This appeared in today's Hindustan Times. It's the third book I've read in a row by Indians writing in English that suffers from overstatement. (The first two being Saeed Mirza's Ammi and Priya Sarukkai Chabria's Generation 14.) It's not that these three books are bad, but they would have been so much better with a little more Hemingwayesque restraint. On quite another note, I finally managed to stop myself from using the word "quotidian" in a review.
BREATHLESS IN BOMBAY Murzban F. Shroff
Salman Rushdie’s Saleem Sinai grew up in the privileged vicinity of Breach Candy; Anita Desai’s Hugo Baumgartner met his fate in seedy Colaba bylanes; and Vikram Chandra’s Inspector Sartaj and Gregory David Roberts’ Shantaram traipsed through slums, dance bars and other gangland haunts. Now, in Murzban Shroff’s debut collection of short stories, we’re shown yet another aspect of Mumbai: the lives of its marginalised and migrant citizens, “their conflicts, their betrayals, their realisation and their redemption”.
This, among others, is a collection of low-lifes, itinerant service providers, ne’er-do-wells, scroungers, and, inevitably, good-hearted diamonds in the rough, all battling yet attracted to Bombay’s malign, magnetic lure. That may sound Dickensian, but Shroff’s brand of didactic social realism is closer to that of Upton Sinclair.
Many tales here have a similar pattern: a present occupation inter-cut with a past preoccupation. Thus, a dhobi delivering a load on a Churchgate-bound local train wonders whether his livelihood has a future; a Chowpatty masseur servicing a customer muses on the fate of his wife left behind in the village; a taxi-driver carrying a passenger from Nariman Point to the airport reflects on the vagaries of his profession; a film production assistant navigating rush-hour traffic ponders on the fall-out of a messy relationship; and a horse-and-carriage driver taking an Arab family for a ride down Marine Drive speculates on how to provide for those he’s responsible for.
Other stories deal with lives of the Parsi community, such as the moving ‘The Great Divide’, where an aged couple faces “a national failure to dissolve differences”. Also poignant is ‘Babu Barrah Takka’ featuring an upright public-sector employee at the crossroads.
Shroff has clearly done his homework, which shows in his use of everyday detail. His prose is straightforward and unadorned, though not above the occasional act of legerdemain -- such as the long opening sentence of ‘This House of Mine’. He’s also confident enough not to provide neat, well-rounded endings. However, what offsets these sterling qualities is the didacticism referred to earlier: the epiphanies are too pronounced and in story after story Shroff spells out realisations that have already been made clear by the narrative itself.
After a while, these overstatements take on a moralising tone, which robs many stories of the power they would otherwise have had. Take the title story, dealing with a wedding party hosted by a rags-to-riches businessman, which is among the weakest because the author’s ill-concealed disdain for bourgeois social-climbing overshadows everything else. As a mode, satire, not realism, is better suited to such sentiments.
That having been said, Shroff’s writing gives off an air of earnestness and sincerity that is endearing, and his dedication to his subject matter is apparent. This isn’t exactly a debut to leave you breathless, because it wears its liberal pieties too overtly on its sleeve; nevertheless, Breathless in Bombay deserves attention because of its unflinching focus on the lives of those who are often overlooked in Mumbai’s heedless rush towards modernisation.
Sunday, March 23, 2008
Monday, March 17, 2008
Will, No Grace
This appeared in yesterday's DNA.
WHEREE THERE'S A WILL Matt Beaumont
Some years ago, Matt Beaumont came to the attention of the reading public with his wry, inventive novel, e, which updated Richardson’s Clarissa in providing us with a take on the goings-on in an advertising agency, told entirely in the form of e-mail exchanges. Since then he’s reverted to more traditional ways of storytelling, and this is the case as well with Where There’s a Will, his fifth book.
It’s clear from the beginning that Beaumont is partial to narrative in which his authorial presence makes itself felt in a number of ironic descriptions and asides. Because there are many of these, and because none of them are especially droll, Where There’s a Will emerges as more than occasionally irritating to read.
This is the tale of Alvin Lee, the forty-something “learning mentor” of a group of deviant teenagers in a school on the fringes of London. Like Voltaire’s Candide, Lee is an incurable optimist as well as do-gooder, and this embroils him in hopeless misunderstandings with not just his students and staff but also his extended family comprising partner Karen and four children of varying ages.
After visiting one of his former students who’s now working in a massage parlour, Lee happens to save an octogenarian heiress from being mugged by another one of his wards, and this causes the rich old lady to name him as sole beneficiary in her will. Her subsequent death leads to a farrago of complications during which Alvin’s fidelity, his health and his reputation suffer serious injury.
Through a series of twists, turns, zigs and zags – as well as some jaw-dropping coincidences – all ends well, with Lee reinstated as a paragon of virtue, as various characters discover their penchant for Christianity, rock-n-roll, astronomy and more. When ironic reversals appear – and there are more than a few in this book – you’re past being affected because by then your credibility hasn’t just been stretched, it’s passed breaking point.
