(From Greater Kashmir. Link to the complete article given below) In the literary field, especially Urdu language, the […]
Today, when latitudes shift, cultures collide, and we are all travellers in one form or another, in ways perhaps unprecedented, these stories must be told.
— Dr Debotri Dhar, editor TBASS 2018
Putting together an anthology of short stories is not easy. Reading across a continent and picking from among the best of its writers and their stories is a daunting endeavour. TBASS 2018 is the fruit of this undertaking — 24 writers, 13 countries — led by Dr Debotri Dhar, Editor, TBASS 2018 and Zafar Anjum, Series editor.
‘The winners of TBASS 2018 are Rakhshanda Jalil (India), Aditi Mehrotra (India), and Martin Bradley (Malaysia; originally UK),’ said Dr. Debotri Dhar. ‘I also loved the translation of Japanese writer Mogami Ippei by Avery Udagawa (Thailand; originally USA), and there were many other excellent entries, from more than 13 countries.
‘While Rakhshanda Jalil is a seasoned writer known to many in South Asia, Aditi Mehrotra is an aspiring Indian writer whose story delightfully juxtaposed textual passages and news clippings on women’s empowerment with everyday life vignettes of domesticity from small-town India. Martin Bradley’s story highlighted the intersecting themes of travel, historical memory, and communication across differences. Today, when latitudes shift, cultures collide, and we are all travellers in one form or another, in ways perhaps unprecedented, these stories must be told.’
‘The response to TBASS 2017 has been tremendous. That really encouraged us to continue the series and redouble our efforts,’ said Zafar Anjum, Series Editor of TBASS and founder of Kitaab. ‘TBASS tries to represent the best of Asian voices, and we are specially keen to provide a literary platform to emerging, new voices from the region. The sheer writing talent that we have gathered in this volume is a testament to Asia’s creative fecundity.’
- Rakhshanda Jalil (India) Story title: ‘Diamonds are Forever’
- Aditi Mehrotra (India) Story title: ‘Don’t Ask! Poocho mat!’ email@example.com
- Martin Bradley (Malaysia; originally UK) Story title: ‘Bougainvillea’ firstname.lastname@example.org
- Also, Avery Udagawa (Thailand; originally US) Story title: ‘Festival Time.’ Translation of Japanese writer Mogami Ippei. She is working on the translation rights. email@example.com
A face/off set in the world of mythology and folklore
By Zafar Anjum
Conceptualised by: Monisha Charan and Dr Siri Rama
Executive producer & Director: Monisha Charan
Artistic director and choreographer: Dr Siri Rama
Girish Karnad’s play Hayavadana is considered one of the landmark works in the annals of Indian theatre. The play brings about the interplay of questions of love, identity and sexuality through a panoply of characters set in a world of mythology and folklore.
Recently, Izaara Productions brought this famous play alive on stage in Singapore under the skilful direction of Monisha Charan.
The play began with a brief narration on the play’s antecedents: one of the influences behind the play was Thomas Mann’s The Transposed Heads, which in turn was borrowed from a Kathasaritasagara story. In keeping with the spirit of the play, Monisha Charan paid a rich tribute to the myths and legends of the Hindu religion.
The plot revolves around two parallel stories, both involving questions of love and identity (the heart and the head). In the main track, a well-built kshatriya, Kapila (Avtar Bhullar), finds that his best friend Devadatta (Justin Lee) has madly fallen in love with Padmini (Dr. Siri Rama). Although Kapila harbours an attraction for Padmini, his love and loyalty stands above all; he arranges the match for Devadatta and Padmini and they get married.
The director has made sure that the two actors present a contrast in their physicality and demeanour: Kapila is a Kshatriya with a muscular and manly appearance; Devadatta is a learned Brahmin and poet with a weak physique. The playwright cleverly poses the question to the audience: what if their physicalities are switched? What if the weak Brahmin poet becomes muscular and the sinewy warrior takes the body of the weak poet? Are they happy in their new avatars? What happens to Padmini’s love in that case?
Subtly, the play comments on the rigidity of the caste system which imposes a hierarchy on people. Along with the main track, the sub-plot features the Hayavadana (the horse-man), played with gusto by De Zhong Chia, who is unhappy because he feels incomplete with the face of a horse and the body of a man; yet, he is the object of affection of a beautiful lady, played by Renita Kapoor. I wish this track had more layers to it, as we find in the main track.
The just concluded Kitaab Literary Festival in Lucknow saw interesting discussions on intertextuality and micro literature At a […]
Lucknow has been the hub of mushaira, Dasstaangoi and kavi sammelan for centuries, but as times change, rituals and traditions also get recreated and rejuvenated according to the prevailing zeitgeist. In a unique collaboration, the first of its kind, writers, poets, translators and scriptwriters from different parts of India and Asia assembled in Lucknow in the first weekend of April to celebrate writing from South Asia and Southeast Asia.
This first edition of the SRMU Kitaab Literary Festival was jointly organized by Kitaab International Pte. Ltd., Singapore and Shri Ramaswaroop Memorial University (SRMU), Lucknow and was held on the 7th and 8th of April, 2018 at the SRMU campus.
