Here I am in the desilicious town of Chicago, which today is so rainy it’s practically imitating Seattle. I’m here to attend the third Kriti festival… a celebration of South Asian authors and writing organized by Mary Anne Mohanraj and Desilit.

This morning’s keynote panel, “What’s Not to Like?” featured Romesh Gunesekera, Amitava Kumar, and Bapsi Sidhwa. The three of them read from the work of writers they particularly admire.

While the spotlight shines on Barack Obama’s long-awaited speech to the Muslim World, closer to home, I’ve been seeing lots of posters and advertising for the upcoming Muslim Voices Festival in New York City which begins this Friday, June 5 and runs through the 14th of this month. Featuring concerts, lectures, film screenings on PBS, and even, a souk, the ten-day festival is designed to celebrate the arts and culture of Muslim societies. It is the culmination of three years of organizing by the Asia Society, Brooklyn Academy of Music, and NYU”s Center for Dialogues.

Below the fold is a listing of a few of the South Asia-related events coming up over the next fortnight. Don’t let your exploration stop there. There’s tons more on the calendar worth checking out.

But first, I want to tell you about a book that I’ve been reading which ties in well to the theme of this festival: Kavitha Rajagopalan’s Muslims of Metropolis which was published by Rutgers University Press late last year.

Muslims of Metropolis is a sensitive and thoughtful examination of international migration and the social construct of identity. Rajagopalan spent nearly 7 years researching and writing her first book which tells the stories of the journeys of three families from majority-Muslim countries to three major Western metropolises. In London, she follows a Palestinian man from Jerusalem and his Syrian wife. In Berlin, a Turkish Kurdish community. And, in post 9/11 New York, and a Bangladeshi man and his daughter who married an undocumented Pakistani man.

As Rajagopalan puts it in her introduction:

These families come from different socioeconomic, political, and ethnic backgrounds, but they are all Muslim. It should be noted, however, that this is not a book on theology or Islamic history. Although the stories in this book will refer to the ways in which characters relate to Islam as they construct their identities, cope with adversity, or understand their roles in the world, this is not ultimately a book about Muslims but about immigrants … I have chosen to write about Muslim immigrants because I believe that the social identity of Muslim immigrants stands under the greatest pressure of misunderstanding and mistrust throughout the world.

Over the past several months, Rajagopalan has been touring the country doing multimedia presentations and readings from her book. I attended one reading right here in NYC and was struck by her ability to weave together multiple human narratives with solid research in a manner that was penetrating and insightful, at once literary, journalistic, and accessibly academic.

Slate’s Explainer series had an article last week that attempted to get to the bottom of the following question (a version of which some of you may have also wondered about in the past):

Recent news reports about the Congress Party’s election victory note that two-thirds of Indians live on less than $2 per day. How far does two bucks take you in India? [Link]

The answer cites the “basket of goods” concept::

Not far in Mumbai, but it’s a living in the villages. The people who get by on less than $2 don’t even qualify as being in poverty, according to the Indian government’s own definition…

India, like the United States, uses a “basket of goods” approach to define its poverty threshold. The cost of a minimally adequate diet is multiplied by a set amount to account for the cost of food and other essentials. (The United States multiplies by three, because the average American family spends one-third of its post-tax income on food.) The European Union uses a different method, based on relative income: The poverty line is set at a certain percentage of median income.

Neither of these methods works on a global scale, though, which explains why the World Bank has its own system. The “basket of goods” approach can be confusing, since every country uses different goods in their equations, based on local dietary habits. [Link]

In a new book titled Portfolios of The Poor - How the World’s Poor Live on $2 a Day, authors Daryl Collins et al. explored the daily economics of the poorest of the poor with some insightful results. EconLog reviewed the book:

I really liked Portfolios of the Poor: How the World’s Poor Live on $2 A Day. Westerners tend to think of the world’s bottom billion as charity cases. The harsh and amazing reality, though, is that they largely stand on their own two feet. The ultra-poor not only feed, house, and clothe themselves; they raise children and work hard to give them a better life. Portfolios shows us how they do it, relying heavily on financial diaries kept by villagers and slum dwellers in South Africa, India, and Bangladesh. [Link]

When you’re visibly pregnant and riding the NYC subway with a book titled “Family Planning” in hand, you’re bound to draw stares and curious gazes. Such was my experience earlier this month as I traveled on the downtown 1 with 25 year old Karan Mahajan’s laughter-inducing yet tender first novel in hand. In this Brooklyn-based, New Delhi-born author’s debut work (HarperPerennial, 2008) set in contemporary New Delhi, family life, politics, adolescent love, and prime time soap operas intertwine in entertaining and unexpectedly moving ways.

At the heart of this story is the chaotic household of Rakesh Ahuja, a hard of hearing, America returned engineer who holds a prestigious position as New Delhi’s Minister of Urban Development. Apart from the bureaucratic and political challenges that face him at work (he’s in charge of a laborious flyover construction project and part of a political party that sponsors intolerable bills such as the Diversity of the Motherland Act which calls for the compulsory registration of all Muslims “for reasons of diversity and national security”), Rakesh is beset by his own personal dramas at home.

The father of 13 children (and one more en route), he must deal with the trauma of having had his teenage son Arjun walk in on him having sex with his wife in the baby nursery. Understandably, Arjun asks, “Papa, I don’t understand—why do you and Mama keep having babies?”

While he has to figure out a way to explain himself to his son (“Obviously, Mr. Ahuja couldn’t tell his son that he was only attracted to Mrs. Ahuja when she was pregnant” reads the first line of the novel), this is not the only secret Mr. Ahuja has been keeping from his son, master babysitter and eldest of 12 younger siblings and darling of his mother, Mrs. Ahuja, an unattractive woman whose days are spent changing diapers, managing her vast household, knitting, and recovering from the loss of her favorite TV character Mohan Bedi from Zee-TV soap opera, “The Vengeful Daughter-in-Law.” There’s also the bit of information about Rakesh’s first wife, Arjun’s mother, who suffered a tragic death and who continues to haunt his unhappy existence. Meanwhile there’s Arjun, an awkward teen so madly in love with Aarti, a Catholic school beauty who rides the morning bus with him that he’ll do anything to get her attention—even start a rock band with a bunch of classmates.

Yes, there’s a great deal happening in Mahajan’s novel; many competing heartbreaks and dramas. And yet, as a reader, I was pulled in just as much by Mahajan’s observant and sensitive eye as I was by his ability to create satirical scenarios that reflect some of the complexities and paradoxes of social and political life in today’s India.

Read the rest of this review and a Q&A with Mahajan, whose sense of humor is as refreshing in the interview format as it is in his prose, below the fold.

The last few days I have been tweeting about a set of unfortunate circumstances surrounding young Rubina Ali, the young girl that played the child Latika in the movie Slumdog Millionaire. First, a British paper engaged in some investigative reporting and alleged that Ali’s parents were attempting to sell her off for a high bid (in order to buy their way out of the slums or just out of plain greed). Then it appears that Indian police began investigating this serious allegation. Finally today, a vicious cat fight occurred between Ali’s mom and step mom as the poor girl watched on in tears. This is of course a really sad story born from a seemingly happy one. There aren’t a lot of details I can add to this that you can’t simply read in the three articles I linked above. Instead, the focus of this post is in about a single sentence from the third article which caught my eye:

After seeing Munni [the step mother] talking to reporters, Khushi [the biological mother] launched a verbal attack, accusing Munni of using black magic to control Rubina. [Link]

Allegations of witches and witchcraft are not new to India and at least a few times a year the western media highlights them. They also occur quite regularly in the U.S. and all around the world for that matter. It is a phenomenon that spans borders, cultures, and time. A must-read piece at Slate today highlighted two new books (The Enemy Within and The Last Witch of Langenburg: Murder in a German Village) on the subject of witch hunts and why vulnerable women or young girls are most frequently the victims of these sort of hunts which seek to expunge “evils” from within a group.

The allure of witch hunting can grip any of us if we abandon our adherence to reason and evidence. As a tribal, poorly evolved species, we are very vulnerable to believing that we are surrounded by secretive, wicked people who might seem like us at first glance but who are, in fact, conspiring against us—and must be rooted out and destroyed. John Demos explains how this differs from other forms of persecution: “Witch-hunting alone finds the other within its own ranks. The Jew, the black, and the ethnic opposite exist, in some fundamental sense, ‘on the outside.’ … The witch, by contrast, is discovered (and ‘discovery’ is key to the process) inside the host community.”

We know that witch hunts break out most ferociously at times of trauma and stress. There was no concept of child witchcraft in Congo until the war began and 6 million people were killed. Now a broken and terrorized population has turned on its own children in a desperate, futile attempt to find some way to regain control. The first great witch hunt in Europe came after the Black Death killed one-third of the population. The second came between 1580 and 1650, when the climate cooled and crops failed. Similarly, witch hunting erupted in America—on the dirt-tracks of Salem, Mass.—at a time when 10 percent of the colonists were being killed and all lived in constant fear of the American Indians who were trying to defend their civilization from extinction. [Link]

An unintentionally hilarious (to me) story on NPR Monday morning. It seems that West Point researchers stumbled upon a terrorist recruitment “how-to” manual:

Researchers at West Point recently stumbled on the 51-page manual while they were visiting a jihadi chat room, called Ecles. It’s a Web site that allows members to have interactive discussions, post videos and download manuals. Ecles is the second most popular jihadi chat room on the Web, and al-Qaida often posts things there. Because of that, it is a place counterterrorism analysts track regularly.

So when the West Point analysts discovered a step-by-step primer called “The Art of Recruiting Mujahedeen,” it got their attention. On one level, the manual might be an early indication that al-Qaida is trying to identify new sleeper terrorists. On the other hand, the book is so basic it seems to suggest al-Qaida is getting desperate for new members. [Link]

What is it in the manual that suggests desperation to some? Well, if I were to slap a different, more pleasant cover on the book and then re-name it to, let’s say… “The Art of Seducing Desi Boys” I think I could make big money by marketing it to some SM readers. Behold the advice, straight from the manual [with my suggested modifications]:

Here’s how the manual, as translated by the CIA, suggests a recruiter build a rapport with a recruit:

“This stage lasts approximately three weeks [unless it overlaps with March Madness in which case it may take longer],” it says. “You must do something important at this stage [such as letting him go past first base]. You must identify his interests and relations with people [especially with his overprotective mother] and how he spends the whole 24 hours, meaning you study him secretly to be reassured about your choice [and make sure he does not talk about finance, medicine, or Battlestar Galactica too much…well definitely not finance or medicine].”

This section touches on such things as being nice to the recruit. It suggests the recruiter pretend to be his friend, perhaps even buy him small gifts [like the Wii]. It ends with a questionnaire to assess progress. “Is the recruit [more] anxious to see you [than Jamal was to see Latika]?” it asks. You get one point for “no” [because he probably doesn’t have many options anyways] and three points for “[hell] yes.” Does he accept your advice and respect your opinion [about how he should smile like Sanjay Gupta more often]?… “If you have received less than 10 points, you are on the wrong path [and need to try again on Shaddi.com, or a speed dating event], repeat the stages from the beginning. From 10 to 18, you are on your way [to achieving your Bollywood Dreams].” [Link]

I’m telling you. There is money to be made in this book idea of mine.

Soon after 9/11, a friend of mine told me that her college roommate’s home had been visited by the local police in their town in upstate New York. The police wanted to search the home of this family because they’d heard they had a picture of Osama Bin Laden hanging in their living room. The cops were mistaken. This was the home of a pious Sikh family and the picture was of Guru Nanak, the founder of the Sikh religion.

I’ve often thought about this story. There are so many more like it — incidents of mistaken identities, faulty detentions, stereotyping, and violent acts in the wake of September 11th. We’ve read about them in the press and slowly, literature is beginning to tackle this dark period of recent American history as well; a time that unfolded in what Pulitzer Prize-winning graphic artist, Art Spiegelman, described so aptly as “in the shadow of no towers.”

A few years ago, Ask Me No Questions by Marina Budhos was one of the first young adult offerings to address the challenge of growing up South Asian and Muslim in an America altered by 9/11. First time novelist Nisha Meminger takes on a similar theme in her new YA novel Shine, Coconut Moon, just published by Simon & Schuster.

When her turbaned uncle appears at the doorstep of her suburban NJ home just four days after the 9/11 attacks, 16 year old Samar is caught off guard. Raised in a single-parent household by an Indian-American mother who cut off ties with her Sikh family many years before, Samar has no connection to her cultural roots and traditions. She is skeptical of this man, Uncle Sandeep, who claims to want to reconnect with his estranged sister because “we’re living in different times now … and I want to be close to the ones I love. The world is in turmoil—we’re at war. Anything could happen at any moment.”

As Samar gets to know her uncle, she begins to learn about Sikhism and gets to know her grandparents. She even visits a gurdwara for the first time in her life. This prompts her to start questioning her mother’s decision to raise her to think of herself “like everyone else.” She begins to question her identity; wondering whether she is a coconut — someone who is brown on the outside and white on the inside—someone who may physically appear to be Indian but doesn’t know who she really is. At the same time, she is shocked and saddened by a series of troubling events in her community that affect her personally: her uncle is attacked by a bunch of teenage boys who goad him to “Go back home, Osama!” and the local gurdwara is set on fire.

In his compelling Guardian article “The End of Innocence” Pankaj Mishra writes, “‘Post-9/11’ fiction often seems to use the attacks and their aftermath too cheaply, as background for books that would have been written anyway.” Shine, Coconut Moon does not fall into this category. Most definitively shaped by the effect of 9/11 on minority immigrant communities, this is an ambitious coming of age novel for young adults that seeks to demonstrate the effects of fear mongering on the lives of ordinary minority teens who saw themselves as American before 9/11.

Below the fold is an excerpt from the novel, as well as a Q&A with, Neesha Meminger where she talks about her novel writing process and the real-life incidents that inspired it. And, for those in the NYC area, there is a book launch party and reading this Saturday, March 14th at 7 pm at Bluestockings Bookstore.

I grew up reading almost exclusively sci-fi and fantasy books, sometimes one a day during the summers. I was like the main character in Oscar Wao except I wasn’t fat or bad with the ladies (well…I wasn’t fat). To this day, even though I blog for Sepia Mutiny and am surrounded by talented co-bloggers, some of whom are authors, I have never read a single book of desi-fiction. Ever. I have no excuse at all. It just hasn’t happened yet. I read books to escape into worlds that I can never be a part of, or to get smart on something that I want to know more about before I die. Desi-lit, no matter how far removed from my experiences, just seems too close. Every time I pick up a book of desi fiction I tell myself that this time I will read it, this will be the one…only to push it aside once again. Nobody has to tell me, I already know that it is my loss. I have a theory about books. I believe the right book falls into your hands when you are meant to read it. You don’t pick books, they pick you. I haven’t read a science fiction or fantasy book in at least a decade by the way.

The other day while reading Boing Boing I came across a book review that might just become my first desi fiction book. I say “might” because I can’t guarantee it until it happens given my fickle history. The book is titled Cyberabad Days: Return to the India of 2047 and is a collection of science fiction short stories:

Cyberabad Days returns to McDonald’s India of 2047, a balkanized state that we toured in his 2006 novel River of Gods, which was nominated for the best novel Hugo Award. The India of River of Gods has fractured into a handful of warring nations, wracked by water-shortage and poverty, rising on rogue technology, compassion, and the synthesis of the modern and the ancient.

In Cyberabad Days, seven stories (one a Hugo winner, another a Hugo nominee) McDonald performs the quintessential science fictional magic trick: imagining massive technological change and making it intensely personal by telling the stories of real, vividly realized people who leap off the page and into our minds. And he does this with a deft prose that is half-poetic, conjuring up the rhythms and taste and smells of his places and people, so that you are really, truly transported into these unimaginably weird worlds. McDonald’s India research is prodigious, but it’s nothing to the fabulous future he imagines arising from today’s reality. [Link]

The Washington Post featured an article this morning about ethnic dating patterns, primarily those in the Asian and South Asian American communities. At first I assumed, “here we go again, another hackneyed piece about arranged marriages or something.” While there were a few clichés in the article, it did feature an intriguing revelation (to me at least). 2nd generation South Asian Americans (like some other ethnic groups), are increasingly marrying within their race. The magnitude of the trend was somewhat shocking to me since South Asian Americans are better assimilated than our European counterparts, and truly homogeneous ethnic enclaves which would foster such trends are very rare in the U.S. I thought for sure there would be a minor slope in the opposite direction:

The number of native- and foreign-born people marrying outside their race fell from 27 to 20 percent for Hispanics and 42 to 33 percent for Asians from 1990 to 2000, according to Ohio State University sociologist Zhenchao Qian, who co-authored a study on the subject. The downward trend continued through last year, Qian said.

“The immigrant population fundamentally changes the pool of potential partners for Asians and Hispanics. It expands the number and reinforces the culture, which means the second generation … is more likely to marry people of their own ethnicity,” said Daniel T. Lichter, a sociologist at Cornell University.
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Increasingly, singles are turning to a growing number of niche dating sites on the Internet, such as http://Shaadi.com and http://Persiansingles.com. [Link]

A recent book titled Inheriting the City: The Children of Immigrants Come of Age also tracks the dating and marriage patterns of 1.5 and 2nd generation South Asian Americans and finds similar results:

Researchers spent a decade following 3,300 children of immigrants in the New York region as they navigated adulthood, which led to a study published last year called “Inheriting the City: The Children of Immigrants Come of Age.” They followed both the “second generation” children born in the United States and the “1.5 generation” — children of immigrants who came as youngsters — who were Dominican, Chinese, Russian Jews, South Americans and West Indians.

Researchers found that their subjects were constantly struggling with the desire to be open to people of all backgrounds vs. family expectations, and their own desires to sustain their culture. Most paired with others who shared similar racial or language backgrounds. [Link]

Jhumpa Lahiri and her work (and its film adaptation!) have long been a subject of discussion here at the Mutiny. And this Friday night, I am interviewing her as part of the South Asian Women’s Creative Collective’s Literary Festival, “Stranger Love.”

I just checked, and the Lahiri event is sold out (!), but I thought that this might be an opportunity for SM readers get two cents in. Got a question? Put it in comments, and I may ask it… She’s been much interviewed, obviously, so I’d like to try to ask her things that haven’t been asked before, as well as things that relate particularly to the festival theme.

One question that I usually like to ask writers: What are you reading now? The answer to this changes, and is usually pretty interesting… I’m rereading Unaccustomed Earth right now, and will ask some questions about specific stories, too. If there’s a character or story that made you think longer than the others, please let me know!

(If I ask a question submitted here, I’ll mention that it came from SM. If you put something resembling a real name on it, I’ll try to credit you specifically.)

I know most of you were too busy yesterday celebrating the orthodox feastday of Saint Brigid of Kildare to think of anything else, but it was also the 20th anniversary of the fatwa against Salman Rushdie.

Back then Rushdie was already a literary hotshot, having won the Booker in 1981 for his second novel, Midnight’s Children. This was long before Padma, when Rushdie was newly married to Marianne Wiggins and could walk down the street without being recognized.

However, it was the 1988 publication of The Satanic Verses that really put him on the map, making him both notorious and a cause celebre all over the world, granting him immortality while putting his own body and that of others into mortal peril.

Although Rushdie had always courted controversy, having mocked Indira Gandhi, the Bhutto family, and American foreign policy in previous books, he claims that he had no idea what a hornet’s nest The Satanic Verses would stir up:

Rushdie … said “I expected a few mullahs would be offended, call me names, and then I could defend myself in public… I honestly never expected anything like this.” [link]

Instead the book was banned within a month in India, followed by Bangladesh, Sudan, South Africa, Sri Lanka, Kenya, Thailand, Tanzania, Indonesia, Singapore and lastly Venezuela in June 1989. A large number of threats were made to bookstores in the US and UK. Daniel Pipes claims that “[t]he bombings meant that hardly a single bookstore sold Rushdie’s novel openly in the UK” [link]

It’s almost that time of the year when big pink hearts take over storefronts, over 190 million cards are exchanged, and the average U.S. consumer will spend $103 on gifts, meals, and entertainment,. Yup, St. Valentine’s Day. The day of L-O-V-E.

