RANGOLI Kala Kahani's Magazine - South Asian Arts and Literature - Spring 08# 01
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RANGOLI Kala Kahani’s Magazine
South Asian Arts and Literature
www.kalakahani.co.uk
# 01
Spring 08
kala kahani online magazine
02
Charnwood Arts
31 Granby Street
Loughborough
Leicestershire
LE11 3DU
01509 821035
www.kalakahani.co.uk
Editor and Writer
Raakhee Modha
raakhee.modha@kalakahani.co.uk
Project Manager
Rebecca Abrahams
rebecca.abrahams@charnwood-arts.org.uk
Research Assistant
Nalini Solanki
nalini.solanki@kalakahani.co.uk
Technical Designer/Publisher
Manuela De Castro
nela@gatafunho.com
Technical Support
Anthony Parks
itsupport@charnwood-arts.org.uk
Photographer/Editing Assistant
Front Cover and All Candle Images
Kajal Nisha Patel
kajspice@gmail.com
Kala Kahani is a Charnwood Arts project funded by Arts
Council East Midlands. Charnwood Arts is an independent
community organisation and a registered arts and
educational charity (number 505977). The work of Kala
Kahani is the promotion and appreciation of specifically
South Asian arts and literature. All text, articles and
images submitted for the Kala Kahani’s Rangoli magazine
The views expressed by contributors to Kala are the property of individual authors and no part of
Kahani’s Rangoli magazine are not necessarily this magazine may be reproduced without the express
those of the staff or trustees of Charnwood Arts permission of the authors or Charnwood Arts.
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CONTENTS
04-07 A Forum with the Editor
08-10 Poetry- Echoes from Anahata
Selected Works of Raakhee Modha
11-13 Roving Reporter’s Literary Review
Contemporary South Asian Literature - Fiction or Revelation?
14-15 Quivering Peacock Feathers & Crazy Coconuts
A Review of an Eclectic Performance by the Sidi Goma Tribe
16-27 Author’s Corner- Interviews with
Shahrukh Husain -The Virago Book of Witches
Gautam Malkani -Londonstani
Shiromi Pinto -Trussed
Preethi Nair -The Colour of Love
28-31 Photography - Satyaprakash
Kajal Nisha Patel
32-37 Scouting Local Talents
A Writer’s Journey with Kirti Joshi and Sarfraz Ahmed
38-40 Hot Topics
Achieving Real Diversity in the Arts World by Amit Popat
41-42 60 Years Since the Partition of British India
Local Children Perform Interpretations of this Emotive Event
43-46 The Noble Sage Art Gallery in London
South Indian Contemporary Art with Jana Manuelpillai
47 Kala Kahani Recommends Links
48-49 Kal ki Kala - Forthcoming Features
The Art of Tomorrow
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A FORUM WITH THE EDITOR
Editor’s Greeting
“Life is not about finding yourself. Life is about creating yourself.”
George Bernard Shaw
Following the success of Kala Kahani, I find great pleasure in introducing you
to its supplementary magazine “Rangoli”. Kala Kahani is extending its current
platform to chronicle unique journeys and bring to light underexposed, raw
South Asian talent.
I have marked the opening edition with a burning flame to symbolise the
path to higher knowledge – a truth which some of our featured artists have
dedicated their lives towards. This vast, hub of talent has inspired us to form
an accessible space to innovate the imaginative senses of a wider, discerning
audience. We speak to Amit Popat, Diversity Advisor at London’s University
of Arts, to learn whether variety currently exists in the arts diasporas and steps
needed to support this multifaceted concept.
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This edition contains literary reviews a transcendental epiphany. Awakened
and interviews with well known by her photographic calling, Kajal
authors Shahrukh Husain, and Preethi expresses a profound understanding
Nair, alongside emerging writers of her observations with a deeply
Gautam Malkani (Londonstani) and moving, optimistic sensibility. Each
Shiromi Pinto (Trussed). Supported by picture renders heartfelt emotion in
Kala Kahani’s Writers’ Development cinematic style as she introduces a
Programme, winner of 2007 Penguin painful topic with remarkable probity
Decibel Prize, Kirti Joshi talks to us and hope.
about her piece on immigration,
whilst spirited poet Sarfraz Ahmed 2007 welcomed celebrations for
unravels his new offering “Stab the 60 years of Indian Independence
Pomegranate”. from British colonial rule, but
what price did India really pay for
Donned in their royal blue peacock her ‘freedom’? “60 Years since the
feathers and head dresses, the Sidis Partition of British India” is a poignant
of Gujarat mesmerise audiences with perspective, discovering the journey
their culturally eclectic and sublime of understanding and forgiveness.
performance. Do not despair if you Through workshops, school children
missed it, as we will take you through embody these emotions and perform
this divine experience with our their interpretations to an audience.
words. Victims of the Partition recount painful
memories from the inconceivable and
Just 28 years young, entrepreneur brutal separation.
Jana Manuelpillai translates his
dreams into reality and sets his sights “Rangoli” mirrors unique South
on London with the opening of its first Asian flair, representing a blended
South Indian contemporary art gallery. palette of rich colours, textures and
Armed with his vision, integrity and emotions; to stir and awaken our
undeterred tenacity, Jana unveils “The inner perceptions of their kala (art) -
Noble Sage”. this fusion is a continuation of their
creative evolution. “Rangoli” humbly
Following a driven passion to fulfil welcomes you, the artist, writer and
what she considers to be her ethical audience to participate by making
duty; Kajal Nisha Patel initiated a suggestions and providing feedback.
lifechanging voyage to India. One year In return, we will provide a dynamic
on, she continues to explore the nature space for mutual exchange.
of truth behind what she describes as
Inspire us to inspire you!!!
Raakhee Modha EDITOR
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Questions to the Editor
Q: Do you feel that South Asian writers are expected to write about their cultural
background, issues and experiences rather than genres of their choice? Surely
this is an exotic marketing tool for agents rather than legitimate work of note?
