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Book Review: The Circle of Life and Other Stories by Haimanti Dutta Ray

Reviewed by Nilesh Mondal

The Circle of Life and Other Tales

Title: The Circle of Life and Other Tales
Author: Haimanti Dutta Ray
Publisher: Locksley Hall Publishing (LLP), 2018
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Considering it is her debut book, the author writes The Circle of Life and Other Stories with a wild abandon and an almost childlike glee, which becomes both the boon and a bane for this collection. What you first notice in these stories are their characters; most of the characters are well fleshed-out, relatable and carry the general essence of being a Bengali in their subtle habits and mannerisms. The author uses her understanding of the Bengali culture to its fullest while drawing out her characters, giving them voices which are at times unique, at times a reverberation of how the community functions.

‘The Final Curtain’ talks about the famed theatre circuit of Kolkata and one man’s journey through life and later, death on the stage. Another story, ‘Mimesis’, features a man and woman who love each other but never really learn how to understand and navigate through the subtleties of their relationship, leading to a tragic, if not unpredictable, conclusion. The characters in both stories, although entirely different from each other in behaviour, hold the same pattern of being souls who live in the present but have their roots stuck somewhere firmly in the past, quite like the city in which these stories are set. Not only are the characters relatable but also the struggles they go through. Whether it’s the marital problems that the characters in ‘Mimesis’ try to deal with or the themes of mortality and loss in ‘The Final Curtain’, the grief and guilt that the characters struggle with remind readers of their own lives. In doing so, the stories become less of fiction and more of a slice from our everyday existence, fragile to a fault and fraught with problems, but with hope and empathy as their saving grace at the end of each day. Her description of the pousmela, the Bengali fair celebrating spring, or the artworks of Rabindranath and Abanindranath Tagore, evoke a sense of deep nostalgia in every Bengali reader, at the same time bringing to the non-Bengali reader a taste of the culture.

However, the characters are only part of the larger stories, which unfortunately suffer repeatedly from other factors. These are largely bad pacing and the conclusions that neither befit the beginnings nor do justice to the erratic assembly of characters. ‘Wait Until Dark’, for example, starts off as a whodunit but eventually devolves to something that can hardly be taken seriously by the end. The endings of most stories are disappointing, building the narrative to a point where it can’t carry through its own momentum. The characters have similar voices, a problem that becomes all the more evident because the stories showcase a wide variety of people from various facets of life, and who are therefore, expected to speak differently.

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Writing Matters: In conversation with Jayanthi Sankar

By Mitali Chakravarty

Jayanthi Shankar

A small, vibrant woman full of energy comes to my mind when I think of Jayanthi Sankar. Born and brought up in India, she has been writing for the past twenty three years. She has been published in several magazines and ezines including the Indian Ruminations, Museindia, The Wagon and InOpinion. Loss and Laws and Horizon Afar are two collections of her Tamil short stories that have been translated into English. ​Her works of short fiction have been included in various anthologies including The Other. She has been invited to participate in the panels of literary festivals such as Singapore Writers Festival, Seemanchal International Literary festival, Asean-India Pravasi Bharatiya Divas Writers Festival.

Jayanthi was effusive and generous with her responses to the questions we put before her.

 

Mitali: Tell us a little about when, why and how you started to write.

Jayanthi: Looking back, I feel it is all like a dream – nothing was planned. It just happened. I was not a serious reader till my mid-twenties. In the1990s, when we migrated to Singapore, what attracted me the most were the libraries with their generous shelves of books – I’d found my world, and undoubtedly, I owe it to the National Library Board that paved the way for me to evolve as a reader and subsequently a writer.

I read passionately for four to five years, only for the joy of it, both in English and Tamil. A natural critic was born in me. I was not even aware of it for long. At one point of time that voice started getting too fuzzy about style and narration of some of the fiction that I often chose randomly and soon I asked myself, ‘Isn’t it always easier said than done?’

That’s how in 1995 I tried to craft a short story in Tamil – ‘Turning point’ – which I never thought would lead me to discover the creative ability in me. A very simple, amateurish narration based on an early morning dream of an incident that I’d had, ended up being published that weekend in the only local Tamil daily and the editor called to appreciate and encourage me to continue.

I recollect now, I had to try a few more stories in the next several months before I could actually believe that I really could pursue writing. I have always loved fiction, both to read and to write. For the next couple of years I experimented aimlessly in both the languages.

Suddenly, one fine day I thought, should I focus in one language first, English or Tamil?

I had known of a few senior writers like Ashokamitran, Indra Parthasarathy who wrote first in English and took up Tamil soon to last longer. But nonetheless, I decided to focus first on Tamil.

