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Change your moods with some fresh books

The million-copy bestselling phenomenon, Fredrik Backman’s heart-warming debut is a funny, moving, uplifting tale of love and community that will leave you with a spring in your step…writes N. Lothungbeni Humtsoe

From poetry to humour, there’s plenty to read while lounging at home during these sweltering days. We curate some of the best new titles that match the mood of the season, and make you a little more knowledgeable, one page at a time.

Poetry Novel: The Penguin Book of Indian Poets by Jeet Thayil

A performance poet and songwriter, Jeet Thayil has compiled this definitive anthology of Indian poetry in English that has been two decades in the making.

It spans seventy-five years of Indian poetry in English, bridging continents and generations, and seeks to expand the definition of “Indianness”. The collection also introduces an astonishing range of contemporary poets who live and work in various parts of the world and in India. Included are lost, uncollected, or out of print poems by major poets.

Mythology Fiction Novel: The Hidden Hindu by Akshat Gupta

Prithvi, 21, is searching for a mysterious middle-aged Aghori (Shiva devotee), Om Shastri, who was traced more than 200 years ago before he was captured and transported to a high-tech facility on an isolated Indian island. When the aghori was drugged and hypnotised for interrogation by a team of specialists, he claimed to have witnessed all four yugas (the epochs in Hinduism) and even participated in both Ramayana and Mahabharata. Om’s revelations of his incredible past that defied the nature of mortality left everyone baffled.

So who is Om Shastri? Why was he captured? Board the boat of Om Shastri’s secrets to Prithvi’s pursuit and adventures of other enigmatic immortals of Hindu mythology in this exciting and revealing journey.

Self-Analysis Novel: Reverberation of a Timepiece by Sudhir Kove

Renowned logo guru, graphologist, and wristwatch analyst Sudhir Kove’s second book, ‘Reverberation of a Timepiece: How Watches Impact our Life’, delves into how a simple time measurement device can impact your subconscious mind. Kove believes that everything from the size, shape and elements of the dial and strap, to the hand you wear it on and even the colour of the watch you pick, can not just reveal hidden aspects of your personality, but in turn affect your thoughts, behaviour, confidence, decision-making and even relationships with those around you.

Romantic Novel: Wish I Could Tell You by Durjoy Dutta



Can you find yourself after you have lost that special someone? A disillusioned and heartbroken Anusha finds herself in the small world of WeDonate.com. Struggling to cope with her feelings and the job of raising money for charity, she reluctantly searches for a worthwhile cause to support. For Ananth, who has been on the opposite side, no life is less worthy, no cause too small to support. Behind them are teams for whom going to extraordinary lengths to save lives is more than a full-time occupation. In front of them is the virtual world of social media-watching, interacting, judging, making choices, and sometimes, saving lives.

Non- Fiction Novel: What Millennials Want by Vivan Marwaha



The important question is: What do Indian millennials want? What are their economic aspirations and their social views? Most importantly, what makes them tick? Marwaha documents the aspirations and anxieties of these young people scattered across more than 30,000 kilometers in 13 Indian states. Combining an expansive dataset along with personal anecdotes, he narrates an intimate biography of India’s millennials, investigating their attitudes towards sex, marriage, employment, religion, and politics.

Thriller Novel: One Arranged Murder by Chetan Bhagat


Saurabh and Prerna will be getting married soon. It is an arranged marriage. However, there is more cheesy romance between them than any love-marriage couple. On Karva Chauth, she fasted for him. She didn’t eat all day. In the evening, she called him and waited on the terrace for the moon and for Saurabh to break her fast. Excited, Saurabh ran up the steps of her three-storey house. But when he reached

One Arranged Murder is a story about love, friendship, family and crime.


Humorous Novel: A Man Called Ove by Fredrick Backman

The million-copy bestselling phenomenon, Fredrik Backman’s heart-warming debut is a funny, moving, uplifting tale of love and community that will leave you with a spring in your step. At first sight, Ove is almost certainly the grumpiest man you will ever meet. He will persist in making his daily inspection rounds of the local streets. But isn’t it rare, these days, to find such old-fashioned clarity of belief and deed? Such unswerving conviction about what the world should be, and a lifelong dedication to making it just so? In the end, you will see, there is something about Ove that is quite irresistible.

ALSO READ-Time travel in books

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‘I’m amazed, delighted, honoured and humbled’

To her family’s consternation, she insists on travelling to Pakistan, simultaneously confronting the unresolved trauma of her teenage experiences of partition, and re-evaluating what it means to be a mother, a daughter, a woman, and a feminist…reports Asian Lite News

Not only has Delhi-based author Geetanjali Shree’s ‘Ret Samadhi’, translated into English by American writer-translator Daisy Rockwell into ‘Tomb of Sand’ achieved a new milestone by being the first Hindi literary work to win the prestigious International Booker Prize, it has also asserted no matter the language, but human emotions are also connected by common emotions and metaphors.

