Attawapiskat Chief Theresa Spence |
Saturday, December 29, 2012
Idea of Canada
2012 ends on a sombre note in India and in Canada.
India stood still in the last two weeks as the 23-year-old
girl battled for life, eventually losing it in a Singapore hospital. A nation
of billion plus is shamed like never before. Although I’ve been away from India
for four-and-a-half years, and I can’t claim to know and understand what’s
going on, I’m optimistic (perhaps unreasonably) that the tragedy will force
a change led by the urban youth – a small and basic but much-needed change in
the attitude toward women.
Canada is on the edge as Attawapiskat Chief Theresa Spence’s
hunger strike enters third week.
It is this development that has touched me in a significant
manner.
As a newcomer to Canada, I voted with my feet. I chose to come and
live in a country that I think is better than my former homeland. Not merely
because of the economic opportunities it offers, but because it is a more just
society – a society that celebrates differences and treats everyone with
the same respect.
Spence’s hunger strike shatters that belief. It tells me
that I’ve been naïve in making such assumptions; that, in fact, the Canadian system
is deeply unjust, even if the society is not.
As a newcomer to Canada, I’m hesitant to take sides. But Spence’s
fast for the rights of First Nations people strikes a chord and takes me back
two decades when as a journalist I covered environmentalist Medha Patkar’s
hunger strike fighting for the rights of India's aboriginals.
Chief Spence says “she won’t back down until the Canadian
government agrees to address First Nations’ struggles.” Mahatma
Gandhi's legacy lives on in the 21st century, too.
When I had first read A Fair Country Telling Truths about Canada John Ralston Saul a couple of years
ago I felt it was a wishful, romantic view of both the First Nations and
Canada.
Saul contends that Canada is a Metis nation shaped by the
First Nations’ concepts of egalitarianism and negotiations. However, in the
context of Spence’s fast, the central thesis of Saul’s argument acquires a new
resonance for me.
In the book’s chapter Learning
to Imagine Ourselves, he says:
Canadians carry both the Aboriginal and the European
tradition. We have become rich in part because of that Western Manichean drive.
And ideas of exclusivity and race were certainly introduced here with a
vengeance. Yet those tendencies have been limited by our other tradition. And
today the delight we take in our non-monolithic society suggests that our
Aboriginal foundations are rising to the surface. At the same time, the sense
of discomfort in the country over environmental and economic policy shows that
much of the tension between our two basic forces remains unconscious.
And so we work hard to fit our non-monolithic culture into a
revised version of our European liberal monolithic inheritance. But that
requires twisting ourselves into a knot in search of Western justifications for
non-western actions. Of course, there are European liberal elements in our way
of life, but our deep roots are here not there; they are far more indigenous
than liberal. The source of our non-monolithic – and for that matter our
egalitarian – sense of ourselves lies in the structures of the Aboriginal maze
the Europeans found here and into which they eased themselves over hundreds of
years. You have to work hard to avoid this argument. And you have to turn your
curiosity away from our local reality. Both parties were changed. Both gained.
Both lost. But our deep roots are indigenous, and there lie the most
interesting explanations for what we are and what we can be.”
Click here to read more about the campaign: Idle No More
Listen to CBC’s Jian Gomeshi’s essay: This is Q
Saturday, December 22, 2012
The ACE Principle - Murali Murthy
A good teacher is not necessarily one who knows her subject well; she’s one who is able to engage her students into the learning process by making the dense and the dull exciting and accessibly. Often, the distinction between a brilliant and a good teacher is the ability to communicate.
Murali Murthy is a communicator par excellence. His felicity
at transforming complex ideas into simple factoids makes his ACE Principle an
immensely readable book. What Murali says in the book may not be new but the way
he says it is completely unique. He brings diverse ideas together and organizes
them into a cohesive action plan to change one’s thinking and approach to life
and living. And he illustrates every idea of his with plenitude of examples.
The ACE Principle is a life guide to 15 Success Principles
to Absorb Comprehend Excel in Every Area of Life. For each of the 15 principles, Murali gives a
three point action plan. Together, the principles and the action plan form a
comprehensive strategy to evaluate one’s life and try to reorient one’s
thinking to achieve success. Each principle is illustrated by a biographical
example that illustrates success in achieving that particular principle.
The simplicity and the effective way in which the message is
conveyed belie the complexity of the structure of the book. It also reveals the
multiple levels at which the author has marshaled his arguments, weaving a myriad
web of ideas.
