Back then, it would have been inconceivable that a figure such as Narendra Modi, the Hindu nationalist chief minister of Gujarat accused, along with his closest aides, of complicity in crimes ranging froman anti-Muslim pogrom in his state in 2002 to extrajudicial killings, and barred from entering the US, may occupy India’s highest political office.
Indian author Pankaj Mishra is the 2014 winner of the “Leipzig Book Prize for European Understanding.” In a DW interview, Mishra talks about his book and the impact of colonialism on current Asian-European ties.
DW: What inspired you to write this book?
Pankaj Mishra: The inspiration was partly the realization that countries in our part of the world, like India, are deeply connected to histories of other countries, other societies and yet we don’t know enough about that aspect.