Speaking to IANS when the book was shortlisted for the coveted prize, she had stressed, “Of course, this is something I have always known.

Otherwise all these centuries, we would not be loving and relating to art and literature from vastly different countries of the world. Human (and other) life is about the same emotions and experiences, albeit couched in different ‘cultural’ details. It is when the former touches our soul that the latter ceases to be alien and only adds more dimensions to our experience.”

Reacting to the Booker, she said: “This is a bolt from the blue, but what a nice one. I never dreamt of the Booker, I never thought I could. What a huge recognition, I’m amazed, delighted, honoured and humbled,” says the author, who was in disbelief during her acceptance speech, “There is a melancholy satisfaction in the award going to it. ‘Ret

Samadhi/Tomb of Sand’ is an elegy for the world we inhabit, a laughing elegy that retains hope in the face of impending doom. The Booker will surely take it to many more people than it would have reached otherwise, that should do the book no harm.”

‘Ret Samadhi’ centres around a north Indian 80-year-old woman who slips into a deep depression after the death of her husband and then resurfaces to gain a new lease on life. Her determination to fly in the face of convention including striking up a friendship with a transgender person confuses her bohemian daughter, who is used to thinking of herself as the more ‘modern’ of the two.

To her family’s consternation, she insists on travelling to Pakistan, simultaneously confronting the unresolved trauma of her teenage experiences of partition, and re-evaluating what it means to be a mother, a daughter, a woman, and a feminist.

Talking about how the award-winning book was conceived, she remembers that it was the image of an old woman lying with her back turned to everyone in a joint family and apparently with no interest in living any longer that set her off. “My curiosity grew as to is she turning

her back on the world and life or preparing to get up into a rejuvenated, reinvented new life! From there the novel took off. It was a long journey full of fun, pain, joy, anxieties, the works,” she said.

But winning a major prize is not something she will let effect her writing. The author is clear that writing must never be extraneously motivated or influenced. “I write to express as best as I can, as creatively and sensitively as I can, and that is the only expectation

I am propelled by. I let no one tell me what, when, how I must write.”

The author whose works have been widely translated into several languages including French, German, Korean and Serbian, feels that translation is dialogue and communication. It is never a fixed, frozen and complete exchange. “It is ongoing, live and enriching some
things are explained better, some remain confounding, just as in any communication. Some things may also get lost, but some things also get added. Just as when two people talk, they enrich each other and enlarge each other’s way of seeing, being, and experiencing, so is also the communication underway in translation.

The gains of it are immense. One cannot fear it for the risks that may be in there too. Communication is worth it, risky or not! Dialogue, which is what translation is, is the best thing in human life and the way forward.”

ALSO READ-‘A Passage North’ in the final six of Booker shortlist

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Art in the digital era

Some find their pleasure in paintings while some find their attraction in digital art. There is a lot out there and enabled by digital resources one can find their interest…reports N. Lothungbeni Humtsoe

Collecting artwork has evolved in all respects – it has changed in format, resources, means, accessibility and perspective, but its essence survives through the test of time. Art is now being influenced by the digital era. Art collection earlier was considered a virtue of mature age but recently more and more millennials are taking up art collection very seriously.

Collecting art is as much a passion as a study, it is seen as an investment but it is a more personally rewarding pursuit. The journey from an art enthusiast and appreciator to a collector requires study, patience and perseverance. Especially in this demographic defying dynamic digital era, one needs to know what exactly one wants from the rich and diverse world of art.

To become an art collector, one needs to deep dive into the subject. The study, analyse, understand and decode the world of art. The various platforms, genres, schools of thought, artists, categories, etc and then identify one’s core interest area in this wide spectrum. There are a few golden guiding rules one must follow in order to have a rewarding and gratifying art collection journey, says Kr. Roop Partap Choudhary, internationally acclaimed art collector and Executive Director, Noor Mahal and Jewel Group of Hotels.

Research and explore

The more one knows about the fascinating depths of art and the artist the more satisfying it will make the journey to acquiring the artwork. Investing time in researching and exploring opens doors to newer possibilities and newer avenues. It updates one with knowledge of the latest means and routes to exciting riches. The Digital era has made gathering information relatively easy but it is also important to know how to get the most trustworthy information and not get misguided. It is easy to explore and connect digitally and also make purchases online by bypassing geographical boundaries.

Find your fondness

Art is a wide canvas and one needs to know what exactly one wants to pursue. What inspires and what does one aspire for. Some choose heritage-inspired rare art, while some are motivated by contemporary art. Some find their pleasure in paintings while some find their attraction in digital art. There is a lot out there and enabled by digital resources one can find their interest.