The book (re)introduces us to simple principles that we have
known all along, but didn’t really think of putting them to form a strategy. I haven’t
read a book that is as useful as the ACE Principle in a long time, and I don’t
say this because Murali is a friend. It’s a genuinely good work guide to
success. I also strongly recommend it to newcomers to Canada, who have to
restart their lives and careers from scratch.
The book is published by Friesen Press. You may buy the book here: ACE Principle
The 15 principles with their action plans are:
Be hungry – desire success
Staying focussed on the end reward
Creating more opportunities
Practicing self-discipline
Creating more opportunities
Practicing self-discipline
Be focused – set goals
Committing to a specific goal
Taking action
Believing failure is not an option
Be proactive – Take initiative
Staying in control
Building momentum
Vanquishing fear
Be disciplined –
Master habits
Loving what they do
Making it happen
Being patient
Be tenacious – build resilience
Autosuggestion
Impossible is nothing
Building the will power muscle
Be responsible – take
charge
Taking 100% responsibility
Knowing what they want
Productive actions
Be imaginative –
dream big
Dreaming big long enough
Exercising the power of the spoken word
Excuses versus results
Be moneywise –
control finances
Living within their means
Focusing on net worth
Planning ahead
Be choosy – associate
right
Being around the right people
Getting a mentor
Excelling at networking
Be sharp – stay teachable
Ability to be a sponge
Aligning with a pro
The ABC of success
Be assertive –
display posture
Moving fast on opportunities
Keeping a positive attitude
Building a credible personal brand
Be high quality –
deliver excellence
Constant self development
Managing time efficiently
An attitude of gratitude
Be leading – exercise
influence
Thinking like one
Acting with prudence
Servant leadership
Be bold – demonstrate
courage
Resilience
Acting to impact
Stepping up and claiming it
Be happy – celebrate life
Believing that it’s not what happens, it’s how we react
Building a healthy mind and healthy body go hand in hand
Identifying a life purpose and celebrating life
Labels:
Friesen Press,
Murali Murthy,
The ACE Principle
Saturday, December 15, 2012
Prosperity & Peace for the 21st Century: APJ Abdul Kalam
APJ Abdul Kalam |
I’m reading a compilation of APJ Abdul Kalam’s speeches in
Canada graciously gifted to me by S. Kalyansundaram of Canada India Foundation.
The book – Prosperity and Peace for the Twenty-First Century – covers three broad areas – Vision, Culture and Spirituality and
Education. The editors – V. Ponraj, R. Swaminathan, and V. I. Lakshmanan – have wisely
broken down the speeches and clubbed them into these three themes.
When one thinks of APJ Abdul Kalam the image that comes to
mind is of an activist. He redefined the ceremonial office by being a knowledge
activist.
There is a rising disquiet to the process of economic and
cultural homogenization that globalization seems to be imposing especially on
the non-western world.
Two distinct approaches have evolved to deal with this – the
assimilative and the contrarian.
There are activists both in the categories – assimilative
and contrarian, although the mainstream often fights shy of acknowledging the
assimilators as activists.
In the mainstream, the term activist is often used
pejoratively, and this has to do with the perception that an activist is
someone with head-in-the-cloud opinions but without a viable alternative.
The contrarian questions the concept of development and
upholds the traditional rights of people – rights that they have enjoyed for
generations and are inalienably linked to their land and their way of living.
The assimilator believes in an encompassing approach that
aims at bringing everyone together to achieve greater good. There is no doubt
that the assimilator is also an activist.
Kalam is an assimilative activist.
In a world where knowledge economies are reshaping the new
world order, India has a fighting chance to emerge as one of the leading
nations if it is able to retain and build upon its lead in the knowledge sector.
India’s post-liberalization surge in the knowledge sphere in
the late 1990s coincided with Kalam’s term as the President.
Kalam epitomizes the best of what India stands for and what
it offered – a scholastic mixture of the science and culture, heritage and
progress, inclusive ethos and forward thinking.
Kalam – the soft-spoken and the unassuming scientist – has
given India and Indians a vision for the future – something that the country
and its people could aspire to achieve if Indians put their mind to it.
In a large measure, India has seized Kalam’s vision for its
future. Indians are working in a myriad different ways to bring to fruition a grand
dream.
The slim volume is rich in Kalam’s knowledge of the Indian
society, and his vision for the world. I found the section on Culture
particularly appealing, and in particular his lecture at the Sringeri Community
Centre on 26-09-10 on Tolerance has universal relevance.