With its mannered facetiousness and paper-thin characters, about the only thing Where There’s a Will has going for it is that it moves at a breathless pace. Recommended for those who find Nick Hornby too taxing.
WHEREE THERE'S A WILL Matt Beaumont
Some years ago, Matt Beaumont came to the attention of the reading public with his wry, inventive novel, e, which updated Richardson’s Clarissa in providing us with a take on the goings-on in an advertising agency, told entirely in the form of e-mail exchanges. Since then he’s reverted to more traditional ways of storytelling, and this is the case as well with Where There’s a Will, his fifth book.
It’s clear from the beginning that Beaumont is partial to narrative in which his authorial presence makes itself felt in a number of ironic descriptions and asides. Because there are many of these, and because none of them are especially droll, Where There’s a Will emerges as more than occasionally irritating to read.
This is the tale of Alvin Lee, the forty-something “learning mentor” of a group of deviant teenagers in a school on the fringes of London. Like Voltaire’s Candide, Lee is an incurable optimist as well as do-gooder, and this embroils him in hopeless misunderstandings with not just his students and staff but also his extended family comprising partner Karen and four children of varying ages.
After visiting one of his former students who’s now working in a massage parlour, Lee happens to save an octogenarian heiress from being mugged by another one of his wards, and this causes the rich old lady to name him as sole beneficiary in her will. Her subsequent death leads to a farrago of complications during which Alvin’s fidelity, his health and his reputation suffer serious injury.
Through a series of twists, turns, zigs and zags – as well as some jaw-dropping coincidences – all ends well, with Lee reinstated as a paragon of virtue, as various characters discover their penchant for Christianity, rock-n-roll, astronomy and more. When ironic reversals appear – and there are more than a few in this book – you’re past being affected because by then your credibility hasn’t just been stretched, it’s passed breaking point.
With its mannered facetiousness and paper-thin characters, about the only thing Where There’s a Will has going for it is that it moves at a breathless pace. Recommended for those who find Nick Hornby too taxing.
Thursday, March 6, 2008
Looking London, Going Tokyo
This appeared in the latest issue of TimeOut Mumbai
THE JAPANESE WIFE Kunal Basu
The title story in Kunal Basu’s collection, The Japanese Wife, is a quirky tale of an introverted teacher in rural West Bengal and his marriage to a Japanese woman he’s never met, only corresponded with. Not only is it poignantly rendered, it’s often portrayed in strikingly visual terms.
When it comes to the rest, however, the devices that make the title story work seem flat and forced. In ‘Long Live Imelda Marcos’, an account of an Indian couple’s relationship with their Filipina maid in Hong Kong, the story’s delicacy and insight is marred by the trick ending. The same occurs in ‘Father Tito’s Onion Rings’, dwelling on the predicament of a Yugoslavian priest in Calcutta. And the finale of ‘Lotus Dragon’, dealing with an Indian couple in Tiananmen Square in 1989, is frankly manipulative.
Many stories revolve, as above, on the plight of people out of place. In ‘Grateful Ganga’, a recently-widowed American arriving in India to immerse her husband’s ashes finds herself attracted to a strapping Punjabi in Delhi; in ‘Miss Annie’, a Russian harlot in Calcutta forges a relationship with three incendiary revolutionaries. There aren’t really any clash-of-culture insights: the tales are predicament-driven rather than character-led.
Where trick devices are dispensed with, there’s the absence of narrative charge, as in ‘The Last Dalang’ or the odd ‘Lenin’s Café’. Then, there’s ‘The Accountant’, which has a promising premise – a middle-aged accountant believing that he’s the reincarnation of one of the Taj Mahal’s architects – but ends all too neatly. It’s almost as though Basu, having come up with interesting characters, doesn’t trust them to evolve organically. In one of the stories, he states “In life, as in a work of art, it’s the accident that reveals more than the plan”. More accidents and fewer plans would have made these stories better.
THE JAPANESE WIFE Kunal Basu
The title story in Kunal Basu’s collection, The Japanese Wife, is a quirky tale of an introverted teacher in rural West Bengal and his marriage to a Japanese woman he’s never met, only corresponded with. Not only is it poignantly rendered, it’s often portrayed in strikingly visual terms.
When it comes to the rest, however, the devices that make the title story work seem flat and forced. In ‘Long Live Imelda Marcos’, an account of an Indian couple’s relationship with their Filipina maid in Hong Kong, the story’s delicacy and insight is marred by the trick ending. The same occurs in ‘Father Tito’s Onion Rings’, dwelling on the predicament of a Yugoslavian priest in Calcutta. And the finale of ‘Lotus Dragon’, dealing with an Indian couple in Tiananmen Square in 1989, is frankly manipulative.