Design a strategy

Building an art collection is not about spontaneity, it requires planning and strategizing. Once you know what you desire from your art collection it is important to make sure you steer in the right direction. A strategy helps you plan ahead, ensures progress and helps you stay on the path of building gradually.

Networking is an art

The art world is fascinatingly complicated, finding the right things for your collection can prove to be almost like a treasure hunt. It is both helpful and effective to connect with the right people who can assist you in your journey of building a beautiful and meaningful collection. Especially like-minded people who know the world of art.

Assurance of authenticity

With the boom in the digital world and the increasing role of digitization in the world of art acquisition, there is an increasing threat of frauds trying to dupe young art collectors. Beware of cheaters and make sure that you deal with only authorized and authentic people. One can never be too careful in this respect.

There is no shortcut to connoisseur ship and it does take time, energy and money.

ALSO READ-‘Quila’ art blends seamlessly with utility

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‘Quila’ art blends seamlessly with utility

The limited-edition sink ‘Quila’ is adorned with an intricate painting that Jai Prakash has created exclusively for Kohler. Here, art blends seamlessly with utility, rendering a functional object that effortlessly doubles up as a work of art…reports Asian Lite News

The diverse arts and crafts, traditions, and folklore of India reflect the country’s rich cultural heritage. They come from all over the country and use a variety of methods and techniques, as well as artisans’ skills and expertise, to create one-of-a-kind pieces. Because they are handcrafted, they have a rather priceless appeal and a one-of-a-kind quality. And today, these ancient arts and crafts are finding new expression in modern contexts, articulated in ways that preserve their authenticity while allowing them to evolve. In doing so, the artists and craftspeople who are essential in keeping these traditional art forms alive and relevant for today are also brought to the forefront.

One such artist is Jai Prakash Lakhiwal, an acclaimed miniaturist who has played a significant role in preserving and propagating the rich heritage of miniature art. He was inspired by his father who had taken up painting as a hobby while working full-time. Having picked up a brush at the age of six, Jai Prakash started painting very young and gradually cultivated his skill, learning the intricacies from Ustad Feroz whose forefathers were painters in the Mughal court. He is the recipient of several awards, including the Padma Shri (2016).

His skillful creations grace the walls of Rashtrapati Bhavan, the Prime Mister’s Office, Hyderabad House, Supreme Court, and the Indira Gandhi Memorial Museum, to name a few, with one of his most notable works being the 20,000 sq.ft painting in the Anandpur Sahib Museum of Sikh History. Jai Prakash also hand paints for a high-end Japanese Kimono brand. And most recently, the self-taught artist collaborated with Kohler for the India Artist Edition, an endeavour which was born from a vision to create a product that celebrates Indian cultural heritage.

The limited-edition sink ‘Quila’ is adorned with an intricate painting that Jai Prakash has created exclusively for Kohler. Here, art blends seamlessly with utility, rendering a functional object that effortlessly doubles up as a work of art.

“India probably has the widest tradition of art and craft, so we thought it was time to really now invest behind paying homage to Indian traditions. The Quila is a beautiful product, one-of-a-kind, and certainly very different from what people expect to see in a bathroom,” says Salil Sadanandan, President, Kohler, South Asia, Middle East and Sub-Saharan Africa.

Since the start, Kohler delved into an in-depth process, which included conducting a 10-day workshop with leading folk artists of India. A detailed brief was given to each artist, culminating in this collaboration with the Padma Shri artist and the choice to go with the traditional art form of miniature paintings. The team initially drew upon India’s diverse heritage of painting, textile, architecture, and embroidery styles to develop the concept, which was eventually realised by Jai Prakash through his evocative illustration of the glorious past of the Rajputs. He himself drew inspiration from the miniature styles of Kota (Rajasthan) and Kangra (Pahari) regions and his painting portrays the magnificent Rajput forts through playful activities of the royalty, and visible across the tamed and untamed landscapes are birds and animals enjoying the spring season. The visual narrative that unfolds captivates the viewer, compelling them to explore the various details depicted by the artist, which are made even more striking by the expressive forms and vibrant colours.

The artwork, which is essentially created on a two-dimensional medium, had to be carefully translated onto a three-dimensional object and this was achieved through an elaborate process, to create a bespoke functional element for your bath space.

“We scanned these paintings and converted them into lithographs which were transferred on to the ceramic surface. It is all about craftsmanship and precision, without any automation” says Anand Asinkar, Lead Industrial designer, Kohler India Studio.

A piece of art, ‘Quila’ will single-handedly elevate the aesthetic quotient of the bath space it is integrated in, narrating stories of the glorious Rajput past through evocative visuals and bringing forth the charm of Rajasthan. Collaborations like these are imperative today as they do not just put Indian art on the global map but also provide artisans with a platform to showcase their talent. And it is through these creative ventures that the time-honoured arts, crafts and traditional techniques of the country gain prominence and relevance in today’s times, preventing them from fading into oblivion.