Alex Sackey, Ghana
Raakhee: It is always difficult to fulfill the precise expectations of a
publisher as they may or may not connect with the writer’s style. My
perception is that creativity comes from within and to compromise
© Kajal Nisha Patel
its expression can ‘dilute’ the talent. I believe commercial pressures
exist, such as the popularity and marketability of exotic genres, and
put new writers in a difficult position. The onus is on them to exercise
their creativity with integrity so that their work will be recognised
for its true merit. However they may still choose to write towards
commercial incentives.
I will give the example of Jhumpa Lahiri. I do not believe that her
prize winning novel The Namesake was written with a mass audience
in mind. I felt as if the subject was very close to Jhumpa’s heart. Could
she have produced the same quality of writing if the choice of genre
was dictated to her? Are we, as readers, willing to take accountability
for a lack of diversity in our book stores? I would like you to share
your opinion with me on this subject...
Q: There is an abundance of work by Asian writers that has been translated
from their native language into English. Do you feel that the ‘essence’ of the
work is lost in translation, especially where poetry is concerned?
Prakash Mistry, Rugby
Raakhee: I believe this to be true in poetry. In a just few words, a
well written poem can transport the reader to another dimension.
If those words cannot be adequately expressed in another language
then there will be a discrepancy in the experience of the poetry; it
will not befall on the reader as the writers intended their work to.
Let me use the analogy of travelling abroad. The heat always ‘feels’
more intense as if its source is different. We may reach the same
temperatures in England with the same sun, yet the heat seems of a
different nature and is somehow less ‘exciting’. Each writer, whether
they are South Asian or otherwise, is enriched by a melting pot of
conditions, cultural experiences and values all of which have unique
vibrations. I believe to provide the most accurate depiction of the
work, these inimitable gestures and forms of expression need to be
experienced even if the language of interpretation is different. For me,
this is not an issue as long as the translator does not claim authentic
preservation of the work.
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Q: In the age of supporting environmentally friendly products, do you think literature will only be
available electronically in the future whilst books will become a thing of the past?
Sanjay Modha, East Midlands
Raakhee: I am not sure if computers are environmentally friendlier than books but I find e-
books to be uncomfortable for my eyes after a short time and I am no technophobic! I can
read for hours if I have a paper book and it is more tangible. Yes e-books save paper but at
what cost? My eye sight? I am an environmentally conscious individual but there should
be no trade offs in the solution. Regardless of what I feel, our generation is becoming more
technophilic. Patterns and trends indicate that e-books will become more popular whilst
our libraries become museums!
Q: I have debated modern perceptions of the ‘Kama Sutra’ with my colleagues, on numerous
occasions as it often depicted as pornography. However, it is also recognised as a piece of credible
literature, portraying a taboo subject with sensitivity and realism. What are your thoughts on this?
Amisha Mistry, Wembley
Raakhee: I would be interested to know how these profound scriptures have been labelled
“pornography” and in what context. Did you know that only a portion of the Kama Sutra,
written by Mallanaga Vatsyayana, is actually devoted to the art of love making and in the
original text there were no diagrams? The written work details the art of making love to your
partner in a sphere of mutual trust, collective pleasure and deep respect for one another; a
meeting of the body, mind and soul. This union is symbolic of Individual Energy merging
with Divine Energy and the process is natural within the different goals (purusharthas) of
life; dharma (righteousness), artha (wealth), kama (desire) and moksha (liberation).
In no way does the Kama Sutra advocate promiscuity, which I feel is the perception of
these scriptures, in my western setting. However I am not an expert on the texts so to those
interested in this debate... I would advise reading the material in its original context in
order to discuss the Kama Sutra, with respect to the writer.
Q: I enjoy reading books by South Asian authors with an avid interest in new releases or emerging
authors. My local book store catalogues all the fiction together making it difficult and frustrating
to find South Asian authors. Do you feel that authors who represent ethnic minority groups should
be shelved separately or can you suggest how to find what I am looking for more easily? I have
tried several Internet search engines which don’t really help. Hardeep Bhachu, Leeds
Raakhee: It is great to hear that you are interested in South Asian writing Hardeep! I find
that local libraries are really good at embracing diverse genres of new writers, making
them an ideal place to begin. I also feel we should use our libraries more, as they provide
economical freedom to read material and decide which authors you like. A good library
will also put in touch with the right people/places if you want to expand your interest
in reading, writing or learning. It is a little trickier to find what you are looking for in
book stores, as best sellers are often grouped together. Other books tend to be shelved in
alphabetical order (if they are popular enough to be In stock) - nevertheless there is no
harm in asking the staff for assistance.
Updates on new books by Contemporary South Asian authors and noted classical works
are available for free by subscribing to the following websites:
http://wordpress.com/tag/south-asian-writers/
http://sasialit.org/
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POETRY- ECHOES FROM
ANAHATA
Selected Works of Raakhee Modha
Words | Raakhee Modha
Raakhee was born in Madagascar. She moved to Southall,
in West London, where her British education began. In
the late 80’s her family settled in Loughborough, where
she currently resides. She embarked on a successful IT
career until a life changing event directed her towards the
practice of Yoga; awakening her inner light. In pursuit of this
deeply cathartic experience, Raakhee travelled to India,
where she trained as a Teacher of Yoga (www.sattva-yoga.
co.uk). At present she teaches Yoga classes and works at
the local hospital. She also writes poetry and is the editor
and writer for Kala Kahani’s Rangoli magazine.
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The Banks of Varanasi
A bizarre and undigested feeling in Varanasi in
March 2007, unlike anything I had felt before,
transformed itself into this elaborate piece.
The Banks of Varanasi
By the banks of Varanasi, morning dawns
Silent Cries
A cool breeze blows
A painful experience in your life teaches
The Ganga flows
you that you were prepared for everything
Where life expires
but this moment.