Many stories revolve, as above, on the plight of people out of place. In ‘Grateful Ganga’, a recently-widowed American arriving in India to immerse her husband’s ashes finds herself attracted to a strapping Punjabi in Delhi; in ‘Miss Annie’, a Russian harlot in Calcutta forges a relationship with three incendiary revolutionaries. There aren’t really any clash-of-culture insights: the tales are predicament-driven rather than character-led.
Where trick devices are dispensed with, there’s the absence of narrative charge, as in ‘The Last Dalang’ or the odd ‘Lenin’s Café’. Then, there’s ‘The Accountant’, which has a promising premise – a middle-aged accountant believing that he’s the reincarnation of one of the Taj Mahal’s architects – but ends all too neatly. It’s almost as though Basu, having come up with interesting characters, doesn’t trust them to evolve organically. In one of the stories, he states “In life, as in a work of art, it’s the accident that reveals more than the plan”. More accidents and fewer plans would have made these stories better.
Tuesday, March 4, 2008
Modernism And Its Discontents
This appeared in the January-February 2007 issue of Biblio.
MODERNISM: THE LURE OF HERESY Peter Gay
Finding myself with a little time to spare during a recent visit to London, I embarked upon a quick stroll around Bloomsbury Square hoping to come across the former residence of Virginia Woolf and Vanessa Bell, as well as those of her contemporaries, Lytton Strachey and Dora Carrington. Of course, I didn’t bump into even one: what I realised later was that their houses are, instead, located in Gordon Square, a few minutes’ walk away.
Those hunting for the presence of Modernism nowadays seem fated to meet with similar frustration. That age of avant-garde experimentation, the desire to “make it new” and the obsessive urge to break with traditional forms has been replaced by a time when art is an investment opportunity, literary magazines and independent bookstores are dwindling and serious composers and conductors cater to a meagre few. These are the fragments we shore among our ruin.
To look back on the Modernists, then, may seem an exercise in fruitless nostalgia. But, as cultural theorist Peter Gay’s sweeping new book reminds us, their accomplishments can be counted as among the foremost aesthetic achievements in art, music, architecture and writing, with an influence that ripples out till today. Rather than an exhaustive study, he says, “I have looked for what Modernists had in common, and the social conditions that would foster or dishearten them”, with selective choices to exemplify his arguments, based on the fact that “the one thing that all modernists had indisputably in common was the conviction that the untried is markedly superior to the familiar, the rare to the ordinary, the experimental to the routine”.
For Gay, Modernism starts with Baudelaire in the mid-1800s and terminates around the time that Andy Warhol displayed his infamous Brillo Box in New York in 1964. This latter event, he says, brought about “the death of art” by forcing people to confront uncomfortable questions: “What is a work of art? How do you distinguish between one of them and the rest of creation?”
For the bulk of the book, Gay focuses on the disciplines of painting, sculpture, fiction, poetry, music, architecture, design and film, discussing the life and work of those such as Joyce, Woolf, Proust, Munch, Cezanne, Picasso, Stravinsky, Griffith, Eisenstein, Welles, Chaplin, Le Corbusier and Van der Rohe – to name only a few. To go through the roster of such names – and muse on their determination to flaunt convention allied with principled self-scrutiny -- is to realise once again that nowadays, there may be many good works of art, but there are no great ones.
The virtue of Gay’s book lies not in provocative theses or bold new assessments, but in being a study of the movement across disciplines, shedding light on commonalities and unifying themes. (Notably, the art of photography is excluded; but, as Gay has pointed out elsewhere, one of the reasons for this is that he was unable to provide adequate linkages from this form to the others.)
Gay is, of course, an arch, unabashed Freudian, as he reminds us again in his preface. His desired perspective, then, is to look at the causal forces operating on the Modernists’ minds, the activity of the unconscious and the interplay between libido and aggression. Which is a vaulting ambition he sometimes loses sight of in attempting to capture Modernism and its discontents, with all its nuances and vagaries.
One of the criticisms the work of the avant-garde has always had to face is that its techniques and modes are alienating for the man on the street and, as such, such artists were nothing more than a bunch of effete snobs. As a comment, this is singularly ill-judged: today’s baffling modern mode is often tomorrow’s commonplace. Stockhausen may have had limited appeal to the general public but his compositions inspired the Beatles and Pink Floyd; not many outside the classroom read Joyce’s Ulysses nowadays, but the stream-of-consciousness technique that he streamlined finds echoes in the pulpiest airport thriller; the first reaction to Picasso’s affair with cubes was one of dismayed incomprehension, but drawing rooms of today’s nouveau riche are filled with pallid imitations. This is even more apt when it comes to the art of cinema: to take just one example, techniques such as depth-of-field and extreme close-up are visible on the screens of every multiplex today, yet, when Orson Welles pioneered them in Citizen Kane, they were seen as radical departures from convention.