Salil Sadanandan, President, Kohler Brand South Asia, Middle East and Sub-Saharan Africa speaks about the collaboration and its modern interpretation.

Tell us about the collaboration and what it aims to achieve?

Sadanandan: The collaboration aims to bring together India’s diverse arts and crafts, traditions, and folklore, which speak of the country’s rich cultural heritage. Today, these age-old arts and crafts are finding expression in contemporary contexts, articulated in ways that preserve their authenticity while enabling them to evolve. We collaborated with Padma Shri Jai Prakash Lakhiwal, the man who is working to keep these traditional art forms alive and relevant for modern times, to bring the artist and crafts to the forefront. The Quila is a beautiful product, one-of-a-kind and certainly very different from what people expect to see in a bathroom. The artwork, which is essentially created in a two-dimensional medium, was carefully translated into a three-dimensional object, to create a bespoke functional element for the bath space.

Your target audience is HNIs above 35 and especially women. Why is this?

Sadanandan: We have always believed that it’s the women of the house who turn the place into a home. It is because of their knack for selecting products which are design-led and, at the same time, are of good quality that can beautify the place. This belief has led us to make women who are 35+ our target audience.

Tell us about the artwork?

Sadanandan: The artwork depicts the magnificent Rajput forts through the playful activities of the royalty. It showcases a panorama of tamed and untamed landscapes, which brings out the birds and animals enjoying the glorious spring season. The visual narrative unfolds the artwork and captivates the viewer, compelling them to explore the various details depicted by the artist, which are made even more striking by the expressive forms and vibrant colours.

Fittings and fixtures make or break a room, because of the pandemic people are focusing on their living spaces and willing to spend on previously ignored areas like bathrooms fixtures etc. Do u agree?

Sadanandan: A bathroom reflects one’s personality. And with the onset of the pandemic, homes have become the sanctuary for almost everyone. Because of this, the concept of indoor-outdoor living has been translated into the bath space as well, which has opened new opportunities for us. This situation has created an area of luxury combined with a heightened sense of hygiene and safety, giving us the space to create more different products.

ALSO READ-‘A Summer Slumber’

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Summer reads

The trio is put in a quandary. Will they fight their own creation? Is their intractable minds an indication that atheism is a religion in itself? Belief and disbelief, it is possible, are two sides of the same coin…reports Asian Lite News

Don’t let the weather dampen your spirits and weigh you down, pick up one of these books and dive head first into a great read. Here’s our list for the month.

The Wait And Other Stories (From the 2022 Jnanpith Award winner): Damodar Mauzo

Publisher: Penguin India

A cab driver, who assumes the identity of whoever his clients want him to be, finds himself in a tricky situation with a passenger. A late-night call leads a doctor down a path of lust and desire, but with unexpected results. A writer acquaints himself with a thief who had broken into his house. A migrant worker falls in love but wonders how he can present himself as a suitor. A young man, having lost the love of his life, takes it upon himself to resolve another couple’s dilemmas.

Konkani writer Damodar Mauzo’s sometimes bizarre, sometimes tender stories, set largely in Goa, create a world far removed from the sun and sand and the holiday resorts. Here you find villagers facing moral choices, children waking up to the realities of adult lives, men who dwell on remorse, women who live a life of regret and communities whose bonds are growing tenuous in an age of religious polarization. Probing the deepest corners of the human psyche with tongue-in-cheek humour, Mauzo’s stories reveal the many threads that connect us to others and the ease with which they can be broken. Written in simple prose and yet layered in nuances, The Wait is a collection that brings to the anglophone world one of the doyens of Konkani literature.

Nireeswaran (Vayalar and Kerala Sahitya Akademi winner): V.J. James

Publisher: Penguin India

Is it possible for society to exist without religion? Nireeswaran, the most celebrated of Malayalam novelist V.J. James’ works, uses incisive humour and satire to question blind faith and give an insight into what true spirituality is.

Three atheists, Antony, Sahir, and Bhaskaran, embark on an elaborate prank to establish that God is nothing but a superstition. They install a mutilated idol of Nireeswaran, literally anti-god, to show people how hollow their religion is. Their plan starts turning awry when miracles start being attributed to Nireeswaran, a man waking up from coma after 24 years, a jobless man ineligible for government employment getting a contract, a prostitute turning into a saint-leading hordes to turn up to worship the fake deity.

The trio is put in a quandary. Will they fight their own creation? Is their intractable minds an indication that atheism is a religion in itself? Belief and disbelief, it is possible, are two sides of the same coin.