The Soul retires
Bathers atone for their sins
Silent Cries Worshipping the Shiva Linga
By the banks of Varanasi, midday breaks
Spectators sit and chat
Youth the age of perpetual abuse Piles of wood at every ghat
The naivety and the innocence lost ‘Ram nam satya hein’ they cry
Truly a sorrowful passage Funeral pyres pollute the sky
For which I am paying the cost The bereaved chant hymns
Rusty boats carry pilgrims
Years of damage and despair
Now manifest in this fragile shell By the banks of Varanasi, night falls
Pushing against the wall of my limbs The arti bells ring
When will the pain end who can tell? The righteous sing
Floating lamps serenade the river
Each physical and mental scar engraved Cursing snakes slide and slither
Conscious in every waking breath Echoes of the Sanskrit texts
Felt in the slightest movement And prayers for merciful deaths
The mind is unforgiving and restless
By the banks of Varanasi, darkness looms
The result an imbalance of the mind Poverty still exists
Once a vibrant soul trying to break out Hawkers still persist
But completely trapped and subdued Sadhus with their dreadlock daze
Immersed in my cries I shout Tourists think they’re all the craze
The night chill blows
But no one hears, the silence feeds my pain The Ganga flows
And so the suffering will continue By the banks of Varanasi
No cathartic experience is felt
Leaving me wholly black and blue by Raakhee Modha
by Raakhee Modha
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The Age of Darkness
That famous saying ‘Your eyes are a window to
your Soul’ triggered off a sombre slant on this
view. Are our eyes always so transparent?
The Age of Darkness
If my eyes are a window to my Soul
Then what courageous light will penetrate the dark tinted barriers
That stand before them?
Like the solemn gates of a fortress
Before a great battle
The darkness, the birth of Shakespearian like tragedies
Growing into the adult of stubborn obstacles
Weighing heavily on this barricaded Soul
by Raakhee Modha
The Age of Light
All emotions/thoughts exist in duality, like a
mirror of opposites hence The Age of Darkness
cannot exist without The Age of Light!
The Age of Light
If my eyes are a window to my Soul
Then let Light of Truth penetrate the renouncing barriers
That stand before them
Like the rising sun
Signalling the dawn of Pure Creation
The radiance, the birth of New Beginnings
Growing into the adult of Right Knowledge
Releasing the shackles and liberating my Soul
by Raakhee Modha
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ROVING REPORTER’S LITERARY
REVIEW
Contemporary South Asian Literature
Words | Raakhee Modha Fiction or Revelation?
The evening talk was held as part of the ‘India Now’, festival of India. Set
in the Bishopsgate Institute of London, in the charismatic Grand Library,
an audience of twenty or so budding writers, literary critics, students
or perhaps friends of the acclaimed author Shahrukh Husain attended
the soiree. She was asked to talk about translated South Asian writing,
covering authors from India and the West. Two flourishing writers
Shiromi Pinto and Gautam Malkani were invited to read extracts from
their novels and discuss their views as they represented the latter part of
the discussion.
A brief synopsis of the history of South Asian literature was used to
introduce the subject. The focus of this discourse was based on themes
and styles used by South Asian writers, to create passionate and emotive
works, which either resonated or incensed their readers.
Shahrukh commenced on early South Asian vernacular writers, whose
works were translated into common Indian and foreign languages. She
mentioned Premchand, a Hindi and Urdu novelist, who was influenced
by Indian nationalist struggles. This theme was echoed by Qurratulain
Hyder, author of the acclaimed novel ‘Aag ka Darya’, originally written
in Urdu. It was recently translated into English as ‘River of Fire’; In Urdu
fiction this equals ‘A Hundred Years of Solitude’ in Hispanic literature.
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Hyder addressed the religious tensions the screen adaptation. Raju, a tourist
between Muslims and Hindus before guide falls in love with a dancer,
and after-Partition. She also tackled Rosie. He ‘guides’ her away from an
India’s difficulties during colonisation unhappy marriage and transforms
and the troubled times which her into a successful dancer breaking
proceeded after Independence. all the social ‘norms’ of the Indian
community in which they live. When
Shahrukh pointed out that the work the relationship turns sour Raju delves
did not necessarily cater to mass into a life of gambling and alcohol.
audiences but was a medium to He is accidentally mistaken as a saint
express their political and social (swami) by a group of illiterate villagers
stance during this difficult period. who turn to him for salvation during
Many writers were a part of the Indian a spell of drought. In a bid to liberate
Progressive Writers Association; a himself from the burden of this lie
movement which used literature to Raju tries to convince them he is just
express ideals of social up rise and an ordinary man and a former convict
justice. Saadat Hasan Manto, a South but the villagers see this as a test of
Asian Muslim literary figure, was also their faith and refuse to believe him.
part of this movement and his Urdu Raju begins his internal transformation
works such as ‘Thanda Gosht’ later through this experience. The story of
translated into English as ‘Cold Meat’, ‘The Guide’ illustrates Raju’s spiritual
made him a controversial writer, evolution in accordance with Hindu
touching on taboo subjects of sexual philosophy; the unhappiness of living
repression. Manto did not pander to in a world driven by material gains
mainstream conservative audiences and liberation through renunciation.
and was therefore commercially
unsuccessful; this contributed to his Amit Chaudhuri, the author of The
rather untimely demise which was Picador Book of Modern Indian
common with early writers. Literature, commented that it was R.K.
Narayan’s simplicity as a writer that
Shahrukh moved onto talk about made him accessible to everyone but
Indian writers, who write in English. the culture itself was not accessible as
(IWE). Mulk Raj Anand, a pioneer of it had to be experienced. In contrast,
IWE, reflected the social challenges the style of magical realism was often
faced by Indians in his literature and used by writers to steer away from
his work earned him international pure English, giving the reader a
acclaim. His novels, ‘Coolie’ and microcosm of India and the example
‘Untouchables’ explored issues that Shahrukh gave of this style was ‘The
he felt had been overshadowed by a Mistress of Spices’ by Chitra Banerjee
foreign colonialism such as the layers Divakaruni.
of colonialism, created by barriers
of culture and tradition which exist In the next clip the audience were
within Indian society. given a glimpse of Anita Desai’s screen
adaptation of her book ‘In Custody’.
