Updated: Mothers in literature

Can you write about your mother without worrying it won’t do justice to her?

Have you read any book that explores mother-child relation that resonated with you?


Em from Em and the Big Hoom by Jerry Pinto is only one of the memorable mothers from literature.



Another one is from We need to talk about Kevin by Lionel Shriver.

It is tough for me to write about my mother. I somehow can’t contain her in a poem or a story. Whenever I try to, I feel intimidated, that I wouldn’t do justice to her. I’m always lost for words when I want to write about her. Last month my poem ‘Fish eyes‘ was published by The Bombay Literary Magazine. I dedicated the poem to her. 

The girl in the poem looks upto her mother for her cooking and everything she is and it also causes the girl anxiety because she’s nothing like her mother. That persona allowed me to explore mother-daughter relationship among other themes like heartbreak.


I have been reading ‘Painting that red circle white’ by Mihir Vatsa. A book of poems. There’s a section in it called ‘Till Letters Burn Her Face’, a section dedicated to mother poems. Vatsa writes wonderful poems, and these are my favourite from the book. You should check them out.



Also, I also recently browsed through the latest issue of Poetry at Sangam where poets have written about their mothers. I’ve only managed to read a few until now because of how intense they are. Poets in the issue are Tishani Doshi, Sohini Basak, Arjun Rajendran, Manjiri Indurkar among others. It is curated by poet Sumana Roy with whom I have discussed her story ‘My Mother’s Head’ in an interview


A movie I saw recently titled ‘Joyluck Club’ based on the book by Amy Tan comes to mind. It explores complex mother-daughter relationships.


Now, a book that I had read a little of a year ago by Elena Ferrante, ‘Troubling Love’, lingers in my mind. It is about mothers and daughters. I might read it soon. Ferrante’s prose is powerful. I loved ‘Days of abandonment’ and ‘The Lost Daughter’. 



A conversation with a writer reminded me of Black Milk by Elif Shafak that is on my TBR list. (She recommended the book Hot Milk by Deborah Levy.)  Check out both?

Do share your thoughts on the subject with me 🙂


Updated: Notes on a scandal by Zoë Heller

I have been recently watching a lot of Booktube videos. One of my favourite Booktuber is Jen Campbell who is a writer herself. She is also a judge for the Forward Poetry Prize. She does amazing ‘Dissect a poem‘ videos which will help those who are learning to analyse poems. In one of her bookshelf tour video she mentioned the book ‘Notes on a scandal’ by Zoe Heller. The titled intrigued me. I didn’t read anything about the book before actually reading it as I usually prefer to discover the story directly from the book/film.


I began reading the book immediately and it kept me hooked because of the narrator’s voice. The narrator, Barbara, seemed wise, longing for true friendship and interesting in general. The story is more about the narrator’s life and her observations of the characters than just her version of the scandal to disprove all the media coverage. The reader is aware that she claims to be Sheba’s close friend hence, an unreliable narrator as her biases being a close friend will definitely reflect in the way she tells us the story, what details she chooses to reveal, conceal etc. but just how exactly unreliable was revealed to me only in the last line of the novel.

It gave me goosebumps and it dawned on me just how ‘unreliable’ she was and when I saw the film immediately after finishing the book it confirmed my doubts. She isn’t as sincere a friend as we might have thought she was, the whole film shows her as sinister, plotting, selfish and lonely to the point of being a sociopath. She is very possessive of Sheba, the new teacher who has an affair with the young boy Connolly. It makes one empathise with the narrator’s loneliness (her cat’s death, Bang’s rejection etc.) but also afraid of her motives. 

The film is overt and portrays her as the antagonist from the start whereas the book is subtle. It’s her account and manages to convince us that the narrator is innocent, for most part of it, atleast. Reminded me of another unreliable narrator from Lolita. In this book the narrator Barbara distracts the reader by making us judge for ourselves whether Sheba is innocent or guilty thus removing the spotlight of judgment from herself, it’s cleverly done.