I am Onir and I am gay : Onir with Irene Dhar Malik

Publisher: Penguin India

The award-winning filmmaker Onir, whose directorial debut, ‘My Brother Nikhil’ (2005), broke new ground in LGBT representation on the Indian silver screen, opens up fully for the first time. From his childhood days in Bhutan to when he was a young man with no connections in the Hindi film industry who dreamt big and fought to carve a niche for himself, Onir takes the reader through his struggles and triumphs to offer an intimate glimpse of his fascinating journey to success. Now one of the few openly gay directors in Bollywood, Onir remains fearless about his identity and passionate about his role as a filmmaker in opening up the road to difficult conversations about identity and resilience.

Written with his sister Irene Dhar Malik, I Am Onir and I Am Gay is an emotionally gritty and unabashedly honest personal story is a pathbreaking narrative of hope, love and the pursuit of dreams.

Generation XL (Dr. Sanjay Borude)

Publisher: Penguin India

India has a paradox of malnourishment as well as morbid obesity. While children have fewer weight-related health and medical problems than adults, overweight children are at high risk of becoming overweight adolescents and adults, placing them at risk of developing chronic diseases such as heart disease and diabetes later in life. They are also more prone to develop stress, sadness, and low self-esteem.

The contributing factors could be many, besides genetic makeup and medical factors like hypothyroidism and Cushing’s Syndrome. Children today spend far more time on screens than playing games outdoors, more so in the wake of the Covid-19 pandemic. Energy-dense foods and drinks are more readily available now than before. Psychological factors like stress also lead to overeating and increase the risk for obesity in childhood.

The book is a comprehensive roadmap for prevention and management of childhood obesity by one of India’s top bariatric surgeons. With real life case studies and examples, the book helps parents and children chart a roadmap to recovery and a fitter, healthier life. Without corrective action, there could be serious implications for future generations.

Open House with Piyush Pandey (Piyush Pandey)

Publisher: Penguin India

In Open House, Piyush Pandey takes the readers on a journey into his mind-his work, thoughts and experiences. He answers questions posed to him by people over the decades. Serious questions, incisive questions and frivolous questions. Is advertising a good career option? Should ad agencies work for political parties? Why does Ogilvy work for the BJP? Should citizens take the law into their own hands if they don’t like the advertising? Is Ogilvy a lala company? What is the future of advertising? Is Piyush Pandey too old to be in this business?

Honest, irreverent and informative, this is a roller-coaster ride with Piyush Pandey and Anant Rangaswami who has skilfully curated the book. With its practical wisdom and deep insights, Open House will both entertain and enlighten you.

ALSO READ-‘A Summer Slumber’

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‘A Summer Slumber’

She adds that Emma, the Co-owner of Method, had seen parts of the work while curating another exhibition and suggested that she put them together in a singular show…reports Sukant Deepak

She says she would not know how to consciously keep writing and photography independent, and they intersect constantly. Quoting writer and photographer, Wright Morris, who said “I don’t give up the camera eye when I write, merely the camera,” writer and photographer Zahra Amiruddin says that these lines have always resonated with her deeply since the words and sentences she chooses are usually extremely visceral.

Her exhibition of photographs, ‘A Summer Slumber’ opened recently at Method, Bandra in Mumbai (till June 20), which is a culmination of a collective stream of consciousness, brought upon by the change of patterns, self-reflection and growth, Amiruddin says that she is a kind of an artist who first creates and then develops.

“I usually never photograph with an agenda in mind, unless it is for a commissioned assignment. I had been photographing the listless and endless afternoons during lockdown for quite a while. And over time, my collection had recurring themes and patterns running through them,” she tells.

In ‘A Summer Slumber’, the photographs are shifting memories, moving between the past and the present through digital and analogue imagery, and multiple videos.

They create a narrative of a season spinning inside the artist’s mind, flanked by the heat of the outdoor summer sun. Since Amiruddin is primarily interested in the act of photographing through feeling and not purely through observation, the body of work is a space to immerse oneself amid a memory — both current and distant.

She adds that Emma, the Co-owner of Method, had seen parts of the work while curating another exhibition and suggested that she put them together in a singular show.

“I was ecstatic but was hesitant about making the show about lockdown since I was rather saturated with that period in time. Instead, I brought together photographs of nostalgia, longing, a yearning for a place far from the one you’re in, and afternoon dreams that are often unfinished. Eventually, it felt like summer.”

For this writer and photographer, the viewfinder is an old friend who helps her both escape and discover. While photographing during her college days, she realised that it brought about a strange sense of confidence within her that urged her to wield, create and write with light.

“The human mind is so intriguing, it has countless ways of perceiving the same reality. And that was what photography brought to me, a tactile version of my own truth. Here, I’m strictly speaking about personal realities, and not documentary photography which needs to be as close to the truth as the image-maker can get. The viewfinder allows you to compartmentalise large worlds within four corners of a frame, and that to me is enchanting.”

