Published by Kitaab, Quarantined Sonnets: Sex, money and Shakespeare by Tabish Khair is considered to be one of the finest works of literature to come out of the Covid 19 pandemic. This anthology of sonnets written by the noted poet, novelist and critic, contains powerfully original rewritings which combine humor and satire with acute social and political commentary.
Shakespeare scholar, Dr Eleine Ng (Singapore) reads from Tabish Khair’s Quarantined Sonnets: Sex, Money and Shakespeare. In powerfully […]
Why does Hamlet dilly-dally in avenging the murder of his father? His father’s ghost clearly exhorts him to do it. He knows it is his duty and he must do it though he does not like it.
“… O cursed spite
That ever I was born to set it right.”
Taking his cue from these lines, Goethe observes, “A beautiful, pure and most moral nature, without the strength of nerve which makes a hero, sinks beneath a burden which it can neither bear nor throw off; every duty is holy to him- this too hard. The impossible is required of him- not the impossible in itself, but impossible to him.”
Kitaab has published Tabish Khair’s anthology, Quarantined Sonnets: Sex, Money and Shakespeare, in support of Singapore’s Migrant Workers
In this ebook, in powerfully original rewritings that combine humour and satire with acute social and political commentary, Tabish Khair uses William Shakespeare’s sonnets to paint a memorable and moving picture of the world in corona quarantine. This is arguably the first major work of literature to come out of the corona crisis. With iconoclastic humour and intelligence, it runs the readers through a gamut of emotions. It is also a clarion call for change. These 21 sonnets range from initial humorous riffs on the foibles of our age but grow progressively darker and more acerbic, while always playing with Shakespeare’s original works. A must-read for our times!
Profits from this e-book are being donated by the publisher and author to Migrant Workers Centre, Singapore, helping migrant workers to cope with the current economic crisis complicated by the Novel Coronavirus pandemic.
Richard Rose is a British writer, university professor and researcher who has been working regularly with teachers and children in India for the past nineteen years. His work has appeared in academic journals, magazines and books in several countries. His play, written with James Vollmar, Letters to Lucia, which celebrates the life of James Joyce’s daughter, Lucia Anna Joyce, received its first performance by Triskellion Irish Theatre in 2018.
What are writers and artistes tweeting about the situation in Jammu and Kashmir? What is their attitude to the people in this region?
Rahul Pandita, author and conflict writer from Kashmir, tweeted that “In all, a majority of Kashmiris have no idea what abrogation of article 370 means. Argue with them for a minute and one realises they are totally ignorant. All they know is ‘India will now take away everything.’ From our sources we know NSA(National Security Agency) is aware of it. Big challenge.”
Mirza Waheed, Kashmiri writer and novelist who now lives in London, wrote, “August 11, 2019. Day 7 of Seige of Kashmir. We are not allowed to say Eid Mubarak to our families.” But is it a seige or an attempt to integrate the state into the country?
Vikram Chandra, a commonwealth prize winning American Indian novelist, wrote, “In his Aug 8 speech, PM Narendra Modi did say it was for every Indian to share the concerns of the citizens of J&K. Best way to do that today is to reach out to Kashmiris in other parts of India, spending Eid away from home. Make them feel that they ARE at home.”
Actress Shabana Azmi tweeted “Kashmiri Pandit Youth invite every Kashmiri who has been unable to travel home for Eid for a get together…”
Novelist and essayist Chetan Bhagat has taken a stand where he says, “August 5, 2019. Kashmir is finally free. Free to grow, free to make a future. #Article 370 goes. #OneCountryOneSystem.” And also, “Article 370 never gave Kashmiris freedom. It only created selfish leaders who created a terror filled society and robbed Kashmiri youth of opportunity. It is finally time for it to go. Anyone objects, tell them loudly: One Country, One System.”
(On Bimal Roy’s 110thBirth Anniversary, Ratnottama Sengupta traces his enduring affair with books.)
“Bimal Da and I – particularly I, being a writer – always looked to literature for story, the raw material of cinema. People can and do write original scripts for the silver screen, but we did not prefer that because it tends to be hurried writing. We preferred to source our films from books because a writer has already worked on an idea, on the character, on the logic of their action, and its final resolution…”
–Nabendu Ghosh(1917-2007) in And They Made Classics…
He was already a recognised name in Bengali literature when Nabendu Ghosh met Bimal Roy, his film guru. Bimal Roy was a voracious reader. The reasons for this were many.
To begin with Bimal Roy, since school days, had been friends with Sudheesh Ghatak, brother of Manish Ghatak who is better known to Bengali readers as Jubanaswa, a radical writer of the Kallol era introducing modernism, who drew litterateurs like Tarashankar Bandopadhyay (1898-1971) to his house. The entire family had the gift of story-telling — and not only the eldest brother but also his daughter Mahasweta Devi (1926-2016) and his youngest brother Ritwik Ghatak (1925-1976). Even Sudheesh Ghatak has won accolades for this art.
Eventually, Bimal Roy’s penchant for photography took him to New Theatres (NT) which had, since its inception, transcreated the major novels and stories of writers like Rabindranath Tagore, Bankim Chandra and Sarat Chandra. In fact NT produced not only Tagore’s own Natir Puja (The Dancer’s Prayer, 1932) but also the comedy, Chirakumar Sabha (Bachelor’s Conference, 1932) and Arghya (Offerings, 1937), besides Kapal Kundala (Bankim Chandra, 1933), Dena Paona (Give and Take, 1931), Palli Samaj (Rural Society, 1932), Grihadaaha (House on Fire, 1936), Devdas (1936), Bardidi (Elder Sister, 1939), Kashinath (1943), Biraj Bou (Biraj the Wife, 1946), and Ramer Sumati (The Redemption of Ram, 1947) — all from Sarat Chandra stories.
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