The narrator’s sister’s family is missing in the film. Sheba’s difficult daughter which added to Sheba’s problematic married life is downplayed in the film and other details differentiate the film from the book but both the book and the film tell the story in their own brilliant and breathtaking  way.

Cate Blanchett is perfect for the dreamy character of Sheba and Judi Dench for the sinister narrator.

cate and judi

A couple of paras from the book:

There are certain people in whom you can detect the seeds of madness—seeds that have remained dormant only because the people in question have lived relatively comfortable, middleclass lives. They function perfectly well in the world, but you can imagine, given a nasty parent, or a prolonged bout of unemployment, how their potential for craziness might have been realised—how their seeds might have sprouted little green shoots of weirdness, or even, with the right sort of antinurture, blossomed into full-blown lunacy. It occurred to me now, as I watched him sink down into his beanbag, that Brian Bangs was one of these people.


Why, I find myself silently asking my confiders, are you telling me? Of course, I know why, really. They tell me because they regard me as safe. Sheba, Bangs, all of them, they make their disclosures to me in the same spirit that they might tell a castrato or a priest—with a sense that I am so outside the loop, so remote from the doings of the great world, as to be defused of any possible threat. The number of secrets I receive is in inverse proportion to the number of secrets anyone expects me to have of my own. And this is the real source of my dismay. Being told secrets is not—never has been—a sign that I belong or that I matter. It is quite the opposite: confirmation of my irrelevance.




The book describes mother-daughter relations well. Especially the complex difficult ones. The narrator and her mother. Sheba and her mother. Sheba and her daughter Polly. The narrator tells Sheba that children add meaning to a woman’s life. Sheba denies this (she has her hands too full with Ben, her son, who has down syndrome and her difficult teen daughter Polly).

This exploration of mother-child relations reminded me of a film I recently saw called ‘The Joy Luck Club’ based on Amy Tan’s novel. It’s a must watch.



Interview 8- Sharanya Manivannan


Sharanya Manivannan’s latest book is The High Priestess Never Marries (Harpercollins India, 2016), a collection of stories on women, solitude and desire which was shortlisted for the Tata Lit Live! First Book Award (Fiction). She is also the author of a book of poems, Witchcraft, and a children’s picturebook, The Ammuchi Puchi. 

In this interview, we will be discussing her short story collection, her thoughts on marriage and more.

1- Most of your stories from the collection are published in online journals.  Did your publication credentials play a pivotal role in your MS acceptance at Harper?

It was actually poetry that brought me to HarperCollins India. At the end of 2013, I got a note from ManasiSubramaniam, who had just moved to HCI at the time from Karadi Tales in Chennai, where I had previously worked with her on an audiobook for children. She asked if I had a poetry manuscript for her. It was mid-2015 by the time I did, but a beautiful and miraculous thing happened: I finished both the poetry manuscript (The Altar of the Only World) and a manuscript of short stories (The High Priestess Never Marries) within a couple of months of one another.

I was given a choice about which I wanted to have published first. Most of the stories from the collection are not online actually, although several vignettes are. Many of the most substantial ones (such as “Conchology, “Cyclone Crossing” and “Sweetness, Wildness, Greed”) have never been published anywhere else. But what is true is that many years of publishing poetry, fiction as well as columns and other prose in various places did bring my work to the attention of both readers and publishers.

I would recommend that to anyone who writes: send your work to journals as you work on a lengthy manuscript, otherwise it will be very difficult to get noticed from the slush pile.

2- The prose drips with carnal desire. What motivated you to write on this theme?

I see desire not as a means to an end, both on the page and off it, but as a way of being. I know what most people think of here is the eroticism in my work, but I expand my definition of desire to cover all states of longing.