I’m not one to make a big hoopla about this holiday - I’m one of those people who prefers to receive flowers or a gift on random days rather than on a day when there are such high expectations. But, a handwritten card or a poem, ah, that I will never turn away.

This year, my Valentine’s Day gift to my husband is a copy of SMITH magazine/Harper Perennial’s Six Word Memoirs of Love and Heartbreak: By Writers Famous and Obscure. It’s a pocket-sized paperback (4X6, a little smaller in size than your average Valentine’s Day Card, but chock full of so many more wishes and reflections on matters of the heart).

This book is the second offering from SMITH Magazine whose initial invite to writers two years ago was a simple one (inspired by Ernest Hemingway’s “For Sale: baby shoes, never worn): Everyone has a story. Can you tell yours in six words? The submissions poured in like crazy and soon enough they had published the NYT bestselling Not Quite What I Was Planning. (

The book features my very own six word memoir on page 13:

Sleeping, our foreheads touch. Fates mingle.

As I was flipping through the book, I came across another one-liner by our very own mutineer V.V. on page 70:

My book title makes dating awkward.

There were several more six-word desi memoirs that made it into the book:

Girl beautiful. No Mercedes. No love. - Sujoy Kumar Chowdhury
I fixed him but broke myself. - Amal Khairul
Proposal. Dowry. Bethrothal. Marriage. Children. Love. - Mitali Perkins
Arranged marriage now sounding pretty good. - Saleem Reshamwala

Add your own six word memoir (consider it your Valentine’s day greeting to the world) in the comments section before midnight on Sunday, February 15th. V.V. (author of the Washington Post choice for one of the best books of 2008, Love Marriage will pick two winners who will each receive a free copy of Six Word Memoirs of Love and Heartbreak. And, that’s our V-Day gift to you.

Below the fold, check out a book trailer for inspiration.

William Dalrymple has a must read book review of Ahmed Rashid’s “Pakistan in Peril Descent into Chaos,” in the New York Review of Books that I should summarize for SM readers. Man Booker Prize winner Aravind Adiga has published a short story in The New Yorker this week titled, “The Elephant” that I should also critique. Finally, Foreign Policy magazine has an article about how India scuttled Richard Holbrooke’s potential involvement in the Kashmir conflict that I know would make for a great debate on our site. But honestly, I am just tired of trying to front like I am smart or something. Instead, I just want to blog this trashy clip from my girl Tyra Bank’s show earlier this week. It features a desi guy that now goes by the porn-king sounding name “Shawn Valentino.”

Part 1

Part 2

The first thing I am going to do is to re-do my SM business card now and put a picture of me blogging shirtless on it. I’ve “traveled the world.” I am “open minded.” I just want to “teach other people to be comfortable with themselves,” too! This guy really is a guru. He has convinced me too stop pretending to be something I am not. From here on out its business time all the time.

Last Wednesday night, I had the chance to sit in on a fascinating conversation on “Religion and the Imagination” with Salman Rushdie. The author of Midnight’s Children [soon to be adapted for film by Deepa Mehta], The Satanic Verses, Haroun and the Sea of Stories, and East, West was, of course, the perfect person to launch Columbia University’s newly founded Institute for Religion, Culture and Public Life. The Institute’s mission is to “bring together scholars and students in various fields to reflect and respond to the issues brought about by the “resurgence of religion and, with it, religious and cultural intolerance and conflict [that] are emerging as powerful forces in the new century.”

Orhan Pamuk, the 2006 Nobel Laureate in Literature, introduced Rushdie as someone who has been “fighting religious intolerance with humor, proving that we can fight moral seriousness with humor.”

The stage in Columbia’s always inspiring (and very crowded) Low Library Rotunda was set simply with two arm chairs—one for Rushdie, who was was all suited up, and the other for his “interviewer” Gauri Viswanathan, Professor of Religion and Comparative Literature, dressed as always, in a sari. The conversation was an intellectual one peppered with doses of Rushdie’s subtle (and sometimes pointed) humor and the topics of conversation ranged from everything to his relationship with religion and his hopes for robust religious debate to his thoughts on Obama’s win earlier that week.

“We don’t live in a world of drama, dance, and love… We live in a world of death, destruction, and bombs… I’m hoping something happened on Tuesday that will change that,” Rushdie said, referring to the election of Barack Obama. “I have no utopian tendencies. I’m good at seeing what I don’t like. But this week, I do feel optimistic,” Rushdie laughed. “It’s an odd feeling, one I’m not familiar with. The last time I felt like this was after the election of Tony Blair and look what happened!” Rushdie paused as the audience chuckled at his dark skepticism, then added, “ I hope it’s not that way this time. Actually … I don’t think it is.”

More on the evening’s highlights below the fold.

A few weeks ago, I wrote this post, giving my reaction to Aravind Adiga’s novel, The White Tiger. Since then, as many readers probably know, Aravind Adiga won the prestigious Booker Prize for the novel, making him one of only a handful of first novelists to have done so, and also (at 33 years old) one of the youngest writers ever to do so.

While I stand by my assessment of Adiga’s novel, I’m not going to bitch and moan about the Booker’s selection process or the composition of the committee. Rather, my first response is to congratulate Adiga for the honor, and wish him luck on his next book. (Cheers!)

I was ready to leave it at that, but Manish at Ultrabrown challenged negative reviews of the novel like mine with a post yesterday. For Manish, the complaints against the novel boil down to a question of different ways of failing to achieve authenticity:

I’m going to tease apart two separate kinds of complaints about authenticity. One kind is whether the author successfully executes what he’s attempting, whether you’re pulled jarringly out of the narrative. The other is whether the very endeavor of a highly-educated proxy tackling the voice of the underclass is plausible. (link)

I’m quite sure my complaint falls under #1 — Adiga fails to do what he is apparently trying to do — though I’d phrase it a slightly differently: in my view, Adiga never seriously attempts to convince us that his protagonist is a realistic figure, and therefore he never really tries to be “authentic” at all.

Read my Q&A with Padma Viswanathan here.

No, it’s not a book of recipes and she’s not the sister of the much-maligned Kaavya. “The Toss of a Lemon” (Harcourt, Sept. 2008) is Arkansas-based and Canada-born writer’s first novel. And what a beautifully-wrought, political, social, and at times heart-wrenching work it is—ten years in the making.

The Toss of a Lemon begins in 1896 in the caste-organized village of Cholapatti in Tamil Nadu and carries us to 1958 where the strictures of caste have broken apart amidst the new economic and political framework of post-colonial India, specifically South India.

In the opening scene, ten year old Sivakami (a character based on Viswanathan’s great-great grandmother)and her parents are on a pilgrimage to “her mother’s place” and decide to pay a visit to a young healer and astrologer Hanumarathnam. While making Sivakami’s astrological chart, the healer announces that their stars happen to be in alignment – “He blinks rapidly, the lamplight making him look younger than his twenty-one years. He takes a breath and looks at Sivakami’s father. ‘I have never looked at, nor ever proposed to any girl before now. Please … consider me.’” There’s only one small glitch. Hanumarathnam’s horoscope predicts that he will die in the ninth year of marriage—unless his first-born son’s horoscope matches his.

Sivakami’s parents are optimists and the two are subsequently married “like everyone else, at an auspicious time on an auspicious day in an auspicious month.”

At the heart of The Toss of a Lemon is a horoscope. It dictates the destiny of Sivakami, who is widowed at age 19, the mother of one girl and one boy and the inheritor of her husband’s family home and properties. It also dictates the destinies of Sivakami’s children: Thangam, a quiet beauty whose skin gives off gold vibuthi, or dust, with healing properties—a result of her father’s alchemist experiments—and Vairum, a math genius with “irises nearly black yet strangely brilliant, diamond sharp” and a skin condition (vitiligo) which makes him an anomaly in the Brahmin quarter early on in his life.

There’s a memorable description of Sivakami early in this book: she “carries herself with an attractive stiffness: her shoulders straight and always aligned. She looks capable of bearing great burdens, not as though born to a yoke but perhaps as though born with a yoke within her.” Indeed, though strict Brahmannical traditions call for Sivakami to shave her head, wear white, and to not contaminate herself with human touch between dawn and dusk, she is also a rebel who chooses to raise her children in her husband’s ancestral home (instead of returning to her natal village and living with her brothers). Helping her in this herculean task is Machumi, a non-Brahmin villager and closeted gay man, who manages Hanumaranthnam’s land properties and business.

Read a review of Arkansas-based, Canada-born Padma Viswanathan’s debut novel “The Toss of a Lemon” here.

Q. When and how did you first start collecting these stories?
A. I interviewed my grandmother over the course of a year or so, in the mid-nineties. She would talk for a few hours, either in English or in Tamil (with my mother translating, to ensure I got the nuances), and then I would transcribe the tape. She told me a story that fascinated and bewildered me: of her grandmother, who was married as a child and widowed at eighteen with two small children. It then took me over ten years of writing to imagine myself into this world and to transform the story I had been given into a novel of my own making. The book that resulted has many emotional and narrative ties to the story my grandma told, but also departs from it in numerous significant ways.

Q. How did you research the historical and social context of this book?
A. I went to India after interviewing my grandmother. I had been many times before, but now saw the old places in a new way, populated by the ghosts of these stories she had told me. I interviewed other relatives and did a lot of reading on the particular social and political upheavals that were happening in this corner of India at that time, in contrast to the larger narrative of Independence. Six years later, with much of a draft written, I made a return trip, visiting some incredible resource centers in south India, where I did more detailed research on themes and characters that had emerged in the writing. This involved a lot of reading, as well as interviews with scholars and historians. I also revisited the places where the novel takes place, to refresh my sense memories and ask more specific questions of my relatives. Although the world I have described exists now only in a fragmentary and vestigial way, I actually saw it crumble in my lifetime. So some of the research was reconstruction of my own memories.

Q. It’s not easy to take one’s family history and put it out there, whether it’s in fiction or non-fiction form. What did you turn to for inspiration and motivation during your writing process?
A.The story exerted a strong hold on me for the ten years it took me to write this book. In the early stages, I consulted the interview transcripts frequently, looking for stories that intrigued me and writing them into chapters. As the novel began to take shape, though, I looked less and less to our family history: the book I was writing had its own logic and momentum, and that became paramount. When I had a full draft, I asked my mother to read it for me as a fact-checker, and we had wonderful discussions about it, but I was pretty clear with my family that this was, ultimately, an artistic product of which I was the author and that I would take full responsibility—including blame!—for its contents. Still, I was very relieved, when various family members—including my grandma—finally read it, that they gave it their stamp of approval, saying that in spite or because of all the liberties I had taken, I had created an authentic portrait of that time and place.

I used to work at a tutoring center on a small private college campus in Westchester, NY several years ago. Our offices were a safe space that students visited for help with writing papers, coursework, math, ESL. We hired several peer and professional tutors every semester to provide such services to our student body, and very often, I also took on a small student load. It was tremendously fulfilling work, helping students navigate challenging course material or a tricky writing assignment, watching them come into their own, grasp the content, and produce assignments that met curriculum standards.

That’s my experience with tutoring. Then, there’s the experience of Anisha Lakhani, a former teacher whose novel “Schooled” was just published by Hyperion this summer. She taught (and was even the Middle School English Chair) at the high-profile NYC private school Dalton for a decade, but quit last year following her disillusionment with the culture of cheating in which she found herself.

Lakhani was raking in the dough (over 200 bucks an hour) for private tutoring sessions with the children of wealthy clients on Manhattan’s Upper East Side. Her closet was filled with the latest designer fashions and she was hanging with all the right folks. As the Jersey-born Columbia graduate sank deeper and deeper into this world, she discovered a vicious inner circle in which educators, parents, and students were enmeshed: Parents, eager to see their kids excel, hired tutors like Lakhani to help student swith school assignments. Students, accustomed to being treated with kid gloves and occupied with AIM, Juicy Couture, and their active social lives, expected Lakhani to essentially do their homework for them. And, teachers, intimidated by parents, knew not to give in-class writing assignments or to even raise the question of whether a paper was written by the student or a tutor, kept silent.

Based on her experiences as a tutor as well as those of her colleagues and parents, Anisha Lakhani’s “Schooled” takes us into the crazy world of Anna Taggert, a recent Columbia graduate who goes against the wishes of her parents (they could have been desi!) and takes up a job at a private school. Despite her initial idealism and desire to imbue her students with the spirit of literary greats, she is very quickly beset with a host of problems: pushy moms, low pay, a rundown apartment, and a school administration which warns her not to make her lesson plans too complicated (she’ll make the other teachers look bad). As the months pass, Anna decides to take up a tutoring gig on the side to supplement her measly income. That’s when things spiral out of control. Her values go whoosh and she falls head over heels with the all things Juicy and Chanel; with shopping sprees; with blonde highlights; and with the experience of being the “cool teacher” who gets invited to Kanye West bar mitzvahs. (Sidenote: The novel also features a desi character – a fellow math teacher – who also gets equally corrupted by the lure of tutoring.)

Eventually, things settle down and Anna looks in the mirror and realizes who and what she has become — and unlike Lakhani, who has quit teaching and turned into a full-time novelist and socialite — returns to the classroom ready to reform her students and herself. But until that happens, readers will get an unnerving look at the Upper East Side annals of overambitious, competitive, and heartbreaking private education. The novel follows in the footsteps of books like “The Nanny Diaries” which provide the insider/outsider point of view. In fact, by the end of this week, movie rights will be sold. And though it’s not literary fiction by any means, it is an intriguing sociological study into a culture of cheating with a dash of pedagogy and activism thrown in.

“I thought it was time someone spoke out. Yes, certainly there were many hardworking students and decent families, but so, so much cheating is occurring and it needed to be exposed.” Lakhani told me in our e-mail Q&A which follows below the fold. Maybe parents and teachers alike will cull some advice from this morality tale from someone who knows what it’s like to walk in their shoes. I certainly hope some conversations about reform emerge from this book, or else it will be just a fictionalized navel-gazing venture.

In between watching the glory that has been the Olympics (can’t say I expected so much Sepia-related content, but hey, awesome) and signing up to be one of the very few (10,000+ish) people to receive my very own VP text from Barack Obama, I came across this great piece in the NYT Magazine about Hanif Kureishi, his career, and his latest novel, Something to Tell You.

The novel is, in brief, about a member of the rebellious British South Asian generation, Jamal, that came of the age during the 80’s, and how he and his now successful peers have to overcome their past conflicts, loves, secrets, and continuing personal challenges as middle-aged parents and professionals. It actually sounds familiar in theme to My Revolutions by Hari Kunzru (a very nice book), except with a South Asian focus, and from the British reviews that have been published, it seems as though it will be a good read. I’ll be looking forward to reading it and the review world seems to see it as an improvement over his previous few novels, which have not been critically well-received. South Asian blog reviews of this novel have already been written, and it is to come out in America on August 19th.

The article highlighted more than his new novel - in particular, it noted how Kureishi’s emergence on the scene during the late 1980’s and his writings, including the screenplay of “My Beautiful Laundrette” and the novel Buddha of Suburbia gave a voice to a generation of South Asians in Britain that felt unrepresented and typecast in British society at the time:

The novel and a subsequent BBC mini-series made Kureishi a hero to a generation of British Asians and other nonwhites, a kind of postcolonial Philip Roth who brought to the mainstream themes that were previously relegated as “ethnic” and added lots of sex and humor. “What, above all, made Kureishi a talismanic figure for young Asians was his voice,” the critic Sukhdev Sandhu wrote in The London Review of Books in 2000. “We had previously been mocked for our deference and timidity. Kureishi’s language was a revelation. It was neither meek nor subservient. It wasn’t fake posh. Instead, it was playful and casually knowing.”

Kureishi’s most important role was to knock down the stereotypical image of South Asian immigrants as the hard-working, polite and dutiful members of society who would make nor do no trouble. For a group of immigrants that had historically faced a great deal of discrimination in the U.K., there was finally someone who articulated their true lives and struggles. Perhaps most importantly, the writings were not staid nor politically correct - they showed life as it really was for immigrants and their children:

Sandhu (the critic) recalls how his father — who left India for England in 1965 and worked in a Nestlé factory, and was taunted by local schoolchildren and punks as he walked home with sacks of chapati flour — beat him up after Sandhu insisted that the family watch “My Beautiful Laundrette” on TV. With nudity, gay sex, Pakistani businessmen cheating on their wives and a drug smuggler disguised as a mullah with heroin sewn into his fake beard, the film wasn’t just a wake-up call to white Britain; it also flew in the face of the traditional immigrant narrative. “Why are you showing us such filth?” Sandhu’s father asked him. “My father was right to be appalled,” Sandhu wrote. “The film celebrated precisely those things — irony, youth, family instability, sexual desire — that he most feared.” It taught his father, Sandhu added, “that he could not control the future. And control — over their wives, their children, their finances — was what Asian immigrants like him coveted.”

When I posted about the new book “Marrying Anita” (Bloomsbury, July 2008) a few weeks ago, I was cynical about the arrival of yet another published work exploring the institution of arranged marriage. (So were many of you. Questions rolled in about author Anita Jain’s desire to find a “broadminded” husband in India and her impetus for writing the book. These were coupled with a heated conversation about dating in the desi community. You can see her answers to your questions and mine below the fold.)

Despite my pessimism at the time, I promised to give the book a chance. And, I’m glad I did. I expected “Marrying Anita: A Quest for Love in the New India” to be a straightforward chick lit read about a 33 year old woman who moves to India from the US in order to find a husband. “Oh great, she wrote a well-received New York magazine article and then decided to conduct one of those how-I-did-xyz-in-a-year experiments.” What I found instead was a candid, straightforward, and intelligent memoir that combines the author’s search for a kindred spirit with her experiences adjusting to life in contemporary (and middle class) India.

Jain’s move occurs during the summer of 2005, coincidentally perhaps, at the same point in her life when her father had moved to the US – at age 33. “I moved to India, reversing the migration pattern of my father,” she writes …

Historians will tell you Delhi has been home to nine distinct cities through the ages, the remnants of which are scattered everywhere, like seeds from a flower; a poet’s tom fifty paces from my front door, an old fort not far past the Sundar Nagar market. But I will tell you that there are ten cities of Delhi and I live in the last, one with restaurants where one can order mushroom-and-goat-cheese farfalle, use wireless broadband, and go to nightclubs where girls in spaghetti-strap tank tops gyrate to the latest hip-hop influenced Bollwood hit.

Comparing Anita Jain to Jane Austen might be too much of a stretch, but there is something of Austen’s spirit in Jain’s work which paints a vivid portrait of a particular generation of Indian middle class society. Her narrative is full of acute observations about economic and social changes, class relations, and the dating scene in India’s capital.

Jain does not “consider [herself] some kind of arbiter of dating.” In our email interview, she said, “I was simply one person who took a journey and wanted to write about it.” Indeed, while she is trying to figure out how to go about meeting the right person, she is also engaged in an equally (if not more fascinating) struggle to find an apartment (it’s tough to rent an apartment as a single woman in Delhi; not Mumbai or Bangalore, we learn) and to make new friends (one of her good friends ends up being the sister of a guy she met through shaadi.com back here in the US).

A recent story I read in the New York Times last week began with this anecdote about a trip to the airport that I know many of us can relate to:

Yasmine Hafiz was passing through security at an airport near Washington several weeks ago when a federal agent stopped her. Something strange and metallic had shown up in her carry-on bag during screening. Now she needed to explain what the suspicious object was.

At 18, newly graduated from high school, Yasmine knew the drill all too well. A few years earlier, an immigration officer had demanded she present a visa to board a flight from Canada to her home in Arizona. It was as if, because she had dark skin and a Pakistani surname and was Muslim, she, an American citizen, still needed permission to enter her own country.

This time, the security agent began unpacking the carry-on bag until he found his quarry. It was a bronze disc plated with gold. “It’s a medal,” said Yasmine’s mother, Dilara, who was traveling with her. “It’s from the president.”

Yasmine had received the medallion in the White House the day before, when she was honored as one of 139 Presidential Scholars.