This argument, of course, is linked to the receptivity of audiences over time, and Gay refers more than once to what he calls the “three publics”: the “barbarian” masses; those superior to the multitudes but reluctant to spend time and effort to understand the avant-garde; and finally, a small group that’s open to innovation. In this context, it’s illuminating to read Gay’s account of the commerce between art dealers, critics, museum administrators and the champions of art for art’s sake: “Businessmen of culture offered and sold artistic products, whether dramas, drawings or volumes of poetry, and with the same gesture advanced the aesthetic cultivation of the buying public”.
The Modernists’ battle with the smugness of the bourgeoisie is almost the stuff of legend now – but Gay also vividly brings out how the social and economic conditions of the time favoured the rise of the experimental. It was, after all, a time of unprecedented prosperity, increasing urbanisation, growing literacy and the questioning of hitherto unchallenged percepts of Christianity.
Gay’s admiration for the Modernists isn’t unblinking; he does devote space to those he terms the “anti-modern modernists”, by which he means those who were drawn to anti-Semitism (Eliot), Italian fascism (Pound), anti-feminism (Strindberg) and Hitler’s Nazis (Hamsun), among others. But, instead of speculating on whether Modernism, in its resolute hunt for new styles, could be psychologically allied to forms of political absolutism, he concludes: “The question of why so many modernists were drawn to regimes that were sick parodies of the modernist quest for transcendence and absolutes is unanswerable”.
My ill-mapped jaunt around Bloomsbury was unsuccessful in discovering some of Modernism’s landmarks; Gay’s visit to Bilbao, Spain, in the autumn of 2000, however, provided him with a pointer to Modernism’s continuing influence. “In a word, I was overwhelmed,” he writes, talking of his visit to Frank Gehry’s Guggenheim museum. “I was not awed into silence but took pleasure from the first from the wealth and elegance of the forms that rose up around me” Gehry apart, Gay also holds up Marquez as an exemplar of late-stage Modernism, with particular reference to his use of magical realism and ambiguity in One Hundred Years of Solitude. This, however, comes across as a trifle disingenuous. No-one is decrying the merits of Marquez, but there are many others who have been as significantly iconoclastic. Take Cortazar. Take Borges. Take Saramago.
Be that as it may, many feel that Modernism’s achievements seem at present too close to us to form any reasonable, objective judgment about their aims and continuing influence. A pointer to this is the response to the exhibition titled ‘Designing a New World 1914 - 1939’ at London’s Victoria & Albert Museum in early 2006. This brought forth strong reactions for and against the movement -- as well as record crowds in attendance. “They were the neo-cons of 20th century art,” fumed Simon Jenkins at the time, while Terence Conran was more complimentary: “Modernism is the most exciting exhibition I have ever seen in London. It means a huge amount to me personally”.
As for the future, it could well be that the rising ride of nationalism – often couched in religious terms – and the shifting of the world’s axis towards Asian nations will give rise to a new form of Romanticism in the arts, conceivably an exalted version of medievalism. It’s only from the ashes of this second Romantic Movement that a subsequent Modernism will be permitted to arise.
Then again, perhaps we’re all mistaken in looking for Modernist attitudes nowadays in books, on canvases, in marble and in metal. In this age of information, the heirs to that fin de siecle artistic revolution could well be among those writing software codes, directing music videos, devising computer games and – heaven help us – composing mobile phone novels.
Thursday, February 21, 2008
Great Yates
I read -- and marvelled at -- Richard Yates' classic, Revolutionary Road, for the first time only late last year, and resolved to get my hands on his other books as well -- a resolve forgotten until I spotted his moving, disturbing novella, Cold Spring Harbour, in a bookshop last week. Why, I asked myself after putting it down, isn't this writer better known? In a pleasing coincidence, The Guardian's Nick Fraser asks the same question in this excellent piece that sums up Yates' themes, his life, his obscure fame and probable revival. James Wood is quoted as saying: "He is a reader's writer, always lucid, elegant and frequently poignant", which is good enough reason to now seek out his short stories.
Monday, February 18, 2008
Another Jodha Akbar
The lastest issue of the New Yorker --- and how fortunate we are that it's all available online -- carries a piece by Salman Rushdie, clearly an extract from his forthcoming The Enchantress of Florence, featuring Emperor Akbar and his queen, Jodhabai who, in Rushdie's hands, is an imaginary character: "Queens floated within his palaces like ghosts, Rajput and Turkish sultanas playing catch-me-if-you-can. One of these royal personages did not really exist. She was an imaginary wife, dreamed up by Akbar in the way that lonely children dream up imaginary friends, and in spite of the presence of many living, if floating, consorts, the Emperor was of the opinion that it was the real queens who were the phantoms and the nonexistent beloved who was real. He gave her a name, Jodha, and no man dared gainsay him."
Should have thought of that, Mr Gowarikar.