There’s a passage in the story “Corvus” that encapsulates this: “The one thing I know to be true is not that love is all there is, or that everything dies. It is that everybody has want. It’s a tiny nerve, a vein of gypsum, that runs through everything—everyone—and sometimes I see someone else’s so clearly that it catches me by the throat. In every place I have been in the world I have looked at people and seen right through into their lives, into the one true thing for which this wretched bittersweet is worth enduring, and I have broken into pieces at the recognition of it. It’s the smallest thing. The smallest, smallest, smallest thing.”

But I’m not going to shy away from the eroticism in my writing. It’s there, and why not? It isn’t there to titillate. It’s there, like everything else, only to tell the truth.

3- What is your idea of feminism and according to which story in your collection portrays that idea the best?

This is a nicely challenging question, because so many of the stories are deeply feminist in my view. Even when the character in question isn’t necessarily a feminist herself, her choices reveal something about the effect of the patriarchal paradigm on women. Like the married women and how they choose to operate within that scaffolding.  And then there are the wild, petal-soft and trauma-toughened women of “Corvus” and “Sandalwood Moon”, for instance.

The latter story contains the genesis of the book, this line: “And if I could not teach you how to love, I would teach myself how to live alone”. But I’m ultimately drawn to the narrator of “Ancestress”. She tells the story of the goddess Kanyakumari, who is deserted on the day of her wedding, and about how she herself – an ordinary human with her ordinary human loneliness – ritualistically marries her own ancestral goddess. I’d pick that story because it is so completely about devotion and self-possession and purpose in the world. And these are the things that inform my feminism.

The author Tanuj Solanki discussed with me in another interview how my women seem to be feminists not in response to a patriarchal paradigm but as a natural state. I agree. The Sanskrit word “swayambu”, or self-manifested, comes to mind. Fighting the system from within is passé. Things have evolved: free yourself.

4- Have you ever been told not to write so boldly like women are often told not to do many things?

Absolutely. Like any woman, I have been told to not be, not do, not love, not live.

5- Do you feel contemporary Indian fiction in English lacks anything and does your book fill the void in any way?

I actually think that, when you include all the work that is being translated from other Indian languages, Indian fiction in English is quite diverse. I’m not sure if there’s a particular void my book fills, even though I’ve been experimental both in terms of story lengths and language.

6- When one reads your collection, there is a feeling that all stories are of the same woman. One woman. How often have you been asked if they are autobiographical and do you like the question?

To be honest, how I respond to the question depends a lot on how I respond to the person asking it. If I sense voyeurism of any kind, I bristle. If I sense sincerity, I am more forthcoming. While biographically the women differ, there is certainly something similar about most of them at their core. And I share that core with them, if not always the details. I’ve never been married (“Afternoon Sex”), I’ve never had children (“Cyclone Crossing”), and god knows I haven’t committed murder while literally having sex (“Sky Clad” and “Salomé”), so sometimes the question is odd. Ultimately, I think that intangible core is what makes the book cohesive. Our circumstances are not who we are, there’s something deeper in each of us that informs our every stirring, our every step.

7- Indian women writers who have influenced your style?

Arundhati Roy’s The God Of Small Things opened my world. I read it when I was 14. The language was exquisite, and I think that was one of the first books that made me sure that a wide vocabulary was no hindrance to simple storytelling. But my influences are wider than only women or Indian writers.

I’d be remiss to not say that I educated myself on a literary canon of women writers of colour. Among them: Sandra Cisneros, Joy Harjo, Louise Erdrich and so many more.

And men: Michael Ondaatje, for example. What would my work, my world, have been without his? AK Ramanujam’s bhakti and Sangam translations were another experience that expanded my heart and mind when I was much younger. For someone who reads as widely as I do, it’s reductive to name only Indian women as influences or favourites.

8- What led you to start penning stories? A person?A book?

I loved books from before I could read to myself, and loved them even more once I could. I started to write poems when I was 7 years old, and still experience the headiness of it. To be able to feel a thing and to give words to it – it’s intoxicating, and it made me feel powerful even as a child.