Shahrukh contrasted Anand’s style The short clip highlights hardships of
with author R.K. Narayan. Narayan’s a family in rural India. The timidity of
most famous novel ‘The Guide’ the college lecturer’s wife is evident.
illustrated his simplistic style, which She fulfils her role as a mother and wife
made his work accessible to the but not as a woman in her own right.
masses. He unravelled, the story She feeds her young son and hurriedly
thread by thread to draw his audience packs him off in an overcrowded
into the experience. Shahrukh detailed tonga, a horse pulled taxi. When she
the story before showing a clip from converses with her husband Deven,
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she appears to be frustrated because and consumerist culture. Shiromi
he has an unquestioned authority in Pinto on the other hand felt that the
their relationship. In the next frame a difficulties arose from pigeonholing
colleague at work tries to paint Deven authors under the category of ‘British
a dreamlike picture of migrating to Asian’. This categorisation of a
America, a world of many riches, to complex and variegated group fails
which Deven replies sarcastically to serve its purpose because it is an
“What would Indians do in America unfair representation of a diverse
teach Hindi to Americans?” His community. Her novel ‘Trussed’
sarcasm carries an air of despondency reflects intricate relationships and
adding to the dissatisfaction of his experiences between characters
situation. trying to discover their true identity.
The three writers fused together The evening concluded with Shiromi
themes of religion, class, gender, Pinto reading an extract from her
culture, poverty and oppression with exciting novel ‘Trussed’ and a piece
emotions of love, anger, injustice of work commissioned by the Victoria
and despair. IWE’s created much and Albert Museum called ‘Tiger Tiger
anxiety within India and a sense of Burning Bright’. She captivated the
betrayal as many felt that the writers audience with her zealous style of
were exposing Indian culture and its writing. Gautam Malkani read from
problems globally. his first novel ‘Londonstani’ leaving
most of the audience in hysterics.
The discussion led on to more recent, Both with their unique style of
successful literature, which dealt with writing showcased their diversity as a
broader themes of Indian identity, contemporary generation of authors.
gender, cross-cultural issues, hardships
of immigration, and class. Shahrukh South Asian Contemporary Literature
highlighted that these issues are a - Fiction or Revelation? It is clear
reality to Jhumpa Lahiri, who won the that excitement has been re-ignited.
Pulitzer Prize in 2003 for her novel The surge in international interest
‘The Namesake’. These global themes for fiction by the diaspora of South
were also covered in ‘The Inheritance Asian contemporary writers owe their
of Loss’ by Kiran Desai who recently success to the articulate and candid
won the coveted Man Booker Prize portrayal of broad issues such as
2006. Her mother, Anita Desai’s book gender, class, immigration, violence
‘Feasting, Fasting’ (1999) contrasts and identity. However some critics
attitudes towards food in America argue that the literature is tailored
and India, but her recent novel ‘The towards a Western market yet others
Zigzag Way’ (2004), a story of self- claim it is the take-away quotient that
discovery in Mexico, cemented her appeals to a non-Asian audience. The
diversity as a fiction writer. literature covers a myriad of emotions
and concerns which impact the world,
Shahrukh involved two young authors regardless of emigrational status. As
who accompanied her to share their the reading circle anticipates new
views on modern British Asian fiction. books to add to their list, one thing
Gautam Malkani agreed that identity is for certain…this genre of literature
played an important part in his fiction certainly promises to keep critics and
but what appeared to be a cultural, its broad spectrum of readers engaged
religious or language issue actually in a vibrant debate for years to come.
came from concerns about gender
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QUIVERING PEACOCK FEATHERS
& CRAZY COCONUTS
A Review of an Eclectic Performance
Words | Raakhee Modha by the Sidi Goma Tribe
When an audience is introduced to
the artists...“The Sidi Goma Sufi tribe
from Gujarat (India), with black East
Africans origins; who perform sacred
devotional music”...one is not really
sure of what to expect. A deep curiosity
sets in and a child like anticipation
bubbles within. So how does this
apparently preserved community
from the African-Indian subcontinent
come to arrive in Loughborough?
Charnwood Arts persuaded the Sidi
Goma to take a detour from their UK
tour, to mesmerise those who attended
the evening.
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015
Historically, the Sidis were brought An enraptured crowd listens to this
over to India as slaves, initially by East African descendent singing what
Arab merchants in the 13th century, may be understood as Urdu. What
and later by European traders to serve could be more surreal than that? The
the Maharajas and Nawabs. They night is still young...
retained their rituals and traditions of
music and dance rooted in Sufism; a A rustle of movement carries the rest
mystical tradition devoted to divine of the Sidis, now attired in royal blue
love and all aspects of this divinity. skirts, beautifully layered with striking
The tribe’s art is dedicated to Bava peacock feathers and matching head
Gor, a black Sufi saint. dresses, back to the centre of the stage.
The Sufis, with their faces decorated
The night begins with intensely in swirling white patterns and lines,
fragrant incense enclosing a carpeted adorn the floor with fresh red rose
floor, which becomes a shrine, only to petals. Intense singing ensues, whilst
be entered barefoot. The musicians, a an ensemble of musicians heighten
12 piece act clothed in white kurta their wild antics with bird-like
robes and caps, silently walk into the movements and energised dancing.
holy space and arrange themselves
in a semi-circle. A zikr (prayer call) In the midst of the excitement, a
opens the evening’s procession. coconut is tossed in the air fixing the
audience’s gaze. The repercussions of
Gradually a coarse, melodic song this act begin to dawn on their faces
complements the sound and beat of as the coconut comes hurtling down
percussion instruments, hypnotising on the Sidi’s head.....if only the crowd
the spectators; who are induced into had donned themselves in safety
clapping their hands whilst they sway helmets! Astonishingly, it shatters
to the rhythmic music. In the midst into pieces covering the floor with
of the performance, one by one water, demonstrating the strength the
the Sidis get up, take centre stage Sidis obtain from their unquestioning
and start smiling and dancing in an faith and worship. More crazy stunts
animal-like manner. Each musician and passionate dancing climaxes into
emanates a joyful charisma, adding uninhibited audience participation,
another dimension to the already as the crowd cast aside their shoes
mystical ambience. Beaming with and eagerly join the Sidis in the holy
radiant smiles, singing with fervent space. The controlled yet chaotic
passion, the rest of the seated tribe energy elevates the tempo of the
move their heads from side to side music and adds momentum to the
(seen in traditional classical Indian heartfelt singing.