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Book Review: Ladders Against the Sky by Murli Melwani

Reviewed by Kusum Chopra

Ladders Against the Sky

Title: Ladders Against the Sky
Author: Murli Melwani
Publisher: Kaziranga Books (2017)
Pages: 453
Price: INR 500

Ladders Against the Sky is a collection of 16 stories, written between 2011 and 2017, which were first published in literary journals and anthologies. One of the stories, “Water on a Hot Plate,” was included in The Best Asian Short Stories 2017, published by Kitaab. Two stories were nominated for the Pushcart Prize in 2012 and 2013.

Murli Melwani is a short story writer, a literary activist who runs two websites, and a critic, whose book, Themes in the Indian Short Story in English: A Historical and a Critical Study, tracks the growth of this genre from 1835 to 1980.

The short stories in the collection can be divided into two broad categories. About half the stories, set in India, reflect social concern, the conflict between tradition and modernity, science and superstition and the pressures on national unity. The other half, set in foreign countries, focuses on a unique Indian community, the Sindhis, whose culture – a blend of Hinduism, Islam and Sikhism, and their language, written in the Arabic script with linguistic elements of Sanskrit and Persian – are in danger of gradually fading away.

The writer’s approach is determined by the subject of each story. Thus, “Water on a Hot Plate”, with Toronto as the background, a story of cultural displacement and change, captures the interaction of an Indian tourist and a restaurateur, a Chinese lady born in India. They are two enterprising expatriates who carry diminishing bits of home, as well as of the countries they have lived in, to their newest place of sojourn.

Similarly, in “A Bar Girl,” the lifestyles that Amar Badlani and Rak have chosen prevent them from stopping and evaluating their lives or asking where they are headed. Amar Badlani’s visit with Rak to her village brings home to him the fact that his estrangement from his family has its roots in his working life. His damage control efforts lead him to finance the nursing education of Rak on the one hand, and to make overtures to his kids and grandkids on the other.

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Remembering Safia Manto, the woman who stood by the writer in good times – and the many bad ones

So little is known and even less written about the women who have unflinchingly supported their celebrated men. It is true that Safia Deen would not have been known had she not married Saadat Hasan Manto and become Safia Manto. But on her centenary today, May 11, let it be known that Manto may not have been a hero had it not been for Safia, who stood by him, through the best and worst of times. The best were few and the worst, many.

Both Manto and Safia were born on May 11 (the husband in 1912, the wife in 1916), wore black-rimmed glasses, had Kashmiri origins and had first names that started with an S. But the similarities probably ended there. He was a man of fine taste – be it silver capped Sheaffer pens or gold embroidered juttis. He wanted nothing but the best, whereas Safiawas simple to a fault, needing less and less through their hardships. He was a provocateur and left no opportunity to be noticed, while she was self-evasive and shy.

What began as an arranged marriage in 1936, about which Manto writes a whole essay, titled, Meri Shaadi (My Wedding), soon turned into great fondness and camaraderie. Their best days were spent in Bombay, a city they returned to, after Manto worked in Delhi at the All India Radio. It is there that they lost their first child, Arif. It devastated them, but also brought them closer. They then went on to have three daughters.

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Kitaab call for submission: The Best Asian Crime Fiction DEADLINE EXTENDED

Kitaab – Call for Submissions

Kitaab is seeking high quality short stories for The Best Asian Crime Fiction anthology to be published in 2018.

Stories submitted should have a minimum length of 2,500 words and a maximum length of 12,000 words. Submissions that are shorter than 2,500 words or significantly longer than 12,000 will not be read or considered for inclusion in this anthology.

What we’re looking for:

We want to see strong, well-written stories that deal with some aspect of crime. It is essential that your characters be engaging and – most important – believable. Also, the plots should be credible. An appealing style is preferable, but as with all crime fiction, plot and character should be paramount.

We will be generous in our consideration of what constitutes crime. However, we don’t want to see stories about someone who simply embezzles funds from his / her office or club, gets caught and dismissed, or someone who is a bus fare cheater. The crimes should engage the interest and emotions of our readers.
We strongly encourage originality and look for novel approaches to the idea of crime fiction.

The best three stories (decided by the editor) will get cash prizes or Amazon vouchers (worth $50 each)! All selected contributors will each receive 2 complimentary copies of the final publication. 

The Best Asian Crime Fiction anthology will be edited by Richard Lord on behalf of Kitaab, Singapore.

Richard Lord has written or co-written over 20 books put out by legitimate publishers. In recent years, he has concentrated on writing and editing crime fiction. He was the editor of two popular crime fiction anthologies: Crime Scene Singapore and Crime Scene Asia. In addition to short stories included in these and three other anthologies, Lord wrote the acclaimed novel The Strangler’s Waltz, about a serial killer in 1913 Vienna.
One of his crime short stories was adapted as a TV mini-series by Singapore’s Mediacorp network, with Lord serving as script consultant and script doctor on the teleplay for this series.

