Serious Men - Manu Joseph

Caste and the untouchability were a major theme in the for most part of the twentieth century Indian Literature. From Malayalam ( until the sixties), Kannada( to the seventies ), Tamil, Telugu and any other language the doyens of Indian writing toyed with this single theme for a long time. The times have changed and there is significant improvement in the social structure. The collective bargain power of the caste politics is now gathering momentum, but the issues related to upper and lower class, untouchability and other taboos are relatively lesser known in the modern India ( at least in the Metro space).  Manu Joseph, in his award winning debut novel, attempt to chew the same Brahmin versus the rest, representing power versus the ruled, rich and poor story camouflaged under a funny satire. The book, won the year 2010 Hindu Fiction award as well as the American Pen Open Book award in 2011 and heralded as the new and different voice in the Indian English Writing.

The story weave around Ayyan Mani, a Tamil Speaking Dalit, born to a sweeper from a lower class, living in the infamous Mumbai slums, working as a secretary to the eccentric, Nobel contender scientist , heading the Institute of Theory and Research . Eavesdropping the conversations of his superior, Ayyan manages to gather sufficient knowledge on scientific aspect to impress the others.  A smart guy, he plays trick with the world, by promoting his half-deaf son as some extraordinary genius, with some clever maneuvers ( such as asking questions beyond the child's comprehension, sniffing out the Inter-school quiz questions and creating a havoc, by some play act) and manipulation of the press. The politicians ( especially the minister from the Dalit community) , takes up the action by adding their bit of excitement about the Dalit Genius from the slums. The ploy was getting out of control and to a point where Ayyan Mani is not able to retract. At the Institute front, the moronic, dictatorship of the Arvind Acharya, is taken a turn with the arrival of young attractive female researcher. The mission to outer space to collect sample of extra terrestrial particles, and establish the presence of living organisms gathers enough opposition, but Acharya has his powerful supporters in the Ministry. The mission, and the study of the collected samples by the female researcher, and her subsequent revenge on Acharya ( a sleazy love affair that shatters both the lives) for his betrayal  and the final filmy showdown is the book is all about.

The outrageous  humor, clever one liners, invented quotes, the make belief characterisation expected from a satire is all there. I often laughed out loud as I went through the book. Its very funny and he take pot shots at many things in one go. The urban system, the scientific research community, the quest for extra terrestrial intelligence, the political system, the great Indian caste system, the brahminical hierarchy , the religious and education nexus ( the Malayalee School principal, trying to woo Ayyan to convert into Christianity), the Ambedkar and the dalits ( with  the mass conversion to Buddhism, but his wife refuse to accept any other Gods but that of the Hindu deities, which they worshipped for generations), the press ( paid news and the sensation that they need), the slum dwellers, the power politics of the Research Institute, the peons and secretaries in Offices ( who are having a ball of a time with the "clash of the Brahmins")  etc etc. Every one is treated in a caricature form, often very superficial lacking individuality ( sa representation of various aspect of Society).

However, there are at least a few places, where the jovial mood of the writer is turned very sensitive and sublime. These parts of the writing were very good , especially  the Ayyan mani and his wife, the interactions between Arvind Acharya and his wife and a couple more similar instances were top class. What is also interesting to note is the keen observation of the writer on various people and style into their minutest detail , albeit they are limited to physical in nature. What was disappointing to me was that there is no real insight, and apart from the two parallel plots, there is no substance in the tale, that is convincing. In the end, it was yet another easy, funny and fast read. Luckily, the cinematic finish is done with a few pages, leaving the action sequence to be detailed by the reader himself. That was very appropriate and clever.

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Serious Men ( 2010)

Manu Joseph 

Harper Collins 

326 Pages
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Huffington Post ( Interview) , NY Times, Mumbai Boss, Guardian, Independent

Music Criticism: Principles and Practice - R Satyanarayana

I have been following the south Indian Carnatic classical music for a while. For the past 7-8 years, I am attempting to writer some of my concert experiences in a blog, more as a reference than being a critical review. Because I have no formal training in the music, all that I could do was to cover the superficial aspect of the concert from a 'rasika's point of view, than to do an in depth critical and analytical view of the music that was presented to the public. I had a correspondence with one of the leading artist in Bangalore, around 6 months back, and while discussing on the subject of concert review, he said, this form of  hasn't been explored to the fullest with the current generation of writers and press. We were to discuss this aspect at length, but it hadn't been materialised until now. In the meanwhile, this book was recommended to read.

R Satyanarayana, a leading musicologist with a number of highly acclaimed books and lectures under his name, is also a musician, a Veena exponent. His articles on various aspect of music has been very popular. He has been awarded by the Sangeetha Nataka Academy in 2009 among various other recognition. His scholarly research and publications are largely on the aspect of creativity in music and the interpretation of various schools of music and his study of umpteen manuscripts. However, in this book, he decided to look at the aspect of music criticism for a detailed study.

