writing |

August 8, 2018
by Sucharita Dutta-Asane Leave a comment

How writing a short story collection is like starting a zoo

(From Lit Hub. Link to the complete article given below)

People are always saying, “I have an idea for a story.” But if a story starts in an idea it might as well give up and be a novel. I think ransacking your mind for story ideas builds up an immunity to the mysterious form itself. At some point you have to bow to the story’s elusiveness and refusal of paraphrase, that is, of expression as an idea. As Lucia Berlin said, “Thank God I don’t write with my brain.”

You saw something—even a word in somebody else’s story misread at first. You heard something. For a moment an awareness was yours, and you want it again, you want the words for it. It’s a kind of apparition.

Walter Benjamin says, “It is half the art of storytelling to keep a story from explanation as one reproduces it.” Reproduces! Perfect word. Somewhere, the story already exists. You glimpsed it, you have to find it.

And then—it’s in the door like a stray cat. Then, for me, comes an occasional deceiving fondness, followed by the wish, in the middle of cooking or talking to somebody, to go get the story and grab it by the neck and be rid of it. This is after weeks, months. It’s my cat by then.

The very short ones are what I’m most interested in now—or most pressed to do. My stories have always been long, and now I want compression. The short shorts in my new book Terrarium (Counterpoint, August 2018) aren’t what I’d call flash fiction, maybe because the word “flash” is too—bright. Also, in our moment, it seems to be at the fingertips of anyone who write stories or wants to. I think readers believe it’s easy. Instead, like any short story, it requires concentration from the reader. And it’s not an invention of our period. I consider what’s now called flash fiction to be one manifestation of an art that goes back as far as we can see. Always, stories have been short and they’ve been long, depending on what overtook the storyteller and/or what the audience cried out for.

Priceless history, intangible richness: The Millions interviews Lillian Li

(From The Millions. Link to the complete interview given below)

Lillian Li uses her past as a server for inspiration in her debut novel, Number One Chinese Restaurant. “I got a taste of the physical and emotional toll that kind of work takes; a taste of the isolation of working six days a week, 12 hours a day serving other people; an understanding of the necessary camaraderie that forms between waiters and other staff to counter that isolation,” she said.

Her debut follows the Hans family and various staff members at the Beijing Duck House, a well-known Peking duck restaurant in Rockville, Md. Food is, of course, a big part of Number One Chinese Restaurant. While praising Ann Hood’s food writing (and “especially her essay on tomato pie”), Li also cites Anthony Bourdain’s Kitchen Confidential and Eddie Huang’s Fresh off the Boat as books about food that have impacted her life.

The Millions: I’d like to begin by asking you about your writing process in regards to creating a family saga. You balance characters as they age; you weave plots; you create entire histories that extend far into the past and point toward various futures. It all sounds incredibly difficult to me. Some writers like to draw their characters to create some kind of tangible connection. Others use charts and different kinds of sorting tools. There are probably even a few out there who wing it. I’m curious to know what your outlining process was like for Number One Chinese Restaurant.

Lillian Li: When I look back at how I wrote this book, I’m just amazed. I had no idea what I was doing, and I had no idea that I had no idea. For the first four months, there was no outline. There was no plot! There were only characters, their relationships to one another, and the restaurant. But I also knew that the relationships, more than even the restaurant, were where my interest in writing the book began (though maybe it’s better to say that I was interested in the kinds of relationships that could only exist in a restaurant like the Beijing Duck House). I think that’s why even though I threw out so many pages in the revision process, I didn’t end up cutting a single character.

To read more, go to this link

May 28, 2018
by Sucharita Dutta-Asane Leave a comment

The truth about literary translations

(From The Hindu)

After the Battle of Marathon in 490 BC, when the king of Persia sent his interpreter with a message to the Greeks asking for earth and water as a sign of their submission, Themistocles had the visitor put to death for presuming to announce the barbarian message in Greek. A thousand years later in 1536, William Tyndale was strangled and burned because his English translation of The Bible displeased Henry VIII. Ten years later, Étienne Dolet, an advocate of the Bible-for-all, was burned at the stake because his French translations carried a few words that were not in the Church-endorsed Latin version.

Compared to these terminal terrors, literary translation today is not difficult at all. Because, really, you can do what you like and more often than not get away with it. It isn’t, for instance, like scientific or technical or medical translations where a mistake might cause serious damage to an experiment or a building or a life.