Building bridges between Asian writers and readers
Festival Director Zafar Anjum, the festival’s patron A K Singh, Vice Chancellor of SRMU, Chancellor Pankaj Agarwal, Pro Chancellor Pooja Agarwal, and the faculty of SRMU led by Dr. B.M. Dixit, inaugurated the festival. ‘The aim of this festival ties up with the aim of Kitaab—to create bridges and dialogue between Asian writers and global readers and to bring literature to the grassroots,’ said Anjum in his welcome address.
Agarwal applauded SRMU’s collaboration with Kitaab. He said that Kitaab is an esteemed organisation that offers a promising worldwide platform to both budding and established authors, editors and publishers. Extending from the areas of literary fiction and translation to filmmaking (together with Filmwallas, founded by Zafar Anjum), Kitaab caters to all genres in English and other South Asian languages.
The festival featured more than 20 writers in English, Hindi and Urdu from India, Singapore and Malaysia. Well-known and award-winning writers such as Sudeep Sen, Rahman Abbas, Yogesh Praveen, Dr. Surya Prasad Dixit, Isa Kamari, Dr. Rakhshanda Jalil, Dr. Malachi Edwin Vethamani and Novoneel Chakraborty top lined the festival. Theatre and film actor Shishir Sharma, who was present to talk about his journey in the world of acting, presented the film, More Chai Please, Singapore’s first Urdu short film.
The film, shot in Singapore and presented by Filmwallas, tells the story of a couple with the plot spanning Singapore and Lucknow. The film’s writer and producer Sunita Lad Bhamray and its director Zafar Anjum were present during a special screening of the film on the second day of the festival.
The other major highlight of the festival was the launch of Tawassul, a Malay novel by Singaporean novelist Isa Kamari, translated into Urdu by Rubina Siddiqui. It is the first work of Singaporean literature to be translated into Urdu. Award-winning Urdu novelist, Rahman Abbas who has also helped oversee the edits, hailed this avant-garde work of fiction and told the audience that the book’s Hindi edition was in the works.
Short fiction writers Suzanne Kamata, Wan Phing and Monideepa Sahu were joined by author-publisher Zafar Anjum as they […]
By Mitali Chakravarty
The first ever ASEAN INDIA Pravasi Bharatiya Divas Writers Festival was held in Singapore with great success.
More than 30 writers from Singapore, Malaysia and India participated in the first ever ASEAN Indian Pravasi Bharatiya Divas (PBD) Writer’s Festival on 6-7 January in Singapore.
Many leading literary figures of ASEAN such as Edwin Thumboo, Suchen Christine Lim and Isa Kamari participated in the two-day event held at the posh Marina Bay Sands.
The ASEAN India Writers Festival, an initiative of the Ministry of External Affairs, Government of India, was organized by Kitaab International, Singapore, on behalf of the High Commission of India in Singapore, with the support of many partner organisations such as The Arts House, and La Salle College of the Arts. De Ideaz, Singapore, were the main event managers for the festival, which had more than 5,000 registered visitors.
Exploring ASEAN and India connections though literary and cultural roots
Zafar Anjum, the Programme Director and Founder of literary and publishing platform Kitaab, gave the welcome address. He welcomed the participants and reflected on the attempt to bring together writers from diverse cultures and language backgrounds to create an environment of learning and growth.
Edwin Thumboo, a celebrated poet and academic of Singapore, traced how Sanskrit and Indian culture, religion and customs spread through South-east Asia from the start of history. He touched upon Hindu and Buddhist influences in Burma, Cambodia, Thailand, Malaysia, Vietnam and Indonesia with graphic maps and slides in his talk, ‘A Sense of India in ASEAN’.
The panel discussions were broad-ranging in topic and included all kinds of voices and literary genres – from mythology to novels, and from short stories to children’s literature. There were sessions featuring literary performances too. Four new titles by ASEAN and Indian writers were launched at the festival: The Best Asian Short Stories 2017 edited by Monideepa Sahu and Zafar Anjum; Senserly, Amakoby Anita Thomas; The Sacred Sorrows of Sparrows by Siddharth Dasgupta, and Tawassul by award-winning Singaporean writer Isa Kamari, the first Urdu translation of a work of Singaporean literature.
India in the Imagination of ASEAN
The first panel discussion with prominent award winning ASEAN writers, Suchen Christine Lim and Isa Kamari, focused on “India in the Imagination of ASEAN”.
The moderator, Nilanjana Sengupta, traced how Nalanda University played a non-confrontational role in spreading the ideas in the region and asked the panelists to talk of Indian influences in their writings. Suchen Christine Lim talked of how her Indian characters grew out of her experience of Indians that she met or read about and how Buddhism, which was born in India, influenced the Chinese and Asian characters she portrays in her books.
Isa Kamari said he realised that both Hinduism and Islam were monotheistic after visiting Bali, where Hinduism had travelled from India around 1st century. He added that Hinduism existed before Islam and spoke of his positive experience of traveling in India. All these experiences are to be found in his novels.