Should have thought of that, Mr Gowarikar.
Here Come The Clones
This appeared in the February 18th issue of Tehelka.GENERATION 14 Priya Sarukkai Chabria
Literary dystopias usually feature faceless, totalitarian regimes that crush dissent and redefine what it means to be human. As such, they’re perfect cautionary tales for writers to pose their Big Questions: What are the mechanics of power? (Orwell’s 1984, Zamyatin’s We). What are the perils of creating an ‘ideal’ society? (Huxley’s Brave New World). How is feminism subverted? (Atwood’s The Handmaid’s Tale).
It’s into this category that Priya Sarukkai Chabria’s Generation 14 falls. Though there are several digressive sections in this novel that could more properly be termed speculative or fantastical, the framework is clearly science fiction. The necessary questions the author raises – at times too conspicuously -- revolve around the meaning of a shared humanity and the necessity of plurality of expression.
Set primarily in the 24th century, the novel concerns the fate of a clone in a manner quite different from Ishiguro’s poignant Never Let Me Go. Here, we encounter Clone 14/54/G, the fourteenth copy of an “Original” who begins to mutate by recollecting memories – having “visitations”, as she puts it – of incidents in times past. As a member of a sanitised and stratified Global Community comprising Originals, Superior Zombies, Firehearts and other Clones, she’s viewed with suspicion by the reigning powers until they realise that this may help clear up a long-standing mystery. It turns out that her Original, an iconoclastic anthropologist, was killed during her speech at a great celebration just before she was to reveal an important secret. Her clone, by channeling the Original’s sense and memory impressions, may stumble upon this secret too, and the regime starts to coddle her in various ingenious ways. As is common in such novels, there’s underground resistance towards the supreme power, and members of this movement contact the clone, winning her over to their side.
So far, so ingenious. Sarukkai-Chabria has clearly immersed herself in this new world’s features as well as in the behaviour and treatment of its citizens. The section after this build-up contains the Original’s own musings, which end just before the address she is to make. This serves to deepen our understanding of the Clone’s predicament.
At this point, though, Generation 14 takes a dismaying structural turn, with several long, anecdotal reports of the “visitations” themselves. Drawn from India’s past, these are first-person accounts by, among others, a parrot in a nawabi Lucknow household, a meditative fish caught up in a Kashi flood, a bereaved mother after Ashoka’s Kalinga war, and a wolf-dog journeying southward with his master to vanquish local tribes. Most are linked by unexpected and violent acts and the penalties to be paid. The intention, of course, is to demonstrate plurality, but though the author displays considerable chutzpah in writing these narratives, they serve as an extended and annoyingly lengthy digression from the Clone’s fate.
Sarukkai-Chabria is also a poet, and this is evident from the prose she employs, which is resonant and allusive. At times, this rises to an exalted, almost Vedic, pitch and this, it must be said, becomes hard to digest when extended for too long.
As for the novel’s climax, this is less vividly realised than the rest of the book: there is an overtness, a spelling out of themes, that jars. Take this sentence, for example, uttered by one of the clone’s chief allies: “What if there is, again, the possibility of plurality of expression and belief? And justice? If there could be acceptance of difference, Clone, what boundlessness then…what creativity!”
There is much imaginative depth and richness to be found in Generation 14; equally, there’s an eagerness to over-extend the ambit as well as overstate the case, which makes it less compelling than it could have been.
Sunday, February 10, 2008
Present Tense
This appeared in today's edition of The Hindustan Times
PAST CONTINUOUS Neel Mukherjee
One of the devices used by novelists attempting to ‘write back to the centre’ is to re-imagine characters from earlier works of fiction. Most tellingly employed by Jean Rhys in Wide Sargasso Sea, which told the story of the first Mrs Rochester from Charlotte Bronte’s Jane Eyre, this ploy was also at the heart of Peter Carey’s Jack Maggs, which presented the point of view of Magwitch, the transported convict from Dickens’ Great Expectations.
Now, in Neel Mukherjee’s debut novel, Past Continuous, we’re re-introduced to Miss Gilby and her relationship with Bimala and Nikhilesh – characters who first appeared in Rabindranath Tagore’s The Home and the World. Past Continuous isn’t just about Miss Gilby, though. The author has bigger fish to fry, and he intercuts the tale of the English governess in India with that of another stranger in a strange land: that of Ritwik, who, in his early twenties, leaves Kolkata to study in London. Miss Gilby’s story, we come to realise, is actually being written by Ritwik while in London.
An enervating Kolkata in the Seventies and Eighties; a frenetic London in the Nineties; and a revolutionary Bengal at the turn of the last century: clearly, the author is in the grip of an overweening ambition which, though obviously not something to be discouraged, needs both talent and control to be successfully realised. Alas, not much of either is visible in Past Continuous.