This airport story is not one-of-a-kind - many of us have been through similar experiences in recent years. What it is resemblant of, however, is one of the challenges many South Asian-American students face - despite widespread success in various areas of student life, from math and science to athletics, South Asian high school and college students in the U.S. still face misconceptions about their culture, religion, and background, often at the most basic level. One graduating senior from high school in Arizona, Yasmine Hafiz, who is described in the Times article above, at only 18 years old, is working hard with her family to change misconceptions of Islam that are common in American schools, discussions and media. She and her family have written a book, the “American Muslim Teenager’s Handbook,” that aims to “bridge a cultural chasm” (NYT) by giving a clear and light explanation of the basic religious and cultural tenets of Islam for audiences of all ages. This book is an “easy-to-understand, nonproselytizing explanation” of Islam that has become a popular and moderate explanation of the religion among Jewish mothers and Episcopal schools in Arizona, as well as the ministry of education of Malaysia. Yasmine’s younger brother Imran, a sophomore, explains why his family has written the book:

I was talking to a Ph.D. student I work with, Colleen Clemens, about her experience working as a grader for the AP English exam. She had been assigned to work on a question about an Indian author, Anita Desai (the passage was from Fasting, Feasting), and she was shocked at how the students tended to use the passage as an excuse to throw out a series of flagrant generalizations about India and Indian culture. Incidentally, Colleen went with a group of first-year students to India last December, so she’s seen parts of the country herself. The following post, then, is a one-off essay by Colleen:

Recently, I served as a reader for the AP English exam. Imagine a room with 1500 college and high school teachers sitting on folding chairs (with no lumbar support) for eight hours a day, seven days straight, reading the almost one million essays written by nervous, twitchy high school students hoping to test out of their first-year college English course. In a stroke of luck and irony, I was assigned Question Two on this year’s exam, in which students were asked to read a passage from Anita Desai’s Fasting, Feasting and do a close reading to glean insight into Arun’s experience as “an exchange student.”

My book tour is (mostly) over. But I wanted to share a little bit about what it was like in one of the most exciting spots I hit: Torino, Italy. I traveled there for four days in mid-May, for the Torino book festival, where I spent most of my time hanging out with Tahmima Anam, the author of A Golden Age.

Tahmima and I have the same fab Italian publisher, Garzanti, and the same fab editor, Elisabetta. Getting to know Tahmima was unexpected and awesome! She is one of the nicest and funniest people I met on tour—and she was also generous with her advice. I am reading her book now, and it’s fantastic. (Previous Sepia coverage here.) Anyway, she’s also a Sepia reader, and when I told her I wanted to blog about our time in Italy, she readily agreed.

We spent a fair amount of time giving interviews. As far as Tahmima and I could tell, there were four female South Asian authors at the Torino festival. It took hardly a moment before someone wanted all four of us in the same spot. Two of us wore saris. Nope, it was the other two.

Left to right: Tahmima Anam, Sunny Singh, Stefano Bortolussi, Selina Sen, and me.

We’ve talked about it here before: In 1972, Idi Amin gave all 80,000 Asian Indians living in the Uganda 90 days to pack up and leave. As the BBC reported on August 7, 1972, “Asians, who are the backbone of the Ugandan economy, have been living in the country for more than a century. But resentment against them has been building up within Uganda’s black majority. General Amin has called the Asians “bloodsuckers” and accused them of milking the economy of its wealth.”

A new young adult novel Child of Dandelions by Canadian author Shenaaz Nanji sheds much needed light on the upheaval of Asian Indians in Uganda. It’s worth checking out, even if you don’t have a young adult in your household, or don’t normally pick up books for younger readers.

The protagonist of Child of Dandelions is fifteen year old Sabine, a girl whose comfortable life is torn asunder on August 6, 1972, the day that Idi Amin issues his expulsion order for all Indians in Uganda. Shaken by the protests she walks into while window shopping in Little India, Sabine turns to her parents for protection.

Sabine’s mother is afraid and eager to leave Uganda, but her father, a wealthy Ismaeli businessman and landowner, is determined to ignore Dada Amin’s orders:

“Nonsense!” Papa laughed his conch-shell laugh, and her little brother echoed it. … “We are even more Ugandan than the ethnic Africans. Not only were we born here, but we chose to be Ugandan citizens when other Indians remained British…

Sabine agrees with her father. She is different after all. Her best friend Zena is African. They’ve grown up together like “twin beans of one coffee flower” and Zena is just like her sister, even if others (like her Indian friends) don’t see it that way.

Narmin …Nasrin … Sabine’s hands clenched at the names of her classmates. They were prissy prunes. She’d had a big fight with them after they called Zena goli. Mixing her African and Indian friends was like mixing oil with water.

As the 90 day countdown continues, Sabine’s optimism is drowned out by the growing chants of “Muhindi, nenda nyumbani! Indian, go home.” Amidst reports of violent attacks against Indian families, the mysterious disappearance of her favorite uncle, and strained relations between her and Zena (whose uncle is a general and crony of Idi Amin), she is forced to reexamine her understandings of race and class.

The novel is what Nanji calls Faction, a mix of facts and fiction.

I came across an anthology called The Tenth Rasa: An Anthology of Indian Nonsense, while browsing in a bookstore in suburban Philadelphia. The book is a collection of nonsensical poems and short stories from all over India, most of them translated into English. It’s one of those rare Penguin India titles that ended up getting distributed in the U.S. (An earlier book that I discovered in exactly the same way, was Samit Basu’s The Simoqin Prophecies. Also, I should point out that the editors of The Tenth Rasa have started a blog to promote the book.)

I’ll say a bit more about the idea behind the collection below, but what I have in mind for this post is a celebration of nonsense by example, not so much a thorough review (I’m also curious to know whether readers can remember their own South Asian nonsense rhymes, in any language. Anyone? Translations would be nice, but not required).

For now it might make sense to start with a couple of poems. First, the spirit of the collection is perhaps best captured by a favorite Sukumar Ray poem, “Abol Tabol,” (translated alternatively as “Gibberish” or “Gibberish Gibberish” to catch the reduplication), first published in Ray’s book of the same title in 1923:

Come happy fool whimsical cool
Come dreaming dancing fancy-free,
Come mad musician glad glusician
Beating your drum with glee.
Come O come where mad songs are sung
Without any meaning or tune,
Come to the place where without a trace
Your mind floats off like a loon.
Come scatterbrain up tidy lane
Wake, shake and rattle ‘n roll,
Come lawless creatures with willful features
Each unbound and clueless soul.
Nonsensical ways topsy-turvy gaze
Stay delirious all the time,
So come you travelers to the world of babblers
And the beat of impossible rhyme.
(Translated by Sampurna Chattarji from the Bengali)

(“Glusician” is not a typo, by the way; its utter unjustifiability is in some sense the point of the poem.)

Another of my favorites from the collection is an almost-limerick, originally written in Oriya by a writer named J.P. Das, and is called “Vain Cock”:

Taught to say ku-ku-du-koo, ku-ku-du-koo
He only said, ‘cock-a-doodle-doo’
Such a vain cock—
You’re in for a shock:
Not tandoori, you’ll only be stew.

(The joke here of course is that in many Indian languages a rooster’s cry is rendered along the lines of ‘ku-ku-du-koo’, and presumably in the Oriya version of “Vain Cock” the phrase “cock-a-doodle-doo” is rendered phonetically exactly as in English. The Vain cock, in short, is due for stew because of irremediable Anglophilic tendencies in his onomotopoeic ejaculation.)

I was recently in cool Vancouver to give a talk at a conference on Modern Punjabi Literature. The conference was at the University of British Columbia, and it was hosted by the Asian Studies department (where they have a strong program in Punjabi language instruction, part of which includes the study of literature in Punjabi).

The community was invited in, and they most definitely came — including a number of poets and novelists in Vancouver’s surprisingly large Punjabi language writers’ community. One of the best-known Punjabi poets in Vancouver is of course Sadhu Binning, who has also taught the Punjabi language at UBC for more than 20 years (he’s now retiring, sadly). His collection, “No More Watno Dur” is one of the very few collections of Punjabi poetry I’ve seen to be published in a bilingual edition (which is especially helpful for someone like me — a person who reads Punjabi only haltingly, and always with reference to a dictionary).

Among the many other writers in attendance, it was great to meet, for instance, the Punjabi-Pakistani-Canadian poet, Fauzia Rafiq (who didn’t mention she had a blog!). Another writer who seems well worth checking out is Ajmer Rode.

At the poetry reading on the last night of the conference, Nadeem Parmar sang a ghazal in Punjabi. I Googled him today, and was surprised to find that he’s written lyrics for many well-known singers, including Jagjit Singh. I also Googled Darshan Singh Gill, and was intrigued to find that he had actually been featured in a CBC documentary about new immigrants in Canada, back in 1958. And those were just a few of the names.

I met a Dhol player who plays for a “world music”/fusion group called “Delhi To Dublin”, which seems worth checking out. He also plays Dhol for a “pure” Bhangra group called En Karma. (There might be another post about these Vancouver bands once I’ve had a chance to listen to the music.)

Those are some links to start off. After the jump, I’ll discuss some of the more substantial issues discussed at the conference.

Sepia’s very own guest columnist V. V. Ganeshananthan’s debut novel “Love Marriage” [book excerpt] is a haunting family drama about the ramifications of decades of civil war in Sri Lanka. [Cicatrix’s review is forthcoming.] It hit bookshelves earlier this month, and while on her book tour, Sugi took a few minutes to answer some questions via e-mail about the book, her writing process, and her inspirations.

You began Love Marriage as your senior thesis, I’ve read. Was there a particular image or incident that inspired it, apart, of course, from your own background as the child of Sri Lankan immigrants? No single thing inspired the book. The first page seemed to write itself, almost by accident. They were just some musings, but then I took them into a creative writing class, and my classmates were very encouraging about it and wanted to hear more from that voice. That voice belonged to a particular character who was starting to realize how Sri Lankan politics had affected—and continued to affect—her family. And therefore her.

Why did you choose to write the novel in these vignettes? Did this form help you accomplish something that a straight narrative could not? The currency of family stories is the anecdote. This is the manner in which most of learn about our families, so in that way it is organic to the story.

Time is dealt with in interesting ways in Love Marriage . There are two sections in the novel that I thought were especially powerful where you describe simultaneous events - they are almost cinematic. For example, while the main character Yalini is being born, Black July is happening in Sri Lanka. Can you address the question of parallels? There are lots of parallels in the book. Some were quite intentional, and others were not. I hadn’t really thought of the birth scene as a parallel until you mentioned it, but I suppose it is. I think of it as the one moment when Murali is in two places at once. Here is this young Sri Lankan couple having their first child, and it’s supposed to be this joyous moment. And it is. And yet at the same time Murali has this singular experience of watching disaster at home through the lens of the news. He is watching it and he is not part of it. There’s the distance of the eye of the camera. And at the same time he is a part of it in two weird ways: He is part of a removed group of viewers, and he can also imagine himself on the screen. He’s powerless, except for the act of viewing and knowing that.

Quite often when we see upsetting news about the developing world, or countries in the East, on the news, it is a strange experience. What does it mean to show violence, and show violence, and show violence?

When I first heard the title of the book, I have to admit that I thought, “Oh, no, another book about love vs. arranged marriages” - but that presumption was very quickly blown away. At the end of the novel, we come to see the notion of marriage as many different things, between people but also between “person and a country.” In light of current political climate, was there a political statement that you wanted to make with this novel? Of course the book is political. It has a range of characters with a range of political opinions. The Sri Lankan diaspora’s political views are sometimes understood as two opposite poles with nothing in between. (As though arranged marriage and love marriage were the only two kinds of marriage.) But there are so many communities and opinions and conversations out there. It’s important to create room for dissent in any dialogue—and this one in particular.

Pankaj Mishra writes a detailed review of Pico Iyer’s new book, The Open Road: The Global Journey of the Fourteenth Dalai Lama, in the recent issue of the New Yorker. Mishra’s review makes it evident that Iyer has elicited a far more complex story of the Dalai Lama than is typically shoveled to and slurped up by the West. Instead of treating him merely as a figure to be awed, Iyer describes him as “Forrest Gumpish,” simple yet revolutionary. He is a religious leader who is actively attempting to weaken the dogma of his own religion:

Last November, a couple of weeks after the Dalai Lama received a Congressional Gold Medal from President Bush, his old Land Rover went on sale on eBay. Sharon Stone, who once introduced the Tibetan leader at a fundraiser as “Mr. Please, Please, Please Let Me Back Into China!” (she meant Tibet), announced the auction on YouTube, promising the prospective winner of the 1966 station wagon, “You’ll just laugh the whole time that you’re in it!” The bidding closed at more than eighty thousand dollars. The Dalai Lama, whom Larry King, on CNN, once referred to as a Muslim, has also received the Lifetime Achievement award of Hadassah, the Women’s Zionist Organization of America…

Precepts such as “violence breeds violence” or “the quality of means determine ends” may be ethically sound, but they don’t seem to possess the intellectual complexity that would make them engaging as ideas. Since the Dalai Lama speaks English badly, and frequently collapses into prolonged fits of giggling, he can also give the impression that he is, as Iyer reports a journalist saying, “not the brightest bulb in the room…” [Link]

But, would a “dull bulb” espouse an idea as revolutionary as this:

The most famous Buddhist in the world, he advises his Western followers not to embrace Buddhism. He seeks out famous scientists with geekish zeal, asserting that certain Buddhist scriptures disproved by modern science should be abandoned. [Link]

Can you imagine the Pope coming out to say to Catholics, “Yeah. I guess science and statistics do show that condoms are a good idea after all. Let’s git rid of the whole no birth control part of the religion.”

Jhumpa Lahiri’s much-awaited collection of short stories, Unaccustomed Earth, hits bookshelves this week. As she makes her way around the US on an eight-city tour (she has a sold-out reading at Symphony Space tonight), gushing reviews have started pouring in.

The Village Voice’s Lenora Todaro compares Lahiri to a “young Alice Munro” and praises the emotional wisdom of these stories. [link]

Eight long short stories (three of which were previously published in the New Yorker) make up this striking collection whose title was inspired by a Nathaniel Hawthorne quote: “Human nature will not flourish, any more than a potato, if it be planted and replanted, for too long a series of generations, in the same wornout soil. My children have had other birthplaces, and, so far as their fortunes may be within my control, shall strike their roots into unaccustomed earth.”

The Christian Science Monitor [link] says of Unaccustomed Earth: “Returning to themes she explored in her first novel, “The Namesake,” Pulitzer-Prize winner Jhumpa Lahiri details with quiet precision the divide between American-born children and their Bengali parents in her new short-story collection.”

I disagree. I don’t think this book is so much about the divide between generations as it is about the lives of the second-generation, the lives of the children of immigrants. The parents here play a secondary role - they are lenses through which children grow to understand themselves better.

Lisa Fugard of the Los Angeles Times gets it when she writes [link], “In her latest work, “Unaccustomed Earth,” a powerful collection of short stories, those children have left home and are starting families of their own, as they struggle both with tangled filial relationships and the demands of parenthood. The straddling of two cultures has been replaced by the straddling of two generations.”

In New York magazine’s profile of Jhumpa Lahiri, “The Confidence Artist: Jhumpa Lahiri Isn’t Afraid to Provoke Tears” [link], Boris Kachka writes:

Unaccustomed Earth is, once again, about upwardly mobile South Asians from New England, and so is the novel she’s working on. “ ’Is that all you’ve got in there?’ I get asked the question all the time,” says Lahiri. “It baffles me. Does John Updike get asked this question? Does Alice Munro? It’s the ethnic thing, that’s what it is. And my answer is always, yes, I will continue to write about this world, because it inspires me to write, and there’s nothing more important than that.”

Yes, Lahiri’s latest stories are once again about Bengali Americans, many of them set in Cambridge and London (where she was born), but keep going and it’s obvious that she has gone further and deeper, taken a turn in another direction, choosing to write about the experiences of second-generation Indian-Americans, about their fraught relationships with their parents, about multi-racial marriages, and at the end of it all, the human condition. (Elsewhere in Unaccustomed Earth, she takes us to Italy, Thailand, London, but what she does keep coming back to is Mass., Cambridge.)

Discussion over an article published Sunday night on the NY Times website dominated my email inbox today. Given the fact that so many SM readers are hyper-literate (or at least think they are) this simply had to be shared, discussed, and dissected to death here as well. Ready yourselves:

We’ve all been there. Or some of us have. Anyone who cares about books has at some point confronted the Pushkin problem: when a missed — or misguided — literary reference makes it chillingly clear that a romance is going nowhere fast. At least since Dante’s Paolo and Francesca fell in love over tales of Lancelot, literary taste has been a good shorthand for gauging compatibility. These days, thanks to social networking sites like Facebook and MySpace, listing your favorite books and authors is a crucial, if risky, part of self-branding. When it comes to online dating, even casual references can turn into deal breakers. Sussing out a date’s taste in books is “actually a pretty good way — as a sort of first pass — of getting a sense of someone,” said Anna Fels, a Manhattan psychiatrist and the author of “Necessary Dreams: Ambition in Women’s Changing Lives.” “It’s a bit of a Rorschach test.” To Fels (who happens to be married to the literary publisher and writer James Atlas), reading habits can be a rough indicator of other qualities. “It tells something about … their level of intellectual curiosity, what their style is,” Fels said. “It speaks to class, educational level.”

Pity the would-be Romeo who earnestly confesses middlebrow tastes: sometimes, it’s the Howard Roark problem as much as the Pushkin one. “I did have to break up with one guy because he was very keen on Ayn Rand,” said Laura Miller, a book critic for Salon. “He was sweet and incredibly decent despite all the grandiosely heartless ‘philosophy’ he espoused, but it wasn’t even the ideology that did it. I just thought Rand was a hilariously bad writer, and past a certain point I couldn’t hide my amusement.” (Members of theatlasphere.com, a dating and fan site for devotees of “Atlas Shrugged” and “The Fountainhead,” might disagree.)… [Link]

I confess, I went to theatlassphere.com to see if Vinod had posted a dating ad there. The article goes on to conclude that you must be incredibly shallow if you dump someone based openly (or secretly) on the fact that their taste in literature sucks compared to yours. In fact, it wasn’t until I read this article that I wondered, for the first time in my life, if I was shallow. Am I destined to be “Baioed”? Not only would the pre-32 year old Abhi break up with a girl if she had ever in her life waited in a line for a Harry Potter book, he may also have dumped her if she didn’t like Mos Def The Cure (yes, I am a music snob as well). However, the new Abhi is reflective about the depth of his shallowness, mostly because he had been completely unaware of it until recently. The new Abhi wants to change. There have always been hints. Let me tell you all about one recent break-up. Well, it still feels recent but I guess it has actually been a while.

OK, Enid Blyton fans, get your hankies out. The Famous Five are getting a 21st century makeover, courtesy of Disney. Think multicultural meets technology in the new animated series “Famous Five: On the Case” which premieres in the UK next month. The crime busting gang of George, Dick, Julian, Anne, and Timmy the dog that Enid Blyton created in 1942 with the bestselling book Five on a Treasure Island is going to be replaced with characters who are the children of the original Famous Five, including a lead Anglo-Indian character.

That’s right, the team leader is the daughter of George (the tomboy and the original gang’s leader), Jo, short for Jyoti. According to Jeff Norton at Chorion, which owns the rights to Blyton’s books,

“We tried to imagine where the original Famous Five would go in their lives …Because George was such an intrepid explorer in the original novels we thought it would be only natural that she travelled to India, to the Himalayas, where she fell in love with Ravvi. That’s the back story (to Jo). We spoke to Enid Blyton’s daughter and she thought her mother would love what we have done …” [source: BBC News]

Don’t anyone try to tell me that the Disney executives don’t know how wildly popular Enid Blyton’s books are in India. I’m sure that the decision to have the lead protagonist be connected to the subcontinent somehow had a little something to do with this fact.