dancing) whilst their bodies sway
effortlessly like sea waves. The night concludes with an
atmosphere of divine euphoria yet
The chanting and ardent cries have the overwhelmed audience is left
a crescendo-like effect elevating craving for more... much more of this
the artists to a devotional plane. exalted state, which the Sufis have
Retreating towards the back of the transported them to. As the Sidi Goma
stage, without much commotion, the slowly disappear, the spectators are
Sidis leave the crowd fixated on a left deeply rejuvenated and enriched
lone musician twanging away at his with remnants of rural classical India,
malunga, a one stringed instrument. fused with ancestral memories of
tribal African Soul.
Kapa-Productions: http://www.kapa-
productions.com/sidigoma/index.htm
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AUTHOR’S CORNER
Interviews with
Words | Rebecca Abrahams
Interviews | Raakhee Modha and Rebecca Abrahams
Shahrukh Husain -The Virago Book of Witches
Gautam Malkani -Londonstani
Shiromi Pinto -Trussed
Preethi Nair -The Colour of Love
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Shahrukh Husain
Interview | Rebecca Abrahams
Shahrukh Husain was born in Pakistan in 1950. She
travelled India extensively and now resides in London
with her husband and two children. Shahrukh feels a
sense of familiarity with the literature and religions from
these countries, which have inspired her passion to write
‘Witches, Myths and Legends’. She writes fiction, non-
fiction and screen plays for adults and children. Her most
noted works to date are ‘Women Who Wear the Breeches’
(Anchor/Doubleday 1996) and ‘The Virago Book of Witches’
(1993). Her adaptation for Anita Desai’s film, ‘In Custody’
was nominated for a BAFTA award in 1994. Currently,
she is working on a moving, historical screenplay for
Gurinder Chadha of Bend It Films, whilst completing a
series of mythological books for children. Alongside her
writing career, Shahrukh is a practicing psychoanalytic
Shahrukh Husain psychotherapist, specialising in trans cultural work. She
also finds time to balance her family life and take care of
her middle aged Chihuahua.
www.shahrukhhusain.com
R: How do you find time to write when you are so busy
with other things?
SH: “It’s like breathing – just an involuntary brain
function. No, really, though, when I’m working on a
commission, pretty much all my work since 1983 has
been commissioned, then I’m committed to a deadline.
I’m sporadic and write in bursts but I keep going and
when I fall behind I have a massive spurt. My training
as a journalist, years ago, stands me in excellent stead
– deadlines are graven in stone. I’m lucky writing comes
easily to me – so frantic last minute work isn’t a problem.
But I’d say my secret is that I don’t wait for the proverbial
‘large chunks of regular time’. I write on buses, while the
kettle’s boiling and while I’m waiting for someone to arrive
for an appointment or delivery – some times in a pocket of
time as little as 5 minutes. It’s amazing how much you can
accumulate with a few of those. You know, you write at
optimum level for only 10 minutes at a time and you can
write as many as 200 words in five minutes if you don’t
stop to correct? Also, it keeps your brain stimulated and
immersed in your material.”
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R: Did you have any literary models when you started writing?
SH: “None that were conscious. I just get an idea and if it
pushes hard enough, it writes itself and finds its own voice.
On the other hand, I’m quite influenced by the rhythms
and textures and even some sayings from my mother-
tongue, Urdu. I’m talking about prose fiction. Screenplays
are different. Having said that, I started writing very early
and I have a horrible feeling I was emulating the writer
of the moment – definitely something called Evangeline
which was mimicking Jane Austen and something else
which was ultra-modern after I’d read Richard Church’s
poem which contained the line: ‘The throb-throb of the
mixer spewing out concrete’. It’s a bit cringe-worthy but at
11, it’s good practice to emulate the masters in the process
of discovering what comes naturally to you.”
R: Who are your favourite writers?
SH: “For some reason, this question always bewilders
me. I guess I have favourite books but I’m not sure about
favourite writers. Some of my recent favourites have been
‘The Kite Runner’ by Khaled Hosseini; ‘Hanna’s Daughters’
by Marianne Fredriksson. ‘Watch me Disappear’ by Jill
Dawson; a re-reading of an old classic ‘The Leopard’ by
Giuseppe di Lampedusa. Paulo Coelho’s ‘The Alchemist’
is an enduring favourite and I like Isabel Allende’s ‘The
House of the Spirits’. It feels as if it could easily be about
India.”
R: Do you find writing therapeutic?
SH: “Absolutely. A bit like getting in the bath – safe, alone,
immersed and in control of myself and my surroundings.
I hear the words I’m writing so it feels like listening to a
story, the rhythms of language, the rise and fall of thoughts
flowing onto paper. But of course there are times when
I write under pressure when it all feels very hard and I
have to keep stopping – checking emails is an excellent
displacement activity. When I’m starting a new book, I
tend to do a lot of domestic sorting-out and decluttering
– usually I’m a lousy house-keeper, and I take lots of extra
showers. By the way, do other writers tell you how fertile
their imagination gets in the bath? I’ve had some of my
best break-throughs while soaking or showering. Lowered
inhibition, I guess. It allows through the creativity.”
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R: Is writing for a film script very different from writing a book?