Take Ritwik’s tale, for instance. The separate strands of his existence on display – maternal mistreatment, penurious childhood, parasitic relatives, convent school exploits, exhaustion with his hometown, relationships with fellow-students in London, cruising for gay sex in toilets and alleyways – remain just that, separate strands. One of the ways in which a novel is different from life is that in the former, one finds a clear flow of cause and effect, an accretion of parts to form a greater whole, and this is missing in the tale of this unfortunate youth. Ritwik’s story is, one supposes, meant to be organic and artless instead of plotted, but instead comes across as all too fragmentary. An unfortunate side-effect of this is a lack of empathy towards the character, barring the moments when we learn of his mistreatment as a child.
Miss Gilby’s tale is more focused and controlled but here too, there’s a wearying sense of ennui for neither of them possess the energy -- inwardly or outwardly directed – to bring about a change. In addition, the governess’ story doesn’t really cast Tagore’s novel in a new light, making one wonder what the point is.
Yet another strand of this novel is that of Ritwik’s aged English landlady, Anne Cameron, a link between Miss Gilby and the present. This is meant to be the novelist’s tap upon the tuning fork to make the two narrative prongs vibrate in sympathy; what we hear instead is a dull clunk.
The relationship between Ritwik and Anne is, however, one of the better things in Past Continuous, combining affection and unlikelihood in equal measure. Mukherjee goes too far, though, in introducing a puzzling strain of magic realism when rare birds mysteriously appear in Anne’s garden, a link to Miss Gilby’s interest in ornithology.
Almost two-thirds of the way into the book, Ritwik embarks upon a cash-for-sex relationship with Zafar, rich Saudi and possible arms dealer, a liaison that has the potential to focus his hitherto wayward life. Ah, one thinks, this novel’s coming to life at last. But no: things fizzle out soon enough.
Also aggravating is the affectation of the prose. Ritwik’s tale is narrated in a faux-Nabokovian manner, and the clashing of misjudged adjectives that sometimes ensues is alarming. (What, after all, are “tenuous relatives” or even a “deliciously slurpy peek”?) This, though, pales in front of the author’s nod to James Joyce in Anne Cameron’s stream-of-consciousness musings. “Murder your darlings,” one murmurs, turning the page. The sections dealing with Miss Gilby contain interesting period detail and are more straightforwardly written. But it’s when the author goes so far as to include advertisements promoting swadeshi as well as newspaper clippings on the partition of Bengal that things get out of hand.
Towards the end of Past Continuous, the always-solipsistic Ritwik muses, “All lives have an onward flow, a beginning leading to a middle leading to an end; only his seems to be a swirling eddy in someone else’s flow, destined to whirl round and round for a brief while till a change in current or wave pattern obliterates it.” It’s in making these swirls and eddies cohere and providing them with a historical resonance that Mukherjee’s book falls short.
PAST CONTINUOUS Neel Mukherjee
One of the devices used by novelists attempting to ‘write back to the centre’ is to re-imagine characters from earlier works of fiction. Most tellingly employed by Jean Rhys in Wide Sargasso Sea, which told the story of the first Mrs Rochester from Charlotte Bronte’s Jane Eyre, this ploy was also at the heart of Peter Carey’s Jack Maggs, which presented the point of view of Magwitch, the transported convict from Dickens’ Great Expectations.
Now, in Neel Mukherjee’s debut novel, Past Continuous, we’re re-introduced to Miss Gilby and her relationship with Bimala and Nikhilesh – characters who first appeared in Rabindranath Tagore’s The Home and the World. Past Continuous isn’t just about Miss Gilby, though. The author has bigger fish to fry, and he intercuts the tale of the English governess in India with that of another stranger in a strange land: that of Ritwik, who, in his early twenties, leaves Kolkata to study in London. Miss Gilby’s story, we come to realise, is actually being written by Ritwik while in London.
An enervating Kolkata in the Seventies and Eighties; a frenetic London in the Nineties; and a revolutionary Bengal at the turn of the last century: clearly, the author is in the grip of an overweening ambition which, though obviously not something to be discouraged, needs both talent and control to be successfully realised. Alas, not much of either is visible in Past Continuous.
Take Ritwik’s tale, for instance. The separate strands of his existence on display – maternal mistreatment, penurious childhood, parasitic relatives, convent school exploits, exhaustion with his hometown, relationships with fellow-students in London, cruising for gay sex in toilets and alleyways – remain just that, separate strands. One of the ways in which a novel is different from life is that in the former, one finds a clear flow of cause and effect, an accretion of parts to form a greater whole, and this is missing in the tale of this unfortunate youth. Ritwik’s story is, one supposes, meant to be organic and artless instead of plotted, but instead comes across as all too fragmentary. An unfortunate side-effect of this is a lack of empathy towards the character, barring the moments when we learn of his mistreatment as a child.