“Tolerance is the
foundation of sustainable development and peaceful society. It will be
appropriate to have introspection by all of us about the social awakening
needed for the national and international development. Every civilized society
exists not for day-to-day, but with a clear perception for the future and the
generations to come. Such a situation would pre-suppose that each individual in
such a society would cherish and translate into practice noble ideals of
constructive tolerance, positive fellow-feeling and a total commitment to live
and let live. Albert Einstein could not have expressed this better, when he
said: “Laws alone can’t secure freedom of expression; in order that every man
presents his views without penalty, there must be a spirit of tolerance in the
entire population.
“We have to evolve a society that will respect differences
and celebrate differences. What are the various issues on tolerance?
- Tolerance for people’s opinion
- Tolerance for people’s culture
- Tolerance for people’s belief system
- Tolerance for people’s styles
In fact, such an attitude, be it that of an individual or a
collection of them i.e. society, is the hallmark of civilization and that is
what characterizes and differentiates life from sheer existence. Honesty and
integrity – both in thought and action, independence and inter-dependence – in their
wholesome and positive manifestations, would distinguish a civilized society in
its true sense. It is for each individual to strive to inculcate these external
values in him or her, and that alone would be the surest path and unfailing
guarantee for a civilized society and its future.”
Many such vignettes pepper this treasure of a book.
A word on V. I. Lakshmanan, one of the editors of the book,
and someone I’m privileged to know personally. Lakshmanan is an
academician-turned-entrepreneur. For someone who has lived in the West for four
decades, Lakshmanan is quite the antithesis of what is supposed to be the
accepted norm of social behaviour here – he never projects himself and remains
extremely humble despite his considerable achievements.
Thursday, December 13, 2012
Dickens' Women - Miriam Margolyes
Miriam Margolyes |
Considering that CharlesDickens enjoys a reputation that is second only to William Shakespeare, it isn’t
surprising that his bicentenary has passed by with the usual hagiographical homage
staged mainly by the British establishment – the British Council and the BBC.
These feel-good programs are
what they supposed to be – giving us a glimpse of the man’s greatness, and his
undoubted excellence.
Then, yesterday I saw MiriamMargolyes perform a series of women characters from Dickens’ novels.
It was a stunning revelation about
a writer who the world admires for nuanced portrayals of characters and
situations that retain their originality and immediacy since he first began to
write in 1836-37.
Margolyes says – and with
well-researched evidence – that there is “an important gap in (Dickens’) repertoire
of females – I would argue that he never portrayed a woman whom we would
recognise as a mature sexual and emotional partner for his heroes. And I
venture to suggest this is because his own relations with women were all
damaged, incomplete or destructive. As his daughter, Kate Perugini, remarked: ‘my
father never understood women’.
Margolyes then analyses Dickens’
women characters into stereotypical archetypes – “the pre-pubescent child,
usually described as ‘little’ (Emily, Nell, Dorrit, Dora, Ruth Pinch); the
unattainable sexual object (Estalla, lady Dedlock, Edith Dombey); the
grotesque, sometimes evil (Madame Defarge, Mrs. Squeers), sometimes comic (Mrs.
Clennam, Mrs. Nickleby); the spinster longing for a man (Rosa Dartle, Miss Tox),
but never was he able to draw a complete believable, fully realised female –
because the women in his life never offered him the opportunity.”
All this is in the book, and
reading about it isn’t half as enjoyable as watching Margolyes perform on stage.
Margolyes brings to life Dickens’
women with a range of emotions that are at once enthralling and yet strangely disturbing.
You laugh with her as she
entertains you, but you’re also simultaneously changing your deep-rooted
perceptions of one of English language’s pre-eminent men (persons / people) of letters.
It’s an unending series of virtuoso
enactments. Her voice is unsure, child-like when she is Nell, impervious and
almost arrogant as Estella, bitter and ironic as Miss Havisham, hesitant,
submissive and yet coy and coquettish as Mrs. Corey. The list is endless, and two hours
slip away quickly and before you know it, it’s curtains.
I saw the performance at the
Young Centre for the Performing Arts, which is in Toronto’s Distillery District.
Yesterday was my first visit to
what is unarguably a unique – albeit touristy – Toronto location.
Coincidentally, the district is celebrating Christmas by holding a traditional
European Christmas market.
I was alone in a place overflowing with people, and the place exudes old-world warmth.