The book, as the title says, is divided into two parts ( or three with a study of a composition at length). the initial part looks the music criticism in its principles and the key aspects of music criticism. The second part is largely a collection of critical essays on music by some of the stalwarts in the scene, which provide the testimony of the theoretical aspect that was discussed in part one. The second part ends with a critical analysis of a composition ( SrI subrahmaNyAya namastE in kAmbOji by Muddusvami Dikshita').

Art Experience

"The primary concern of the music critic is understanding and explaining, interpreting or commenting upon musical experience".  Experience for a grown up person a complex and multilayered, says Satyanarayana. It is dynamic to multiple factors. It has both conscious and subconscious state or the describable and undescribable content.  The  knowledge or awareness element is derived from sensory sources. These are then structured into definite patterns shaping their awareness. All conscious experiences are referential, its either external or internal. This experience is objective..from 'object to sensory organs, to the mind and to the soul is the progress of the perceptive experience. However, art experience if non-referential. Art experience results form 'contemplation' ( charvana) of the imaginative situation created by the artist.  Artist contribute his power of creative activity. The listener ( connoisseur ) offers his share of imaginative contemplation , sympathetic understanding and feeling which are akin to the artist  ( sa-hrdaya) and reproduces the art product within himself, before sharing his experience with the rest of the world.

Sri Satyanarayana, uses a vast of references from the ancient texts and scriptures and establish the connection of art experience and aesthetic value associated with art. He compares the tradition both in the Indian context and western context. While the western form of aesthetics are largely taken as beauty, the Indians use a much more complex word ' rasa' to describe the same. Aesthetic experience is conditioned by both objective and subjective elements. Moreover, aesthetic elements focusses on the feelings and emotion rather than reasoning and intellection.

The most important responsibility and duty of the art critic is to develop, propagate and sustain good taste in the arts in the members of his society. Taste may be defined as a faculty of mind by which it perceive beauty. While taste can widely differ from person to person, it may be possible to enunciate some fundamental criteria for good taste for the art in general. The ideal of art experience that the artist's practice of the art and the connoisseur's response to it.

Art Criticism

Criticism can be defined as a skill involved in evaluating , reviewing or judging the quality of a literary or artistic work which includes the implicit and explicit interpretation of the meaning and value of such art form.  There fore aesthetics, art philosophy and art criticism together constitutes one single system of thought. A critic can improve the scope and quality of his criticism by exposing himself continuously to the aesthetic experience of his choice.It helps him to develop insight into the nature of the art as well as to the working mind of the artist. A work of art is significant in many ways, it is a reflection of aesthetic ideals, concepts and imaginations of its author, the representation of the cultural milieu of its time and the social demand and aspirations of the society. Art criticism is always contemporary and relevant. Art criticism ( for that matter the art form itself) can not escape from the 'cultivated' versus 'mass' conflict.

History of art and Music criticism in the West and India

Moving on from here, he discusses the aspects of music criticism in the West and in India. The music criticism in the Europe begun with the raise of new world of creative composers, in the 17th century. Germany, once the breeding ground for composers were again lead the way in the musical criticism. Germany produced numerous journals on music in the last quarter of 18th century, which not only published the new compositions of Mozart, Haydn and Beethovan, but also the first criticism on them. In the later centuries, the field of music criticism improved over the years shifting from the romanticism to the aesthetics and creative techniques. This period also produced the "composer - critics" in the field. Composers like Wagner, who wrote critical essays mostly for boosting or defending his own compositions. Tchaikovsky was the music critique for Gazette of Moscow. As is the case today, there were conflicts between the critic versus the artist /composor. For eg comments like' the immoral profession of music criticism should be abolished" ( by Wagner himself) were regular against the critics. Many literary bigwigs of Europe were also noted for their music criticism. Play Wright  George Bernard Shaw produced some excellent , often witty, critical essays on music.. Anatole France and Roman Roland were few other writers who contributed to the music criticism scene. In the US, this was caught up in the second half of the 19th century and for now, they surpass the Europe and other parts of the world as the centre of musicological and historiographical scholarship.

In India, the art criticism can be linked to as early as the time of Bharatamuni. He is the earliest known authority on the model of art criticism. His writing ( naatyashaastra) covered all aspects of the performing art and was the pioneering effort in this aspect. On the subject of music, the first known writing is the 'Sangeetha Ratnakara (AD 1230) of Shaarangadeva, describing the qualities of the composer, the performer and the percussion artists. Various other writings in Sanskrit and other Indian Languages covers various aspects of the music, dance and craft forms over the years.