SH: “Very different. It’s much more technical. It involves
thinking and planning because you are writing to a spec
and for someone else, from the beginning. You have to
consider your director/producer/editor write from the
word go which makes it a collaborative effort. It’s a bit like
presenting a project idea or in the worst circumstances
a work exercise - it really can feel like that when you’re
unsure of yourself. Then you have always to keep the likely
audience in mind, remember the rules of genre and work
to a basic structure. I used to balk against it at one time but
of course it’s vital to have an internal framework to fall back
on. The rules of structure, of style, of narrative, of thematic
issues and, of course, character are the same but they feel a
bit crass when you first start writing for the screen, because
they are defined overtly and followed consciously rather
than instinctively. But then millions are spent on movies
and the film-makers need to be reasonably sure they’ll get
a decent product before they decide to invest in the writer
– even though writer’s are at the bottom end of their budget.
I find it exciting because it hones the skills and gives me a
yardstick to measure the weaknesses and strengths of my
project. Fiction is less demanding in that way – but then
it’s a bit more scary because I’m never sure I’ve succeeded.
I’m writing a novel at the moment and I find, when I’m
floundering a bit, I instantly start to apply screenwriting
strategies. I think it works as a diagnostic strategy but I’m
not sure I’d like to approach the whole novel from that
perspective. The beauty is to be able to disguise your inner
structure so that your piece is free-flowing and the acts,
turning points etc are invisible except for their impact.”
R: Are your own life experiences reflected in your writing?
SH: “Certain reactions, observations and feelings, yes.
Occasionally something autobiographical – but essentially,
I’m working with fiction, so I invent. Of course, it’s an
occupational hazard of being a writer that people assume
you’re writing about yourself. When I wrote Erotic Myths
and Legends, many people assumed I was describing my
own bedroom experience. Do people forget that writers
have powers of imagination and observation and the skills
to articulate them? It’s quite funny, really. If I write about
a killer, it doesn’t mean I’m one myself – or that I have
homicidal instincts. But everyday stuff does come through,
without a doubt. The reaction to an event, types of pain,
sensation, emotion etc. that I’ve experienced.”
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R: ‘Witches, myths and legends’; Why?
SH: “I believe that myths and legends are at the core of human experience.
Whenever I look for a paradigm for human behaviour, I find it in myth – I
include legends, folklore and fairytales. And an answer to whichever dilemma
I’ve sought to resolve. It’s all there, preserved through the centuries. Traditional
tales are filled with clues to our spiritual nature, our behavioural tendencies
and our instincts. They fuel our natural tendency to tell stories, to let go of our
imaginations, to allow us to open our minds to infinite possibilities. They bring
magic into our lives – the real magic of daily life. And witches in particular? They
are the wilful, the independent and the determined, forced into the margins of
society – and they have survived in every culture and on every continent. They
have a powerful grip on our minds despite having such a bad press over the
centuries. They are the misunderstood – they beguile me, enchant me, impress
me and show me many things about the perceptions of the dispossessed and
those of others towards people like them. We’ve cast them as our ‘shadow
selves’ but very often, they are women of light.”
R: At heart you are a storyteller, weaving tales and firing the
imagination. Why is that?
SH: “I was lucky to grow up listening to stories – there were stories and mini-tales
to cover everything! I loved it. We South Asians come from a story-telling culture
– it’s one of the few homogenous traits present throughout the subcontinent’s
many, different kinds of lifestyles and people. Of course stories speak across
cultures, beyond language. Myths embody universal human concerns. In my
selections for Virago, I’ve chosen a theme for each book, such as ‘Women who
Wear the Breeches’ and found stories from all around the world in which the
heroine dressed as a man. I’m passionate about celebrating and highlighting
that universality. At the same time the nuances, the structures of the stories,
the narrative, tell us about the different contexts to which each one belongs.
Again this reflects the human world. There are universals through which we all
connect – we share certain basics – other than that we have wonderful cultural
variety. Imagination is the spark that makes our lives fulfilling, that gives us
hope and motivation. Stories ignite the spark.”
R: How do you feel when you have finished writing a book?
SH: “Ambivalent – both delight and a sense of loss. Also, l feel relief – the
labour pains are over and I’ve delivered my baby. But there’s also a sort of
emptiness. The intensity and impatience of the previous weeks is gone and I
won’t hold the baby for a few months yet. But my brain buzzes with ideas and
very soon those ideas and other commitments gush in to fill the hiatus.”
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Gautam Malkani
Interview | Raakhee Modha
Gautam Malkani was born in 1976 and grew up around
© Mark Pringle
Hounslow. His first job was selling low budget stereos and
electrical goods at Tandy Electronics on Hounslow High
Street. Gautam finished college and went to University of
Cambridge, to study Social and Political Sciences, whilst
working on the student newspaper. He began his writing
career in 1997 as graduate trainee editor of the Financial
Times, Creative Business pages. ‘Londonstani’ is his first
novel, and was short-listed for ‘Writer of the Year, British
Book Award 2007’. Gautam lives in London with his wife.
www.gautammalkani.com
R: How would you describe your style of writing?
Gautam Malkani
GM: “‘Londonstani’ is obviously written in a version of desi
rudeboy slang so I guess I’ve been labelled a vernacular
writer. But the point about the language is that it’s middleclass
mummy’s boys pretending to be ghetto, so the language is
a performance. The style of writing therefore functions as
a symbol of the characters’ unauthentic ethnic identities –
Hardjit, for example, is pretending to be black. The language
also functions as a symbol for the characters’ disassociation
from mainstream ‘Englishness’, but what I was mainly trying
to do with it was look at the idea of identity as a performance
that draws as much on present day sources such as MTV Base
as it does on so-called ‘ethnic roots’. So, in that sense, I’m
not sure if the style ‘Londonstani’ is written in says anything
about my style of writing. Nevertheless, I can’t see myself
ever getting away from this idea of language and identity as
a performance rather than something inherent or authentic
and so that will probably determine my writing style if I ever
really develop one.”
R: What inspires you to write?