Thursday, November 29, 2012
The day Shiv Sena murdered Comrade Krishna Desai
Excerpt from Gyan Prakash’s Mumbai fables
"According to his family members, the (Shiv) Sena had
physically attacked (Krishna) Desai during the 1967 election campaign. He
escaped with his life by using his briefcase as a shield. Apparently, Desai
knew he was a target. A feared trade unionist and a political leader with deep
roots in the neighbourhood, Desai stood between the Sena and the Girgangaon.
Anticipating an attack, he decided to send his family away to safety to his
village in Ratnagiri. As for himself, he planned to go underground and take the
fight to the Sena.
On June 5, 1970, Desai, as usual surrounded by Anil Karnik
and others, was winding down for the day in his one-room hutment. His wife had
laid out the dinner. Desai took off his shirt and was about to sit down to eat
when he was summoned. His party associates wanted to discuss the next day’s
planned Lok Seva Dal camping trip. Telling his wife and Karnik that he would be
back shortly, Desai walked a few hundred yards down the winding lane to the
office of a rice mill.
A mentally challenged man from his neighbourhood interrupted
Desai’s conversation with his comrades in the office, informing him that some
workers wanted to meet him. The assembled group looked out towards the open
field that face the rice mill office. The power was off, and it was raining
lightly. At the head of the narrow lane that led out from the field, the silhouettes
of a few men were visible. Desai called out to ask who they were. A voice
shouted “Jai Bharat” (Hail to India) in response. Desai’s young comrade Prakash
Patkar walked towards them. As he neared the group, Patkar saw a few men
standing by a car. One of the assembled men had a gupti, a long-bladed weapon
tucked under his shirt. Patkar shouted out a warning to Desai, who rushed
instantly to his side. Patkar was stabbed. Within seconds, Desai was surrounded
and stabbed in the back, with his liver slashed. Having achieved their purpose,
the attackers vanished into the darkness. Miraculously, Desai walked to the
nearby house of a friend, who rushed him to the hospital, but he succumbed to
the fatal wound.”
Labels:
Krishna Desai,
Shiv Sena
Sunday, November 25, 2012
The Harem
Safia Fazlul |
Of the bunch of fiction and poetry collections released at
the launch, I picked up Safia Fazlul’s TheHarem.
It is a boldly told story of a young woman’s daring attempt
to escape poverty and family restrictions.
Farina is a Canadian of Bangladeshi origin. She has grown up
with nothing but contempt for her constrictive upbringing, her parents, their
regressive ways, and her ghetto where women are abused by their men.
She runs away from this unending nightmare as soon as she
turns 18. But it isn’t easy making money on survival wage jobs.
Sabrina, her childhood friend, with whom she was forced to
attend the Islamic school, has turned into a stripper, not out of choice, but
willing to make the most of her adversity to push her way out of poverty.
An exchange between the friends brings alive the dilemma they face - the stranglehold
of tradition that keeps them poor but also helps retain their sense of dignity.
“The bare-knuckled
punches to my pride, Farina – that’s my big problem.” (Sabrina tells Farina)
I hear her loud and clear. Although I’m desperate for money,
I’d never risk hurting my pride over it. For two insignificant brown girls like
us, pride is much more important than money. We’re born to please our parents,
raised to please our neighbours, and married off to please our husbands. Pride
is all there is to remind us that we belong to ourselves.
For Farina, Sabrina’s decision to be a stripper is the
ultimate surrender, and she can’t help but observe,
“Our nudity – the shell of
our sex – was the only thing we always had complete control over. While our
parents and neighbours could watch what we wore, they couldn’t watch whom we
got naked for. If Sabrina’s going to give up this control, then she might as
well as settle for an arranged marriage and learn how to make samosas.”
She and her friends Sabrina and Imrana have nothing but
disdain for their Islamic rearing and go out of their way to defy the
traditions their parents hold dear and revere. In an act of ultimate defiance,
they start Harem – an escort agency.
Money flows in, and with prosperity comes a sense of freedom.
However, notwithstanding the derision she reserve for the values her parents tried
to inculcate in her, ultimately there is no escaping these values.
So, even as she makes more money than she can keep track of,
Farina is besieged with guilt. She also can’t avoid the ghetto completely, and
falls in love with a boy who is nearly a mirror image of her father.
Harem is graphic and leaves little to imagination. It is
also a sensitive and touching portrayal of Farina’s frailties that are normal
for any 18-year-old. The relationship between the mother and daughter is raw, emotional and heart wrenching, for instance, when narrating her family history, Farina’s mother tells her, “We didn’t realize then that there is more than one way to lose a child.”