Miss Gilby’s tale is more focused and controlled but here too, there’s a wearying sense of ennui for neither of them possess the energy -- inwardly or outwardly directed – to bring about a change. In addition, the governess’ story doesn’t really cast Tagore’s novel in a new light, making one wonder what the point is.
Yet another strand of this novel is that of Ritwik’s aged English landlady, Anne Cameron, a link between Miss Gilby and the present. This is meant to be the novelist’s tap upon the tuning fork to make the two narrative prongs vibrate in sympathy; what we hear instead is a dull clunk.
The relationship between Ritwik and Anne is, however, one of the better things in Past Continuous, combining affection and unlikelihood in equal measure. Mukherjee goes too far, though, in introducing a puzzling strain of magic realism when rare birds mysteriously appear in Anne’s garden, a link to Miss Gilby’s interest in ornithology.
Almost two-thirds of the way into the book, Ritwik embarks upon a cash-for-sex relationship with Zafar, rich Saudi and possible arms dealer, a liaison that has the potential to focus his hitherto wayward life. Ah, one thinks, this novel’s coming to life at last. But no: things fizzle out soon enough.
Also aggravating is the affectation of the prose. Ritwik’s tale is narrated in a faux-Nabokovian manner, and the clashing of misjudged adjectives that sometimes ensues is alarming. (What, after all, are “tenuous relatives” or even a “deliciously slurpy peek”?) This, though, pales in front of the author’s nod to James Joyce in Anne Cameron’s stream-of-consciousness musings. “Murder your darlings,” one murmurs, turning the page. The sections dealing with Miss Gilby contain interesting period detail and are more straightforwardly written. But it’s when the author goes so far as to include advertisements promoting swadeshi as well as newspaper clippings on the partition of Bengal that things get out of hand.
Towards the end of Past Continuous, the always-solipsistic Ritwik muses, “All lives have an onward flow, a beginning leading to a middle leading to an end; only his seems to be a swirling eddy in someone else’s flow, destined to whirl round and round for a brief while till a change in current or wave pattern obliterates it.” It’s in making these swirls and eddies cohere and providing them with a historical resonance that Mukherjee’s book falls short.
Wednesday, February 6, 2008
Myth Making
This is from the latest issue of TimeOut Mumbai.
THE AGE OF SHIVA Manil Suri
In his The Elephanta Suite, Paul Theroux had some uncomplimentary things to say about Indian novelists who wrote family sagas, implying that they were out of touch with the nation’s everyday realities. Well, he’s not going to like Manil Suri’s The Age of Shiva very much. This is the story of Meera Sawhney, which begins in Delhi on Republic Day 1955 when she meets the man she will marry. It continues through her married life in Delhi to her move to Bombay with her husband, till the present day, when she gains a deeper understanding of what to do with the rest of her life.
The form of the novel is that of Meera narrating her tale to her son, Ashvin, and Suri is remarkably candid about the powerful yet rocky relationship between the two, not shying away from erotic overtones. Ashvin apart, Meera’s tale has to do with her efforts to gain independence from the men who try to take charge of her life: her secular, erudite, yet controlling father; her weak, philandering husband who squanders his life in dreams of becoming a playback singer in Bombay; and her rapacious brother-in-law, who rises to become a senior official of a right-wing nationalist party.
As with the earlier The Death of Vishnu, Suri’s prose is quiet and plain, yet imbued with telling, quotidian detail that bring characters and situations to life. His evocations of the Shiva-Parvati-Ganesh myths and their linkages with the present are also effective.
It must be added, though, that in parts the book is too elaborately plotted -- in particular, some attempts to yoke the events of contemporary Indian history to Meera’s life are forced. Leading one to conclude that had the book pivoted more on the mythological than the historical, it would have emerged the stronger for it.
Sunday, February 3, 2008
Mum's The Word
This appeared in today's The Sunday Express
AMMI: LETTER TO A DEMOCRATIC MOTHER Saeed Mirza
Film directors who write are a comparatively rare species. Offhand, one can think of Neil Jordan, whose The Crying Game and Mona Lisa on celluloid are matched by novels such as The Dream of a Beast and Sunrise with Seamonster. Then, of course, there was Satyajit Ray, whose Feluda and Professor Shanku characters remain popular. To this short list, you can add the name of Saeed Akhtar Mirza, whose last feature film, Naseem, appeared over a decade ago. Mirza’s book, Ammi: Letter to a Democratic Mother, isn’t strictly classifiable as a novel, being a series of vignettes comprising Sufi fables, childhood memories, re-imaginings and a short film script to boot. As he himself writes, it can be categorised as “miniatures set in a mural: a kind of reflective, personal journey set in a background of ideas, politics and history”.
