Anuradha Kumar, the author of Coming Back to the City, Mumbai Stories, in conversation with Mitali Chakravarty
Anuradha Kumar has been writing for two decades and in that span of time has authored eight novels, including Letters for Paul (2006), It Takes a Murder (2013) and two works of historical fiction written under the psuedonym of Adity Kay: Emperor Chandragupta (2016) and Emperor Vikramaditya (2019). She also writes for younger readers, and contributes to Scroll.in, Economic and Political Weekly, thewire.in, theaerogram.com, and other places. She was awarded twice (2004, 2010) for her stories by the Commonwealth Foundation, and has received awards from The Little Magazine and Hindu-Goodbooks.in. Recently, she has brought out a novel, Coming Back to the City, Mumbai Stories. In this exclusive, she tells us more about her journey as a writer.
You have written eight novels and children’s stories/books. How many years of your journey as a writer does that span?
About two decades. I’d my first collection of short stories out from Writers’ Workshop in 2002. What I remember is the lovely handwritten note Prof. Lal (who set up the workshop) sent me in acceptance of my manuscript; that, and a translated copy of his Avyakta Upanishad. I sort of remember what he wrote in that note. For a long time, those words encouraged me. I forgot them at times, but early words of encouragement and support stand by you, especially in not so good times.
Can you tell us about your latest book, Coming Back to the City, Mumbai Stories? How did it come about? You have been living overseas, did you return to Mumbai and then write it?
There have been many moments in India’s history when it felt as if the country was coming undone. “It was deeply deranging, but you must also remember that India of the 1980s was an explosive place. It really felt like it was coming undone,” novelist Amitav Ghosh had said to mark the 25th year of the publication of his novel, The Shadow Lines. Dr. Nazia Hasan pays a tribute to Ghosh and his seminal work of fiction in this special essay.
This day break, pockmarked- this morning, night bitten Surely, this is not the morning we’d longed for, In whose eager quest, all comrades Had set out, hoping that somewhere In the wilderness of the sky Would emerge the ultimate destination of stars, …somewhere will anchor the boat of heart’s grief.
(Faiz Ahmad Faiz, The morning of Freedom: August 1947)
Partition of India has been one of those turning points in the history of the subcontinent, the repercussions of which have not ended yet. It lives in memories, in monuments, in songs and stories, besides popping up now and then in various symbols, occasions and rituals. It makes the Katha and Daastaan for the coming generations for centuries perhaps, because it has everything aplenty: the joys and the sorrows (more sorrows than joys, of course for the common man) associated with it can weave sagas of its own. Amitav Ghosh in most of his novels like The Circle of Reason (1986), The Shadow Lines (1988) and The Hungry Tide (2004) takes up the theme of the Partition in its differing aspects. He looks at it from the middle class quarters in The Shadow Lines, the anonymous sufferers’ side in The Circle of Reason and the low-caste section in The Hungry Tide. Perhaps, John Berger had the same idea when he wrote; “Never again a story will be told as though it is the only one…” (Ways of Seeing: 1990).