Many of the passages in the book are biting, pithy and depict with unrelenting
accuracy the unbending social realities of the ethnic ghettos in Canada’s
cities.
Labels:
Safia Fazlul,
The Harem,
TSAR Books
Thursday, November 22, 2012
Tinderbox: The Past and the Future of Pakistan - MJ Akbar
MJ Akbar is an Indian
institution. In my humble opinion, he has no parallels in Indian journalism.
He invented modern Indian
journalism in the 1970s with Sunday
magazine, and introduced the real India (that is Bharat) to Indians hitherto
used to reading newspapers and journals edited by pipe smoking journalists who pontificated
about things that had little or no relevance to most of their readers, and
wrote in English that was a hangover from the colonial times.
Akbar and his magazine Sunday changed all that.
Carl Sandberg has famously
described slang as “a language that rolls up its sleeves, spits on its hands
and goes to work.”
Akbar did that to English journalism in India. He made it
work.
He made the post-Emergency renaissance
in Indian journalism relevant and meaningful.
It was a sort of rediscovery of India for a new generation of readers that was coming of age then.
Leaving the pontificating to the
fast-fading pipe smokers, he went to the heart of India and helped Indians
understand India.
Akbar brought us face-to-face
with the horrible atrocities the Dalits faced in India.
“The untouchable Jatav is
touchable only when a pretty Jatav woman can be raped, or when a whimpering man
has to be dragged into the field to do forced, whimsical paid labour.”
(Have Gun, Will Kill, January
1982 – report on the massacre of Dalits in Dehuli and Sarhupur in Uttar Pradesh
from Riot After Riot, 1988).
He brought alive the horrors of unending communal violence that erupted in different parts of India.
“Many Muslims who were killed
cannot be traced…to give just one example: Salim Mohammad was twenty-five years
old, and he had been married to young Naeema just five months earlier. He was a
worker who polished brass in one of the factories which have made Moradabad
famous all over the world. He went to the Idgah, which is hardly five minutes
away from his house, to pray; he never returned. A friend of his who was
sitting nearby saw a bullet hit the side of Salim’s face. Salim fell dead. This
friend went to the fallen salim, removed the only thing of value he had, a
wristwatch, and brought it back to the family. (We saw the watch when we met
the family; it was a poor man’s watch, a brand called Siwa; it had been given
to Salim as a wedding present by his wife’s family.) Today Salim’s body cannot
be traced. His family have asked for it, but the police say they cannot find a
Salim among the dead.”
(Massacre in Moradabad, August
1980 from Riot After Riot, 1988)
Akbar has also written often
controversial but always readable histories that have helped us understand
ourselves better. By analyzing the past, his books have accurately anticipated
the future.
India
– The Siege Within (1985), Nehru
– the Making of India (published in 1989 – Nehru’s centenary), The Shade of Swords: Jihad and the conflict
between Islam and Christianity (2002), are among the books he has authored
that have received winder acclaim (although his description of the Khilafat
Movement as Gandhi’s peaceful jihad is a leap of imagination).
In Nehru’s
biography, he quoted Russi Modi to corroborate the Nehru-Edwina relationship. “Russi
Mody marched up, opened the door and saw Jawaharlal and Edwina in a clinch.
Jawaharlal Nehru looked at Russi Mody and grimaced. Russi quickly shut the door
and walked out.”
His latest book Tinderbox: The Past and the Future of
Pakistan is again an invaluable addition to understanding the tortured
history of India’s neighbour. Again, as in his previous books, he rakes up
controversies.
Explaining the ever-widening divergence between the paths that
India and Pakistan have taken since 1947, Akbar says, “The idea of India is
stronger than the Indian; the idea of Pakistan is weaker than the Pakistani.”
Akbar was in Toronto earlier
this week to talk about `Terrorism and Geopolitics: The Coming Decade’ as part
of promotion of his book at the University of Toronto’s India Innovation
Institute.
In an hour, Akbar gave a glimpse of his erudition, scholarship,
vision, philosophy and also a bit of prejudice. A virtuoso performance enjoyed by
the who’s who of the Indo-Canadian community.
I wonder how my Toronto friends of Pakistani origin would have reacted to the lecture, and to the book.
Saturday, November 10, 2012
Saree Kahaniyan: The Saree Stories
Nitin & Jasmine Sawant |
I had seen a vignette
of Saree Kahaniyan: The Saree Stories at the Rang Manch Canada’s festival a
couple of months ago, and it immediately touched a chord.