The danger of such a text resembling a diaristic ragbag is always present, but Ammi does have the virtue of being loosely held together in the form of long, rambling addresses to Mirza’s deceased mother. Another problem, however, is that Mirza wears his politics on his sleeve, overloading the text with polemic. Thus, liberal, anti-materialistic and anti-communal values are openly espoused, with several asides dealing with the glories of the Ottoman Empire in its heyday as opposed to today’s free-market West. It’s not that one has a bone to pick with such attitudes; it’s just that open proselytizing weakens the spine of any book if it’s not seamlessly integrated into the narrative.
That having been said, it’s undeniable that there’s an endearing charm to much of Mirza’s unaffected prose. In particular, his imagined tale of the love story of Nusrat Beg and Jahanara, set in the Thirties and Forties, is winsome and beguiling. Also readable are some of his childhood memories, along with passages that describe his ideological awakening and his days at FTII. And his recreation of the gentle, calm Bombay that his parents arrived in to create a future for themselves is certainly evocative. At these times, one finds oneself wishing that Mirza had planned the entire volume in the form of a memoir, rather than casting his net so wide and far.
Less pleasing are the author’s many ruminations on the crassness of today’s capitalist times and the little homilies on communal tensions, particularly relating to the destruction of the Babri Masjid and the riots and subsequent bomb blasts in Mumbai. One has no quarrel with his humanistic sentiments, but his editorialising contains nothing that one hasn’t come across before in column after newspaper column.
The latter portion of the book again reveals the looseness of the structure: here, one finds pen-portraits of some of the marginal and dispossessed Indians that Mirza has encountered during his travels across the country. These are illuminating, yes, but seem to belong in quite another volume. The film script that Mirza appends to the book by way of epilogue, dealing with the plight of an Afghan refugee in the United States shortly before and after the strike on the Twin Towers, is notable for the economy with which it creates characters – but is weakened by breaking the show-don’t-tell rule in its final scenes.
In his preface, Mirza candidly confesses that his wife, Jennifer, “liked the book in many parts but somehow felt that as a whole it seemed disjointed and lacked cohesion”. Despite the revisions the author made because of this comment, it still rings true.
AMMI: LETTER TO A DEMOCRATIC MOTHER Saeed Mirza
Film directors who write are a comparatively rare species. Offhand, one can think of Neil Jordan, whose The Crying Game and Mona Lisa on celluloid are matched by novels such as The Dream of a Beast and Sunrise with Seamonster. Then, of course, there was Satyajit Ray, whose Feluda and Professor Shanku characters remain popular. To this short list, you can add the name of Saeed Akhtar Mirza, whose last feature film, Naseem, appeared over a decade ago. Mirza’s book, Ammi: Letter to a Democratic Mother, isn’t strictly classifiable as a novel, being a series of vignettes comprising Sufi fables, childhood memories, re-imaginings and a short film script to boot. As he himself writes, it can be categorised as “miniatures set in a mural: a kind of reflective, personal journey set in a background of ideas, politics and history”.
The danger of such a text resembling a diaristic ragbag is always present, but Ammi does have the virtue of being loosely held together in the form of long, rambling addresses to Mirza’s deceased mother. Another problem, however, is that Mirza wears his politics on his sleeve, overloading the text with polemic. Thus, liberal, anti-materialistic and anti-communal values are openly espoused, with several asides dealing with the glories of the Ottoman Empire in its heyday as opposed to today’s free-market West. It’s not that one has a bone to pick with such attitudes; it’s just that open proselytizing weakens the spine of any book if it’s not seamlessly integrated into the narrative.
That having been said, it’s undeniable that there’s an endearing charm to much of Mirza’s unaffected prose. In particular, his imagined tale of the love story of Nusrat Beg and Jahanara, set in the Thirties and Forties, is winsome and beguiling. Also readable are some of his childhood memories, along with passages that describe his ideological awakening and his days at FTII. And his recreation of the gentle, calm Bombay that his parents arrived in to create a future for themselves is certainly evocative. At these times, one finds oneself wishing that Mirza had planned the entire volume in the form of a memoir, rather than casting his net so wide and far.
Less pleasing are the author’s many ruminations on the crassness of today’s capitalist times and the little homilies on communal tensions, particularly relating to the destruction of the Babri Masjid and the riots and subsequent bomb blasts in Mumbai. One has no quarrel with his humanistic sentiments, but his editorialising contains nothing that one hasn’t come across before in column after newspaper column.
The latter portion of the book again reveals the looseness of the structure: here, one finds pen-portraits of some of the marginal and dispossessed Indians that Mirza has encountered during his travels across the country. These are illuminating, yes, but seem to belong in quite another volume. The film script that Mirza appends to the book by way of epilogue, dealing with the plight of an Afghan refugee in the United States shortly before and after the strike on the Twin Towers, is notable for the economy with which it creates characters – but is weakened by breaking the show-don’t-tell rule in its final scenes.
In his preface, Mirza candidly confesses that his wife, Jennifer, “liked the book in many parts but somehow felt that as a whole it seemed disjointed and lacked cohesion”. Despite the revisions the author made because of this comment, it still rings true.
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