Other characters in the revamped series are Allie, a Californian shopaholic (and the daughter of Anne) who is sent to the British countryside to live with her cousins; Julian’s son Max, an “adventure junkie”: and Dylan, the 11-year old son of Dick. Only Timmy the dog gets to keep his original name.

Friday means a poetry party at sepia this month. To mark Women’s History Month, I’ve been featuring works by desi women poets all month long [catch up on past week’s poets: Aimee Nezhukumatathil, Shailja Patel]. Today’s featured work is “Corona, Queens,” by Bushra Rehman, a bi-coastal, Pakistani-American poet whose words sing of place, family, religion, and identity with an honest, insightful, and poignant sensibility.

A few years ago, the Bowery Poetry Club and City Lore asked a bunch of NYC poets to write an epic poem about New York. Bushra was one of them, and of course, she wrote about Corona, Queens, the neighborhood where she lived as a child.

Corona, Queens

Fitzgerald called Corona the valley of ashes
when the Great Gatsby drove past it, but
we didn’t know about any valley of ashes
because by then it had been topped off by our houses,
the kind made from brick this tan color,
no self-respecting brick would be at all.

We knew Corona,
home of World’s Fair relics
where it felt as if some ancient tribe
of white people had lived there long ago.
It was our own Stonehenge,
our own Easter Island sculptures
made from a time when New York City
and all the country
was imagining the world’s future.

Science fiction writer Arthur C. Clarke died earlier this week, at the age of 91. He was one of the best-known sci-fi writers of the 20th century, the author behind 2001: A Space Odyssey, among many others.

As is well-known, Clarke moved to Ceylon/Sri Lanka in 1956 — in large part for the year-around access to diving — and remained there until his death. The locale inspired at least one of Clarke’s novels, Fountains of Paradise:

Clarke lived in Sri Lanka from 1956 until his death in 2008, having emigrated there when it was still called Ceylon, first in Unawatuna on the south coast, and then in Colombo. Clarke held citizenship of both the UK and Sri Lanka. He was an avid scuba diver and a member of the Underwater Explorers Club. Living in Sri Lanka afforded him the opportunity to visit the ocean year-round. It also inspired the locale for his novel The Fountains of Paradise in which he described a space elevator. This, he believed, ultimately will be his legacy, more so than geostationary satellites, once space elevators make space shuttles obsolete. (link)

I first read The Fountains of Paradise many years ago, and I pulled it off the shelf this afternoon for a refresher. There is an intense opening, set in the classical period, 2000 years ago, involving a “Prince Kalidasa,” who does not seem to resemble the actual Kalidasa (who was not a prince, but a poet). And there are some rich descriptions of the island of Sri Lanka (named “Taprobane” — Tap-ROB-a-nee — by Clarke).

I take my duties as an aunt very seriously. Ever since I became a massi a year ago, I’ve started reflecting more and more on the important role that my aunts and aunties (the female family friends and mothers of friends) played in my life, both when I was a kid and in many cases, now.

So, I’m not exaggerating when I say that one of my life goals is to be the best massi ever. I can’t help it that I want to be adored and worshiped by my nephew in the same way that I adored and worshiped my aunts (the sisters of my mom and dad who I called tata-French for aunt—or simply by their first names, as in Dipika or Poupee) and aunties (I can never forget the glamorous Auntie Veena in Ghana who baked cheese sticks for our picnic at the Tesano Sports Club in Accra when I was 10) throughout my childhood.

Which is why when I first heard about the UK bestselling tribute to the institution of aunty-dom, The Complete Book of Aunts, by Rupert Christiansen with Beth Brophy, I couldn’t wait to get my hands on it. It even includes “ten golden rules for aunts”! From the book jacket:

Of all our blood relations, an aunt offers the most potential for uncomplicated friendship. THE COMPLETE BOOK OF AUNTS is an entertaining and touching exploration of aunts in all their guises and varieties, culled from real-life, literary and historical sources.

The book was inspired by a kid’s question to the author: “Why are there aunts?” In response, Christiansen takes a thorough look at the etymology of the word aunt, the many words for it that exist in world languages, and great aunts in (mostly Victorian) literature. He also highlights various aunt types: Bargain Aunts, Mothering Aunts, Damned Bad Aunts, X-Rated Aunts, and Honorary Aunties (think of all the older desi ladies you call ‘auntie’).

In honor of Women’s History Month, I thought I’d feature South Asian women poets on Poetry Fridays for the remainder of March. Today’s selection is “Shilling Love,” by Kenyan-Indian-American spoken word artist Shailja Patel. Her work “Migritude” premiered last fall in the San Francisco Bay area to packed audiences—it uses her collection of saris, passed down by her mother (another take on Mama’s Saris!), to unfold hidden histories of women’s lives “in the bootprint of Empire, from India to East Africa.”

“Shilling Love” is the first poem from “Migritude” that I came across a couple of years ago, and it has stayed with me since.

Shilling Love
By Shailja Patel

They never said / they loved us

Those words were not / in any language / spoken by my parents I love you honey was the dribbled caramel / of Hollywood movies / Dallas / Dynasty / where hot water gushed / at the touch of gleaming taps / electricity surged / 24 hours a day / through skyscrapers banquets obscene as the Pentagon / were mere backdrops / where emotions had no consequences words / cost nothing meant nothing would never / have to be redeemed

My parents / didn’t speak / that / language

1975 / 15 Kenyan shillings to the British pound / my mother speaks battle

Storms the bastions of Nairobi’s / most exclusive prep schools / shoots our cowering / six-year old bodies like cannonballs / into the all-white classrooms / scales the ramparts of class distinction / around Loreto Convent / where the president / sends his daughter / the foreign diplomats send / their daughters / because my mother’s daughters / will / have world-class educations

She falls / regroups / falls and re-groups / in endless assaults on visa officials / who sneer behind their bulletproof windows / at US and British consulates / my mother the general / arms her daughters / to take on every citadel

1977 / 20 Kenyan shillings to the British pound / my father speaks / stoic endurance / he began at 16 the brutal apprenticeship / of a man who takes care of his own / relinquished dreams of / fighter pilot rally driver for the daily crucifixion / of wringing profit from business / my father the foot soldier, bound to an honour / deeper than any currency / you must / finish what you start you must / march until you drop you must / give your life for those / you bring into the world

The following interview with Indra Sinha, author of “Animal’s People,” was conducted over e-mail while he was in India on his recent book tour. He lives in a wine-making region of France, and was kind enough to indulge my questions about “Animal’s People,” his writing childhood, and the art of making wine, amongst other things. He also told me that Animal, the main character of his novel, would be happy to answer a few questions, so that interview is also included. [read Sepia/Sandhya’s review of the Booker-shortlisted novel.]

What is the one thing that Animal’s People was never supposed to be? A polemic.

How long did you take to write the book? Were its origins a short story? It grew out of notes I was making for a screenplay. But did not come to life as prose fiction until the character of Animal appeared. He immediately began haranguing me and I learned eventually that the best course was just to write down everything he said. The actual writing took about three years, over a five year period.

Obviously your work with the Bhopal Medical Appeal and their newsletter was your research basis. In the first place, how did you get involved with the cause? A man from Bhopal approached me on the basis of the work I had done with Amnesty International and asked if I would help raise funds to start a clinic in Bhopal. You can’t just start something then walk away, so I then became involved in fundraising to keep it going. The clinic is now in its thirteenth year and we have given free medical care to more than 30,000 people.

In 1994, you “published an appeal in The Guardian asking for funds to start a free clinic for the still-suffering survivors of the Union Carbide gas disaster in Bhopal. This led to the founding of the Bhopal Medical Appeal. The clinic opened in 1996 and has so far helped nearly 30,000 people.” Is a little bit of Elli in you? Nothing at all.

Why did you choose to set this book in a fictional town, rather than in Bhopal itself? Because I wanted to free my imagination and to concentrate on the characters. This book is about people, not about issues. The disaster that overtook the city of Khaufpur is always kept sketchy, the Kampani is never explicitly named, it is just the Kampani, and as such is not simply Union Carbide or Dow Chemical, but stands for all those ruthless, greedy corporations which are wreaking havoc all over the world. In Jaipur at the literary festival Vickie and I met Alexis Wright, who has written of the aboriginal peoples’ struggle against Rio Tinto Zinc, in Bombay we spent time with Sudeep Chakravarti who has written a powerful book called Red Sun, about the Naxali and Maoist movement in India - again tribal peoples forced off their land by mining corporations and steel companies, including Tata, which is trying to get Dow off the Bhopal hook.

The US edition of Indra Sinha’s Booker-shortlisted novel Animal’s People was just published this week by HarperCollins. Last fall, when I first heard about the book which focuses on the effects of a chemical company explosion in a contemporary Indian city, I didn’t want to wait … so, I immediately ordered my copy from Amazon UK. (I’m glad I did because now I have a paperback copy with a cover that I much prefer over the American edition. See for yourself below.)

Set in the fictional city of Khaufpur—home to a catastrophic gas explosion caused by an unnamed Kampani (if you’re thinking Union Carbide and Bhopal already, you’re not alone)—Animal’s People is the first-person account of Animal, a 19 year old, who walks on all fours, his back twisted by a disaster he is barely old enough to remember. Animal was born just a few days before “That Night” (his Apocalypse) when a chemical factory owned by Americans exploded, killing his parents, totalling his slum, and virtually destroying the health of many of the city’s poorer inhabitants. The Kampani changed his life before he really even knew what his life could be:

“I used to be human once. So I’m told. I don’t remember it myself, but people who knew me when I was small say I walked on two feet just like a human being … Ask people they’ll tell you I’m the same as ever, anyone in Khaufpur will point me out, ‘There he is! Look! It’s Animal. Goes on four feet, that one. See, that’s him, bent double by his own bitterness …”

This is the powerful first line of a novel that I ripped through it at breath neck speed, simultaneously refreshed by Sinha’s raw voice and haunted by the events and images that were unfolding in the novel itself.

A little pre-post note from Sandhya Nankani, your new guest blogger: At least once a day, I come across a link or a piece of literature or an article and I think, “That would be great for sepia!” So it goes without saying that I’m thrilled about coming aboard as a guest blogger for the next month. You’ll read ennis’s little ditty about me later today, so besides inviting you to check out my family ruminations, I’m ready to fly…

For the next month, I thought it would be fun to import a regular feature—Poetry Friday—from my personal blog Literary Safari. I’ll be putting a subcontinental twist on this. Every Friday I’ll be posting a poem by a desi writer that speaks to me.

I’ve always had a thing for elephants. My first (and favorite) stuffed animal was a gray elephant. In those days, stuffed animals were not very soft or fuzzy. Mine is rough and tough, but he has survived three decades, and continues to thrive (despite his half-fallen off trunk) alongside my collection of elephant kurtis; shell, glass, and metal elephants (including Ganeshas); elephant paintings and silkscreens, elephant magazine holder … yeah, OK, you get the point!

So, today’s poem—which I recently discovered in Billy Collins’ anthology 180 More: Extraordinary Poems for Every Day—is (brace yourselves for the long title) “Aanabhrandhanmar Means ‘Mad About Elephants’” by Aimee Nezhukumatathil (Nez for short).

I like to pair literary and artistic selections the way people pair wine and cheese, so when I read this poem, it seemed to me a perfect accompaniment to Australia-based photojournalist Palani Mohan’s images in his new book, Vanishing Giants: Elephants of Asia. [click the above image to view a slideshow of his photos.]

Aanabhrandhanmar Means ‘Mad About Elephants’

Forget trying to pronounce it. What matters
is that in southern India, thousands are afflicted.
And who wouldn’t be? Children play with them
in courtyards, slap their gray skin with cupfuls
of water, shoo flies with paper pompoms.
When the head of the household leaves

There have been quite a few stories in the past couple of weeks about the issue of translation in Indian literature, most of them stemming, I think, from the annual Jaipur Literary Festival which took place last month. (Incidentally, I've been keeping up with these stories through The Literary Saloon, by far the best blog for world literature out there right now. All the links below come from that blog.)

Some of the stories read kind of like pep talks for translators -- come on guys, get translating! This story, in The Hindu, might be one such example. Mini Krishnan focuses on the idea of a translator as a creative figure in his or her own right -- a "conjurer." One of the translated passages she quotes, from a Tamil writer, seemed particularly evocative to me:

The translator throws her voice so skilfully that the truth of a text originally written in an Indian language is “heard” in English. Here is Vasantha Surya translating the Tamil writer Ki Rajanarayanan: “Taking out the betel leaves one by one as if he were taking things out of a pooja box, he would lay them out with the devotion due to objects of worship. . . Next he would sniff the broken areca nut. Then he would blow on it. This sniffing and blowing procedure was repeated several times, his hand transporting the areca nut from nose to mouth, nose to mouth, more and more rapidly until ooomm-oosh, ooomm-oosh, ooomm-oosh, dabak! Into his mouth the areca nut would go, having been noisily purified.” Which Indian — educated in English, unable to read his mother tongue or born of a mother other than Tamil — will not thrill to such a retelling? (link)

What I liked about this is the fact that the translator doesn't feel the need to translate every word. Even though I don't know Tamil, I have a pretty good idea of what a word like "dabak" must mean, just from context. I think even writing originally written in English can often get away with the inclusion of many more words from Indian languages than people might think. (I've seen my students pick up words on their own as they read books by Indian authors. They often have no idea how to pronounce them, but the foreignness of the words usually doesn't stop a dedicated reader; if anything, it presents them with an interesting puzzle to solve while reading.)

Via the Literary Saloon, an article in the Economic Times on the upcoming formal distribution of Harlequin Mills & Boon romance novels in India. These novels have of course been available in South Asia for many years — but mostly via redistribution and consignment. It’s only now that Harlequin is planning to start distributing its books in India directly:

For most Indian readers, it will come as a surprise that M&B was never actually distributed in India. The novels have been so much a part of our lives, stacked in the hundreds in circulating libraries, borrowed dozens at a time by women (especially in hostels, where the trick was for one girl to borrow them and ten to read them the same night), laid out for sale second hand on pavements.

We’ve seen the special sections in large bookshops, shelves aching with romantic desperation, anguish and fulfillment. We’ve fantasised about the busty heroines and tall dark handsome heroes on the covers. We knew about all the different varieties of novels: nurses, Regency, exotic settings and so on. And exactly how we knew all this we would never say since like most people we would never admit to reading M&B.

But all of this was achieved with Harlequin ever selling directly. “We had some idea about this market, but we never really followed it up,” admits Go. “At the Frankfurt Book Fair, we would meet Indian distributors who would offer to take on consignments and we never bothered beyond that.” (link)

Interestingly, Harlequin is finding that Indian men are just about as likely to be Mills and Boon fans as women:

What he wasn’t expecting were the men, “A substantial percentage of Mills & Boon readership in India is male! You don’t see that in other markets.” Go has speculations on why this is the case. Perhaps it’s just the sheer ubiquity of M&B novels, “Their sisters and mothers are reading them and since they are lying around the men read them too.” (link)

(Come on, desi guys — I know you’ve read a few of these. MoorNam? Floridian? Now is the time to come clean.)

Finally, the author of the piece asks an obvious question on my mind from the start — what about the desi version:

But the interesting question is whether, as with FMCG products, M&B will see the need to Indianise their offering. When even a Kentucky Fried Chicken has to offer a chicken curry thali to survive in India, will M&B be able to continue with its offering of Western-oriented romance fiction? Or is this sort of escapist fiction exactly its appeal? (link)

(“Tall, dark, and handsome” might have to become “fair and handsome” in the Indian context. And maybe they could still use Fabio on the cover, only with Shah Rukh Khan’s hair style?)

Incidentally, I have long wanted to write my own pulpy romance novel to make some quick cash, but I’ve been starved for a good (desi-oriented) plot. Can anyone suggest a good scenario for me to use, as I attempt to enter the world of trash fiction popular romantic fare? (The best I can think of right now is an Indian version of this plot. Hopefully I can come up with a better title than “The Rancher’s Doorstep Baby,” however)

On my now-defunct personal blog I used to give some of my blog entries their own soundtrack. You know, music one should play in the background to make reading the post more enjoyable. Before continuing on to read the rest of this post, please hit play on the Geto Boys:

Sudhir Venkatesh’s latest book, Gang Leader for a Day, has finally hit the bookstore shelves (see WSJ review here). We’ve blogged about Sudhir several times before on SM (see 1 and 2). His previous book was titled, Off the Books: The Underground Economy of the Urban Poor. Gang Leader for a Day chronicles Venkatesh’s time spent hanging in the projects while pretending to be the chief biographer of a Chicago-land crack dealer named JT:

“Gang Leader for a Day” provides an often compelling, if amateurishly written, account of his quest. Under the protection of J.T., a middle manager in a citywide crack-dealing operation, Venkatesh sets himself up at the Robert Taylor Homes, one of the nation’s largest and poorest housing projects. Over seven years of study, he hangs out with gangsters, witnesses drive-bys and - remarkably - even participates in the beating of a man accused of abusing his girlfriend. Venkatesh’s research provides groundbreaking insights into the corporate-like hierarchy of drug dealers. It reveals the intricate shadow economy of the high-rise hustlers and the ways legitimate neighborhood businesses support it. And, most effectively, it offers a heartbreaking glimpse of how residents struggle just to survive in a place where even emergency vehicles fear to venture. [Link]

Sounds like Venkatesh really got into character. If he was a cop and not a sociologist I might have titled this post “Dhiren Brasco.” In fact, some of the reviewers openly wonder if Venkatesh may have gotten too close to his “subjects:”

I found this a difficult review to write. The book is very interesting and Venkatesh is one of the world’s best and leading social scientists (and I don’t say that lightly). Still, I thought his book was…how can I put it….somewhat evil, if I may call upon that old-fashioned concept. The book required him to work with, and often encourage, a vicious gang leader for up to six years. [via Marginal Revolution]

As part of a scholarly project I’m working on (on Saadat Hasan Manto), I recently taught myself how to read the Urdu script. I had briefly learned it as part of a Hindi class in college many years ago, but then immediately forgot it.

I must admit, I’ve been finding Urdu quite difficult. Reading from right to left isn’t so hard to get used to, but there are some letters that seem to be interchangeable (i.e., two different ways of writing ‘k’/’q’), and other letters that look painfully similar to one another on the page (‘d’, ‘r’, ‘v’, etc). Also, some of the vowel markers one sees in Hindi/Devanagari, though they do exist in Urdu as diacritic marks, are frequently omitted, so you often have to guess which vowel should be used based on context. Oh, and did I mention that there often aren’t clear word breaks (depending on how the typography is done in a given book or newspaper)?

But once I got the script down (roughly), I was pleasantly surprised to find that Manto’s Urdu vocabulary isn’t that far off from standard Hindustani — but then, he’s a prose writer known for his accessible style. By contrast, the vocabulary of much Urdu poetry (i.e., Ghalib) is so full of Persian words as to be unintelligible — at least to a barbarian ABD like myself.

Via the News Tab (thanks, ViParavane), I came across a great post at the Language Log blog with a historical linguistics explanation for how the script (and language) divide came to be. I don’t have much knowledge to offer on top of what Mark Liberman says, so the following are the just the quotes in Liberman’s post I found to be most interesting.

Its not often that a book blows my insides out. They were able to quite frequently when I was younger, and my mind became irreprably twisted on a diet of science fiction and fantasy. At some point I got “old” and realized that the highs I got off those books couldn’t be matched by a real life. Now I read mostly non-fiction and stay away from any strong stuff that could push me off the wagon and require literary methadone treatments. I started doing what I could to seek out the rush, the lust, the magic in the real world. I’m still doing what I can in the real world.