Jasmine Sawant’s street-theatre style play depicting the
significance of a saree in a woman’s (and everyone’s) life was something many
in the audience could easily relate to having experienced a similar situation
in their lives. Shruti Shah and Naimesh Nanavaty performed a skit that would
touch many hearts – the saree she wore the first time she met him.
Last week, at the Desi Grants Award program in Mississauga,
I saw a fuller version of Saree Stories. It is a composition of different
vignettes from a woman’s remembrance of things past through her sarees.
Shruti Shah, this time enacting the role of a lonely widow in
a stark white sari, sitting in her condo somewhere in Canada, and recounting her
days of youth in Mumbai. From the time her mother threw away her saree
in the garbage to the time when she and her husband get caught in a terrorist attack
and she uses her saree to bandage a stranger grievously wounded in this random
act of violence.
All the vignettes had a common thread – they were true
stories, and all of them were from Mumbai. At Rang Manch Canada event the audience comprised mostly
men, and the response to Jasmine’s skit was muted. On the other hand, at the Desi magazine event, there were as
many women as men, and the response Jasmine got when she asked the women in the
audience to share their saree stories was spontaneous, evocatively rich and
varied.
Jasmine – in her role as the sutradhar – interspersed her
narrative with a combination of some personal anecdotes, some history of the
saree (in the past, men wore sarees, too) and some engaging small talk.
Both Jasmine and Shruti have their roots in Mumbai’s theatre
world; both are pioneers of the now decade-old Sawitri Theatre Group based in
Mississauga.
Photo credit: https://www.facebook.com/photo.php?fbid=10151009042318881&set=t.653261577&type=3&theater
Tuesday, October 30, 2012
Two tales and a city - I
Guest post by Piroj Wadia
Cities form an interesting backdrop for
books and films. Woody Allen has done a trilogy of three cities – Vicky Cristina Barcelona, Midnight in Paris
and To Rome With Love. While two anthology
films - Paris , Je t'aime (Paris , I love you) and New York , I Love You brought together
international film talent to make a set of short films on each city. Closer to
home, the opening credits of Chetan
Anand’s Taxi Driver which
starred Dev Anand
and Kalpana Kartik scrolled to the legend ‘and above all the city of Bombay’.
In recent times, a small budget film called
Aamir, a thriller whizzed
through the downside of the Mumbai – through the galli guchis (lanes and
bylanes) and showcased an altogether
seamier vista of the city. On the flipside Bollywood and Indian television have
shown the glitzy face of the city over and over again.
Literature too has exposed the city as a
backdrop. The city, notably the heart of the city with its cheek by jowl
buildings, lanes and bylanes intersecting found their references in the works
of Sadat Hasan Manto. Salman Rushdie, Suketu Mehta, Rohinton Mistry, and others have also set their stories in Bombay/Mumbai.
Two recent books join the list. Yasmeen Premji’s Days of Gold & Sepia,
a saga
which spans Bombay
of the 19th century to Mumbai of the 21st century; and Piyush Jha’s Mumbaistan which is a set of
three novellas set in contemporary
Mumbai. In both books, the city is a character which keeps pace with the
narrative, especially in the case of Days of Gold and Sepia. Take away the city
and there is no story. Coincidentally, both writers mark their debuts.
Though Lalljee Lakhia, is a fictional
character, there is a deja-vu about him, the city of Bombay stands shoulder to shoulder as a
co-character. Yasmeen Premji's narrative begins in a remote village of Ketch , where we meet Lalljee, a six-year-old orphan, leaving behind his siblings, to work for his
uncle. When fruition of a requited love (for his cousin Reshma) eludes him, as
an orphaned poor relative he wasn’t suitable.
This has Laljee resolve: that he would become so rich and powerful that
nothing he cherished would ever delude him.
From Kutch, he travels to Bombay
on foot, empty pockets and dreams, the
year is 1877. The city was a salve
to Lalljee’s old wounds: Bombay
didn’t care about your caste or creed, it
mattered not whether you were a pauper
or a king, for the city welcomed everyone and anyone with wide open arms. The Laljee Lakhias amassed their fortunes in this city where schemes, ambitions and dreams were
realized, fortune lurked round corners.