Rules and regulations:

  • Submissions should be e-mailed to krimi.asia@gmail.com and to kitaab.sg@gmail.com. Submissions must be made to both ids to qualify.
  • Asians of all nationalities living anywhere in the world can send their stories. However, non-Asian authors who have resided in and written extensively about an Asian country will also be considered.
  • Submissions must be MSWORD (.doc/.docx) attachments typed double spaced in legible fonts, preferably Times New Roman 12. The submission should also be pasted within the body of the covering mail.
  • Please include an author’s bio note of 100 words.
  • The subject line of the email should read as: Submission/TBACF/author’s name.
  • Up to two submissions will be considered from each writer.
  • Translations are welcome, provided prior permissions are taken by translators from the authors. If your submission is a translation, you must note this in a message accompanying the submission.
  • Previously published work in print or online (including blogs, magazines or other online fora) will not be accepted. However, if a previously published short work has been extended into a longer piece, we will accept that longer story for consideration.
  • Simultaneous submissions will be considered. Please notify us immediately if the story is accepted elsewhere.

Last date for submissions: 15 May 2018


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Essay: Words — A Love Story by Varsha Tiwary

Very early on, my eight-year-old self understood that spoken words were not the same as those written. Spoken words hurt, made noise, sounded ugly, were sometimes false. Written words, when spoken aloud, sounded beautiful; even when improbable, like the antics of the ‘vanar sena’ from Ramcharitmanas recited aloud by my nani, they rang true. What makes words on paper different? Perhaps their ability to be of life, from life, while simultaneously being away from it. Maybe the reflection and thought that goes into it. I can articulate this at forty-seven. But I always knew it.

As I saw it, words, stories, poetry, writing, made up one big stew pot. You chose beautiful, sparkling words. You stirred the pot. You strung them together. They made beauty, made sense, made happiness. All the things that I thought my life lacked: grace and culture, glamour, laughter, excitement, fun, could be picked and savoured from assorted jars of words: books. Reading and writing were ideal pastimes for a lonely small-town girl like me. It let me be at once docile and dutiful; rebellious and willful. My mother and father would peep in to see me furiously scribbling or poring over a book, and feel comforted that I was a good, studious child, even if I was penning mean tirades about them or hiding yet another Agatha Christie inside my physics textbook.

Writing words cleansed me. After I wrote about what people did or said in my diary, it ceased to matter. I could smile serenely and move on.

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Lebanese Novelist Emily Nasrallah, 86

The quiet, firm Lebanese feminist author and activist Emily Nasrallah (1931-2018) — celebrated for her debut novel Birds of September — has died.

Born in the summer of 1931, Emily Nasrallah grew up in Al Kfeir, a village in southern Lebanon, before moving to Beirut to study and work as a journalist and teacher. Her debut novel, Birds of Septembercame out in 1962 and was later listed as one of the Arab Writers Union’s 105 best books of the twentieth century. It has been translated into German as Septembervogel by Veronika Theis, but not into English.

Journalist, translator, and author Olivia Snaije, in her brief tribute Wednesday, wrote that Nasrallah was “one of the first to write short stories, to write both about her village in the south and Beirut, during the civil war” and was “a real feminist, gracious, quiet, firm.”

Nasrallah’s other widely known work is Yawmiyyat Hirr (1997), a book for children that was translated into English as What Happened to Zeeko (2001), as well as into Thai, Dutch, and German. It describes everyday life during Civil War-era Beirut from the perspective of a tomcat.

Two other books by Nasrallah have translated to English. The first by Issa Boullata, as  Flight Against Time, and the second a collection of short stories, House Not Her Own, translated by Thuraya Khalil-Khouri.

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How do you define ‘Home’?

Our roundtable with authors from “Go Home!,” an Asian diasporic anthology of fiction, essays, and poetry grappling with the true meaning of “home.”

“Is home a real place? Is it a memory?” asks Rowan Hisayo Buchanan, editor of the new anthology “Go Home!” (out from Feminist Press, in collaboration with the Asian American Writers’ Workshop). “Who gets to decide when you’re at home? What does it mean when you lose a home? How do you respond when someone tells you to go home? What if you don’t know where that is?”

In “Go Home!” — a collection that feels particularly timely in the midst of attacks on immigrant families and communities — Asian diasporic writers are both thoughtful and generous in their reflections about who they are, where they have been, and where they belong. Their stories will provide illumination and hope to readers grappling with their own questions about family, identity, and belonging. Shondaland reached out to Rowan Hisayo Buchanan (editor of “Go Home!” and author of the novel “Harmless Like You”), Viet Thanh Nguyen (author of the Pulitzer Prize-winning novel “The Sympathizer,” who wrote the foreword to “Go Home!”), and contributors Alexander Chee (author of the national bestseller “The Queen of the Night” and “How to Write an Autobiographical Novel”), Karissa Chen (editor-in-chief of Hyphen and author of the chapbook “Of Birds and Lovers”), T Kira Madden (editor-in-chief of No Tokens and author of the forthcoming “Long Live the Tribe of the Fatherless Girls”), and Esmé Weijun Wang (author of “The Border of Paradise” and the forthcoming “The Collected Schizophrenias”) to discuss this powerful and timely new anthology.