Linguistic choices

While there is little or no money in literary translation, there could be some glory if you listen to your publisher. The more people there are in the chain of desks leading to the printer, the safer you are because every cliché-slayer will work on your writing before passing you on to the next and the next.

Read more at this link

May 23, 2018
by Sucharita Dutta-Asane Leave a comment

Who will buy your book?

1.
“Nobody else is here,” the elderly woman said into her phone. “It’s embarrassing!”

She was the first one to arrive at my reading at the Philadelphia Library, a week after the release of my third novel, and two weeks after the pinnacle of my writing life, when that novel was praised in both The New Yorker and The Washington Post, two articles that I had assumed would create something like buzz around me or my writing. It was 6:58, and the reading started at 7:00.

Earlier that day, I had gotten messages from nine different friends, all saying they’d planned on attending but something had come up and they couldn’t make it. Each of their explanations was understandable—sick children, stuck at work, car troubles—but also it seemed cruel that every one of them would have an emergency on the same night. My wife was there, in the second row and I sent her a text from the front of the room: can we just leave? Will anyone notice?

I did not leave. I had promised to do an event, and the library had made space for me, and even if only one person was in the audience, I had a responsibility to deliver. But in those next two minutes—as I kept hoping for, say, a bus full of book critics to break down outside—I was thinking grim thoughts about the creative life.

2.
I have been very fortunate as a writer: since 2010, I have had three books picked up by three different publishers. I have gotten coverage in major publications and been invited to do events in many bookstores along the east coast. I made enough money on my first book contract to buy a pretty nice couch.

Before I ever published anything, I’d assumed that if I ever finished a book, there would be so much demand from family and friends alone that we’d have to go into a second printing before the release date. But I am here to tell you: most people in your family will never buy your book. Most of your friends won’t either.

How I learned to claim space as a multilingual author

One of the very first questions I wrestled with as a writer was this: Why write in English, the colonizer’s language, when I have others at my disposal? I grew up acquainted with three languages; my grandparents immigrated from southern China to Malaya, which was a British imperial territory. So if I didn’t write in Malay, didn’t that make me unpatriotic? And if I didn’t write in Chinese, didn’t that make me a “race traitor?” Why English?

English is intricately woven into my family history. When my grandparents first came to occupied Malaya, they worked for the British. For some time they lived apart, my grandfather cooking meals for colonial officers while my grandmother worked as a nanny for British children in a different part of the country. I never heard either of them speak English, but in my imagination, the few English phrases they did know formed the language of intimate care: Please enjoy the food. Are you warm enough? Have another helping. Did you sleep well? Don’t cry. I’m here.

I suppose they learned as much English as allowed them to forge new lives. It was both a choice and not, just as it was and was not for me as I haltingly attempted to piece together a self through literature. I did not see myself in my Malay textbooks about boys who formed interracial friendships. Neither could I find myself in the Tang poems my parents encouraged me to memorize, which featured ancient men in long-sleeved robes drinking alcohol and being sorrowful (only later in life would I come to relate to that). It was in English books that I saw a sense of adventure and escape that I identified with, as embodied by British children daringly solving mysteries or circumventing adult cruelty.

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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April 24, 2018
by Sucharita Dutta-Asane Leave a comment

The moon is beautiful tonight: On East Asian narratives

1.
Once a conversation with an Australian friend surprised me; she told me that Haruki Murakami, the world-famous Japanese novelist, struck her as “very Japanese.” “But why?” I puzzled, thinking of the Western pop culture references sprinkled throughout his works and his Englishized prose style.

“Many of his stories don’t have a real conflict,” she said. “Like in 1Q84, you feel all those surreal elements are built up for something, but in the end, nothing really happens. Even the romance between Tengo and Aomame ends up half-baked.”

That day, we were talking about story structure. I told her that very often my workshop friends comment that my stories don’t contain conflict. Their critique reminds me of the East Asian story-telling convention—at the risk of generalization, we tend to generate a plot without using conflict. As opposed to the West’s five-act or three-act, the term Kishōtenketsu is often used to describe the development of a classic East Asian narrative. It includes four different acts: introduction (ki), development (shō), twist (ten), and conclusion (ketsu). Introduction and development are comparable, though only slightly, to exposition and rising action, and conclusion to denouement. There’s not a climax that determines the character’s fate one way or the other in this setup. In fact, the present story in many East Asian narrative remains largely unaffected by the turbulent emotions roiling inside the characters.