And then I relapsed last week. Hard. My past is why I so connected with the title character in Junot Diaz’s brilliant first novel, The Brief Wondrous Life of Oscar Wao. Or rather, I connected at some middle ground between this dateless, hopeless nerd and the consummate ladies man who tells us the story. You’ll have to wait a bit longer for the desi connections. From the back of the book:

“The Brief Wondrous Life of Oscar Wao is a book that speaks in tongues. This long-awaited novel by Junot Diaz is a masterpiece about our New World, its myths, curses, and bewitching women. Set in America’s navel, New Jersey, and haunted by the vision of Trujillo’s brutal reign over the Dominican Republic, The Brief Wondrous Life of Oscar Wao is radiant with the hard lives of those who leave and also those who stay behind — it is a rousing hymn about the struggle to defy bone-cracking history with ordinary, and extraordinary, love.” Walter Mosley

This book is a “diaspora novel” that transcends both time and reality (its filled with quotes from Lord of the Rings and other books that any real sci-fi nerd would know). As another reviewer stated, to paraphrase, “this is a diaspora novel for people who hate diaspora novels.” Set in New Jersey and the Dominican Republic it is the tale of a several generations of a strong Dominican American family that has been cursed (like all Dominicans) by the Fuku, brought by the “Admiral” who should never be named (but arrived in 1492). It is a curse so powerful that it is pointless to fight it. Diaz uses the life of an overweight science-fiction nerd to propel the story, a roughneck ladies man to narrate it, and a group of strong and beautiful latin women to beat the nerd and the roughneck out of each man and make the sadness of this book worth enduring. It is also a detailed and illuminating account of the brutal 20th century dictatorship of Rafael Trujillo (a.k.a Sauron or The Eye).

Via 3 Quarks Daily, I read a profile of Noon Meem Danish, an Urdu-speaking poet from Karachi who is of African descent. The author of the piece, Asif Farrukhi, makes reference initially to some places I hadn’t heard of:

Whether you think of Lyari as Karachi’s Harlem or Harlem as a Lyari in New York, for Noon Meem Danish places provide a context but not a definition. ‘I am what I am’; he explains his signature with a characteristic mixture of pride and humility. Off-beat and defiant, he was a familiar figure in the literary landscape of the ’70s and ’80s. His poems expressing solidarity with the Negritude and the plight of blacks all over the world were referred to in Dr Firoze Ahmed’s social topography of the African-descent inhabitants of Pakistan. Karachi’s poet Noon Meem Danish now makes his home in the New York state of mind, and feels that he is very much in his element there. (link)

Lyari, one learns, is a town in/near Karachi where many of Karachi’s Africans (an estimated 500,000 of them) live. Their ancestors came to Balochistan as slaves via Arab traders (Noon Meem Danish defines himself ethnically as “Baloch,” which was confusing to me until I made the connection).

The Afro-Pakistani community, perhaps not surprisingly, hasn’t been treated particularly well, according to this essay in SAMAR magazine (skip down towards the end for some disturbing references to the extra-judicial killing of African youths). It’s not surprising that Noon Meem Danish, given his penchant for poetry, would consider leaving.

Danish is pretty forthright about the difference in how he is perceived in Karachi vs. New York:

More than home, Karachi was for him the city of the torment of recognition. ‘I was black and in Karachi it was always a shocking experience when people would ask me where I came from. They would ask how come you are speaking saaf Urdu. I had to explain myself each time.’

Karachi University wouldn’t hire him, but NYU did, and now he teaches at the University of Maryland (in the foreign language department — teaching Urdu, I presume). It’s interesting to think of someone of African descent emigrating to the U.S. because it’s less racist than the place where he grew up, but there you have it.

You can see Noon Meem Danish reciting at a Mushaira on YouTube (he’s at about 2:30 2:10).

The debut novel by Nikita Lalwani, Gifted, makes for quite enjoyable reading. It’s about an Indian girl’s coming of age in Cardiff, Wales, as a math prodigy pushed and prodded by an overly controlling father.

The father’s obsession with having his daughter achieve a very rigid kind of academic greatness should ring a bell with second gen/ABD readers, especially given the apparent desi fascination with things like Spelling Bees (often discussed here at Sepia Mutiny) and World Records. For most middle class desi kids growing up in the west, childhood is often (whether you like it or not) all about “studies” — and Lalwani’s book shows a case of that parental obsession taken to an extreme.

That said, Lalwani’s Rumi (short for Rumika) is in fact genuinely interested in math and numbers from an early age, and Lalwani does a good job of taking us into her head without drowning the reader in math problems. Though I’m not particularly mathematically inclined myself, I do remember there being a certain luminosity to math problems as a child/teenager — something beautiful in algebraic abstractions, or the spiraling concept of infinity in calculus. (Unfortunately for me, I tended to be more enthusiastic about the aesthetics of the math than in actually solving the problems at hand…)

Here’s a short passage from early on in Gifted, where Rumi (age 8 at the time) is chatting with her relations while on a trip to India. They are discussing real-life math prodigy, Shakuntala Devi, who was able to multiply two thirteen digit numbers in her head:

Amrit Singh, the hardworking New York ACLU lawyer who is also the daughter of the current Indian Prime Minister (written about many times here on SM), has teamed up with fellow ACLU attorney Jameel Jaffer to author a book which outlines the broad scope of the detention and torture policies practiced by the Bush Administration in its “War on Terror.” [via Ultrabrown]

Administration of Torture is the most detailed account thus far of what took place in America’s overseas detention centers, including a narrative essay in which Jameel Jaffer and Amrit Singh draw the connection between the policies adopted by senior civilian and military officials and the torture and abuse that took place on the ground. The book also reproduces hundreds of government documents; including interrogation directives, FBI e-mails, autopsy reports, and investigative files; that constitute both an important historical record and a profound indictment of the Bush administration’s policies with respect to the detention and treatment of prisoners in U.S. custody abroad. [Link]

“Awesome” is the first thing that comes to mind. Even though we can’t undo a lot of what has been done to take America way off course in the last several years, it feels somewhat better to know that someone is taking the time to bear witness to and document it all thoroughly. This way, as Bush likes to proclaim, history can best judge his presidency. To get a feel for the book you can download part of a chapter here. You can also listen to a Podcast here where the authors discuss their book, and a recent NPR interview with Singh here.

Literary bettors rejoice for the shortlist for the 2007 (Man) Booker prize is out. Last year, Kiran Desai won for Inheritance of Loss. This year there are two brown authors, both expats like Desai, on the shortlist: Mohsin Hamid for The Reluctant Fundamentalist and Indra Sinha for Animal’s People.

My book is not recommended in-flight reading

When the Man Booker longlist was announced last August, pundits were somewhat surprised that many of the year’s biggest authors - Sebastian Faulks, J.M. Coetzee, Michael Ondaatje - were left off. [Link]

The remaining four books have sold an average of less than one thousand copies a piece in the UK, so they are hardly popular favorites. Other than On Chesil Beach, The Reluctant Fundamentalist has sold the most copies, with 1,519 books moved, and Animal’s People has sold the least, with only 231 copies sold in the UK, despite the sales boost from longlisting it. [Link]

I once translated the Kama Sutra

The Reluctant Fundamentalist … explores the conflict experienced by a young Muslim who has been educated in the US, worked on Wall Street and fallen in love with an American woman, who finds himself treated with suspicion in the aftermath of 9/11. [Link]

Animal’s People … draws on the real-life events surrounding the Bhopal chemical plant explosion, seen through the eyes of Animal, a boy whose spine was twisted and so must walk on all fours. When an American, Ellie Barber, arrives to seek justice for the victims, he investigates her motives. [Link]

This is the post, for which five of you have been patiently waiting. Finally, you get to dissect Maximum City, the first work chosen for the brown book club which I am horrible at coordinating.

If it’s any consolation, I have cringed and felt guilty that my work + ankle have delayed our exploration of MC, especially after reading two-months worth of comments and emails which asked about the fate of our summer nerdery. I know several of you couldn’t wait for this discussion which is so late, it is later than IST-late, and that is late my friends, yindeed.

Well, since I couldn’t get the job done, I got creative (read: desperate). I outsourced it to Uberdesi blogger Karthik. ;) Here are his thoughts on MC; I look forward to reading yours in the comment thread below.

After weeks of procrastination and a few days of grim determination, I can finally, happily strike Maximum City off my list of books to read. I had borrowed a friend’s copy, and I left their house wondering why they were so enthusiastic about handing it to me, since they were supposed to be reading it for SM, too. Now, I know.

After putting myself through that, I was ready to express my thoughts, and so like many of you, I emailed ANNA about when we were going to start discussing the book. She said that if I wanted to “get the party started”, I was welcome to do so, since she still hadn’t been able to finish it herself. I know she’s busy, but that itself is telling, people.

One question kept popping up in my head. Why did he pick these people to write about? The answer was buried in the final chapter of the book; I wish Sukethu had chosen to add this to the introduction.

At times, Sukethu goes into details that in my opinion are not needed, and some are very violent. There is also a very haphazard way in which the book is written. I find this maddening, people come and go and scenes change quickly. Before you comprehend certain pieces of information, you are presented with new ones. Everything is a mishmash of thoughts and ideas.

There was also a lot of unnecessary repetition, reminding me over and over again of my old grandfather, who is like Mehta- also fond of telling us the same thing, repeatedly.

A friend of mine from here in Texas recently handed me a copy of the Gujarat guidebook she’s edited and published after living there for some time (and with the additional help of some paid local writers). Since my family is originally from Gujarat I’ve never even considered the need for getting my hands on a guidebook before each visit there. After skimming through nearly 400 pages rich in history and photography I think I’ll be taking this along on my next trip to the motherland. Think “Lonely Planet on steroids”:

A grill would have totally completed this cover picture.

Five thousand years of civilization

Savor the history and romance, colors and textures, rhythms and dance of a land where time have never stood still.

From the rocky heights of the Sahyadri Mountains across to the salt flats of the Desert of Kachchh, Gujarat has something for everyone. Wander through remains of ancient Indus Valley civilizations; venture to meet the lions of Gir Forest; soak in the legacy of Mahatma Gandhi; dance on the streets for nine nights of Navratri. Enjoy an unparalleled ethos of hospitality. Experience vibrant crafts, exquisite architecture, rich wildlife reserves, colorful festivals and eclectic traditions. Join five millennia of seafarers, merchants and settlers from around the globe and come explore Gujarat. [Link]

What the hell. Gujarat has lions? I wonder why my dad has failed to ever mention this salient fact to me (but I’m sure he’ll comment on it and give me an earful down below). I remember going all the way to the northern part of India on a tiger safari but had no idea that there were lions right there in Gujarat. I think part of the problem is that to me Gujarat is just Ahmedabad, and if someone asks me what you do there I’d say “ummmmm…CG Road, Gandhi Ashram, and Siddi Sayid.” I love eating Amul cheese sandwiches when I am in India but I didn’t know I could take a tour of the Amul plant and watch it get made. It’s probably similar to going wine tasting in Napa (but cheese sandwiches are better than wine). The guidebook also taught me a little about the village (Sarkhej) that my grandparents lived in and where my parents partially grew up. I’ve been there but either didn’t know, or couldn’t remember, the significance of the place until I read here about the complex that the village was built around:

Sarkhej Roaza is a mosque, tomb, and royal complex dedicated to the memory of Salikh Ahmed Khattu Ganj Baksh, the spiritual advisor of Ahmed Shah…The Roza was a retreat for successive rulers, each adding a garden or pavilion. Sarkej is another excellent example of a structure that combines Hindu and Islamic design.

Salman Rushdie got knighted over the weekend: he’s now Sir Ahmed Salman Rushdie.

Predictably, government officials in Pakistan and Iran have come out against honouring the “blaspheming” “apostate” Rushdie. It’s a brand of foaming at the mouth that we’re all too familiar with at this point; in a sense, the hostile fundamentalist reaction validates the strong secularist stance that Rushdie has taken since his reemergence from Fatwa-induced semi-seclusion in 1998. (If these people are burning your effigy, you must be doing something right.)

But actually, there’s another issue I wanted to mention that isn’t getting talked about much in the coverage of Rushdie’s knighthood, which is the fact that Rushdie wasn’t always a “safe” figure for British government officials. In the early 1980s in particular, and throughout the Margaret Thatcher era, Rushdie was known mainly as a critic of the British establishment, not a member. The main issue for Rushdie then was British racism, and he did not mince words in condemning it as well as the people who tolerated it.

This morning I was briefly looking over some of Rushdie’s essays from the 1980s. Some of the strongest work exoriated the policies of Prime Minister Margaret Thatcher and indicted the pervasiveness of “institutionalized racism” in British society. Two essays in particular stand out, “The New Empire Within Britain,” and “Home Front.” Both are published in Imaginary Homelands: Essays and Criticism, 1981-1991. (Another great essay from that collection is “Outside the Whale” — required reading, though on a slightly different topic. And see this NYT review of the collection as a whole from 1991.)

Did you grow up combing your Barbie’s blinding blond locks? Rooting around a Crayola box for the “Burnt Umber” or “Ochre” since “Flesh” looked nothing like your own? Ahh…those self-conscious days are over (for the most part) since that crayon is now “peach,” Bratz dolls come in all shades of colors (and flavors of sluttiness), and there’s even a magazine for young South Asian kids (Kahani) that’s as awesome as Highlights! (OK, fine. Kahani’s a lot smarter. If IQ=DQ aka “desi quotient,” I wouldn’t be writing in this space, mmkay?)

Anyway, adding to this glorious list for sepia kids - longtime Sepia commenter, meetup regular, and all-around lit-star Pooja Makhijani just published another book! Mama’s Saris is a beautifully illustrated children’s book about a young girl mesmerized by her mother’s luscious sari collection, yearning to play dress-up, to grow up to be like just like her mother.

Pooja is already well-known as the editor of the sensitive essay collection Under Her Skin: How Girls Experience Race in America and has written for many youth/teen magazines. Most remarkably, she writes about universal childhood themes (such as wanting to wear your mother’s clothes to feel grown up) in a South Asian context, with very specific desi details.

While most of us look back on our childhoods with adult eyes, Pooja somehow retained the uncanny ability to delve into the past and write about it with a childlike sensibility intact.

Reading this book, I remembered my mother helplessly shooing me away as I tried to catch the gold lights in her party saris with my grubby hands…and the time we went shopping for the first sari I could call my very own…

I think I’m going to buy another copy as a gift for Mother’s Day. I’m keeping this one for a daughter I may have someday.

A couple weeks ago I was standing on the train during my morning commute, my arm stretched all the way up so my finger could curl about the ceiling pole, idly twisting about on my toes in a half-turn to survey the crowd and eye-scape their morning reading for titles, authors, snatches of prose. What are they reading? I always wonder, like a ghost watching a feast. These days it makes me ill to read on the train, and I feel like I never have time to read real books—spoiled by my steady diet of magazines and blogs, I can’t quite digest those bricks of literature. That morning there were some romance novels, a Crichton, Guns Germs & Steel. A woman shifted, and behind her a gray-suited man’s folded back New Yorker came into view, the familiar Deco font, and like my mother’s voice the desi words sharpened into focus:

Karma, by Rishi Reddi, Harper Perennial; $12.95: Each of the stories in this startlingly mature collection shows first- and second-generation Indian-Americans attempting to manage the disconnect between cultures. The premise is hardly a new one, but Reddi’s understated prose and her choice of details give her revelations a quiet power.(link.)

. . Shankar and Neha were deposited on the threshold of their new life.

Mohsin Hamid’s new novel, The Reluctant Fundamentalist, is getting quite a lot of publicity this week. I’ve been an admirer of his first novel, Moth Smoke, which I think of as giving a fresh, entertaining image of the changes occurring in urban Pakistan in the globalization era. It also has an irreverent, off-beat style, somewhat reminiscent of Upamanyu Chatterjee’s English, August. When I’ve taught it in courses on South Asian literature, I’ve found that students really tend to latch onto it — often more than writers like Ghosh, Rushdie, or Mistry.

Initially, I’ve been less than enthused about picking up Hamid’s new novel, along the lines of: do I really need to read another book about the tension between fundamentalism and modernity? This ground has been covered so many times already — starting with The Satanic Verses — that one doesn’t expect to be surprised. But the more I hear about the novel, the more interested I’ve become.

A good place to start might be the 20 minute interview Hamid did this week with Terry Gross, where (among other things) they spent a fair amount of time discussing how having or not having a beard affects how you’re perceived, in both Pakistan and the UK/US. Apparently this is a major theme in the novel as well; as a dariwalla (bearded person), I approve. I gather that Hamid’s point here is, if you want to grow a beard, grow a beard — don’t shave just because others might perceive you as a religious extremist.

[Warning: Spoilers!]

People who feel that The Namesake was too unrealistic might have to reconsider now that the “real” Gogol has emerged [via UB]. Vishaan Chakrabarti is a New York City architect. His father was a Professor (at Harvard, the book was set in Boston unlike the movie) and his mother a librarian who became a classical Indian singer. And yes, he had a nickname that he disliked enough that he legally changed his name while in college.

The Namesake’s Namesake?

Chakrabarti … has good reason to believe he’s the inspiration for Gogol, the protagonist of Jhumpa Lahiri’s novel (Kal Penn’s role in the movie). “Maybe it’s just coincidence that nine-tenths of the book is the same as my life,” he says, “but it was my friends who pointed it out. Anyone who knew me well saw the similarity immediately.” [Link]

[NOTE: Chakrabarti wasn’t trying to grab the headlines, a friend of his told NYMag, which then contacted him to inquire further.]

He met Jhumpa because, in real life, she was the proto-Moushumi figure:

He dates non-Indian women, to his parents’ chagrin, and, after his father’s death, shaves his head and lets his mother set him up for the first time with an Indian girl—which is how Chakrabarti met Lahiri. [Link]

However, as Chakrabarti himself points out, there was no grand drama between them, just a set-up that went nowhere:

Chakrabarti … does note many differences between himself and Gogol. Most important, he and Lahiri dated only briefly, not getting hitched and divorced, as in the book. Chakrabarti, who’s now married, says they simply never hit it off. [Link]

In fact, neither of them married Bengalis. I guess just being Bengali wasn’t enough .

There’s been quite a raft of South Asia-related coverage in the New York Times this past week or so.

Perhaps most importantly, the Times finally gets to Musharraf’s ugly confrontation with Pakistan’s legal establishment. Perhaps what’s most striking in the current instance is the fact that Pakistan’s rioting lawyers are only now getting the message that Mushie may not be good for business.

In business news, New York’s Citigroup offices are going to see a major round of layoffs soon, while the company’s Indian back office is going to continue to grow. A few thousand formerly well-paid bankers have suddenly grown quite enthusiastic about Lou Dobbs’ brand of anti-outsourcing populism, and are suddenly pining for John Kerry.

Third, unrelated to outsourcing, it seems the Indian publishing industry has been doing quite well in the past couple of years, even as conventional publishing in the U.S. has struggled. There is an editorial in the Hindustan Times by Peter Gordan to that effect, but more importantly, see the article in the Business Standard from a couple of weeks ago on the subject. Apparently blogs have been part of the growth of the industry:

What has given the industry the much-needed charge and brought about these changes? Says Pramod Kapoor, publisher, Roli Books, “The reading habits of people are seeing a lot of change and there is more thirst for gaining knowledge.” Kapoor feels a lot of the credit for this should be given to the media as well as the Internet boom.
“People on blogs talk about books and there is more awareness about the titles released. The media too has played its role by giving more space to the publishing industry.” Literary festivals too have helped interest in books and authors grow. (link)

This is good news. Societies with vibrant book publishing are generally ones with bright futures. (Yes, I am saying something upbeat about India. Someone must have put something in my Kool-Aid.)

As for the positive role played by blogs, I am sure that Manish’s exhaustive coverage of the effect of Shakira’s abdominal muscles on the Mumbai stock exchange must be the culprit.

Hot-off-the-press (so hot that it won’t even be available until July) is a book whose subject matter seems to tackle some of the same topics we often post on this site, as well as might contain some good explanations as to why our website sometimes attracts bigotry/ignorance of a certain persuasion. The book is titled, A Place at the Multicultural Table: The Development of an American Hinduism. The book is by author Prema A. Kurien (who I see has been denounced in some way or another on a smattering of websites). Indolink reports:

According to its publisher Rutgers University Press, the book offers an in-depth look at Hinduism in the United States and the Hindu Indian American community.