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Ryunosuke Akutagawa: Writing in the shadows of Japan’s literary giants

We are not sure of the exact date, but we know it happened on a Thursday in the fall of 1915.

That morning, Ryunosuke Akutagawa was extremely excited, but also nervous and perhaps even a bit queasy. Then 23 years old and still a university student, he had yet to make his mark as an author. All he had to his credit were a few translations of short works by Anatole France and W.B. Yeats and a small number of original stories of his own, none of which had attracted attention. In short, he did not have much of a resume.

By comparison, the people he met later that day were confident intellectuals with established reputations — most were at least a decade older than him. They knew each other well and, for a while already, had been gathering weekly at the house of one of their peers to discuss literature and the arts, philosophy and politics. Joining them would have been an intimidating prospect even for a confident man, something Akutagawa definitely was not. But this was also a unique opportunity to meet the individual hosting this salon, the most celebrated author of his generation and a man Akutagawa deeply admired. His name was Natsume Soseki.

It turned out to be a mesmerizing experience. Akutagawa later wrote that he had been so impressed by “the master” — he always referred to Soseki in this manner — that he had been almost unable to relax. The encounter also marked the beginning of a relationship, unfortunately cut short when Soseki died the following year, which was extremely meaningful for Akutagawa. With the help of his new mentor he was able to republish “The Nose” (1916), which Soseki greatly admired, in a well-known magazine. This brought him fame almost overnight.

Though their friendship spanned only a few months, the lives of Soseki and Akutagawa cover a critical period in the history of Japanese fiction. In the twilight years of the Edo Period (1603-1868) the genre was in a sorry state, a mere shadow of its former grandeur. …

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2017 in Books

As 2018 waits tantalizingly at the threshold, we look back on a year in which dissent and speaking up became necessary to survive, when books alone stepped up to the challenge, helped keep our sanity or question it. As we look ahead, there is a kind of willfulness in taking stock, a ritual with solemnity inherent to the idea. In a year when so much has been written, published and read, it is difficult to gather only a few names. Here is a list of 10 books (fiction) that we have read and loved and a quiet acknowledgment of those that space omits.

The Chocolate Saints – Jeet Thayil
Jeet Thayil’s book is rich in characters and stories. Homage to the world of art and literature, it is a startling book of incandescent prose, a masterpiece in the Roberto Bolaño mould. Narrated in a variety of voices and styles, The Chocolate Saints promises to become part of literature’s most memorable.

The Ministry of Utmost Happiness – Arundhati Roy
Roy’s second novel in two decades was a much anticipated book – the anticipation started, perhaps, from the day she won the Booker in 1997. It brings together many of the ideas that inform her non-fiction, speaking up with passion and compassion for ‘minorities’ across the socio-political-economic spectrum, making it a book of the times, for the times.

Leila – Prayag Akbar
Described as ‘dystopic’ by some reviewers, Leila is about a mother’s search for her daughter. Whether dystopic or not – the author certainly rejects categorizing – the novel uses the fantastical to probe urgent issues related to the urban spaces and the society we create and which we inhabit.

The Small Town Sea – Anees Salim
Small towns come to life in Anees Salim’s books; sorrow is a lasting trace and satire a way to deal with the sorrow. The Small Town Sea is about a son’s bereavement, the challenge he faces in being uprooted from the big city to a nondescript town and the unsettling aftermath of his father’s death.

Mrs C Remembers – Himanjali Sankar
The family is often a place of dys-function, of intense politics couched in familial love. Himanjali Sankar’s book relates the family with subtle story-telling, incisive observation and compassion. The first-person narration of Mrs C and her daughter Sohini heightens the sense of unease regarding credibility and layers the narrative of this Bengali family within which the mother’s mind slowly disintegrates and the daughter’s comes into its own.

Kitaab’s The Best Asian Short Stories (ed., Monideepa Sahu; series editor, Zafar Anjum)
Kitaab’s The Best Asian Short Stories explores the idea of what it is to be an Asian. The anthology combines fresh voices, emerging writers and established names from Asia – Jordan and Syria to Pakistan, India, Bangladesh, Singapore, Malaysia, The Philippines, Thailand, Japan and Korea. The stories transcend social and political divisions within which they arise, drawing readers into the lives and places they explore while simultaneously raising uneasy questions and probing ambiguities. Crafted with love, they continue to resonate after the last page.

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