Musical Forms

Musical form is central to all music activities - composition, performance and experience. The process of musical criticism there for consists of analysis of the musical form and its structure.  Art is created when form emerge out of symbols signifying beauty under trained and rational workman. Indian music by and large are textual , comprising of word ( pada), tone(swara)  and duration (taala). They are lyrical or poetic based compositions. Few forms like mallari, jatiswara and rare cases thillana are without meaningful words ( they use unintelligent syllable for rhythmic pattern).   As a consequence there are very few instrumental compositions in Carnatic music. In the recent past a few instrumental performers are trying to experiment with this aspect, creating compositions suiting their style while adherence to the grammar of the raaga or scale ( the western styled notes popularised by Madurai Mani Iyer, the 'raagapravaaham' seen in the concerts of violin duo Ganesh and Kumaresh are few examples, apart from the mallari usually played by Nagaswaram vidwans).

The music forms of Carnatic music can be summarised into 16 style : geetham, swarajathi, jatiswara ( without saahitya) , varnam, kriti, devarnama, ugabhoga-vachana,padam, javali, pallavi, ashtapadi, daru, tarangam,tillana,raagamalika and shlOka.  In this the kriti, which typically written and performed in 'pallavi', 'anupallavi' and  'charanam' (PAC) format contributes to the majority part of the concert.  From the musical form we move to the presentation form as the artist choose to align and structure his repertoire to be presented to the audience within the stipulated ( stated or assumed) time.

The Music critic

The criticism is the process of translating and grading the aesthetic experience, in line with its impact it created in the critics mind. The musicians task is to create with music and the critics role is to re-create the same experience with words. Critic means to judge, but in the real sense he functions in the role of an interpreter.

He continue to describe the role of a critic and the need to be truthful to the music and not the performer. A music critic faces many a problem as the art form unlike painting, sculpture or architecture are not fixed in time or space.  A music that is delivered ( especially to Indian music) can not be repeated exactly. While we can record and listen the same again, it can not reproduce the same ambience, same state of mind and same cohesion of all that contributed to the experience in the same way. Hence memory plays an important part in the perception and appreciation of the performance.  There for the concept, principle and rules of aesthetics vary for music over other forms of art. There is also this subjective-objective dilemma. While criticism is largely subjective ( based on the aesthetic experience), under the guiding principle, it is important to have a balance of subjective and objective element.

Sri Satyanarayana says ( in detail)  the moral obligation of the critic should be, first and foremost, to the music itself, followed by the listener, the composer and then the performer. He also list down the qualification of a music critic.

• he should possess a knowledge of technical and theoretical principles of music
• knowledge of history of music and music scholarship
• general education coverving as many subjects as possible as cognate with music
• able to think clearly and write lucidly
• an insight into the workings of creative imagination
• have an integrated philosophy of life of his own.
• an endless curiosity and willingness to learn
• should know his own limitations and limitations of his profession
• a mythical superman ( who combines in himself at the same time the qualities of total absorption, yet distance, consonance with musician yet critical acumen)
• avoid being a cultural broker, a mere translator, or a public relation agent
• evolve an aesthetical theory of musical experience.
• should not fall prey to temptations of money, influence and power.
• insight into the creative states and mood of pre-expressional and expressional phases of the performer
• more than livelihood, it must be a way of living, a commitment , a dedication
• sensitive to the artistic values of the medium
• must have a command of language adequate to express his ideas

The second part of the book looks at the practice of music criticism in India, largely on the carnatic musical arena. Indian Musical criticism developed into the current state largely during the mid 20th century. The newspapers , as can be imagined, lead the way by publishing brave, venturesome critical reviews with little or no encouragement from the public or music fraternity. From the nascent stage of musical reviews , this has now grew multi folds with regular reviews in almost all the leading dailies and few limited musical journals ( shruthi magazine, for example). These reviews included portraits of the musician, critics on music criticism, views of the artist on music critic, reviews of the performance itself ( both live and recorded) and reviews of music books.

The rest of the pages is filled with notable reviews from the established critics in South India ( and a few from West as well, in which the essays of George Bernard Shaw were awesome) - Tamilnadu, Karnataka and Andhra- appeared in various publications.

Critical essays of E Krishna Iyer, N R Bhuvarahan, BRC Iyengar and concert reviews of SVK, Subbudu, Ranee Kumar, S V Seshadri and Interviews of artist and critics 'Gowri Ramnarayanan', of artists T N Seshagopalan ( who was very critical on the critics) , K S Mahadevan a book criticism by Sulochana Pattabhiraman , On a music sabha (  Mysore V Subramanya on Chowdiah Memorial Hall) were few notable inclusion. The section concluded with a brilliant study of the music of Gangubhai Hangal by Sri R Satyanarayana himself.