The book focuses on understanding the private devotions, practices, and beliefs of Hindu Americans as well as their political mobilization and activism. And it probes the differences between immigrant and American-born Hindu Americans, how both understand their religion and their identity, while it emphasizes the importance of the social and cultural context of the United States in influencing the development of an American Hinduism…

Drawing on the experiences of both immigrant and American-born Hindus, Kurien demonstrates how religious ideas and practices are being imported, exported, and reshaped in the process. The result of this transnational movement, according to Kurien, is an American Hinduism- an organized, politicized, and standardized version of that which is found in India.

The book explains that Hinduism has undergone several modifications in interpretation, practice, and organization in the United States in the process of being institutionalized as an American religion. Kurien argues that while Hindu American spokespersons espouse a genteel pluralism and attempt to use Hinduism to secure a place at the American multicultural table, they also use the ideology of multiculturalism to justify and legitimize a militant Hindu nationalism. Drawing on this contradiction, she develops a theoretical model to explain 1) why multiculturalism often seems to exacerbate émigré nationalism, and 2) why religion is often involved directly or indirectly in this process. [Link]

It is a picture that I imagine many who read this blog have a variation of in one form or another. You know, that image of the the nuclear desi-American family— returned to the sub-Continent for a long (summer) vacation— of mom, dad, brother, sister posing in front of the Taj Mahal. The group is huddled close on that bench hoping for the perfect portrait. And really, how can the picture be bad? That grand marble monument towering in the background, its skewed reflection glimmering in the rectangular pond. Observing that familiar image reflected on the movie screen and understanding that feeling of closeness and comfort of being together in a foreign place, put a big smile on my face, as did most of Mira Nair’s latest film The Namesake.

I know we’ve previously blogged a review of the film, but this was a very personal book for me, I think for most of us. I even made my mom, who doesn’t usually read “English novels” read the book, and she loved it. So I think the movie merits more than just one review. In any case, I’ll do my best not to repeat too many of the things cicatrix mentioned earlier, and promise to stay away from the word timepass. The film was “just too good yar,” to merit the use of the word to describe it.

I find it hard to have high expectations for movies based on books. I have been burned too many times. With that in mind, my expectations for the movie were upward leaning, but not over reaching. I didn’t know how Nair could add visuals to a novel that was for me already so vivid. As the stunning opening credits blurred between Bengali and English, I immediately knew Lahiri’s story was in good hands. Nair and her longtime collaborator Sooni Taraporevala’s treatment stayed true to the novel while also providing an original point of view. Their take does a fine job of including the highlights of the book, but in their attempt to hit all the major points, the movie misses some of the extras that made the story so poignant. (Warning: Spoiler Alert, especially if you haven’t read the book)

The inclusion of the Ashima and Ashoke’s early years was good, but I wanted to see more of their early married life, more of Ashima’s struggle adjusting to life in America. To life without her family. To life without the familiar. I wanted to see her overcome that struggle, and grow into her life in America, as we saw in the novel. I think that is an important part of the story, and not spending enough time on some of these nuances took away from the story’s gravitas. The significance of the late night/early morning phone call for example, how was the audience supposed to know that odd-timed phone calls only meant significant news from India, usually bad?

I think my infatuation with British Asian culture began three or four years ago, when Bobby Friction and Nihal started their radio show on BBC Radio One. In fact, it was some of the music they spun that provided me small glimpse into British Asian life. One group in particular The Sona Family and their desi remix of “Oi, Who’s That Asian Girl” got me hooked on this British Asian sound, and its accompanying slang instantaneously. I wanted to say “Bruv” in that accent, end sentences with “innit,” and have all “ma bredren know what I was chattin about.” Sure, it took awhile to understand some of the many references to British Asian life highlighted on the radio show and on the Sona Family track, but I eventually started to understand the lingo, and to the annoyance of many of my friends actually started to use (perhaps inappropriately) some of the slang.

I thought after my religious following of the British Asian scene I was sufficiently well versed in the dialogue of the British Asian. So despite all the many British reviews mentioning the strange language, (linguistically inventive is how the Times Literary section described it) I wasn’t intimidated when I picked up Gautam Malkani’s recent work of fiction, Londonstani. As soon as Manish mentioned this book I knew I needed to read it, and so when I came upon it during a recent trip to India, I snatched it up.

I turned to page one and simply put, the writing gave me a headache. How could one possibly write entirely in slang, in a “desi patois”, and get it published (and undergo a bidding war no less)? I thought it couldn’t last. Using “an” instead of “and” in every chapter? My head was pounding. I thought I liked the slang, but I found myself having to re-read paragraphs. I don’t like to re-read paragraphs, it ruins the flow. Was there an index? How were people supposed to read this? I know the American version has an index to help readers comprehend “the linguistic inventiveness,” but I got my copy, a British one, at Crosswords in India. And I can’t imagine how an Indian, or any person entirely unfamiliar with British Asian slang could understand half of the things Malkani “was chattin about” in the book, especially without an index.

“Hear wat my bredren b sayin, sala kutta? Come out wid dat shit again n I’ma knock u so hard u’ll b shittin out yo mouth 4 real, innit, goes Hardjit, with an eloquence an conviction that made me green with envy…”

“The worst nonfiction book about terrorism published by a major house since 9/11” is what Warren Bass, senior books editor at the Washington Post (and, the byline notes, a former staff member of the 9/11 Commission), calls the latest from desi Talking Android nonpareil Dinesh D’Souza. The book is called THE ENEMY AT HOME: The Cultural Left and Its Responsibility for 9/11, a title that begs little further explication. Indeed, Bass points out at the end of a sharp review that’s less blustering and more cutting than that of Alan Wolfe in the New York Times, the whole exercise of D’Souza’s book seems so plainly intended to cause a kerfuffle in the blogosphere that I feel tawdry even bringing it up here, despite the Desi Angle (TM). As Bass notes:

Either D’Souza is blaming liberals for 9/11 because he truly believes that they’re culpable, or he’s blaming liberals for 9/11 because he’s cynically calculating that an incendiary polemic will sell books. I just don’t know which is scarier. One has to wonder why his publisher, agent, editors and publicists went along for the ride, and it’s hard not to conclude that they thought the thing would cause a cable-news and blogosphere sensation that would spike sales — a ruckus triggered not despite the book’s silliness but because of it. This sort of scam has worked before (think of Christopher Hitchens’s gleeful broadside against Mother Teresa or the calculated slurs of Ann Coulter), but rarely has the gap between the seriousness of the issues and the quality of the book yawned as wide. This time, let’s just not bother with the flap; this dim, dishonorable book isn’t worth it.

And perhaps, indeed, it isn’t. Still, as the rituals of the publishing biz dictate, Brother D’Souza has been getting his publicity on since the book’s release last week. Yesterday he had an op-ed in the San Francisco Chronicle that begins with a piece of logical reasoning that might have done Descartes proud:

The Pelosi Democrats sometimes appear to be just as eager as Osama bin Laden for President Bush to lose his war on terror. Why do I say this? Because if the Pelosi Democrats were seeking Bush’s success, then their rhetoric and actions now and over the past three years are pretty much incomprehensible. By contrast, if you presume that they want Bush’s war on terror to fail, then their words and behavior make perfect sense.

Vijay Prashad has a nice review of a new collection of Urdu poetry up at this month’s issue of Himal Southasian. The book is called Anthems of Resistance, and it’s edited by Ali Husain Mir and Raza Mir, two brothers from Hyderabad who now teach at universities in the U.S. (While it’s not for sale in the U.S. yet, this Indian book-seller will send it to you for $7.00 USD + postage.)

Prashad’s opening by itself raises some interesting questions (and memories):

In 1981, the cinema theatre near my home in Calcutta became a mehfil-e-mushaira. At the end of each show, majnoohs walked out of the darkness humming tunes and reciting ghazals. Muzaffar Ali’s Umrao Jaan allowed non-Urdu speakers to revel in the richness of Urdu culture, which most of us non-Muslims saw as exotic and attractive, yet distant. (Muslim culture would be further rendered exotic in 1982 in two films, Nikaah and Deedar-e-yaar.) These are all films of decline, where a supposedly homogenous Muslim culture is rife with problems – some easy to overcome (divorce rates), and others intractable (the demise of the kotha culture). The elegance of the language thrilled many urbane Indians, who enjoyed the patois but felt uncomfortable with the working-class and rural sections that actually spoke it. (link)

This is an interesting analysis of the appeal of Ghazals and the musical Mehfil culture of to many non-Muslims. Of course, the cinematic culture (i.e., the tawaif, or courtesan film) he’s referring to is now long dead, as the writers who wrote the songs and scripts of Bollywood’s early Urdu films are now gone (Kaifi Azmi died in 2002). Recent films like Fanaa have temporarily revived popular interest in Shayari (the recitation of poetic couplets), but in my view it’s more a gimmick than anything else. (I frankly don’t know what to make of Aishwarya Rai’s recent remake of Umrao Jaan.)

The rest of Prashad’s review is about the poets themselves — the writers of the Progressive Writers’ Association — who wrote as much about politics as they did about love. (I wrote about another PWA writer, Ismat Chughtai, here. Also, see Saadat Hasan Manto, who was not a member of the PWA as far as I know, though he did have certain things in common with them)

Hello again, my Sepia friends! I’m delighted to say our mutinous overlords invited me back as a part-timer here at the bunker, and I promise not to abuse the privilege. (But did you feel that shudder? Those were standards being dropped.)

So as I cast about for something to write about besides boys and terrorist envoys, I found this item in the news tab (thanks Gujulicious): Sri Lanka hosted a literary festival this weekend in Galle, a beautiful city on the Southern coast with a uniquely Dutch heritage.

Attended by non other than the freshly minted Booker winner, Kiran Desai, The Galle Literary Festival billed itself as “Sri Lanka’s first literary festival” and announced noble goals:

Our objectives are to raise the awareness of the increasing depth and diversity of Sri Lankan writings in English, to give Sri Lankan writers an equal platform to their international colleagues, to encourage the use of English among young people and to attract visitors from overseas to visit Galle and the Southern Province.link

But Sri Lanka already has a National Literary Festival, as bureaucratic and stodgy as it may be. And the founder of this Galle festival appears to be an Anglo-Australian hotelier, Geoffrey Dobbs, who has a vested interested in drawing affluent tourists to his Galle hotels and resorts. And this same Geoffrey Dobbs also founded a a tsunami relief organization, AdoptSriLanka.com that is supposedly the source of funding for the Galle Literary Festival.

So as exciting as it is to imagine Kiran and Suketu Mehta and Romesh Gunesekera trading bon mots under a sacred Bo tree, something seems a little…not-so-right…no?

Beneath the horrendous headline “Gangsta Raj,” New York Times reviewer Paul Gray opens his treatment of Vikram Chandra’s Sacred Games with the kind of snark that will dissuade anyone who only reads the first paragraph from buying the book:

This immense, demanding novel can be recommended, with scarcely a cavil, to well-educated Indians who have lots of free time, are fluent in (at the very least) English and Hindi, and have a thorough knowledge of South Asian politics; Hindu, Muslim and Sikh religious practices; and the stars and story lines of hundreds of Bollywood films. Longtime Bombay residents will have an extra advantage, since they will know, without consulting a gazeteer or Google, why the city is now called Mumbai. Prospective readers who don’t fit this profile will have some catching up to do.

In the end, it’s a positive review, though the term “damning with faint praise” sure came to my mind several times as I went through it. And do the Gray Lady’s editors know they just printed the words sisterfucker and motherfucker?

So it goes here. Those who plunge into the novel soon find themselves thrashing in a sea of words (“nullah,” “ganwars,” “bigha,” “lodu,” “bhenchod,” “tapori,” “maderchod”) and sentences (“On Maganchand Road the thela-wallahs already had their fruit piled high, and the fishsellers were laying out bangda and bombil and paaplet on their slabs”) unencumbered by italics or explication.

Seriously though, I still haven’t read the book (the US edition comes out this week, hence the review) but one thing I appreciated about Chandra’s last book, the amazing collection Love and Longing in Bombay, is precisely how he manages to introduce large amounts of local color and vocabulary in ways that connect even if you don’t know what exactly every term means. Surely the review could have taken a more productive approach than to lead with this literalist harping?

Red Snapper wrote me and suggested a post reviewing the books of 2006. This is of course somewhat difficult to do, because unlike some readers I tend to spend most of my time reading books written years and years and years ago — and I often let new works of fiction simmer into paperback before venturing to sit down with them. In this case, I haven’t actually read several of the books on the list below, and the list is as much a “to read” as it is a “best of.”

Secondly, the ordering isn’t especially significant. The list is more about the group as a whole than it is about putting X above Y or Y above Z. As I mentioned, I haven’t read some of the titles, and anyway ranking books isn’t usually a very intelligent exercise, especially when you’re talking about different genres of writing.

Third, I’m curious to know what was on your list in 2006. What am I leaving out?

“Actually, Dilip couldn’t make it, he ate too much paaya last night, and his stomach’s upset.” Those were the words preceding my introduction to Shobha Dé this past weekend, at a book-launch for a new author from Karachi, someone named Nadya A.R. (like E. E. Cummings, only the other way around), who has written what promises to be yet another opus to my home-town. This one, since Kamila Shamsie seems to have used up all the other referential titles, is entitled Kolachi Dreams. I haven’t read the book just yet, nor have I been able to find myself arsed enough to look up reviews, but I’m working on the premise that more desi writers is a good thing, so I’m hoping it’ll be a good read. I’m a little annoyed by the elements that went into the publication, but we’ll get to that in a second.

There are times when we on Sepia Mutiny are happy when a desi loses. For example, when a desi author makes the short list for “one of the world’s least-coveted literary prizes - the Bad Sex in Fiction Award” [Link] (thanks Pooja!).

This year, Nirpal Singh Dhaliwal joined luminaries like former Booker Prize nominee David Mitchell and Thomas Pynchon (and five others) for consideration by the London based Literary Review for the 14th annual dishonor. I’m sure they all heaved a sigh of relief when the award went to first time novelist Iain Hollingshead instead. If you’ve never heard of the prize,

… the award’s mandate is “to draw attention to the crude, tasteless, often perfunctory use of redundant passages of sexual description in the modern novel, and to discourage it”. [Link]

Embarassingly, this is not the first time a desi writer has been nominated. In 2003, Aniruddha Bahal won the award for his novel Bunker 13. The very next year, Siddharth Dhanvant Shangvi was nominated for The Last Song of Dusk, Nadeem Aslam was nominated for Maps for Lost Lovers [thanks Red Snapper], and two non-desi writers were nominated for desi themed stories — Gregory David Roberts nominated for Shantaram and Will Self for Dr. Mukti.

That means that a full 50% of the nominees in 2004 were either desi or writing on desi themes! The Guardian has quotations from all of the 2004 nominees [Not Safe For Work] so you can see exactly how bad the writing was. We’re talking really really bad, people.

I’m a bit perplexed about the connection between South Asia and bad sex. Is it the Kama Sutra thing that attracts preposterous sex writing? Do exotification and bad sex come not so chastely hand in hand? Is it India’s own fascination with purple prose?

That said, I’d rather that desis were associated with writing about bad sex rather than having actual bad sex. Bad sex writing is funnier, and I’m all about the laughs.

Manish’s post on Tokyo Cancelled a few weeks ago reminded me that I needed to finally pull the book down off the shelf, where it has been resting since S. brought it back for me from a brief visit to Bombay some months ago. I read it and was well-pleased (though perhaps not overwhelmed) by the imagination at work.

After a visit to Rana Dasgupta’s interesting homepage, I was intrigued to discover he’s signed off the filming rights for one of the stories in Tokyo Cancelled to a young Australian filmmaker named Robert Hutchinson. Hutchinson spent six weeks in India this past spring doing research on it for the screenplay he’s writing, and kept an interesting blog about it here. Aside from the fact that he misspells “Hindutva” at one point, Hutchinson has some interesting observations to make, both on India and on the script in progress. Here is how Hutchinson summarizes the plot for the film version of “The Billionaire’s Sleep,” which follows Dasgupta’s story quite closely:

Rajiv Malhotra is a billionaire who inherited an Indian steel empire and turned it into a trans-national concern with a focus on India’s ability to provide outsourcing services to the rest of the world. For him every moment of every day in every timezone is an opportunity to provide efficient services. His obsession with utilising every second of the day means he has never been able to sleep. This inability to sleep has also meant he is infertile and has not been able to produce an heir to his empire. His decision to have a ‘perfect son’ made for him through the use of genetic technologies is the inciting moment of the story. From that moment powers beyond his control come into play. (link)

That’s just part one. Note that it’s Dasgupta who uses the name “Rajiv Malhotra” (there is also a real person by that name, you may have heard of him; hard to know if any connection is intended).

Part two is where it really starts to get interesting:

Although Vikram Seth has been out of the closet as bisexual for some time now, I had not been aware of his sexual orientation until he gave a lengthy interview to Outlook India on the subject. His more visible profile on the topic of his sexuality is related to his public support for the anti-Section 377 movement, the movement for the decriminalization of homosexuality in India.

The interview is fascinating, both in terms of what it reveals about Vikram Seth and in terms of what it reveals about India. My favorite part involves the interviewer grappling with the very idea of bisexuality.

I’m not sure I quite understand what bisexual means?

What do you mean you don’t understand? Supposing I have a physical attraction at some time or in a certain place to a particular woman, and another time to a particular man …I suppose if you don’t like the word, you could say I am gay and straight.

But if you can be straight, and life is so difficult as a gay, isn’t it simpler to just be straight?

Of course not. You have your feelings. You can’t just suppress or contort your feelings, either your emotional or sexual feelings. And why on earth should you, just to appease someone else’s unthought-through prejudices. [Link]

Ah yes, such a desi question. But beta, if you are attracted to vomen, then vhy do you need to be the gay? She follows that little gem up by asking “This is something that people often snigger about: has boarding school anything to do with you being gay?” which was the icing on the cliche cake.

While I cringed to read her asking these questions, I was still glad she did. Even if she knows better, I imagine these are questions that your average person on the street is thinking of, so it’s far better to give Seth a chance to respond than to leave them unsaid.

We’ve had a few posts in the past on the growing influence of the Indian American Lobby (see 1,2,3), particularly with regards to the U.S./India nuclear deal. However, a new book set for release stateside next month takes us old school. Long before Indian Americans were lobbying for a nuclear deal with India they were lobbying for the basics, such as civil rights here and freedom for India. Indolink.com has a very informative review:

“Sikhs, Swamis, Students, and Spies: the India lobby in the United States, 1900-1946” is the title of a new book, authored by veteran South Asian scholar Dr Harold Gould, of the University of Virginia, and scheduled for release later this month by Sage Publications.

The subtitle suggests that it deals with the pioneers who confronted racism and opened America to South Asians, reflecting, as Joan Jensen informs us in her earlier classic study ‘Passage from India,’ “The story of how Indian immigrant pioneers settled in a hostile land and struggled to enjoy rights equal to those of Euro-Americans.”

That’s certainly a part of the historical confrontation between desis and non-desis in North America. It should be remembered that this was a time when the process of becoming an American citizen was one from which Indians were excluded through an increasingly complex maze of laws and regulations. Indeed, Indians were the only class of people whose citizenship was revoked because they did not neatly fit into the then commonly accepted racial categories of Caucasian, Mongolian, and Negro.

This was also a time when the chief of the bureau of naturalization notified all United States attorneys to oppose actively the granting of naturalization to “Hindoos or East Indians” and to instruct clerks of courts in their districts to refuse to accept declarations of intention or to file petitions for naturalization. Attorneys were also asked to file motions for orders to cancel declarations of intention already filed by Indians.

That’s why, in 1907, when Bengali student Taraknath Das was refused an application for citizenship in San Francisco, he wrote to the attorney general: “May I ask you if the Hindus who belong to the Caucasian stock of the Human race have no legal right to become citizens of the United States, under what special law the Japanese who belong to a different stock are allowed to declare their intention to become citizens of the United States.” [Link]

By that last paragraph I can see that solidarity with other Asian Americans definitely wasn’t in vogue at the time. According to review, the book takes a very close look at the efforts made throughout North America to drum up support against the British occupation in India:

Most of the India associations had high aims and objectives. For instance, the Hindustanee association of United States, founded in Chicago in 1913, stated its aims as follows: “To further the educational interests of the Indian students, to gather or disseminate all kinds of educational information, to seek help and cooperation from people at home and in the country.” As I.M.Muthanna observes in his book ‘People of India in North America,’ “Though outwardly it posed as a cultural organization, the real aim of this association was to preach sedition against the British.”