9- I got the sense from your stories that you have paid emphasis to each line of each story. And a single line can be so profound, it is obvious much introspection has gone into framing it. Like this:

‘there was one man who seemed to discover the eloquence of kissing the hand, because the way he then took mine and did the same suggested unfamiliarity, wonder, the simplicity of imitation. I would later grieve thinking about the other women he would confer the same upon, this tenderness I had given him. As though anything in any of us is truly new, unclaimed.’


Any comments?

Every line, yes. I’m a poet at heart, and always will be.

10- The vocabulary in your book is rich. I have never heard of some of the words.

Do you think of an ideal reader when you write your stories/Are you concerned about losing readers for the complex language?

I can only write a story in the ways I know how, and my large vocabulary and my belief that every word has its place are tools for the telling. Just as if I were to narrate something to you over a kitchen table, my eyes would speak, my voice would reveal, and my hands and the tactile sensation would finely detail the story. Those tools aren’t there when it’s between a reader and a book, when the printed word is all there is. For me, the honest desire of a story to exist, to be spoken, to be seduced onto the page, is the only guiding light I concern myself with.

I wrote a children’s book, The Ammuchi Puchi, that didn’t get published for several years because the language was too heavy for a picturebook (it was eventually released by Lantana Publishing – in the same month as The High Priestess Never Marries!). For it too, it was the same thing. I can only tell a story as I know how to tell it. I trust that every reader the story will encounter will share my heart. Even though I know that isn’t true, but I write and release my work into the world in that good faith.

11- I would like to discuss the title story a bit.

(i) As the context of the story is set in India. I would like to know your thoughts about the way ‘marriage’ is looked at in India?

(ii) Do you think it is necessary for a woman to be married? If not, why?

I’ll answer the second question first, and simply: obviously not. Choosing to marry because you are investing in property together, having children together and so on make sense to me from a legal framework. But seeing marriage as a necessary life step, a life goal if you will, does a very dangerous thing to one’s sense of self.

Historically, marriage everywhere had a practical function rooted in hegemonies. Did you know that only 2% of Indian marriages are inter-caste? That’s the primary criteria (religion is already implied), followed by class. This means that even those who believe themselves to be liberated subconsciously toe the line. I think we’re in deep denial about how bigoted we are in this country, on so many levels: religion, class, caste, language, skin colour, eating habits, gender. And we’re unable to see that matrimony isn’t just about two people or even two families. It maintains and enforces political and social status quos.

Public discourse is very cowardly. We’ve speak about how marriage is difficult for women without actually interrogating the institution itself. As long as we don’t do this, the problems that women have faced for centuries: dowry, giving up one’s career, moving into the man’s home with his parents, being responsible for childcare, etc, will be the same one’s that we’re working out. It’s also necessary to delink sexuality and marriage completely, which we haven’t done. We’re still talking about pre-marital and extra-marital instead of removing the word “marital” from the equation altogether. And the social unit of the family itself needs to change its focus from this new rallying cry of raising strong daughters to raising kind sons.

I’m totally unimpressed by what is popular in Indian cities these days: the “arranged-cum-love” marriage. What a complete oxymoron. What it means is that you are casually introduced to someone of your own background, already vetted through subtle and overt cues. You perform together for six months or a year, presenting the social impression that you are dating. When in fact, there’s a sword of Damocles hanging over your head: you know you were informally engaged to this person from the day you met them.When that six month or one year milestone arrives and your families are about to make a public announcement or put down a deposit on a wedding hall, can you say No? Only technically. In actuality, the pressure makes it very difficult. This is how marriage has evolved in urban India for my generation, which is why the next generation will comprise of so many children whose parents are divorced. That’s the generation that will hopefully make a more meaningful change.