GM: “Padma Lakshmi, Marilyn Monroe – and I suppose
Kate Moss if you can describe Pete Doherty as a poet. No
seriously, it’s an impossible question to answer – the thing
is, I can’t not write. It’s like an affliction – but a welcome
one. On a more noble note, I’m really worried by the fact
that so few young Asian guys actually enjoy reading novels
- and given that reading novels or watching lengthy plays
are pretty much the only ways to develop empathy skills,
it’s nice to be in a position to try and do something about
that.”
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R: Do you have a favourite South Asian author?
GM: “I can’t pick a favourite. I enjoy reading Hanif Kureishi, Hari Kunzru,
Nadeem Aslam, Mohsin Hamid, Kiran Desai, Monica Ali, Niven Govinden,
Salman Rushdie – basically, anyone who’s written something beautiful about
being South Asian in a big urban city in the West.”
R: What are the issues facing British Asian people?
GM: “In the 1960s, 1970s and 1980s, the stereotypical British Asian youth was
untroubling, studious, conscientious and even subservient. We tried to fit in
by being quintessentially English. But by the early 1990s, we started asserting
our ethnic identity, which we blended with a kind of gangsta rap persona. That
entailed not just being a bit more streetwise than we had previously been, but
also volunteering for segregation. One by one, all my Asian friends suddenly
embraced this new persona.
On the one hand it was positive because Asian kids were suddenly a force
to be reckoned with and clearly had more self-esteem than before. But on
the other hand it was distressing because, as mainstream society became the
enemy, so did the education system. As a result, a lot of my friends started
shooting themselves in the foot with respect to school. Also, because we
borrowed so much from rap culture, we ended up blending the misogyny,
materialism and hyper-machismo inherent in traditional Asian culture with the
misogyny, materialism and hyper-machismo of hip-hop culture. The way these
two cultures reinforce the worst aspects of each other became a key strand
of my book. What was really fascinating about the research behind the book
was that this new assertive ethnic identity clearly wasn’t simply a response to
racial discrimination or economic deprivation – often these were middle-class
guys pretending to be ghetto youth. Most of the people I interviewed – like the
characters in the book – were either Sikh or Hindu, but even religion wasn’t as
salient as I expected. So it ended up being a study of hyper-masculinity rather
than race, ethnicity or religion. For a lot of guys the struggle wasn’t with society
but with something much closer to home – a struggle with overbearing mothers
who would rather their sons remain boys. But it’s really difficult to answer
this question succinctly because it’s what my university dissertation was about
– you can see a better synopsis on my website.”
R: What advice would you give to Indian authors?
GM: “Don’t even think about being ‘representative’ of your community – that’s
the job of non-fiction and documentaries, not fiction. For example, if readers
and audiences believe that just because you’ve written about an Asian wife
beater, that means all Asian men are wife beaters, the problem is the reader’s
lack of education or perspective and you cannot and must not be responsible
for that. If you start thinking you must somehow ‘represent’ your community
then it’s no longer art – it becomes closer to advertising. Also, never waste time
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R: What advice would you give to Indian authors? Cont.
trying to be business-like in managing your personal admin. Life’s too short to
waste time looking for cheaper car insurance or a better mobile phone tariff.
These things kill the left side of your brain. Beyond that, I can’t really improve
on the advice I’ve taken from reading interviews with other authors – Mark
Twain said the secret to writing is simply attaching the seat of your pants to the
seat of your chair. Jack Kerouac said always write what you want. Hemingway
said you should remember the first draft of anything is shit. I would underline
Kerouac’s because it seems particularly relevant for ethnic minority writers.”
R: What inspired the title - ‘Londonstani’ ?
GM: “I think London is important insofar as it provides the characters with
a metropolitan identity. I was really interested in the way that metropolitan
identities can transcend other identities in the same way that your national
identity can supplant your ethnic identity or your racial identity or your religious
identity. So in some situations nationalism becomes your ethnic identity. But I
was interested in the way that in a kind of utopian world, a metropolitan identity
can supplant all of those identities. For example, you don’t have nationalism
with a metropolitan identity - that’s why I use the word utopian. And that’s a
good thing, or at least that strikes me as a good thing, because there’s a chance
there for real racial integration. I mean, that’s what London does - people see
themselves as Londoners and therefore everyone’s allowed to be in London
and therefore there’s no dominant race in London: everyone’s a Londoner.
And because the metropolitan identity is a very new identity, there’s less that’s
inherent to it. Even with a New Yorker - the archetypal metropolitan identity -
what actually constitutes a New Yorker as opposed to an American goes beyond
just liberalism and open-mindedness … the actual stuff that makes up the New
York identity changes all the time. That’s the thing with metropolitan identities:
there’s nothing inherent or intrinsic about it. And so it lends itself really well
to subcultural identities - the kind of identity the characters in the book have,
because they are performing their identity and reinventing their identity and
making it up as the go along and borrowing. They’re not taking their identity
from their roots. Hardjit might pretend that he’s sourcing his identity from
his ethnic roots or whatever, but he’s not. He’s sourcing it from Hollywood,
Bollywood, MTV Base and ads for designer fashion brands.”
R: Could you explain the three divisions – Paki, Sher and Desi.
GM: “Over the past 15 years British Asian youth have moved from victims
to aggressors to co-existing with mainstream society thanks to our desi youth
subculture. The names of the three parts reflect that. Of course the characters
themselves do not go through this 15-year process in the 10-month course
of the book - but the plot twists mean the reader’s experience of them goes
through this process.”
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Shiromi Pinto
Interview | Raakhee Modha
Shiromi Pinto was born in London in 1971. With Sri-
Lankan heritage, she was raised in Montreal, and studied
religion, followed by non-western histories in Canada.
After returning to London to take an MA at SOAS, Shiromi
traveled widely and directed a short educational film in
Mali. She is now based in London working as a writer and
editor. Shiromi’s first short story, ‘Bulat Kisses’ (published
in the anthology Notes Across the Aisle, Thistledown Press,
Canada), was awarded second prize by the publisher in
its 1995 short story competition. ‘Give a man luck (and
throw him into the sea)’, another short story, appears in the
winter edition of Fugue (University of Idaho) and has been
nominated for the 2005 Pushcart Prize. Her latest piece,
‘Trussed’, appears in the anthology ‘Kin’, forthcoming from
‘Serpents Tail’.