Although, she had been photographing with her writing, it was in 2015 when she went to study at The Aegean Center for the Fine Arts in Paros, Greece, that she discovered an eye that was dormant all the while.

“I found a way to wield light through feeling there and to photograph by instinct and not by technique alone. I think that made a world of a difference.”

Stressing that both writing and photography are essential for her as what she cannot photograph, she writes about, and when she cannot find words, she wields images; the artist feels that it is paramount to inculcate passion for the form through experimentation with it in children.

“We get so caught up with the technical and theoretical aspects of art, that the development of instinct, observation and gut feeling takes a backseat. This is most unfortunate, because in my opinion, without feeling, there can never be true expression,” says Amiruddin, who has also taught at Sophia College, and conducted various workshops at Kala Ghoda Arts Festival.

She is currently developing a book with her photography collective named, ‘Eight Thirty’.

“We are a group of nine photographers who are women and live across the expanse of India but have still found a singular space to coexist. I am also finding ways to push myself to make my own photobook come to life.”

ALSO READ-Celebrate Holi, Have Benefits

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-Top News Abu Dhabi Books

31st Abu Dhabi Int’l Book Fair set to kick off from Monday

The exhibition will also host Professor Gayatri Chakravorty Spivak, Professor of Humanities, Columbia University…reports Asian Lite News

The 31st edition of the Abu Dhabi International Book Fair (ADIBF), organised by the Abu Dhabi Arabic Language Centre (ALC), part of the Department of Culture and Tourism – Abu Dhabi (DCT Abu Dhabi), is set to host prominent Arab and international cultural and academic figures who have contributed to human knowledge with work in the fields of literature, language, thought leadership and cultural studies.

British Professor Dr Roger Allen, Professor of Arabic Language and Comparative Literature at the Department of Near Eastern Languages and Civilisations at the University of Pennsylvania, will be one of the notable experts participating in the upcoming edition of the Fair, which will take place from 23 to 29 May, 2022, at the Abu Dhabi National Exhibition Centre (ADNEC). Dr Allen is known for his contributions in the field of translation, introducing Western readers to the works of Arab writers such as Naguib Mahfouz, Jabra Ibrahim Jabra, Abd Al Rahman Munif, Youssef Idris, and other Arab literary figures.

Also joining ADIBF 2022 will be Professor Muhsin J. Al Musawi, Dr. Muhsin J. Al-Musawi (Iraq/USA) is Professor of classical and modern Arabic literature, comparative and cultural studies at Columbia University, New York. A renowned scholar and literary critic, who has enriched Arabic literature with works such as ‘The Arabic Novel: Rise and Transformation’; ‘The Age of The Novel’; ‘Tharat Shahrazad: The Art of Modern Arab Narrative’; ‘Orientalism in Arab Thought’; ‘The Arab Novel After Mahfouz’, and many others.

Fair-goers will also be introduced to the achievements of Professor Homi K Bhabha the Anne F. Rothenberg Professor of Humanities, Department of English, and Director of the Humanities Centre, at Harvard University. Prof. Bhabha is the Founding Director of the Mahindra Centre for the Humanities at Harvard and Senior Advisor to the President and Provost of Harvard University. He worked as a professor of the Humanities in the English Department and Comparative Literature Department at Harvard University.  His works include ‘The Location of Culture’ which was reprinted as one of the most prominent classics in the field, and ‘Nation and Narration’, in addition to scholarly articles in the fields of post-colonial studies and cultural theory, cultural migration, globalisation and human rights.

The exhibition will also host Professor Gayatri Chakravorty Spivak, Professor of Humanities, Columbia University. She is a founding member of the Institute for Comparative Literature and Society.   Prof. Spivak is a leading global figure on feminist issues, language, and development. Spivak is best known for her translation of and introduction to Jacques Derrida’s De la grammatologie, (1976), ‘In Other Worlds: Essays in Cultural Politics’ (1987), and others.       

ALSO READ- Sharjah Ruler launches Emirati Book Fair, signs a publication                             

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‘Unmasking Indian Secularism – Why We Need A New Hindu-Muslim Deal’

If nothing else, we learned to tolerate, if, not exactly respect, religious and cultural differences. Despite tensions, we got along. We managed to be civil to each other…reports Vishnu Makhijani

The foundations of a secular India were laid against the background of mutual suspicions between the Hindu Right and the Muslim leaders in the run-up to Indias Independence, “not exactly propitious circumstances for experimenting with an alien concept that had proved controversial even in the lands of its birth”, says a new book on the disruptive issue that urges a new beginning with “less contentious alternatives” that will enable the two communities to live in peace and harmony.