The last chapter is spent on the critical analysis of a musical composition. While we see lesser study in this aspect, with most of the musicians prefer to perform the well established compositions, I was wondering why wasn't there any serious study done in this aspect of the music criticism. The only critical, usually with admiration and praise, study of the new composers and their compositions are limited to the lecture demonstration by one of the performer, who uses this to sing and introduce the creative aspect ( historical background) of the composition, rather than the creative merits and demerits of the product. Sri Satyanarayana chose a well known composition of Muddusvai Dikshita, in kAmbOji ( Sri Subramanyaya Namaste) to introduce this aspect of critical stud

A first of its kind book, dedicated to musical criticism is treasure for the likes of me. The highly informative and deep understanding of the aspect of art and music in the initial part is not only scholarly, but a very well thought out presentation. The second part is not as dense and elegant, but it provided ( some of them at least) a better understanding of the subject that was discussed in the part one. Despite the abundant use of Sanskrit words ( with English equivalent), inevitable due to the references to the ancient texts,  this was very readable and easy to understand. The structure, the language used, the examples and references were appropriate. A few spelling errors that crept in could have been avoided.

A great reference to creative writers and those writing about arts in general and on carnatic music in particular. I am expected to do a better job with my writing armored with new understanding of this genre of writing.

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Music Criticism: Principles and Practice (2006 )

R Satyanarayana

Vidwan R K Srikantan Trust

277 Pages
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The Hindu,

An Incurable Romantic - Lakshmi Devnath

As an avid listener of Carnatic classical music, one can not but admire the virtuosity and the talent of some of the doyens of the last generation of musicians. The post independent India and the next 50 years thence, can be considered the golden era of Carnatic music. The art form saw unprecedented growth and popularity on one side, and a consolidation and structural optimisation on the other side, which later formed as the basis for the new generation of artists to expand. Numerous stalwarts, who made a mark in the art form enthralled the audience with their music and intellect both in vocal and instruments in this era. The later generations continue the tradition to lift the music to greater heights, giving the credit to the yesteryear musicians for paving the way. Though, vocal concert  dominate the musical field, and violin being the integral part of the vocal concert providing much needed support, be it in aligning the notes, or by filling up the silences or lifting the overall experience of the concert with apt interludes and meticulous following of the main artist. However, under the vocal concert arena, it always been a supporting instrument, and the violinist were accompanying artist limiting their ability to the main artist of the evening. It remain largely so, even in these times. There are, however, many violin concerts, giving the instrument an independent identity, in recent times, thanks to some of the hard work and "demand" put in by the earlier vidwans, especially Lalgudi, MSG andTNK , the three names that stood out from the rest in the fields. Having listened to numerous recordings of their accompanying the yesteryear stalwart, one always remained in awe of their virtuosity and their dedication. However, I always had a bias towards the accompaniment of Sri Lalgudi Jayaraman. It is this admiration of the artist, that prompted me to buy the book on the life and music of Lalgudi Jayaraman. Having read through the book, the respect has not diminished a bit, but have only increased. I haven't had the luck of listening to him accompanying any vocalist, and had only a couple of instance of listening to his violin concert live. But Lalgudi, always remain high in my musical listening experience.

Laksmi Devnath's book, does justice to the man in discussion. Written on the suggestion and request by the family members of the musician, she seems to have done adequate research on her 'subject' and the awe and admiration which one carry while talking about someone of his stature, is evident in the book. As in a typical biographical book, it starts with his forefathers and the lineage both musical ( from Thyagaraja ) and parental.  From Lalgudi Rama Iyer, great grandfather and a direct disciple of Thyagaraja to Valadi Radhakrishna Iyer ( one of the first in the field of Violin accompaniment in Carnatic Music ) to his father Lalgudi Gopala Iyer the direct connection to the trinity of Carnatic music is established. Lakshmi Devnath spends enough pages on these individuals and on the musical lineage who directly and indirectly shaped the musician in order to set the base to person and musician in Lalgudi jayaraman. Under the strict ( as one expect in the old Gurukula style of teaching) guidance and tutelage of his father and guru Pallavi Gopala Iyer, Jayaraman's learning was fast and meticulous. There was no place for silly games or other entertainment in the pursuit of perfection. Gopala Iyer continue to "fine tune" the music of his son, even after he has made a name for himself as one of the bright future in the carnatic music field.

Jayaraman, now started knowing under the prefix Lalgudi, had his god fatherly support from the Superstar of Carnatic Music, non other than GNB. GNB was partly responsible for his growth into a complete musician at a very young age. He had the privilege of accompanying most of the leading singers of the era, only to receive supporting gesture as well as the admiration of the public. A new star in the arena of carnatic music is arrived.  Lakshmi Devnath, spends a lot of time on specific incidents and anecdotes to support her findings before she moved on to the personal side of the musician. His wedding, the relation between the father and son ( Gopala Iyer continue to be the guiding force in his life) and his relations with his siblings ( as a guru as well as the musical pair on stage) were discussed in detail.

As one expect in any biography, it did touch upon the many controversies around Lalgudi. The famous "Sangitha Kalanidhi" episode, the somewhat strained relationship with Semmangudi Srinivasa Iyer, the tussle with the music critic Subbudu various allegation about him overshadowing the main vocalist ( in his quest to perfection) , many many so called misunderstanding among musicians, the cold relation with Music Academy were discussed in detail, mostly in line with what is already known to the music world. Interestingly, there was no official version from Lalgudi in any of these topics.