The ‘Hindu’ Associations organized in the U.S. had the following objectives: ‘Receipt of vernacular papers from India in order to keep Hindus fully informed of the events in their country, importation of youths from India to America for their education and for preparing them for developing their nationalist outlook, and to hold weekly meetings and discus politics.’

Apart from the Ghadar weekly, some of the pamphlets that were widely circulated include New Echo, Gadar di Goonj, Gadar di Karak, Gadhar Sandesh etc. The editor Ram Chandra wrote: “The ghadar conveys the message of rebellion to the nation once a week. It is brave, outspoken, unbridled, soft-footed, and given to the use of strong language. It is a lightning, a storm and a flame of fire ..we are the harbinger of freedom…” [Link]

An excerpt of an excerpt:

Sartaj walked stiffly to the window. Beyond the fizzing yellow lamps in the compound of the neighbouring building, there was the darkness of the sea, and far ahead, a sprinkling of bright blue and orange that was Bandra. With a good pair of binoculars, you could even see Nariman Point, not so far across the sea but at least an hour away on empty night-time roads, and very far from Zone 13. Sartaj felt a sudden ache in his chest. It was as if two blunt stones were grinding against each other, creating not fire but a dull, steady grow, a persistent and unquiet desire. It rose into his throat and his decision was made.

Twelve minutes of fast driving took him through the underpass and on to the highway. The open stretches of road and the wheel slipping easily through his fingers were exhilarating, and he laughed at the speed. But in Tardeo the traffic was backed up between the brightly-lit shops, and Sartaj was suddenly angry at himself, and wanted to turn around and go back.

And with that, Sartaj Singh is back. He is the police inspector whom you might remember from “Kama,” one of the five novellas that make up Vikram Chandra’s superb second book Love and Longing in Bombay. Chandra’s new tome Sacred Games, a Big Bombay Novel about cops, the underworld, and the meaning of life, was released in India earlier this month. From the excerpt at Rediff.com, which is taken from the first two chapters, it seems Chandra is back in full form: the tone, the pace of the writing feel very much like those of Love and Longing. The big question will be how it all plays out over nearly 1,000 pages. I found Chandra’s first novel, Red Earth and Pouring Rain, too long: the stories within stories within stories, the jumps back and forth from medieval to modern times, from Mughal battlefields to American college campuses, got overwhelming and messy. Love and Longing, by contrast, had a formal structure that disciplined the plot lines and helped the writing soar. It’s my favorite of all the post-Midnight’s Children wave of Indian writing in English.

There are not many reviews out yet: Apparently everyone is still digesting the book. Here’s the bottom line according to Suchitra Behal in The Hindu:

The funeral has taken place in Dhaka of the country’s most famous poet, Shamsur Rahman, who died on Thursday of kidney failure after several days in a coma. A large number of Bangladeshi government ministers, politicians of both major parties (BNP and Awami), and cultural figures attended the funeral, although there were also questions why Rahman was not given official state honors.

Described in today’s New York Times obituary as the “unofficial poet laureate” of Bangladesh, Shamsur Rahman was the author of sixty collections of poetry in Bangla, of which only a small fractions appears to have been translated in English. I barely speak any Bangla, let alone read it, and I imagine many Sepia readers have like me only heard of Rahman without ever reading him. It would be great to hear commentary and criticism from anyone versed in Bangla poetry or who has some of this work in translation that they might share with us.

Rahman was the victim of an extremist attack in 1999:

An outspoken opponent of religious fundamentalism, Mr. Rahman was attacked in January 1999 by a group of young men who talked their way into his house and tried to behead him with an ax. Mr. Rahman was unharmed, but his wife, who came to his aid, was seriously wounded.

Hearing screams, neighbors rushed in and caught the attackers, who were members of Harkat-ul-Jihad-al-Islami, a militant Islamic group. The attack led to the arrest of 44 members of the group.

There is an homage by Syed Manzoorul Islam in the Bangladesh Daily Star:

A biography creates a record of a life, but it must also attempt to assemble many divergent strands and seemingly incoherent fragments of that life into a semblance of a story for a reader. It’s hard to do even half-comprehensively with any one life — it requires, for one thing, intimate access to the person him or herself, as well as a pretty good paper trail. Vikram Seth, in Two Lives, had such access to not one but two people, who were extraordinary individually but even more so as a couple. It’s the story of Shanti Behari Seth, the author’s great uncle, and Hennerle Caro (Henny), a German Jewish refugee from the Nazis. The two of them met during the early 1930s, when Shanti was in Germany to do a doctorate in dentistry, and he rented a room in the Caros’ house. In 1937 and 1939, respectively, they left Germany and settled in London.

When the war broke out, Shanti enlisted (on the British side, of course), and served as a dentist for the troops in the African campaign, and later in Italy (where he lost an arm at Monte Cassino). Henny, for her part, lost her nuclear family at Auschwitz: unlike them, she was able to get out in time. Henny and Shanti became a couple, and eventually married. When Vikram Seth went to England initially in 1969, he didn’t know much about his uncle or his foreign wife. But as he stayed with them and then continued to visit over the course of more than twenty years, he became quite close to them. They even helped him learn German, a skill which turned out to be indispensible for this project.

Khushwant Singh was someone I naturally gravitated towards as a young literature scholar, as he was one of the very few modern, secular Sikh writers with an international profile. (Now we have Brit-Asians like Nirpal Dhaliwal — though judging from this, I’m not really sure that represents progress.) But while I did read everything I could find by Khushwant Singh early in graduate school, I ended up not writing about him, barring one seminar paper that my professor at the time didn’t particularly like.

The truth is, from a literary perspective Khushwant Singh’s novels really aren’t that great. They aren’t as adventurous as G.V. Desani’s All About H. Hatterr, and not quite as carefully controlled as the novels written by his contemporaries in the 1950s — i.e., R.K. Narayan. Train to Pakistan (1956) sold very well in the west, and was in print for years and years. It isn’t bad — it’s actually a well-plotted, suspenseful partition novel — but it’s just somewhat unremarkable. I Shall Not Hear the Nightingale and Delhi, by contrast, aren’t very readable at all.

After the 1950s, Khushwant Singh focused less on creative writing and more on journalism, which is where, I think, he’s made his greatest contribution. Between 1969 and 1978 he was the head editor of The Illustrated Weekly of India, an ancient institution that lasted for more than 100 years, and was, until the 1980s, the biggest English-language news-magazine in India (perhaps in all of Asia). Under the British, it was effectively a colonial society magazine, and it didn’t change much under its first two Indian editors. Khushwant Singh was the third Indian editor, and he turned the ethos of the magazine on its head.

I grew up in Paris. Many years later, this experience continues to earn me oohs and ahs: It must have been so… exotic! Cool! Parisian! I never know what to say in response. I mean, all I did was grow up. I rode the Metro and went to the movies a lot. I had long school days and lots of homework. After high school I came to the US, and for better or for worse have stayed here ever since.

It seems that by leaving so soon I missed all the fun:

IN “Weekend in Paris” Molly Clearwater, a 21-year-old British secretary with long blond hair and gorgeous breasts, impulsively sheds her dull life in London and heads to Paris, where she finds “a dizzying carousel ride of passion, excitement and self-discovery.”

In “Paris Hangover” Lauren Klein, a 34-year-old New Yorker with long blond hair and gorgeous breasts, abandons her glamorous job as a fashion consultant, gives up her TriBeCa triplex and plunges “into the mysterious world of Gallic men.”

And in “Salaam, Paris,” a Bollywood version of the story, Tayana Shah, a sheltered 19-year-old Indian Muslim with long legs and gorgeous breasts, arrives in Paris to meet the man to whom she is betrothed, becomes a supermodel and finds true love.

Since all these stories are clearly based on common real-life experiences, I am left to conclude that had I stayed in Paris, I too could have become a mysterious Gallic man, my life’s work devoted to the emotional liberation of perfect-chested beauties from multiple continents. I suppose it would have made a worthy career, but hey, so is blogging. Life is about choices.

Still, I wanted to learn more about Miss Shah. Who is the literary mastermind who brought this creature to life? Why, it’s old friend Kavita Daswani, whose prior oeuvre includes The Village Bride of Beverly Hills and For Matrimonial Purposes, of which one SM regular’s concise review follows:

I’ve read For Matrimonial Purposes. (don’t ask)…vomit!

Now I don’t mind a little chick-lit. I unabashedly enjoyed the original Bridget Jones. Salaam, Paris intrigues me, if only to see the treatment of the city of my youth, even if it bears as much relation to the actual Paris as my current ghetto surroundings do to Carrie and Miranda’s New York City.

Desi reviewer Reeta Sinha gives Salaam, Paris the business, however:

Kavita Daswani seems to know a bit about stereotypes. Her first book, For Matrimonial Purposes, was full of them and things haven’t changed much with this, her third and most recent work. If anything, the storyline provides room to expand, adding stereotypes about Muslim women to the usual desi chick-lit mix of arranged marriages, overbearing parents and the promise of glitz, glamour and happiness as soon as you leave India. …

It’s hard being a virgin, teetotaler supermodel, flitting between New York, the Caribbean and Paris, pretending to be hooked up with a rock star and being mauled by her handlers. It’s even worse when in between raking in fame and money, all you want to do is see your grandfather. … All’s well that ends well, of course. A fairy godmother in the form of an aunt helps Tanaya reconcile with her dying (of course), grandfather and Prince Charming does finally show up and they live happily ever after, in Paris (of course). …

Every imaginable cliché about Muslims and western perceptions has been thrown in, sadly, quite casually. So, you have references to Rushdie’s fatwa, four wives (Tanaya clarifies that she’s an Indian Muslim, not an Arab), she explains she’s not the “terrorist kind” when asked if she’s Muslim…

In conclusion, Sinha says:

But, then this is a beach-read. A fantasy. No bearing to the real world or real people whatsoever.

Or, as Entertainment Weekly puts it (via Amazon):

The culture-clash dilemmas ring heartbreakingly true.

A new coffee table book illustrates the architecture of, and the sculptures of deities within, temples across America. The Hindustan Times reports:

There are 53 Hindu temples in 33 American states, says a just published coffee table book that details the history, architecture, deities and other salient features reflecting the growing spread of Hinduism in this country.

Titled Bharat Rekha In America, the book by former Indian management consultant K. Panchapakesan, was released by Republican Congressman Joe Wilson, a member of the House of Representatives’ committee on international relations at the Capitol Hill.

Recalling his close personal ties with India and the role he played in the establishment of a Hindu Temple in South Carolina, Wilson lauded the efforts of the author to meet a long felt need of the Indian American Community. [Link]

Very kind of Joe Wilson (R-South Carolina) for backing this effort. It is probably a great way to get a good part of the Hindu vote in the next election.

I’m a picture man myself, especially when it comes to coffee table books. As long as the pictures look good who cares about the rest, right? Here is a description of the book from their website:

In the USA anyone can follow any religion by choice. Very secular. So Hinduism found a place in the society many years ago. Did Hinduism arrive 40,000 years ago in the geographic region, which is currently USA? So says an interesting report. Mr.N.Ganesan, a known writer on the subject of History of Hinduism has referred to it in his article in a popular magazine of USA, backing it with data from Text Books of reputed Book Publishers. [Link]

Surely there are reputable Hindu scholars among our audience that can comment on these claims. All I know is that Columbus arrived in 1492.

The USA has Hindu Temples in almost all the States. The number of Temples ranges from one or two in a state to five or six in some others. There are many traditionally built Temples. The Sri Venkateshwara Temple in Pittsburgh is said to be one of the earliest traditionally built Temples in recent times. There are many other Temples built in similar South Indian Style. The Sri Siva Vishnu Temple in Lanham, Maryland, the Sri Meenakshi Temple in Peerland, Texas, the Hindu Temple of Atlanta, the Sri Venkateswara Temple of Greater Chicago and the Mahavallabha Ganapati Temple, Flushing, to name a few. There are also Temples of North Indian style. The rest of the Temples are housed in independent buildings. Some of these Temples are being converted to traditional. Appearance with the construction of towers or gopurams. [Link]

As you could probably have guessed, there is no large temple in North Dakota where SM world headquarters is located.

Priced at US$ 49.95 and INR 2500/-, it has the initial print run of 1500 copies and expected to go unto 10,000. However, it will be sold at a discounted price especially at US $ 35 or INR Rs 1200/- during the Pravasi Bharatiya Divas. The publishers are targeting to sell about 10,000 copies in its very first year of publication. [Link]

Scenes from a life:

A realization of the horror of her new married life comes suddenly. Soon she is pregnant and, barely understanding what has happened, finds herself being rebuked by the doctor for “choosing” at so young an age to have a child. Two more children follow; then her husband splits her head open with a rock after he sees her speaking with another man, and her elder sister is beaten and strangled by her own husband.

That’s part of the synopsis, in today’s New York Times, of Baby Halder’s memoir, recently published in English by Penguin India, coming after the great success of the Hindi and original Bengali versions.

Baby Halder, now 34, is a domestic worker whose gift for reading, and ultimately composing, literature was discovered by her employer, retired anthropology professor Prabodh Kumar, in Gurgaon. After reading the article, I was surprised that we hadn’t discussed this book yet at the Mutiny, although commenter Dhaavak (who hasn’t been around lately — where you at?) mentioned it here.

I’m looking forward to reading this book, a classic exercise in giving voice to the voiceless. A few days ago on the thread about Sri Lankan maids in Lebanon, there was a tangential debate about the extent of domestic worker abuse in Indian households. Of course, it’s hard to measure. Baby Halder’s own experience veers from one extreme to another: after she flees Murshidabad and comes to work in the Delhi area, her employers range from the ones who have her lock her children in an attic all day, to Mr. Kumar, who coached her to find her voice.

But the bigger point here is that it’s not just the employment experiences of domestic workers that are misunderstood; it’s their whole life stories. For so many employers in societies where domestic labor is widespread, when workers go home “to the village,” they disappear into a black box. At most, perhaps we learn of the problems their families back home face and for which we are asked to contribute some money. Of their back stories, their childhood and formative moments, we usually know very little, and often don’t care to know at all.

The Hindu has a nice story and interview that gives a little more detail:

“My employer Prabodh ji has lots of books, including many Bengali books. While dusting them, I always used to think if one day I could read them. Even as a child, I always wanted to go to school. Despite our poverty, my mother never stopped us from going to school and even after she left us, I continued going. I studied till class 7th. So when Prabodh ji once saw me a little lost while dusting the books he asked me whether I would like to read a Bengali book, to which I said yes. He gave me Taslima Nasreen’s autobiography and soon I realised her life is so similar to me,” she narrates. Not stopping at Nasreen, Baby soon picked books by Mahasweta Devi, Shanko Ghosh, Charat Chandra Bangopadhay, Rabindranath Tagore, Ashapurna Devi, Nasrul Islam and more such Bengali luminaries.

This is, among other things, a compelling example of the vital importance of girls’ primary education. (Here’s a map showing female literacy rates in India, district by district.) It’s also a wonderful story. Much respect to Baby Halder!

Though her life wasn’t as drastically messed up as that of her friend and contemporary, Saadat Hasan Manto, Ismat Chughtai was definitely a born rebel. She lived her life the way she wanted, and wrote the truth in her many stories, novels, and nonfiction essays.

Chughtai’s most famous story is “Lihaf” (The Quilt), which deals with a lesbian encounter within an all-woman setting (Zenana) in a traditional Muslim household. It’s a funny and scandalous story (read it here), but actually, my favorite short story by Chughtai is called “Sacred Duty.” I came across it in a recent collection called The Quilt and Other Stories. It’s been beautifully translated by Tahira Naqvi, who has been Chughtai’s committed translator and one of her great champions.

“Sacred Duty” is not online anywhere, so perhaps I should briefly summarize it and quote a little. Samina, who comes from a respectable Muslim family in Delhi, is engaged to be married to a respectable Muslim boy. However, the day before her wedding she runs off with her boyfriend with Tashar Trivedi, a Hindu whose family lives in Allahabad. Samina accompanies Tashar to Allahabad, where converts to Hinduism and is married to Tashar in a Hindu ceremony. When her parents get Samina’s note explaining her disappearance, her mother’s first reaction (the story is told from her parents’ perspective) is “Let’s go to Allahabad and shoot them both!” Lovely.

A tipster on the News page alerts us to the following very odd column by Jon Carroll in the San Francisco Chronicle. The tipster comments: “Personally I think this article is in poor taste, but I’ll let others decide for themselves. I don’t want to be accused of jingoism.” A wise display of circumspection! So let’s take a look for ourselves. Carroll begins:

Occasionally over the years I have reprinted examples of English written by people for whom English is not their native language. Many of the examples appeared to be translations prepared by somebody with a whatever-to-English dictionary and a keen will to succeed. The earnest author would often, perhaps unknowingly, have a fit of fancy, often landing in magical territory unvisited by native speakers.

Okay… So, where are we going with this?

People often accused me of making fun of the writers. Not at all. I loved the writers. They were demonstrating how flexible English can be, something that professional writers tend to forget. It’s nice that the grammar police exist, but they mustn’t be allowed to rule. Language is not just a tool or a blade; sometimes it’s a springboard or a trampoline or a balloon.

Tool, blade; springboard, trampoline, balloon. Right. Anyway:

English as spoken in India is not a mistranslation; it’s a different dialect. Most written Indian English is made for domestic consumption, so it can follow rules that make intuitive sense to the audience.

Ah! We’re going to make fun of Indian English! Sure, why not.

The work below was prepared by a friend of a friend.

The old friend-of-friend move. Convenient when you write a daily column. (No columnist should ever write daily.)

All the sentences are reported to be actual quotations from one issue of True Crimes magazine

Reported to be actual! (Columnists don’t have to fact check either.) Now, onto this Indian English of which you speak:

Her husband clipped her ambitions with the instrument of refusal. The pangs of separation from her paramour made her to suffer….

When he retired to his bed that night, he tried to analyze latent import of her expressions; his body got thrilled….

Vijay’s friends had cars, in which stereos were fitted and they used to insert cassettes in the decks and then enjoy melody of recorded songs. “Come, let us go to the lake and listen to melodies of songs there….”

Geeta smelt a revolting odour in what he spoke. But Vijay was influential and also commanded much muscle power. Although he was in love with another girl called Lucy, a modern and highly fashionable dame, love messages were started exchanging through visual contact. Geeta put a bewitching and killing smile on her lips. Vijay didn’t find her unsuitable for an immoral act. “My business pertains to counterfeit currency and alongside I also do swindling. I will indulge in such novel acts of sex that your spirits will blossom and cheer you up and you will not feel sorry….”

Geeta: “Would I prepare for celebration?”

And so on. Anyway, here’s my question: as odd as Indian English can get, is this at all representative? Maybe I’ve just been sheltered from the worst of it. If so, feel free to rupture my illusions, preferably supplying your favorite examples. But if not, what exactly was the purpose of this column?

Here is a snippet of South Asian focused children’s literature, from the website of the dedicated magazine Kahani:

Kayan’s grandfather walked in. He held something shiny in his hand.

“What is it, Ajoba?” Sarika said. Their grandfather held up a silver coin.

“It’s just a coin,” Kayan said.

Ajoba shook his head. He placed the coin on one palm and rubbed his hands together quickly. Then he held up his hands. The coin was gone.

“Wow!” Sarika said. “Neat.” Kayan’s eyes widened.

“A magic coin,” Ajoba said.

Another snippet and some illustrations are available at the magazine’s website. One of its contributors is SM regular Pooja Makhijani, who has a nice personal essay on the topic of desi children’s lit at PaperTigers.org, a website on Asian-American writing for kids:

As I was growing up, I would search library shelves in the hopes of finding a character “like me”. I never had much luck. One day, my elementary school librarian excitedly handed me a tattered copy of The Jungle Book by Rudyard Kipling. “It’s set in India,” she squealed. “It’s the perfect book for you!”