“Looking back, in the light of subsequent events, it is easy to question that decision. To be sure, it was a deliberate choice driven by Jawaharlal Nehru’s westernised liberal outlook. There was no attempt to explore an indigenous model: a system that would have recognised the predominantly Hindu nature of Indian society without necessarily declaring India a Hindu state,” journalist-author Hasan Suroor writes in “Unmasking Indian Secularism – Why We Need A New Hindu-Muslim Deal” (Rupa).

“The efficacy of the secularism project is debatable, but the problem is that much of the debate has become too politicized to allow an objective evaluation. And it is not a recent change; it has been so for as long as I remember. Most of the discussion has been shaped by ideological and party lines reducing it to a Liberal versus Right and, worse, Hindu versus Muslim issue,” Suroor writes.

This has resulted in a situation where “advocates of secularism hail it as the only show in sight and are not willing even to consider any other alternative, its opponents find no advantage to it, rubbishing it as a western import and a liberal conspiracy against Hindus”, he adds.

At the same time, the author admits that “for all its flaws and bungled execution”, secularism served its purpose at a time when the country was reeling from the aftermath of a communal bloodbath in the wake of Partition.

“If nothing else, we learned to tolerate, if, not exactly respect, religious and cultural differences. Despite tensions, we got along. We managed to be civil to each other.

“But the problem with sticking plasters, even the best of them, is that they are just that: sticking plasters can do only so much to alleviate a situation. They are not a substitute for a permanent fix. That is what happened with secularism,” Suroor writes.

It started to wear out “in the absence of any serious effort or a coherent strategy to fix the deepening communal divide stoked by groups opposed to the idea that Muslims should enjoy equal status in Hindu-majority India. Its abuse by secular parties through unprincipled compromises with Muslim fundamentalists groups in the name of protecting Muslim ‘identity’ compounded the crisis. This led even moderate/secular Hindus to start questioning secularism, suggesting that it was simply a cover to appease Muslim voters”, the author writes.

“The truth is that, like it or not, and regardless of the reasons, there is now a ‘new’ majoritarian India, and a refusal to acknowledge it will not make it go away. Not to put too fine a point on it, a Hindu India is already here in all but name,” Suroor maintains.

“We might not be able to ‘unbecome what we have become’…but we can try and limit further damage. And that means a willingness to start looking for less contentious alternatives based around what binds us by virtue of common citizenship and shared history rather than what divides us. I believe that a common national culture can be the basis for a new Hindu-Muslim settlement placing cultural affinity above faith,” he adds.

What is preferable, the author asks.

“A secular state on paper, but in effect practicing religious apartheid, or a state with an official religion but secular in practice, a sort of secular Hindu state, for example?”

Politically isolated and facing an existential crisis, “the question before the Muslim community is whether it wants to prolong the agony and suffer daily humiliation or try and find a dignified way out of it. There are no easy options: either we continue to be trapped in a no-man’s land, nominally secular, but in practice discriminatory, waiting for Godot to deliver us from our misery; our swallow our ego, grind our teeth and give up the tottering ghost of secularism for good. It might seem like an extreme step but in effect, we will be simply formalising what’s already a de-factor situation”, Suroor writes.

Some will see this as “surrender” but will actually allow “us to bow out at a time of our own choosing rather than have a solution imposed on us, as happened in the case of Babri Masjid and triple talaq. In exchange, we can insist on constitutional and legal guarantees around the protection of Muslim rights as equal citizens of India”, the author maintans.

“Let’s get this straight: there’s no Godot coming to our rescue. Secularism and Muslims are considered lost causes and increasingly a political liability even by avowedly liberal mainstream parties. They’re vying with each other to demonstrate their Hinduness, a sign that the Indian political landscape has changed for good. There’s a new normal…which, in this case, means that we stop endlessly arguing about the past and, instead, move on. And try to make the best of a bad situation.

“”It’s easy to bury one’s head in the sand and refuse to acknowledge the reality, but it requires courage to confront it and deal with it,” Suroor contends.

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‘Will we ever walk into the fields of gold again’

Now it has been about seven years since I started living in India, shuffling between Calcutta and Bangalore. Again, very different climates and regions from the west…Radhika Agarwala speaks with Sukant Deepak

When she moved back to her hometown Kolkata after being away for decades, she started seeing the landscape around in a new light. When the cyclone Amphan stuck, and the Pandemic after that, she took up the role of an archaeologist. “My studio started resembling an excavation site. I started collecting all specimens of felled trees and other found objects. After all, we had begun an ecological war in our landscape,” recalls artist Radhika Agarwala.

Considering she has been trained as a print maker and painter, this MFA in Fine Art from Goldsmiths, London and MFA in Painting from University of Florida, who over the years has also been making sculptures, adds, “I treat the metal like paper. Hence you see the fragility and permanence, and the dichotomy. I am also showing them in relation to the human body, after all human existence and nature complement each other.” she tells on the sidelines of the recently concluded India Art fair where her work ‘Will we ever walk into the fields of gold again’ in brass cast and patina was displayed by Delhi-based gallery Latitude 28.

