Reviewed by Shikhandin
Author: Priya Sarukkai Chabria
Publisher – Zubaan Books
Pages: Hard cover 285
Price: INR Rs 595 / $25 / £19
In 1897, the French artist Paul Gaugin, who had relocated to Tahiti some years earlier, painted his masterpiece – a wall sized fresco-like oil painting, in which flowed the summation of his ideas through the medium of sensuous Tahitian figures against lush Tahitian backdrop and motifs. He titled it in French, the English translation of which reads: ‘Where Do We Come From? What Are We? Where Are We Going?’ These are existential questions, asked by humans down the centuries. Poets have asked through poetry, story tellers or minstrels have sung of those who cried out to the wheeling universe. Philosophers have pondered and mathematicians have tried to solve them through equations. Priya Sarukkai Chabria, in her richly textured novel, has written about one who seeks answers to similar questions. Her quester though, is a clone.
The subject of clones with heightened sensitivity has been treated in literature before, and also rendered into cinema. Kazuo Ishiguro’s Never Let Me Go, made into a movie of the same name later, is one of the most thought provoking and based on Earth. An earlier novel, Do Androids Dream of Electric Sheep by Philip K Dick in the late 1960s, renamed Blade Runner, was made into a movie by Ridley Scott in 1982. Other novels and movies too have dealt with clones, mostly in far off space colonies and space ships.
Sarukkai Chabria’s novel evokes luscious images, even as the narrative throws up unsettling theories of the future of humans. She comes across as a demanding writer, one who expects her readers to be informed and attentive. Her prose urges closer scrutiny, heavily embossed as it is with imageries culled from myths, legends and history. The reader has to know the sources, or at least be curious enough to find out, or else be left bereft of the contexts of her narrative. The extensive use of esotericism in her novel is both its strength and a weakness – the former as it adds layers and dimensions to the story; the latter, because the profusion of references and allusions, imageries and motifs, draws the reader in too deep into specific portions, slowing down the pace, and yet one must read on for the tale hasn’t ended, making the book exhausting at times. It is a relief therefore to know that the plot of Clone is fairly straightforward.
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Kitaab is seeking high quality short stories for The Best Asian Speculative Fiction anthology to be published next year. We take a liberal approach towards defining the speculative and will look beyond popular categories of science-fiction, fantasy and horror though these are very much welcome. Our anthology editor is looking forward to reading a variety of stories which could include dystopian, apocalyptic, post-apocalyptic, weird, utopian, alternate history, superhero and any permutations and combinations of these. But first and foremost your story should be engaging with attention to characterisation and plot.
Give us stellar tales that slip past the quotidian and the mundane, transporting your reader to the edges of the possible and realms further still. Whisk us away to Murakamiesque wonderlands or Huxleian cacotopias; indulge us with the outré, the outlandish, the uncanny. We are looking here for a whiff of the Asimovian imagination, a taste of Lovecraftian weird, a dash of Atwoodesque futures. Take us on journeys through chinks of space-time, fling us into situations of climate change horror. No fan fiction please. Give us mind-blowing originals.
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.
If you are interested to delve a little deeper into speculative fiction, here is an article by Annie Neugebauer.
by Felicia Low-Jimenez, Interviews Editor, Kitaab
The first time I read a story written by Zen Cho was in LONTAR #1: The Journal of Southeast Asian Speculative Fiction. The piece was titled Love in the Time of Utopia and was set in a possible future-Kuala Lumpur. I was immediately intrigued and wanted more. The second time I came across Cho’s name was when I read about a new collection of short stories, Spirits Abroad, which was going to be published by Fixi Novo, an award-winning Malaysian publisher well-known for putting out edgy, controversial titles by local authors. I was intensely curious to find out more because science fiction and fantasy writers hailing from Southeast Asia are relatively rare compared to those from the west—at least those writing and publishing in English. The third time I heard Cho’s name was when I learned that she had been picked up by major publishing houses (Ace Books in the U.S. and Pan Macmillan in the UK) for a new fantasy trilogy set in Victorian London. The more of her stories I read, the more I realized that Cho is an immensely imaginative writer who is able to infuse a vulnerable humanity into the mythological creatures that she writes about, and at the same time, as many great speculative fiction writers do, comment on the society in which she lives in—regardless of where she might be.
You primarily write speculative fiction. Is there a reason why you gravitate towards these particular genres?
I enjoy science fiction and fantasy on a few different levels–I like the element of strangeness; I get a kick out of dragons and spaceships; and I like playing with the tropes. They’re hooks you can hang a story on, and then you wander off and explore a bunch of other things at the same time. I don’t really like stories that are only about one thing, which is what contemporary non-genre fiction often feel like to me.
Violence against women has spurred a collaboration between female writers in Australia and India.
Eat the Sky, Drink the Ocean (Allen and Unwin) is a collection of speculative fiction stories and graphic stories.
It’s aim is to imagine another world and future for young women and has an explicitly feminist intent.