While the book does a great job of consolidating and documenting what is already available, in did not in real terms give any larger perspective of  the musician. However, the study of his compositions, his various works as music director and composer for dace drama and musicals, the compositions specially tuned and written on the request by dancers are the exception. This to me is the meaty part of the book and that made my day. The writing in general was aimed at a music lover and those familiar with Carnatic music. There is abundant use of Tamil words , which often distract the smooth flow of the reading. Being a non-Tamilian, the early chapters were very annoying at times.  She does provide the meaning of these terms both musical and Tamil in the annexure, but at many places, these Tamil words did have proper substitutes.

Biographies are very tricky genre of writing. Its like peeping into someone else life, the private personality of a public figure. It is expected to give a new insight to the person, thus enhancing your own perspective of the world. In most of the cases, one see the writer is overpowered by the persona, intimidated by the charisma of the' subject', the voice and words gets carried away under this influence, hampering the objective approach to the life of the person. This book too suffer from the same. Patrick French's biography of V S Naipaul, was an exception.

Very well presented book, help you to reiterate your admiration of one of the most versatile artist,composer, guru and performer of Carnatic Music. The added bonus was the CD of his select recordings.

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An Incurable romantic - The Musical Journey of Lalgudi Jayaraman ( 2013 )

Lakshmi Devnath

Harper Collins

435 Pages
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Indian Express , Lalgudi Official Page

Insects are Just Like You and me Except Some of Them have Wings - Kuzhali Manickavel

The book was recommended to me by the publisher himself.  He said, if you like some weird , non-conforming kind of writing, you will like this book. This was about a month ago, at the COMICON event at Koramangala. I did buy the 'Stupid guy' book as well. Like most of the readers, I too, got carried away with the unusual title and few diagrams that appeared through out the books with illustrations of various insects ( which I found out later, has no connection whatsoever with the stories) , in which one says "A Literary Appreciation of T.S.Eliot's The Waste Land sen as a diagram of a mutant fruit fly".

The book indeed is a bit whacky in its style and stories. They appear to you in short spurts. One paragraph at a time. Stop. Start again. Some of them are only a paragraph or half a page long. Few of them are longer. Hence many do not have a standard complete story format. It is difficult to get used to this style for a while, and once you are through with that, then the reading become easy. The voice, remain same almost through out, of a semi urban-urban low middle class modern youth. The images again are restricted to these neighborhoods of semi urban, middle class. The prevailing angst, the frustration and the need to establish themselves crops up in many a stories.

Whenever she attempt to writer a longer version of the stories, I find it has a better effect. The stories are more complete and round, the characters are formed appropriately and there is a sort of continuity and conclusion. "Suicide letter is the most common form of the letter", "The dynamics of Windows", and "The Dolphin king" are , for the same reason, are more complete and are much better.  The language is consistent, her observations are trivial at times but are spontaneous and fresh.  The constant detached behaviour of her characters, we see some one who is sort of connected to the roots. While trying to be independent and self, there is a longing for love and admiration, of wanting to get to the family ( may be a generation above like in the case of Suicide letter..) and connect to the life despite the death of the individual ( the shoe box that keep appearing despite the death of the owner, Kathis carrying the embryo of his twin-brother in a bottle, the husband who re-appear to his wife in her dream asking for his watch in Paarvai ) , apart from numerous animals and insects ( the Rat names miraculous, the dragon fly, the butterflies in the entomologist in line with the title of the book.

IVery interesting set of short stories. The conversations are abrupt and non-polished. The characters are all middle aged, just out of house/family young individuals trying to find their own meaning/foot hold of life. The stories as said earlier, comes in short spurts, a paragraph at a stretch, breaking, opening at another in a flash. In the conventional sense, these do not conform to the standards. Despite many short comings, they have a freshness in them. A very different voice in the Indian English Writing.

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Insects are Just Like You and me Except Some of Them have Wings ( 2008 )

Kuzhali Manickavel

Blaft Publications

141 Pages
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The Short Review, Tehelka

The Opium Clerk - Kunal Basu

Opium trade in Asia was one of the major business controlled by Britishers. The famous Anglo- Chinese Opium War as a result of Chinese control over the British Opium Trade practices. Though Chinese lost the war, the trade continue to suffer both financial and diplomatic cooperation between the two nations. The Britishers continue to import opium from Indian soil, through various traders.

Hiren , born in the year of Indian Mutiny, lost his father before he turned 1, killed in an accident run-over by horses in the park. His mother came back to her family in Calcutta from Patna. Young Hiren, now under the direct influence from his progressive uncle. It is here he developed his special ability of reading palms. His modern education and ability to adapt landed him at a job of Clerk at an auction house run by the mysterious Britisher Jonathan Crabbe. The company involved in dubious trade of Opium to other parts of the world. Soon, Hiren was invited to the house of Crabbe, for teaching him Sanskrit. Asked to help in adopting a child for the opium addicted wife of Crabbe, Hiren and his friend goes through the slums of Calcutta. Little did he knew that this is going to change his life forever.

