By Mitali Chakravarty

Shweta Taneja’s story named as pre-finalist in French Grand Prix de l’Imaginaire

The Best Asian Speculative Fiction (2018) is like a rebellious shout to change the world with its threat of futuristic dark stories. Many award-winning and well-known writers like Kiran Manral, Vrinda Baliga, Rochelle Potkar, Park- Chan Soon, Tunku Halim and Eldar Sattarov, have contributed to the anthology. The stories have covered different areas of the genre called speculative which the editor, Rajat Chaudhuri, an established voice in this field, calls, “our adorable, shape-shifting, slippery creature”. 

Zafar Anjum, the series editor of the Best Asian series and publisher, explained how the Speculative fiction anthology  came about and the editor was chosen: “It was an idea suggested by one of our authors, Anuradha Kumar, and when we got in touch with Rajat to work on an anthology of speculative fiction, he readily agreed. Rajat had done reviews for us before and we always admired his writing, so it was a natural choice.”

Chaudhuri picked Shweta Taneja’s story, ‘The Daughter That Bleeds’, for the Editor’s Choice Award. And now, it has been picked as a pre-finalist in the prestigious French Grand Prix de l’Imaginaire. This French award was first given in 1974 for science fiction and later stretched to the emerging genre of speculative. Winners include Ursula Le Guin (2008), Ken Liu (2016) and Carolyn Ives Gilman (2019). The French Ambassador to India, Emmanuel Lenain, has tweeted about this, tagging Kitaab and Chaudhuri.

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Grand Prix De L'Imaginare

Chaudhuri has remarked that Taneja’s story fits into Margaret Atwood’s formulation of this genre. In his introduction he tells us, “Atwood’s test for the speculative is on the touchstone of possibility … Marking a clear break from some of the improbabilities of science fiction, her formulation stresses on this aspect of possibility as the sine qua non of the speculative.” Shweta’s story is “about a market for fertile women who have become rare in a post-apocalyptic India”. 

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Title: The Best Asian Short Stories, 2019

Editors: Hisham Bustani (Series Editor: Zafar Anjum)

Publisher: Kitaab

Year of publication: 2019

Pages: 377

Price: $25

Links: Kitaab Bookstore

About: War, loss, love, compassion, nightmares, dreams, hopes and catastrophes; this is literary Asia at its best. From a wide range of geographies spanning from Palestine to Japan, from Kazakhstan to the Malaysia, mobilizing a wide array of innovative narrative styles and writing techniques, the short stories of this anthology, carefully curated by one of Asia’s prominent and daring writers, will take you on a power trip of deep exploration of local (yet global) pains and hopes, a celebration (and contemplation) of humanity and its impact, as explored by 24 writers and 6 translators, many of whom identify with many homes, giving Asia what it truly represents across (and beyond) its vast territory, expansive history, and many traditions and languages. This book is an open celebration of multi-faceted creativity and plurality.

Contributors:JOEL DONATO JACOB (Philippines); LANA ABDEL RAHMAN (Lebanon): RAZIA SULTANA KHAN (Bangladesh); DEENA DAJANI (Palestine); ALAN IRID FENDI (Syria); SAMIDHA KALIA (India); SCOTT PLATT-SALCEDO (Philippines); ANITHA DEVI PILLAI (Singapore); ANGELO WONG (Hong Kong); ODAI AL ZOUBI (Syria); SIMON ROWE (New Zealand / Japan); SEEMA PUNWANI (Singapore); VRINDA BALIGA (India); NAMRATA PODDAR (India / USA); T.A. MORTON (Ireland / Hong Kong); HAMID ISMAILOV (Uzbekistan); SUCHI GOVINDARAJAN (India); YD CHANG (China / Malaysia); JOLIN KWOK (Malaysia); IMRAN KHAN (Bangladesh); YAN TI (Taiwan); ZIRA NAURZBAYEVA (Kazakhstan); KAISA AQUINO (Philippines); JOSE VARGHESE (India)

 

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Title: Scream to the Shadows

Author: Tunku Halim

Publisher: Penguin SEA

Year of publication: 2019

Pages: 360

Price: SGD 14.50

Links if any: Penguin Random House

About: Unconfined to a single theme, this new collection of twenty short stories by Tunku Halim offers five distinct worlds—the paranormal mysteries from ‘The occult world’, with its dark settings reveal supernatural existences in the characteristic Halim style.

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Mirah—

Here there is so much paranoia. They are angry and afraid that the colonial powers will keep coming and they will never stop. They say that the peninsula is just a puppet nation, run by the British imperialists and greedy conglomerates…In Sumatera, at least, I am far away from Jakarta. There the soldiers and the Islamists and the Communists are going to kill each other one day. But for now I am in Medan, where I can stay with people I trust.

Our ancestors came from here, they say. This is where all our stories began. The name ‘Melayu’ itself: In old dictionaries it meant ‘to flee’. In that sense we’ve always been wanderers, sojourners in the archipelago. But how much of that do we remember today? Does any of it still matter to us, in an age of atomic weapons and satellites?

How much I miss Malaya. I never saw much of it after I was taken to prison. Five years of prison, kept in filthy cells, where they beat us if we tried to talk to each other. Funny how many whispered stories still passed through the walls of Pudu, keeping us angry and alive. And then they told me that I had a choice of more years in prison, or I could go to Indonesia to join the rest of my people. How I laughed when they said that, how they forget that this region is a mixture of faces: There is the Malay, the Bugis, the Javanese, the Sulawesians, even the Chinese. In Medan I am close enough to home that on some days, when I drive to the coast, I imagine I can see the peninsula on the other side of the Strait. But I cannot cross it.