The work is a commentary on the time that we have lost ecologically. She says it is also a time capsule for her: “The degeneration of hope and loss of a landscape and lives.”

Stressing that most of the times it is the theme that dictates the medium she chooses, the artists says that in case of the ‘Will….’ she wanted to show the burnt crevices, the nuances and minute details of nature around, and the beauty that she finds in the chaos. “And after deconstructing these specimens, I get into the metal, and then starts the process of reversing all classical techniques into a contemporary context.”

Talk to her about the ‘why’ of choosing nature as the central theme for the past several years, and Agarwala, who considers herself as someone with an insider-outsider view elaborates, “Now it has been about seven years since I started living in India, shuffling between Calcutta and Bangalore. Again, very different climates and regions from the west. I think I feel like an outsider in this landscape. Around 14 years ago, the Indian landscape was very different. We were talking about dystopia that could happen, but now after living there and moving back here in the urban jungles filled with concrete, steel, tar and the carbon that we are breathing — we are living it. These works basically evoke the time that is lost forever.”

Though paper as a medium has always been close to her heart, the past few years she has worked extensively with metal. “I am using a material like metal, something that I would not use conceptually as it is so masculine and aggressive as a material. So I want to show the feminine, organic and fragile part that nature has. It is that kind of dichotomy that I am trying to show. For me, all these works are as a sight of refuge and contemplation.”

Though the Pandemic was emotionally disturbing for her considering her studio is not part of the house and she had to redefine her practice, the artist says, “But I was quite charged up and took up the role of being an archaeologist. This time allowed me to be very experimental. I researched on patina and started looking at patina as paint. This gave me that flexibility to fuse the man-made and organic.”

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Voice of voiceless – running through stories

The stories they had left behind with me in our interactions needed to be penned down. These are ordinary people who had the courage to do extraordinary things… Mohua Chinappa speaks with Vishnu Makhijani

Over a two-decade period, former communications and brand consultant turned writer and voice-over artist Mohua Chinappa had met women from diverse backgrounds, from a tribal Khasi woman who ran a tea stall to a journalist from the northeast trying to fit in the big city to an unassuming college girl who could not anticipate the “consequence” of her brutish rebuke to a man.

Thus, in her debut novel “Nautanki Saala and Other Stories” (Cursive), an average bar dancer gives an old codger the finger he deserves, and many protagonists believe they don’t have it in them. As a result, they deny their feelings, deny their desires, and make poor decisions.

“The stories they had left behind with me in our interactions needed to be penned down. These are ordinary people who had the courage to do extraordinary things,” Chinappa, who in her highly-popular podcast “The Mohua Show” interviews artists, entrepreneurs, and individuals who are working to make their communities economically and socially stronger, told IANS in an interview.

“My journey in writing them was an emotional roller coaster of many myriad feelings. I sunk with their sorrows and arose with their victories. Also I enjoy writing, therefore adding the dimensions to the characters was immensely satisfying,” she added.

The book, she said, placed her back again in the working world.

“It changed my status from a housewife to becoming an author. I was struggling with an identity crisis and this book renewed and strengthened my identity. It also gave me credibility as an writer and a podcaster. It helped me reboot and return into my work life after a gap of nearly 11 years,” the Bengaluru-based Chinappa explained.

How did she go about locating her subjects?

“I didn’t need to locate them. They stayed on from the first interaction to the last. All I did was delve deep into the recess of my memories and the surge of the emotions came gushing back as the characters developed,” Chinappa said.

The stories in the book cover a vast period. Is the world any different today from what it was in the time the stories are set?

“Yes, definitely the world has changed. It has become more fast-paced with less time to ponder. My characters lived in an era when people had simpler lives, heartbreak was considered a serious issue and trust came easier to people in their interactions even with strangers,” Chinappa elaborated.

“While the lives of the people are a testament to the cultural-economic shift in these decades, they are also an attempt to strengthen the feminist who hesitates in confiding,” she added.

Thus, there is a common thread – the voice of the voiceless – running through the stories.

“The common thread running in the stories is the voice of the voiceless. My protagonists are mostly people, who would go unrecognised in a world full of achievers and less dreamers. They speak their hearts out without the fear of judgement,” Chinappa said.

This makes it a must read for anyone who wants to understand and feel emotions such as heartbreak, displacement, betrayal, guilt and winning inspite of all the crazy circumstances.

“It will give the readers an insight into the mind of the feminist who is not scared to confide. The characters are naive, vulnerable yet with a steely resolve to live life on their own terms,” Chinappa maintained.

What next? What’s her next book going to be on?

Noting that her podcast helps her meet many people across the world who have stories to share, Chinappa said: “My next book is also feminist literature. And I hope to finish writing the draft by the end of this year.”

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