The second part takes him on a long voyage to China to assist his employers in setting up their base withthe help of local viceroy. hiren find himslef being witness to the cruel massacre of the resistance forces by the British supported local ruler. The third and last part makes a forward leap to the adopted son in the remote Indonesian island, as an official of customs at its ports.

The writing is fascinating and Kunal is able to take us through the life of Hiren from the orthodox Brahmin family to the complex and notorious trade of narcotics, from the shores of Calcutta to Hongkong and South China. Often put in the middle of the conflicts, Hiren, introduced an Indian Prince was requested to get in the dangerous game of getting the rebels and the rulers in the path of surrender. The fate made him the silent spectator of the mass murder of many under the British and Chinese rulers.

The language is very vivid and descriptive and the subject is interesting. This is my second book of Kunal Basu. He is a good writer, with flowing language and very visual style of writing. Each topic developed from the historical events and expanded within its logical extensions. However, this book does not appear to me in completeness. Especially the continuity. The third part somehow did not connect with the narrative. And I am disappointed again with this one. Though this book is more popular, I think The miniaturist was a better book.

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The Opium Clerk ( 2008 )

Kunal Basu

Harper Collins, India

309 Pages

Rs 295
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More Read : McGill Reporter

For Pepper and Christ - Keki.N.Daruwalla

The arrival of Europeans to India began with Vasco Da Gama, landing near Calicut in 1492. The quest for pepper and other spices turned the tradesmen to rulers for the next five centuries. Before the arrival of the Europeans, Arabs and Chinese were doing the trade for centuries and their activities were restricted to trade. However, the Europeans had other interests, they want to control the trade and own the resources. The rest is known to us.

The search for a way to reach the land of pepper was very active by most of the European nations. The trade with India were controlled by Arabs who bring the goods the their shore, move it by land to the Mediterranean shore and take them to the Italian ports for further trade. It was estimated that the price appreciated more than 10 times, between the purchase at the source, to the time it reached the European Market. Spain and Portugal, two of the pioneers in the sea voyage were the front runners of this. Christopher Columbus reached the Americas, mistook it for India, Amerigo Vespucci reached Brazil ( later he found the northern part of America), trying to find a new path to India.

It was during this time, Vasco da Gama, decided to find a way to India. All they knew was the way to cross Africa, through what they called the Cape of Good Hope. Europeans need the help of Arabs to reach India. Vasco da Gama's team was small and was more of an expedition to find way, than to to trade. It was equipped with few soldiers and armoury. The team also consist of Brother Figueiro, a young priest, who is one of the protagonist of the novel, looking for the legend of Pester John and his Kingdom. The novel was set at 3 locations. apart from the voyage- Calicut , Cairo and Lisbon. Three protagonist, looking at the eventful journey through their point are the priest, Taufiq , the sailor and Ehtesham, an artist in Cairo.

Taufiq, who now studying inear Cairo, had been to India with his father at a very young age. They had even lived near Gujrat for a while before returning to their land. It was here that he was introduced to the legendary sailor Ibn Majid and learned and sailed with him. It was this experience , that got him the job of taking the White men across the sea to India.

Their arrival wasn't received with enthusiasm. The request for meeting wasn't heeded early, the wait was long. Even the meeting with Zamorin was a damp affair. Their gift to the King was ridiculed. The influence of Arab traders were overwhelming. The situation turned worse after some skirmishes with the local traders. There was attacks on the visitors and they had to retreat in a haste. As we know , Vasco da Gama, lost his brother and many of his sailors. However, they reached back to Lisbon, to give the good news to the King. Taufiq, was retained at Lisbon, to guide them in their next journey. Admiral Kabral, who lead the next expedition was prepared. A fleet of 23 vessels, with many soldiers and ammunition was an eventful journey spreading venom and destruction on its way. The situation at Calicut was no different. They were welcomed by the angry mob and was refused trade permits. The situation turned violent and the Portuguese turned to revenge on the Zamorin and the people of Calicut. The bombardment and slaughter was enough to destroy the kingdom, people including the Zamorin escaped to the interiors. The localites was ill equipped to face the superior armory of the White. They had not used to guns and other explosives..

Taufique had the toughest time, on one side, he was the guide and sailor of the Portuguese, on the other side, he did not like them. His heart was in Samina, the local girl at Calicut. Though he had to return with Gama the second voyage saw him deserting the Portuguese and taking shelter in the land of his beloved. He continued to be tormented by his involvement in the attack, and for bringing the Portuguese to India. In the end, he console himself by saying “They would have come in here all the same, by sail ship or steam boat, via Madagascar and Milind or through the Suez. And the darkies would have gawked at them as they walked down the gangplanks, in doublet and hose or coat and tie . . .”