Shockingly, Pooja did not find herself identifying with Mowgli. But one day at the library, she ran into a book called Dancing Princess:

Dancing Princess was a historical novel set in 16th century India during the reign of the Mughal emperor Akbar. Although Allaedi, the main character, wasn’t exactly like me, she was close enough. We were both brown haired, brown eyed, brown skinned girls and we both loved to dance. I renewed that book again and again, carefully scrawling my name onto the index card pasted on the inside back cover each week.

Community leaders from Tower Hamlets, London have started a campaign against the filming of Monica Ali’s 2003 novel Brick Lane. The novel was shortlisted for the Booker Prize, and was a big commercial and critical success. Reactions by many South Asian readers I heard from were mixed, mainly because of Ali’s use of a kind of pidgin English in the letters from the main character’s sister in Bangladesh, Hasina. (Our blog-friend DesiDancer also had a succinct review: “utter crap”, were her delicate, carefully chosen words)

Of course, the quality of the book is mostly irrelevant to the censorship campaign under way. This campaign seems to be an extension of the campaign against the book itself in 2003, and includes some of the same players and the same sad rhetoric of outrage and offense that is routinely trotted out these days in response to something or other:

In an echo of the controversy which surrounded the initial publication of the book, set partly in the east London borough, the novel is accused of reinforcing “pro-racist, anti-social stereotypes” and of containing “a most explicit, politically calculated violation of the human rights of the community”.

Community leaders attacked the book on its publication in 2003, claiming that it portrayed Bangladeshis living in the area as backward, uneducated and unsophisticated, and that this amounted to a “despicable insult”. (link)

The misguided attempt to protect the community’s honor through censorship will be ineffective, and the censorship campaign itself has the ironic effect of making the community look really, really bad.

[I found the following in the Oxford Anthology of Modern Indian Poetry. It’s by Adil Jussawalla.]

Sea Breeze, Bombay

by Adil Jussawalla

Partition’s people stitched
Shrouds from a flag, gentlemen scissored Sind.
An opened people, fraying across the cut
country reknotted themselves on this island.

Surrogate city of banks,
Brokering and bays, refugees’ harbour and port,
Gatherer of ends whose brick beginnings work
Loose like a skin, spotting the coast,

Restore us to fire. New refugees,
Wearing blood-red wool in the worst heat,
come from Tibet, scanning the sea from the north,
Dazed, holes in their cracked feet.

Restore us to fire. Still,
Communities tear and re-form; and still, a breeze,
Cooling our garrulous evenings, investigates nothing,
Ruffles no tempers, uncovers no root,

And settles no one adrift of the mainland’s histories.

Indian author Raja Rao passed away in Austin, Texas, at the grand old age of 96. He’s best known as the author of Kanthapura, and is one of those authors so strongly identified with the 1930s and 40s that it was actually a little surprising to find out he was still alive. (But then, his contemporary Mulk Raj Anand only passed away fairly recently himself.)

Rao lived a nomadic, complicated, 20th century life. He was born and raised in Mysore, and oddly enough for a South Indian Brahmin boy, he received his education mainly at Muslim schools in Hyderabad (his father worked for the local government, I believe). According to excerpts of his memoirs here, he also studied at Aligarh Muslim University until he received an invitation to come to a university in Montpellier, France, from a visiting French professor. This was around 1928; he ended up staying in France for more than a decade, studying, again surprisingly, Christian theology, and marrying a French woman who was also in academia. The marriage soon fell apart, and Rao returned to India on the eve of the Second World War, becoming more and more religious. He spent a great deal of time in ashrams in the 1940s, though he was also active in the independence movement. Though Rao later returned to France, he finally settled in Austin, Texas, where he taught in the Philosophy department (alongside G.V. Desani) until he retired in 1980.

Even in translation, the writings of Saadat Hasan Manto are blindingly good. Manto published about 250 short stories in a very brief career — alcoholism killed him at the age of 42 — and countless nonfiction pieces for newspapers and magazines. Much of Manto’s nonfiction writing is witty and sharp, though he also has a dark side that comes out in some of his best work. Partly because they’re available online, today I’d like to point readers to a series of rhetorical “Letters to Uncle Sam” Manto wrote in the early 1950s. There were nine in total, and four of them have been put online at Chowk: one, two, three, four.

If you know Manto well, you might want to skip down a bit for quotes and comments on the “Letters.” For those who don’t know Manto: the stories are amazing, often horrifying. The Partition stories Manto wrote are about the darkest you’ll ever see. Several of them deal explicitly with the psychic effects of rape, on both men and women, perpetrators and victims. Even Manto’s pre-partition writings (stories like “Khushia,” for instance) seem deeply preoccupied with the problem of masculinity and the objectification of women, from a perspective that’s only partly feminist.

Manto was in Bombay through the Partition (in 1948, he decided to move, with his family, to Lahore), so it’s unclear to me whether he personally knew people who had experienced this kind of violence. But stories like “Open it!” and “Cold Meat” (both of which provoked obscenity trials in Pakistan) seem to be inspired by a very personal awareness of the effects of traumatic violence. Whether or not he was personally there, Manto’s partition stories keenly capture the dehumanization that follows communal violence.

(As a place to start, I would recommend the collection Black Margins, though pretty much any collection will do.)

Since Ennis mentioned superheroes, I wanted to point out that Samit Basu has put together a wonderful series of essays and interviews on the subject of contemporary Indian speculative fiction (“speculative fiction” is an umbrella term, which includes sci-fi, fantasy, horror, and alternative history).

It’s really a small encyclopedia rather than a blog post, so here are a couple of pointers to start you off. First and foremost, Samit deals with the question of Indian speculative fiction in the context of the recent flourishing of “literary” Indian Writing in English here. He deals with the question of “authentic” Indian superheroes (as opposed to the bad, but familiar, ripoffs of western superheroes) here. Both are highly recommended links. Basu also gets into some questions about the publishing industry and the current dominance of diasporic writers here, though that may be of interest more to people interested in publishing questions.

Red-white-and blue, flying across the sky with his underwear on the outside … it’s hard to think of anything more American than Superman, right? Manish alerts us to an interesting claim made in an article by the “IndiaFM News Bureau” that Superman is nothing more than a Kaavya’ed Hanuman:

Word is that, that the original creators Joe Shuster and Jerry Siegel were inspired from none other than the Indian mythological hero Hanuman and that is how Superman got his flying powers. [Link]

Sure there are some similarities between the two fictional characters: neither is human, they’re both super-strong, they can both fly, and both have names than end in -man. But that’s it, really. Much as I would love to claim Superman as desi, this claim makes as much sense as the claims that Vedic civilization had both airplanes and atomic weapons.

People (scholars even) have written a lot on the origins of Superman.You can find entire articles on this topic in the highly obscure internet source Wikipedia:

Because Siegal and Shuster were both Jewish it is thought that their creation was partly influenced by the Jewish legends of the Golem, a mythical being created to protect and serve the persecuted Jews of 16th century Prague and later revived in popular culture in reference to their suffering at the hands of Nazis in Europe during the 1930s and 1940s. Another influence could be Hugo Danner, the main character of the novel Gladiator by Philip Wylie. Danner has the same powers of the early Superman (as do many other pulp characters of the twenties and thirties)… However, the sources sited by Jerry Siegel himself were Edgar Rice Burroughs’ John Carter of Mars and Tarzan, Johnston McCulley’s Zorro and E.C. Seegar’s Popeye. He also appears to have been influenced by Jack Williamson’s “The Girl From Mars.” [Link]

See - no reference to Hanuman made, ever. While it’s impossible to prove a negative (I cannot show definitively that they were not influenced by Hanuman), how would two Jewish kids in the 1930s know about Hanuman anyway? [And why would they need to know about Hanuman to come up with the idea of a flying hero? What, nobody in the west had ever thought of flying people before? This is after Peter Pan, for crying out loud.]

Well, my blogging time at Sepia Mutiny has come to an end, and it was both entertaining and challenging. I was first approached by the Bloggers-That-Be at SM after my little rant about the other Viswanathan girl, Kaavya. Soon after the plagiarism scandal of How Opal Mehta Blah B Blah hit, I set up a news alert to figure out if there was a story there. Most of the Kaavya V. news alerts were from Indian newspapers, who seemed to be taking this much harder than the American publishing industry. It has even prompted an intelligent if slightly endless letter from desi author Tanuja Desai Hidier, who criticized the idea there’s only on way to talk about the desi experience. You can read her letter here.

One might ask why Hidier feels the need to comment. My guess is that she feels she doesn’t have any choice. I have just signed with an agent for my latest book, a pop history of wicked women, and she has already made one thing clear to me: I am the “Other Viswanathan” in publishing, not Kaavya. For better or worse, she has made her mark, and the rest of us desi authors—even those without her last name—are following her checkered trail.

We are all at least somewhat familiar with the phenomenon of Indian migration to Africa, mostly in the form of persons of Gujarati origin working their way to East Africa, but little has been publicized about the opposite, about Africans migrating to India. I wasn’t even sure something like this existed until I read an advertisement for a lecture, “African Elites in India,” which is being given this Saturday, June 10 at 2 PM at the Smithsonian’s Meyer Auditorium by Kenneth Robbins and John McLeod, editors of the book African Elites in India: Habshi Amarat. The book focuses on the story of sub-Saharan Africans who migrated, beginning around the 15th century, to India and subsequently gained positions of power and status on the sub-Continent. Who knew hyphenated identities went so far back?

“Known as Habshis, the Arabic word for Abyssinian or Ethiopian,” the duo’s book tells the story of a “little-known group of elite sub-Saharan African-Indian merchants, soldiers, nobles, statesmen, and rulers who attained prominence in India in the fifteenth to twentieth centuries but also on the Africans who served at the courts of Indian monarchs as servants, slaves, eunuchs, or concubines.”

It turns out the Africa-to-India phenomenon is not all that limited. In 1996, the Anthropological Survey of India reported sizeable communities of African ancestry in the states of Andhra Pradesh and Karnataka, Gujarat, and the metropolises of Delhi, Kolkata, and Mumbai (link). For those of you who count yourself among the South Asian history geek-squad like I do, this lecture sounds fascinating. If you need more information, or to RSVP, you can call 202 633 0444. A book signing will follow the lecture.

Perhaps this answers why Anna, and so many other desis are often mistaken for Ethiopian. Incidentally, the Freer Gallery is also screening a few Sri Lankan films this month. The remaining two are Flying with One Wing (2002), which is showing tomorrow, and Guerilla Marketing (2005) which is screening on Sunday.

ArtWallah ‘06 is now less than a month away in Los Angeles. SM readers have heard me sing the praises of this organization and its annual festival before. I appreciate what they do and what they are about so much that I have been wallahnteering to help run the festival for the past three years. This year I decided to retire and actually cool out to all the artists and just enjoy myself…or so I thought. Just when I thought I was out, they pull me back in. I’m the new “CashWallah.” I will leave it to your imaginations what that job entails.

Last year I decided to entice SM readers to come out to the festival with a little multimedia tour which made it pretty obvious why anyone within a hundred miles of L.A. (at least) should show up. I hyperlinked to some new musicians, artists, dancers etc. This year the ArtWallah Press Team has saved me the trouble and made a detailed program FULL of interesting hyperlinks to artists many of you have never heard of. It took me an hour to click through them all and appreciate what I saw. It was an hour well spent.

…this year’s ArtWallah festival [at the Japanese American Cultural & Community Center] will present the works of over 40 artists through dance, film, literature, music, spoken word, theater, and visual arts - showcasing the personal, political, and cultural celebrations and struggles of the South Asian diaspora (Bangladesh, Bhutan, India, the Maldives, Nepal, Pakistan and Sri Lanka).

Click on “Continued” below for a quick lick.

Amitav Ghosh

On the young adult novel tip, I was also quite impressed by the excerpt Marina Budhos read from her new book Ask Me No Questions. Given the fluffiness of Opal Mehta (and most of the books KV plagiarized from), it’s refreshing to see a work of young adult fiction that makes a serious political point about the experience of South Asian immigrants in the U.S. This novel addresses the ‘dark’ turn for civil liberties since 9/11, and is partly based on Budhos’ own firsthand experience talking to undocumented (or “overstayed”) Bangladeshis in the U.S. (Manish profiled Marina Budhos here)

All right, stop whatcha doin’, ‘cause I’m about to ruin the image and the style that ya used to.

New York City-area Mutineers (and all those green-tinged brown people who, like me, wish that they were): cancel your weekend plans. These are better, I PROMISE.

The South Asian Woman’s Creative Collective is sponsoring some temporary nirvana this Friday through Sunday, as they present M I X E D M E S S A G E S, a sepia-colored festivus for the literary-minded rest of us at Marymount Manhattan College. It’s their fourth conference, so you know it’s going to be as smoove as I am when slightly tipsy.

A three-day series of readings, panels and workshops, “Mixed Messages” will explore non-mainstream genres, highlight writers who use new media, and focus on writing communities. [SAWCC]

Not one, but TWO Mutineers will be there: Amardeep is moderating Friday night’s reception and I’m speaking on a panel on Sunday afternoon. Details for both of those chunks o’ heaven are below, the entire schedule (which I demand you peruse, because it’s THAT hot) is available here.

Friday, May 19: Kick-Off Reading and Reception 7PM, $15
Amitav Ghosh (Incendiary Circumstances, Houghton Mifflin, 2006)
Vijay Seshadri (The Long Meadow: Poems, Graywolf Press, 2005)
Sara Suleri Goodyear (Boys Will Be Boys: A Daughter’s Elegy, University of Chicago Press, 2003)
Moderated by Amardeep Singh (Assistant Professor of English at Lehigh University)

Sunday, May 21: 3PM-5PM, FREE Panel Discussion: Mixed Messages: South Asian Literature and New Media
Anna John (SepiaMutiny)
Ravi Shankar (editor of DrunkenBoat.com)
Yesha Naik (podcaster and performer)
Ram Devineni (filmmaker and publisher of Rattapallax Press)
Amitava Kumar (Husband of a Fanatic, New Press, 2005) (moderator)

For you bargain-minded desis who noticed the wee $15 cost for Amardeep’s sure-to-be fantastic event— just know that breakfast on both Saturday and Sunday are free, as are most of the other activities during the day. Que bueno el deal-o, as the President would not say.

I just feel sorry for our rock star of a guest blogger Neha; the poet whom she profiled here, Leah Lakshmi Piepzna-Samarasinha, is part of Sunday night’s showcase of brown female writers, so I’m sure she wishes she could attend. I could go on and on and tell you more tantalizing tidbits, like how long-time mutineer Pooja Makhijani helped put this phenomenal weekend together AND is a part of the first panel on Saturday (South Asian Youth Lit), but I don’t want to rub it in for those of you who can’t go. We’ll take plenty of pictures for you, how’s that? Not good enough? Um…well, this is awkward. May I suggest an eleventh hour road trip? Even with painful gas prices, it would be totally worth it and really, how many things can you say THAT about these days?

My buddy Chiraag of Pardon My Hindi has just posted a kick-ass second issue of Samachar, a superpremium, arty site which is the Häagen-Dasz of 2nd gen desi mags:

• A scandalous, side-by-side audio comparison of ‘Don’t Phunk With My Heart,’ a Black Eyed Peas Grammy winner, with the song it plagiarized, ‘Ae Nau Jawan Sab Kuchh Yahan’ from Apradh. The catchy melody is a shameless copy. Listen for yourself.
  
  It’s not a sample, it’s the entire melodic backbone of the song, almost entirely unchanged. Royalties? Nope. Americans really are learning from Bollywood.
  
  
• A video clip of NYU dosa man Thiru Kumar composing his mirch-e-frisbees while wearing a jacket with a big, LTTE-esque airbrushed tiger on the back

  Out-of-Office Tiger

  . Yes, he listens to M.I.A.
  
  
• A stylish trailer for call center documentary John and Jane:

  The most startling character is the re-named Naomi, a Gujurati girl who bleaches her skin and hair and speaks with an American accent even outside working hours. [Link]

• A self-promotional photo essay of PMH stickers pasted throughout San Francisco by friends of the artist

I really love this site’s aesthetic. The photos are ginormous and animated in a flipbook format. Raag loves his fabric textures and Billyburg blue-on-brown palette. The Meena Kumari (?) sticker still looks like she’s post-orgasmic. He’s got some new shirts big-upping ’70s Bollycomposer duo Anand-Kalyan (licensing issues?), who composed the song the Peas lifted.

Cody’s, a landmark, 43-year-old indie bookstore in Berkeley, is closing July 10 due to declining sales (thanks, Saheli). It was attacked during the Satanic Verses fatwa in 1989:

Cody’s Books, Berkeley, California was firebombed about 4:30 a.m. when a pipe bomb was hurled through a back window just thirty seconds before a similar attack occurred at a nearby Waldenbooks store. One of the world’s finest general bookstores, Cody’s was bombed just fourteen days after Khomeini [issued a fatwa against Salman Rusdhie]… During the cleanup another bomb was found on the floor in the poetry section of the store. The owner of the store… stood across the street while the bomb squad worked with the bomb and as it exploded. [Link]

… the store announced that it would continue to sell Salman Rushdie’s controversial “Satanic Verses” — a decision that Ross called “our finest hour.” [Link]

Rushdie was pithy as ever:

“Rushdie came to the store once, a surprise visit when he was still in hiding,” Ross said. The author gave the bookstore 5-minutes notice to announce that he was in the store and would sign books. “There’s a hole above the information desk from the bombing. Someone scribbled ‘Salman Rushdie memorial hole.’ When Rushdie was here, he looked up and said, ‘Some people get statues, others get holes.’ ” [Link]

Cody’s blames the closure on competition from online textbook and academic bookstores and the general decline of Telegraph Ave., a street which rocks out with revolutionary flava but isn’t all that safe at night.

First published in 1988, at the dawn of the desi-lit craze, Upamanyu Chatterjee’s English, August, has been a secret touchstone for later desi authors and for readers fortunate enough to get their hands on a copy. This April, it was finally released in the U.S., by New York Review Books, in a handsome paperback edition with an introduction by Akhil Sharma. Not only has it not aged a bit, but it far outshines many recent works in its wry, thoughtful, and dare I say authentic portrayal of major aspects of Indian life.

The book is the story of Agastya Sen, a newly minted member of the Indian Administrative Service who receives his first posting, per IAS practice, in the deep boonies — in a fictional town called Madna, which is vaguely set in central India and is known for record temperatures and nothing else. Agastya, who was at loose ends to begin with, is now at even looser ends; he improvises his way through the torpor, and by the end we too have been to Madna, eaten the cook’s disgusting preparations, amused ourselves spinning outrageous tall tales to local dignitaries, shirked on all of our work obligations, and spent endless hours lying on the bed staring at the ceiling fan, watching for lizards.

Chatterjee went on to write several other books, none of them quite at this level; English, August is one of those perfect pieces that result from some fortunate blend of authorial talent, mood, and just plain serendipity. Chatterjee is an IAS officer himself, and stayed in the service rather than become a Famous Writer. Now he’s been in the odd position of coming to the U.S. for a book tour to promote a work he penned two decades back.

Last Friday Chatterjee was on the Leonard Lopate show on WNYC public radio; you can listen and download here. Asked to respond to Suketu Mehta’s comment that English, August is “the ‘Indianest’ novel in English that I know of,” Chatterjee replies: “It speaks of a world that we — we Indians — are all familiar with, but at the same time it’s a world that hasn’t been reflected in fiction. India tends to be romanticized, and English, August is anything but romantic.”

I. Introduction

II. Conflict

A few weeks ago, I made my merry way to The Gladstone Hotel for the launch of Leah Lakshmi Piepzna-Samarasinha’s new book, Consensual Genocide (also available at the Toronto Women’s Bookstore) . I arrived early and thirsty after doing a bit of cybernet sleuthing…having only read a couple of her poems previously, the research was very necessary:

Leah Lakshmi Piepzna-Samarasinha was raised in Worcester , Massachusetts , the daughter of a Sri Lankan father and an Irish/ Ukraini