All this being said, the title story of “The High Priestess Never Marries” was such fun to write. I’ve loved hearing people laugh out loud as they read it or heard me read it to them. I think it surprises people that such a heavy title belongs to such a light-hearted story. But it does. The High Priestess never marries because she has better things to do, babe.

12- Your book has received great reviews. When you were writing it, did you anticipate a negative feedback- the ‘morality’ of the protagonists questioned?

I never expected the warmth with which The High Priestess Never Marries has been received. Even when we were in the final stage of proofreading, I couldn’t get enough distance from the manuscript to be able to see it objectively. All I saw was my vulnerability, my blood, my desire to hold my heart up as a torch to light my own way and anyone else’s. There were pieces no one had ever seen other than me and my editors; I was so close to it that even my dearest friends hadn’t read some of it.

There is moral policing, yes. I come from a conservative and dysfunctional background, and I live in a conservative city, so I am used to being morally policed. And I’ve always fought it but I would be dishonest if I said it hasn’t at the very least left scratches on me. That will happen despite all the positive responses to the book. But there is another type of moral-shaming that also takes place, which disguises itself cleverly. The book received one sexist review by a male critic, who tried to dismiss it by saying that it contains no mythology or history and is preoccupied with the body.

Can you imagine – a book which contains Scheherazade of the Arabian Nights, Sara-la-Kali of the Romani people, Lilitu and Inanna of ancient Sumeria, the Biblical Salome, Kali in coitus with the corpse of Shiva, the Shivalingam not as penetration but as birth, Kanyakumari as an abandoned bride, Narasimhar placing his bride on his benediction-bloodied lap, rarely heard narratives of women mourners and women honeyhunters… and much more! – being charged with this? The reason is sleazily simple: if one is unable to situate a woman’s body as the site of its own stories and histories, if one’s gaze only clocks her as an object of pleasure – ah, how much else is unseen, unexperienced.

13- I enjoy reading contemporary Indian fiction. I have to admit I haven’t seen women portrayed in the way they are in your book. Do you think India is ready for such women?

We will live and love and die with or without that sanction. We always have. We always will.

14- I feel your stories have a perfect union of content and form.

Content:  Short stories about relationships that do not materialise into something significant or that most people would consider failures.

Form: Stories without a beginning, middle or and end.

We often wonder after a failed relationship. Oh what was that for? Or after reading a story, oh what was that about?

Your stories have used content and form very well to portray your theme.

Example: It’s not necessary they should lead to something like a conventional end to a love story- A marriage.

It could just be about their memories.

Any comments?

What a lovely question. I do feel that The High Priestess Never Marries is a book of love stories that subverts the romance genre. It puts the woman at the centre of the story – her emotions, her personality, her weaknesses, her choices – and the end goal isn’t to attain another person’s partnership, but to build a sense of belonging for herself that isn’t tethered to external variables. The emotional project of independence isn’t something we often discuss. We talk about it in terms of financial liquidity, qualifications, the fulfillment you get from your job, the ability to travel if you choose, the free time you have and how you spend it, the friendships you forge. But I’ve seen over and over again how, given a chance to have that coveted romantic partnership (or frankly, just the social legitimacy of matrimony), people will give all those things up. The investment in selfhood is revealed to have actually been quite shallow, a waystation. It’s very demanding to shake off the deep conditioning that makes us this way. My life has forced me to do so, and I’m now deep enough into my own emotional project to be able to say confidently – another way is possible.

15- Tell us a little about how your ‘traditional’ autograph came about. Your sign with a smooch.

I’ve been signing that way since my first book, Witchcraft, came out in 2008. I love flamboyance and romance (there’s a line in The High Priestess Never Marries: “I like my fights dirty, my vodka neat and my romance anachronistic”), but even more than that, I love connection. Someone told me at my book launch in Chennai that I take way too long to sign each book – a press of lipstick, their name, a quote and sometimes a note, my name and sometimes a little chat or a hug – but it’s a gesture of gratitude and a personal touch. Everything I make, I make with love. You don’t have to like what I make, but you can’t deny the love I put into it.