© Eva Blue
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Shiromi Pinto
R: How would you describe your style of writing?
SP: “This is a hard one to define. In some ways, I think I’m
still working out what my style is. For me, style is informed
by the genre of fiction one chooses to write. If I’m writing a
gritty urban pseudo-crime farce, such as my novel ‘Trussed’
, then the language I use will reflect the demands of that
particular story. If the story I’m writing is set in the 17th
century, then I will adapt the language accordingly. I guess
one thing I am guilty of is opacity. I don’t like giving things
away from the beginning. I expect a reader to be alert to
clues throughout the text, so that they can piece things
together as the story goes along.”
R: What inspires you to write?
SP: “Anything can inspire me to write... for instance,
‘Trussed’ began by accident. I was walking near Russell
Square, looked down at the pavement and saw the
words: ‘Hotter than a Vindaloo.’ One of those prostitute
postcard ads had literally blown itself right under my foot.
Somehow, I couldn’t let that go. I went home that afternoon
and started writing what would later become the opening
scene of ‘Trussed’.
I’m also hugely inspired by climate. Whenever I find myself
in tropical, humid environments, I am compelled to turn
to pen and paper. There’s something about the heat...”
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R: Do you have a favourite South Asian author?
SP: “Well, I don’t like to think about authors in such crude
terms, but if I had to choose, I would say Salman Rushdie.
I love the irreverence with which he juxtaposes vernacular
and formal language, and the inventiveness and humour
of his prose. ‘Shalimar the Clown’ was such a brilliant
return to form.”
R: What are the issues facing British Asian people?
SP: “A very broad question...I don’t think you can
generalise about such a variegated group. I would be
considered British Asian, I suppose, but I am of Sri Lankan
ancestry and do not share the characteristics commonly
associated with British Asian culture in Britain. In fact, I
don’t particularly identify myself with this category. I think
of myself as a Londoner, a Brit, a Canadian (I grew up
in Montreal), an ex-Montrealer, a lapsed Catholic...etc.
We are all influenced by such a complex of experiences.
In the end, generalising on this scale is not only facile,
but dangerous as well. So...if pressed to answer your
question, I think one issue facing ‘British Asians’ is being
pigeonholed into a category called ‘British Asian’ which,
defined by those outside (and perhaps, by a vocal group
within), may have little to do with the people the term is
supposed to describe.”
R: What advice would give to Indian authors?
SP: “My advice would be the same whatever the writer’s
background (ie. write about what you know!), except
for one thing. If you do come from a non-mainstream
background, then you are often faced with the pressures
of producing something exotic - something that, perhaps,
reminds publishers of that fabulous trip to Goa, the
Gambia or whatever. I think that attitude is slowly ebbing
away, replaced now by a fascination with sub-culture and
culture clash. Whatever it is, the reality is that as a writer
from a non-mainstream background, I really do think you
are treated differently by publishers - their expectations
are quite different. Not only are they looking at the story
but also at how what they define as an ‘exotic’ difference
can be used to successfully market the work. This can be
an advantage or disadvantage, depending on the type of
book you’ve written.”
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Preethi Nair
Interview | Rebecca Abrahams
Preethi Nair was born in Kerala, South India in 1971,
arriving to England as a child. She gave up a successful
career as a management consultant to become a writer.
After being rejected by several publishers, a jobless Preethi
set up her own publishing company, using the deposit
from a flat she had planned to buy. Since there were
no funds to pay for a PR agency, Preethi appointed Pru
Menon (her alter ego) to overtly hype her first book ‘Gypsy
Masala’ - consequently, a three-book deal was signed with
HarperCollins. Preethi went on to win the ‘Asian Woman
of Achievement’ award for her endeavours, whilst Pru was
shortlisted as Publicist of the Year for the PPC awards. Her
Preethi Nair
second novel ‘One hundred Shades of White’ has been
adapted for television by the BBC. Her latest book, ‘The
Colour of Love’, a fictionalised account of this journey, has
just been re-released alongside ‘Gypsy Masala’.
Preethi writes for a number of broadsheet newspapers, BBC
radio 4 and is an ambassador for the Prince’s Trust. She has
also set up a new business, Kiss the Frog, a company which
promotes corporate storytelling and creative leadership.
www.preethinair.com
R: What are you working on at the moment?
PN: “I have just set up a new business Kiss the Frog so my
focus is there at the moment. At some point in the near
future, I would like to start writing a play.”
R: When are we going to see ‘One Hundred Shades of
White’ on the television? You must be very pleased.
PN: “I don’t know is the honest answer and I am
delighted.”
R: Is all your work based on experiences/memories from
your own childhood?
PN: “I draw a lot from all of those things but then the art is
fictionalising it all.”
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R: Who are your favourite authors and why?
PN: “Isabel Allende, Amy Tan, Niaill Williams – they make
the ordinary and mundane seem so magical.”
R: Who, in your life has inspired you the most?
PN: “My dad. He had nothing and built a whole new life
by dreaming big and working hard.”
R: Do you feel that your business management background
has helped in your quest to be a successful author?
PN: “Definitely. When I couldn’t find a publisher, I thought
strategically about my next steps – I don’t think I would
have had the confidence to do that without having a
background in business.”
R: I am in interested to see that you have move into
storytelling, what made you make this decision?
PN: “I have always been a storyteller and have always
felt these skills were undervalued in business. I thought
whenever I have the opportunity, this is what I would like
to do and so Kiss the Frog was born.”
R: Many find your writing inspirational, how would you feel
to find out that it was you, that made the difference to just
one person (or maybe more!) in their ambitions to be a writer.
PN: “Moved.”
R: How do you remain so positive all the time?
PN: “I wish I could be positive all the time. When I’m
not, I give thanks for all that I have and there’s a lot to be
grateful for.”
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