Laljee’s life and times are skillfully intertwined
with events which occurred in that span of time. As
Lalljee goes from a helper at a kirana shop to a textile mill owner, trader in opium, and landlord at large, the book
chronicles the history of a new India
-- spanning Bal Gangadhar Tilak's call for swaraj to Muhammad Ali Jinnah's
fictional request to Lalljee to come to Pakistan . It also tells the story
of the mosquito infested seven islands merging to form Bombay , the urbs prima. Just like the city,
Laljee’s story is an elegant, but simple narrative, where characters
connect, separate, and reconnect seamlessly. Lalljee Lakhia could
well be one of the countless migrant fortune seekers who made Bombay their home and gave so much of their
blood, sweat and toil to the city’s growth. Days of Gold & Sepia is the story of a city which grew as per the needs of its
growing populace to shelter the bedraggled fortune seeker and exchanges the
rags to riches.
A difficult narrative with its huge canvas enriched with multiple characters, Yasmeen Premji does that with élan, despite being
a debutante. The richness and lucidity of language is in sync with the vibrant characters, which jump out of the pages of the book. All
through the read, one envisions Bombay
of the days gone by. The story is told
in flashback by Lalljee’s granddaughter Shahina, as his formidable mansion in
Breach Candy making way for a multi-storied building. A regular occurrence in the morphing cityscape of Mumbai,--
as the city of gold is now known old stately, charming mansions are demolished
for more chrome and glass buildings – to
make it the city of chrome.
- Continued in the post below
Labels:
Days of Gold and Sepia,
Piroj Wadia,
Yasmeen Premji
Two tales & a city - II
- Continued from the post above
Guest post by Piroj Wadia
From enchanting sepia memories of Bombay , to the seamier
side of Mumbai, replete with acerbic cops, sharp shooters and terrorism where
the gutters flow over with sewage and guts marks Mumbaistan, a trilogy of crime
thrillers. Another first time author, film
director and script writer, Piyush Jha.
Crime fiction is an unexplored genre in Indian writing in English, Mumbaistan is Piyush Jha's effort towards filling the gap. Each of the plots of the three novellas is replete with twists and turns. Jha has used Mumbai as the stage for his cast of colorful characters -- prostitutes, gangsters, terrorists and policemen in quest of love and sex to revenge and redemption. There is a common thread that runs through each of these stories that is the human element.
Crime fiction is an unexplored genre in Indian writing in English, Mumbaistan is Piyush Jha's effort towards filling the gap. Each of the plots of the three novellas is replete with twists and turns. Jha has used Mumbai as the stage for his cast of colorful characters -- prostitutes, gangsters, terrorists and policemen in quest of love and sex to revenge and redemption. There is a common thread that runs through each of these stories that is the human element.
Bomb Day has a post 26/11 touch with
Pakistani intruders in Mumbai. It has a strong love story in the middle of it
all which binds the narrative. It starts well, as it gets into the informer and
cop plot. With terrorists, prostitutes, goons, killings all around and a helpless
protagonist. There are quite a few surprises
as the action unfolds at a frantic pace. You are never left wondering: what’s
love (element) go to do with it? Piyush Jha spins the tale such, that it is
impossible to keep the love element out. A page turner, what makes Bomb Day is the surprising climax.
Injectionwala Opens up the kidney sale racket in the heart of Mumbai. This one begins
with a killing, has ample sex, turns into a medical thriller, which spurs social awakening, but has
more murders and sexual interludes. Pulp fiction at best, with doctors finding themselves
on both sides of ethics. One trying to save the world by killing those involved
in malpractices and another who is very involved in the kidney selling racket.
Injectionwala is saved from turning into a boring affair by Piyush Jha as he
includes various thrilling elements to hold the reader. Where it scores is the
fact that the reader is never bored and
wants to know till the very end about the culmination of Injectionwala.
Coma Man is a bit of a Bollywood potboiler, all the same as thrilling as it gets. A man awakens from a coma after 20 years and finds himself on the roads of Mumbai even as politicians, gangsters and his own wife encounter him at various junctures. The novella unfolds at a rapid pace; the reader wants to follow the coma man, who is trying to find what transpired that fateful night when he went into coma. The action unfolds in the course of a single day, and has a lot happening from being pursued by a Municipal Councillor with a gun, a couple of smugglers on a highway, a gangster who is protected by an underworld boss, a bunch of cops and, his own past. In the middle of this all he comes across a helpful drug addict, an elderly lady who perhaps holds a key to his past, and some corpses. This one has tested Piyush Jha’s familiarity with the unmarked suburban terrain. The culmination is along expected lines, but an engaging tale all the same.
Piyush Jha must be credited with his
intricate knowledge of Mumbai well and has set his stories not just around
known landmarks, but also around little-known areas like the cemeteries or the
mill areas in Central Mumbai . Mumbaistan is pure
pulp fiction a must read for those looking for thrilling page-turners.