16- What is your next book?

The Altar Of The Only World, which I mentioned earlier, comes out with HarperCollins India in 2018. It’s a book of poems that began with Sita in solitude, musing deep in the forest. She looks up at the night sky and watched Lucifer’s fall from grace – cast out of heaven because like her, he was too devoted. And in the stirrings in the underbelly of the Earth, there is Inanna – who demanded to be allowed into the underworld, and was stripped of everything before she got there. It’s a book of poems about grace and resurrection.

17- You are a poet and now a fiction writer. Which is easier to sink in for you like one does into a mother’s arms?

Poetic prose is now the domain where my creativity flows.

 18- Tell us a little about your experience writing non-fiction: your column for the New Indian Express- The Venus Flytrap and about how the title of your column came about.

One day, when I was a 22 year old blogger, the then editor-in-chief of The New Indian Express emailed me and asked if I was interested in writing for the new weekend edition they were launching. I came up with the name of the column in large part because of a Tori Amos quote: “I use innocence in my demeanor like a venus flytrap”. The name has grown with me, as has the column. I’m no longer an ingénue and I no longer plead innocence. I’m not afraid of my own bite. It has been a real gift to be able to write a newspaper column. The first installment ran from 2008 to 2011, when that supplement closed. Then, in 2015 I bumped into one of my former editors, who had also rejoined the paper, and she was revamping the Chennai city supplement, and asked if I wanted to start the column again. Of course I did!

I actually think more about my newspaper readers than I do about the ones who pick up my poetry or fiction while in the process of writing to them. Yes, to them and not for them. This is because with poetry and fiction, I know that whatever the ultimate response is, my words are in their hands because they sought them out. Not always so for a newspaper – a person may be flipping pages at the dentist’s office, or may be looking for the movie listings, or may be interested in the sports section. How do I reach that reader whose eye falls on my column? How do I make the three minutes they spend with me worth their while? What can I do with the platform that will help make the world a better place: whether that’s through a sociopolitical statement I’m making that makes them think, or through an anecdote I’m sharing that moves them in some way?

19- There is a sense of culture in each story in the collection- folklore, tamil words etc. Do you see the freedom to own your romantic relationships different from Indian culture?

I have often heard this line: This is not part of our culture.

Be it any lifestyle choice- dating or drinking. I feel you have weaved the essence of what we inherit and imbibe as humans very well here. Any comments?

We totally misunderstand what culture is, because it’s actually an evolving thing – neither monolithic nor stuck in the past. I think Tamil culture today is Tamil cinema, to be honest. It’s misogynistic to the bone, often incoherent, suffers an inferiority complex but damn aren’t those songs beautiful. Indian culture on the whole, on the meanwhile, has been taken over by the Hindutva juggernaut, and we’re all getting crushed under it. Are these things to be proud of? Or here’s a better question: why are people proud of these things?

So I don’t want to hark back to any kind of nostalgia about what culture is. I don’t want to talk about Sangam poetry or the Khajuraho sculptures or all the sexing and partying in mythology as a means of proving my point. Those are some cultural artifacts. They live on in many ways, but they live alongside what is in the present. So if people say dating or drinking are not a part of Indian culture, yet so many Indian people do both, then I can only surmise this: lying about it, being hypocritical about it, that certainly is a part of our current cultural milieu. Those are the values actually being encouraged. To connect culture to politics: not integrity or plurality, but hatred and dishonesty.

20- A Tamil Brahmin friend told me that in a traditional Tamil Hindu Brahmin wedding when the girl is given to the boy. It is said that ‘this girl is donated to you. This is the biggest donation ever.’ And that a girl is supposed to give up worshiping the Gods she used to worship before marriage and now be loyal to the Gods her husband worships. For me, this seemed like a whole different level of giving up your name after marriage.