The powers are divided between three worlds, the Europeans , the Arabs and the Zamorin ( or the Eastern civilisation). This novel also examines the thin line between religions and societies. To the Portuguese, every one who is not a Muslim is Christian. They believe the Zamorin to be a Christian King and the people to be Christians. They were puzzled by the monk from Ceylon, who claims to be a Buddhist. En route, they expect the African kings to obey the rule of the lord, and they take the papal blessing for every endeavour of theirs. The Muslims population of Cairo ( and in general) are always been attacked. Various rulers through out the Arab world have ruled them , and was often attacked by the Turkish ( even before Ottoman), Italian and Greek forces. Ghengiz Khan and the Mongols almost captured them. The social fabric hence is very fragile and any unconformist behavior was thought to be an attempt to de-stabilise the kingdom and was dealt with cruelly. The informers and spies we controlling the life.

Ehteshan on his part was caught in this tussle. An artist, and a lover boy, he was on constant observation and had been warned for his work. Creation is reserved with the God and mortals are not allowed to imitate him. Accepting to paint the Church, however secretly ( even his wife did not know it) did not save him. Forced to abandon his town and his wife he escapes the place just in time leading a nomadic life until he board the unlucky vessel MIRI.

“A historical novel is neither history nor fiction, Or, perhaps it is both" clarifies the author in the prologue. One of the issue is with this is written with the foreigners view point and there is none from the Calicut or the localites. It also takes a de tour with the story of Eshtehan, the artist which do not have any direct consequences in the story, except for the in the sea mishap of the MIRI and being a friend of Taufiq. Notwithstanding the short comings, I think Keki Daruwalla has done a good job. The writing style is clear and sensitive, as you can expect from a poet. The language ( even while using some of the localised wordds) and styling is interesting, the description and emotive content is appropriate to the protagonists view. This book is highly recommended.

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For Pepper and Christ ( 2009)

Keki N Daruwalla

Penguin Books

354 Pages

Rs 399
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Other Reviews : Hindustan Times, The Hindu, Warwick Review , Tribune India

The Miniaturist - Kunal Basu

The court of Akbar, the third Mughal emperor, supposed to be the best time for arts and culture filled with the best in the field of music, art and painting. It is considered as one of the golden era of medieval India. Set in his period ( 16th Century AD), Kunal Basu's second novel takes us on a journey with Bihzad a painter in the Akbar's court.

Born to the 'khwaja' ( the chief) of Akbars 'kitabkhana' ( the artists workshop), Bihzad was already a child prodigy in line with his fathers tradition. Persian descendent, who moved into India with the Mughals have already made India their home. His father had put him under the tutelage of an elderly painter, to bring some discipline in his drawing, only to be abandoned by the boy stating " I have nothing else to learn from him". Illiterate, he had to listen to the stories being narrated ( for which he uses his step mothers help) to reproduce them with all magnanimity, not to be rivalled. It was only natural, to have his name and fame to reach the royal ears. Soon, he was admitted to the 'kitabkhana' to be the rightful heir to his fathers post, when the father was elated to the post of a courtier. Akbar has moved his capital out of Agra to Sikri and moved his court and the ;kitabkhana' to the new city ,moving his wives and harem to the new place. His step-mother, with whom he now has developed a relation beyond the maternal limitations, has refused to leave Agra to join them in Sikri. Same, is the case with the paint-seller , who frequent kitabkhana feeding him with the raw material for his art as well as the local gossip.

The historians in the court are busy writing the biography of Akbar, and Bihzad was busy painting the corresponding sketches for the great book. While this is on there is a parallel life of Akbar the Great is being prepared, this time not as an all conquering Emperor, but in a human form. The admiration to the great ruler soon becomes infatuation from the painter. The pictures of Akbar, the lover boy with Bizhad has been stolen and was produced in the royal court by the detractors . Bihzad was promptly expelled ( the magic of the pictures have spared him his life).

Now in exile, Bihzad ends up in the deserts outside the hindukush , run by another exile , a eunuch fallen out of grace from the royal harems of Akbar. Agreeing upon not revealing their identity, Bihzad spents his exile days doing errands, listening to Sufi poets, Christian missionaries and other religions sects leaders. The luck takes his turn again as one of his paintings changes his life again, this time ending up in the courts of the local king, marrying his daughter. Forced to spent the time in the harems unable to win the trust of his wife, he escape the place. Tormented by his art and destroyed by his skill, he decides to put an end to this, blindfolding himself spending his life under a tree in the market. Abused, insulted and ragged, he was later rescued by some nomads selling eggs in the market. But the art, does not leave him.