Then, you may wonder, what’s the point of storytelling? Isn’t that boring?

It’s still intriguing. Take the great Japanese writer, Junichiro Tanizaki’s The Key. Written in diary form, the novel grapples with the sexual fantasies an elderly man harbors towards his wife, 11 years his junior, and his wife’s towards their daughter’s boyfriend. Both the husband and the wife lock their diaries in drawers, leaving the keys out purposefully—they hope the other will peek. The story is saturated with the couples’ intense suspicions of one another. Reading the book for a third time, I still found myself hooked till the very last page. However, Tanizaki’s work doesn’t involve a conflict in the Western sense.

How do we judge translations?

Look to the whole, the translator asked.

The line comes from Helen Lowe-Porter’s correspondence, and can be read as an early plea (from a letter to her publisher Alfred A. Knopf, dated 11 November 1943) against the kind of translation review which proceeds by finding and scrutinizing the apparent lapse, the moments of inattention, the local mistake or infelicity—which might always be of the order of a conscious decision on the translator’s part—and making these stand in for the quality of the full translation.

Michelle Woods discusses this very common form of translation-evaluation in the section titled “Gotcha!” of her account of Kafka’s English-language translators and translations. The expression comes from the translator Mark Harman, whose 1998 translation of Kafka’s The Castle was widely reviewed and discussed. In this kind of review, as Woods writes, “reviewers often hone in on perceived ‘mistakes’ in order to justify their own taste preferences and to present their own legitimacy as experts in judging a translation. Rarely glimpsed is a consideration of the translator, or where translation fits into their career and their background. . . and what the nature of their contribution should be.”

Looking to the whole is a call to consider the way the thing is working and reading altogether, the way its many parts work in relation to one another, and the larger ways in which the translation relates to the circumstances and motivations for making it (a call that, as Woods points out, Lawrence Venuti makes repeatedly throughout his work).

Poetry: Letters and Things by Shivani Gupta

Letters and Things by Shivani Gupta

Shivani Gupta

Shivani Gupta works as a Design Researcher at Studio 5B, Mumbai. She is a trained performance artist, with a background in dance, theatre and spoken-word poetry. She is passionate about working with people and dedicated to understanding and predicting what motivates human behaviour.

February 16, 2018
by Sucharita Dutta-Asane Leave a comment

Writing to Reconcile: A personal journey

Last fall, in Toronto, I went to see a play that was written by one of the writers in this anthology, Sindhuri Nandakumar. The play was called A Crease in my Sari and told the story of a young Sri Lankan Tamil woman, born and raised in Canada who found herself in a relationship with a Sinhalese man, whom she had met in the coffee shop. The young woman, Maheshwari, had been purposely raised by her mother in a western suburb of Toronto, away from other Tamils who generally live in the eastern suburbs. So, apart from one Tamil friend, she had no real contact with her community and heritage. Now, however, finding herself falling in love with this Sinhalese man, Chanaka, she also found herself confronted with the realities of the ethnic conflict in Sri Lanka. Chanaka, with all the naïve optimism that majority communities can afford to have, believed that love conquers all and that their ethnic difference was no barrier. This was partly his charm for her.

But the history of the country both young people had left was insistent, and it would not allow either of them to ignore it. It was the winter of 2009 and the war in Sri Lanka was in its last phase. Soon, Sri Lankan Tamils in Toronto were protesting against the Sri Lankan government, most famously carrying out a sit-down in the middle of a Toronto expressway. Maheshwari discovered that Chanaka’s father was in the army, and that Chanaka believed this was a just war, a humanitarian effort with zero casualties. As the play progressed, Maheshwari grew increasingly politicised and, in the end, their relationship was unable to bear the weight of history.

After the show as I walked to the train, I was lost in thought remembering my own thoughts and feelings during those months in 2009; remembering how I didn’t want to join the Tamil protesters because they were protesting under the Tiger flag, but how I also couldn’t join the counter-protest by the Sinhalese in Toronto, as they had taken up the zero casualties-humanitarian approach, which I found ridiculous.

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