Correct me if I’m wrong. What’s your view on it?

Wedding customs are very problematic in many cultures, because marriage itself in an inherently patriarchal idea. In so many cultures, fathers give away brides (as if they are property), women are made to wear markers like nuptial chains and toe-rings to indicate their unavailability, women are made to vow to “obey”, etc. Feminists can challenge these rituals on a simple level, by refusing to participate or improvising them. For instance, I have worn both metti (nuptial toe-rings) and sindoor at the parting of my hair, traditional wedding markers, despite never having married, just because I like the way they look – and I’ve shocked many people by doing so. (I’ve also never married, and I’ve shocked many people by doing so too.)

But your question allows me to propose a much deeper solution, which is ultimately the only one. Indian marriage functions essentially for the sake of caste endogamy, which is why Indian feminism has not gone as far as it can. Which is to say: if women who have the privilege of not giving up caste as a personal identifier choose not to do, their feminism is not intersectional and therefore suspect. There is a clear political distinction between – just to use your example – a woman who identifies as Brahmin versus a woman who is from a Brahmin background. There has been some interesting new scholarship on the fact that upper caste feminists routinely centre gender-based caste discourse on what happens to women of, or in, other backgrounds as a means of obfuscating the fact that Brahminical patriarchy is controlled by their own kith and kin, who do not need to engage in literal violence in order to perpetuate and benefit from it. I’ve personally experienced how calling out the use of caste markers “instead of” talking about violence between castes far lower on the hierarchy invites their tone policing. So here’s a suggestion: want to truly shake up sexist marital customs? Marry outside the caste you were born in!

21- In this video interview you mention different forms of love- absent love,  requited love, love lost, love demanded, love envisioned, love unforeseen, challenging love, quiet love, ancestral love, the love of the world itself, both given and received…

This categorizing of love left me speechless. How do you think it is easy for you to distinguish one from another? Experience?

The distinguishing actually comes from acknowledgement of their ultimate union. Love is love is love is love. I think what differentiates one kind from another is circumstantial, and what determines its evolution from those circumstances (its consequences, if you will) is action. We call it “choice” but it’s not always conscious. How do we choose to act in the presence of love, how do we choose to act in its absence? These are the things that make us who we are.

22- You also mention in the interview that Frida Kahlo is your inspiration. I love her self-portraits. The first story in your collection is titled ‘Self-portrait without mythology’. Most of your stories in the collection feel like a conscious recording of people met, conversations had, memories shared, habits imbibed etc. overall forming the person, the protagonist herself. Body, soul and mind.Any comments?

I’ve loved Frida Kahlo a long, long time. She kissed her love letters, you know, and I kiss my books goodbye as they say hello to their readers. I think there are many things I do because I was influenced by her from my teens onward, and the reason she had that effect on me was because I identified both with her flamboyance and her perseverance.

I titled the first story as “Self-Portrait Without Mythology” because telling the truth of who we are, telling our own stories to ourselves and claiming them, is the vital first step of that emotional project we talked about earlier. “Mythology” here means something that is unlikely to be factual, and is only symbolic. In this vignette, a young woman considers the facts of her life, what has filled it and how she fills it, and holds the wisdom she knows close. Among these facts is the unknown but foreseen, the ethos and encapsulation of all of her life still to come.

You could say this piece sets the core that unites all the characters the book contains.

23- Any advice to young aspiring women writers in India and the diaspora?

Be brave and be kind, for it will imbue all you do with grace. If you cannot strike a balance between the two, you are failing at one or both, so check yourself. And read – my goodness, this cannot be said enough. Read so much that you don’t even see the point of writing your own books. And then, if words still wake you up in the night demanding to be inked, do it. That’s the only way you’ll say something true.

I’d say that advice was meant for everyone, not just women. But here’s something specifically for women – eschew all legacy except this one: you come from a long line of illiterates. You are among the first few generations who can perform this miracle: turning thought to word to script. Forget everything else if you must, but not this. It will guide you and all you do.

