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The magic of allegory

By Shafey Kidwai

Isa Kamari’s “Tweet” is a modern-day fable that juxtaposes human condition with natural environment


Does the much-needed sense of contentment elude zillions of children who seek uninterrupted amusement through mobile and internet? Does prattling of birds soothe their inflamed nerves or does it symbolise ungainliness of their tweeter ? Do they now look for super birds when they find themselves surrounded by birds? Is it the time to ponder over ‘tweet’ instead of concentrating ‘twitter’ for conveying one’s feelings instantly? Should we look beyond twitter that has become the muse of many artists of our time? These unsettling questions, coupled with a deep sense of bewilderment and dislocation that breathless ubiquitous techno-culture produced, are creatively explored by an eminent Singaporean writer Isa Kamari in his recently published novel “Tweet”.

It is his first novel in English though he has published nine novels, two collection of poems, a collection of short stories and a number of theatre scripts in Malay. Read more

Source: The Hindu


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Book Review: Kappa Quartet by Daryl Qilin Yam

By Pallavi Narayan


The cover of Kappa Quartet is striking. It’s simple — a subway car opening onto a station platform, with Japanese signs hung up, a man in a hat reading a newspaper on the left, a woman in a dress with a closed book on her lap. The man and woman are faceless, and the person entering is incomplete —  a faceless individual with a pair of red glasses perched on (in?) air. Indeed, waiting is the trope the novel appears to be premised on. Water is the element kappas are most comfortable in and around, and it too plays a vital role in moving the narrative forward.

The novel plunges right into the action by taking as self-evident the presence of the mythological figure of the kappa, a river demon of Japanese folklore, in the everyday life of humans and cities. Kappas enjoy a solitary existence and distance themselves from even their families, yet they are integrated into fast-paced society: they drink at izakayas, consume nabe at restaurants, play instruments in orchestras, relax at cafes and hotels, marry other kappas and procreate, marry humans and don’t, get adopted as children, go to school, in short, do everything that humans do. How they are differentiated is through a hole in the head (while bathing, it is apparently a custom for them to have another individual present scoop up some water and pour it into the hole). In some kappas like Takao the hole is very small, say, “no larger than a five-hundred-yen coin”, while his nephew “Goro’s was probably three or four times bigger” (p. 145), because of which he is picked on by his classmates.

Kappas can also take away human souls. It is specialists or senmon-ka such as Ms Neo, Haruhito Daisuke and Ahab who are able to see who is without a soul, and which kappa is prone to turn dangerous. It is not elaborated as to how they gain their powers, and how they protect their souls from being sucked away by kappas. The senmon-ka appear throughout the novel, putting forth the question of what is fabricated and what the actual happenings are.

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