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Kunal Basu, true to the book, paints the picture of Akbars court amazingly. The palace, the ministers courtiers, his royal entourage and the hunting trips, the harems filled innumerous wives and other concubines each trying to win his attention and to be the first to produce the next emperor of the kingdom, the royal eunuchs guarding and taking care of the harem, the in-court rivalry .. each were produced to the magnificent effect. The omnipresence of the emperor was through out the initial pages.

The torments of the painter, famed and destroyed by the art he know and love, is painted pretty well by the author.

" Your gift is your curse. Your defect. It'll make you suffer. Even if you wanted to escape, it wouldn't spare you. It'll cripple you, even if you flee, it'll seek its revenge."

So was the admiration turned fantasy of a teenager, falling in love with his creation ( the emperor in this case). His effort to meet his sweet-heart was denied, so was his elevation to the post of 'khwaja' by the rivals leaving him further disturbed, the only solace being alcohol and the local whorehouse.

However, to me the book did not deliver to the expectation set in the initial pages. Kunal Basu is a good writer and has very good command on the language and the subject he in his treatment. The second half of the book takes an un-convincing turn, ending with a cliched cinematic finish.

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The Miniaturist ( 2003 )

Kunal Basu

Phoenix

248 Pages

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Other Reviews: Independent , Guardian

The Story Teller's Tale - Omair Ahmad

The setting is perfect. 18th century, attack of Delhi by Ahmad Shah Abdali and his men. His house has been ransacked and he had to flee as the case of others with the minimum essentials that he could gather. Avadh, is the destination. His life as a poet and story teller hasn't given him monitory freedom in his life, only a few well wishers. Thakir is a days ride from the city on the way to Avadh. On a stolen horse, as insipid as him, he reaches the gates of this small town. Distraught and tired, all he needed was rest and some food.
When the Begum of the casbah ( mansion / citadel ) invite him to tell a tale ( on hearing about is credentials), little did he realise that he is getting into a maze from which there is no escape. When he narrates the tale of two brothers ( one a boy and the other a wolf) , of loyalty , fear, love and distrust, he was confronted by a return story by the Begum of Aresh and Barab , reinstating the power of love and trust beyond death. Now this was the first time, the story teller was challenged with a counter tale. He has to respond with a story establishing the facts he believe in countering that of the Begum. Thus , he return to the Casbah to tell his version of the Begum's story , emphasizing on the duality of life and the hidden dark animalistic desire of human kind. Begum has the final act of narration, and taking cue from where the story teller left, getting back to unfulfilled love and the suppressed desire leaving him perplexed for ever.
It is the book on story telling. Exploring possibilities within the frame work of the given story, finding new interpretations and new meanings. It is also about conveying hidden messages of the human kind. It is also confronting the enemy by your means. The story is also the place to set their personal attributes. The story teller had never been in love , all his life. He had never succumbed to the temptation, until now. It is only now, that he was faced with a challenge which had disarmed him. It is now, he has seen his own vulnerability.
While the focus and centre point of the short novel is on the story telling, what I liked is the subtle and simple way of getting the human nature into the same. The peripheral characters and the places has no significance in the whole. And the initial setting of the plot ( the Ahmad Shah Abdali , the destruction of Delhi etc) also play no role in the novel.
A well constructed novel, with god simple writing makes it a good read. It may not be a literary sensation or one book that will be in discussion after ten years. Nonetheless, it is a good short novel, well executed.
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The Storyteller's Tale
Omair Ahmad
Penguin Books India
122 Pages
Rs 225
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More read : The Hindu , Interview with the author in Bangalore Mirror and mybangalore.com

Nine on Nine - Nandita C Puri

A foreword by Gulzar and the cover design by M F Hussain , with recommendations by Shobha De and Khushwant Singh.. Written by a noted columnist , who is the wife of one of THE BEST actors in Indian Cinema. This has all that it takes to get my attention.

However, the end result is disappointment. Pretty ordinary stories of upper middleclass Indian Urban women told in rather superficious manner. None of the stories live upto the 'awesome' categories. This was heralded as the new Indian Writing. Let me admit, I have not read many Indian English writings to pass a judgment. But if this is the yardstick, we have a long way to go in fiction / short story writing.

Most of the stories are about the fall in moral values; social, family, couple and individuals. Every human is living in a dream world; may be it is the reflection of today's urban life. Barring 'Pages From Indulata Debi’s Diary' , which is styled as a biographical essay, there aren't many worth mentioning. On the whole, these stories failed to strike a chord with me.

However, here is a different view on the same.

Nine on nine - stories
Nandita Puri
224 Pages
Rs 295

One night @ the call centre - Chetan Bhagat

I have picked up this book as my travel read. It is not worth writing about this. Not my kind of read. A very teeny type of book and has no reason why I should recommend this to anyone. I wanted to stop reading after the first few chapters, but managed to complete.

There is nothing more to add here. Let me get back to my bookshelf for something that is worthy of mention.

One Night @ the call Center
by Chetan Bhagat.
289 Pages,
INR 95