The High Commission of India in Singapore is organising the first ever India-ASEAN Writers Festival in Singapore. 2018 […]
By Mitali Chakravarty
Title: The Best Asian Short Stories
Editor: Monideepa Sahu
Series Editor: Zafar Anjum
The Best Asian Short Stories is one of the finest compilations of short stories I have read in a long time. The short stories cover a diaspora of Asian cultures, histories, societies in transit, shifting borders and values. They embrace an array of emotions that are universal and touch the heart of the reader. Established authors (Shashi Deshpande, Poile Sengupta, Farah Ghuznavi, Park Chan Soon, to name a few) and newcomers (N.Thierry, Wah Phing Lim, etc.) rub shoulders with stories that nudge one another, creating a wide range of reading experiences.
In this one book, I have travelled from the backstairs of Singapore’s government subsidized flats to Malaysian ports, to Phillipino slums, to Mao’s China, to Korea’s madly competitive society, to the lonely world of an Old Japanese, to a Syrian refugee’s boat, to the shifting borders of India, Pakistan and Bangladesh, to the rebellion against restrictions in the conservative Middle East, to Canada, America and England. These stories have grasped values that leave the reader absolutely spellbound.
Universal truths are stated by the characters that come to life with a few strokes of the creator’s skilled pen. When a dying man discovers, ‘I’m neither Indian nor Bangladeshi. I’m human’, the character reaches out beyond the pages of the book and brings home that politics and nationalism draw borders where none exist for the poor man. In another story, around the eve of Indian independence, a little girl is ‘bewildered’ when she fails to find her homeland, Sindh, on the map of the new country and says, ‘It’s gone’. One is startled by the pathos that these two words can create and compelled to question why Indians mutely accepted the line drawn by Cyril Radcliffe. When in Canada, a middle aged Sindhi befriends a Hindi speaking Chinese, he contends, ‘I knew that we immigrants, Sindhi, Indian or Chinese, needed to look after each other’. This is an eternal truth faced by universal globetrotters traipsing through countries. The whole world becomes their home.
I’m of a pure Somnathi extraction
My ancestors were idol worshippers
In a wide green field, a crowd chases a pretty, white pigeon. The pigeon circles above the heads of the chasing party. The crowd, in a mad dash, tries to capture the bird in flight. Now the bird flies high and now it descends down, teasing those who are sprinting after it. At last the pigeon swoops down into the lap of a tall and handsome 40-year-old man who accepts it as a gift from the heavens.
Shaikh Noor Muhammad, the man dreaming this dream, wakes up with a smile in a house near Do Darwaza Mosque in Kashmiri Mohalla in Sialkot, a border town of the Punjab located by the Chenab river, at the foot of the Kashmir hills.
It is a cold night in early November and he sees his wife Imam Bibi sleeping peacefully next to him under a warm blanket. She is expecting again and he interprets the dream to be a divine indication that he will be blessed with a son whose good fortune it will be to serve mankind.
The tall Kashmiri Noor Muhammad, red of skin and with a penetrating gaze, is known for his simplicity in the community. He has a peaceful and aff ectionate nature. When he was growing up, he could not study at the maktab, the local school; but this did not stop him from teaching himself the alphabets. Because of his own efforts he becomes literate and is able to read books in Urdu and Persian.
He is the eleventh child of his father, Shaikh Muhammad Rafiq, the only child to have survived from his father’s second wife. After him, another son, Ghulam Muhammad, was born. He grew up to be an overseer in the department of canals in the British government.
Noor Muhammad and his family have always lived together with his younger brother Ghulam Muhammad’s family. The house near the Do Darwaza Mosque was bought in 1861 by their father Muhammad Rafiq and they have been living in this house ever since. It has been expanded over time to accommodate new members of the family.
Noor Muhammad loves to spend a good deal of his time among sufis and Islamic scholars. By virtue of keeping such pious company, he has come to have a good grasp of Shariat and Tariqat. His knowledge of tasawwuf (mysticism) is so deep that his friends call him Anpadh Falsafi (Untutored Philosopher). He regularly studies and recites the Quran which he considers to be the ultimate source of all bliss, worldly and for the hereafter.
By profession, he is a tailor and embroiderer. In his early career, he helped his father, Shaikh Muhammad Rafiq, in his dhassa and loi (blankets and shawls) business but when an official rents him a Singer sewing machine, a mechanical marvel of its time, he turns to tailoring. His wife, Imam Bibi, disapproves of the sewing machine when she learns that the machine was bought with illicit money. Noor Muhammad returns the machine to the official and he strikes out on his own as a cap embroiderer, and makes Muslim prayer caps. The enterprise becomes a success and soon he employs other workmen in his workshop. By virtue of his popular merchandise, people start addressing him as Shaikh Natthu Topianwale. In the later stages of his life, he slowly loses interest in his business and takes a deeper interest in mysticism. He ignores his business and, with time, his business suffers decline.