Piroj Wadia is a Bombay (Mumbai) based journalist
Piroj Wadia is a Bombay (Mumbai) based journalist
Labels:
Mumbaistan,
Piyush Jha
Thursday, October 25, 2012
An evening of rain & readings
Not owing a car is a choice, and it isn’t a
huge sacrifice as it sounds.
Although, every time I speak about my conviction
of staying carless, Mahrukh and Che avoid eye contact, and try hard to talk of
something else.
Then they walk away to the balcony of our apartment and gaze uneasily
into the distant horizon, when I don’t stop hectoring.
A lot of people think I’m not quite all there when I tell
them that not only do I not have a car, I don’t even have a cellphone. They
emit a short nervous laugh and slowly edge away from me.
Living in Toronto without a car has been easy.
The transit is great, especially when one compares it to
Mumbai. There is a bit of a problem in getting outside of Toronto to suburbs
such as Mississauga, Brampton, Markham, and Oakville.
A trip to one of these places turns into an expedition. Again, it’s not so much connectivity but time
that is an issue.
I do get around, especially to Mississauga because of some
truly great events organized by the South Asian community there.
IFOA Markham
Tuesday, braving the gloomy weather, and a complete absence
of transit connectivity, I reached Flato Markham Theatre just in time for the
readings to commence at the International Festival of Authors (IFOA)
Markham.
Throughout an unending and circuitous journey, thanks to misreading
Google Maps, I was circumspect whether my herculean effort would be worthwhile.
I needn’t have worried.
IFOA-Markham was an exquisite mix of different cultures,
different genres and altogether riveting readings from writers who were
obviously creative, and surprisingly confident. Marjorie Celona, Ayesha
Chatterjee, Chan Koonchung and Vincent Lam made the evening memorable.
Celona read a passage from her debut novel about Shannon who
is abandoned outside the YMCA as an infant. There is an obviously raw and an
edgy quality to her novel, and Celona’s evocative reading brought alive the
unpleasantness her protagonist’s life.
Ayesha Chatterjee made me feel at home in a place I had
never been to before when she greeted Subho Nabami to everyone in the
auditorium.
Ayesha read from her collection The Clarity of Distance – poems she wrote when she moved from
Germany to Toronto, and a few of them from and about Calcutta.
Her poetry is steeped in Indian traditions, and she narrated
the story from the Shiva Purana of the Hindu trinity and the Ketaki flower.
Story from the Shiva Purana
Here’s an abridged version of the story for the uninitiated
but interested:
Once Shiva had to intervene in a quarrel between Brahma and
Vishnu.
He turned himself into a flaming pillar without a beginning
or an end, and told Brahma and
Vishnu that whoever found the end or the
beginning of the pillar would be declared superior.
Vishnu took the form of a boar and burrowed to seek the end
of the pillar, and Brahma took the form of a swan and soared up to seek the
pillar’s beginning.
Vishnu returned after a while, admitting defeat.
Brahma couldn’t find the beginning, but took the help of the
ketaki flower (which Shiva used to put into his hair) and lied that he had
reached the top of the pillar. Ketaki corroborated the lie.
An infuriated Shiva cursed Brahma that he wouldn’t ever be
worshiped in physical form like other gods in the Hindu pantheon, and he
banished ketaki flower, which is not used in Shiva’s worship.
Chan Koonchung’s The
Fat Years is story of a missing month, and a bunch of kids who kidnap an
official to confess the truth.
Chan’s reading was peppered with commentary that brought the
novel alive and gave it immediacy and a meaning.
In his novel, Chan said, he had forced a bureaucrat to
confess to the truth. Such a thing can only happen in a novel; in real life the
bureaucrat would take the secret to his grave.
Finally, it was Vincent Lam’s turn, and he read Percival
Chen’s story. Lam gave a brief glimpse of why The Headmaster’s Wager has received glorious reviews everywhere.
As the evening moved on to the Q&A session, I left because
I’d have to take a cab to the nearest subway station.
That’s a bit of a problem because I don’t have a cellphone,
but an obliging volunteer used his cellphone and Ahmed Taha from Jordon of Rush
taxi took me from Markham to Don Mills subway station.
It was late and raining and I was tired and drenched by the time I reached
home. Tired but happy.
Thank you Sheniz Janmohamed for a great evening and for thinking
of involving Generally About Books as community partner of the event.
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