* * *

You can buy her book here

Interview 6- Kaushik Barua

Interview 6- Kaushik Barua


He is the winner of the Sahitya Akademi Yuva Puraskar award for his first book, Windhorse (HarperCollins India, 2013).

This interview will mostly cover his second book, No Direction Rome (HarperCollins India, 2015) and his short story ‘So far away from home (North East Review, 2015).


Hello Krantik, I mean Kaushik. (Pun intended)

I have just re-read your book ‘No Direction Rome’. It reads like a literary thriller and satire. Can’t wait to begin the interview!

About your books

  1. Your first book ‘Windhorse’ won you the ‘Sahitya Akademi Yuva Puraskar 2014’. How did the book/award change you?

I like to believe the award didn’t change me. That my writing holds enough satisfaction and terror for me to not depend on external validation or criticism. But then I would be inflating the significance of my writing, even for myself. 

I only see the change when it is brought to my attention. When in response to a question about the award, I can indulge in such convoluted and contradictory arguments.  

I am glad that the award, especially received for Windhorse, brought some attention to the story of the resistance that inspired Windhorse (and for which I can take no credit). 

There, you have it: I’ve already written a few paragraphs contemplating or belittling or denying the influence of the award on my life. That probably says something I can’t deny. 

More about the book in the following questions.

  1. You haven’t formally studied literature. Tell us how you managed a great debut with Harper Collins (for the benefit of ever hungry writers’ souls).

I was lucky to receive a book contract with very little effort. And lucky that Karthika, who was then editor in chief of HarperCollins, spotted the potential of the story.

I never formally studied literature.All of us greedy readers are students of literature. And I think not formally studying literature helps one flirt with different genres or styles, without being burdened by their historical significance. 

  1. ‘No Direction Rome’ is different in tone/theme and many other aspects in comparison to your first book. Was switching styles easy?

I didn’t find it as difficult as one would imagine.  I live multiple lives (like so many of us, so I wouldn’t lay claim to a uniquely diverse set of experiences): an Assamese who grew up in 1980s Guwahati, forever stained by the indifference of a larger nation state, an economics student (and wannabe researcher- I can no longer claim to be an economist, but still follow most major debates in the subject, especially debates happening at the intersection with other subjects), a relatively privileged international professional (insanely privileged in the broader context of global inequity), a development professional with the good fortune to travel to many different countries, spending long periods in villages to implement rural development projects, and meet people from fantastically different backgrounds.

I don’t consciously choose from different genres (again helped by the fact that I have no great regard for such classifications). I try to pick and choose words, scenes, characters, cadences or conversations from the different chambers in my life. And of course from different books or movies. 

  1. How long did it take you to write NDR and were you apprehensive of the response?

It took me about half a year: it’s a slim novel with emphasis on the voice and tone more than the plot or characterization. I wanted to experiment with a new voice. In taking that risk, I was exposing myself to some criticism.  That’s okay: like a coward, I have many different lives as possible retreats. 

  1. I enjoyed the satirical tone of the book. Were you worried about the backlash from readers who lack a sense of humour?

I definitely wasn’t worried enough not to try it. 

  1. Krantik is an atheist. Are you?

I am. However, I recognize that being an atheist is also a matter of belief and vulnerable to some of the same biases and prejudices that atheists complacently believe afflict only people of faith. 

  1. How was the book received in Rome? Has NDR been published outside India?

It hasn’t been published in Rome or Italy yet. The New York based publishing house, Permanent Press, will publish it in the US in late 2017. I hear they have a discerning set of editors and a small solid literary list (publishing only about 15 titles a year). I’m hopeful that it’ll do well, but my hope is tempered by the vagaries of the publishing industry.


  1. What do you have to say about the ‘irreverent’ tone of the book? Do you consider yourself a courageous writer?

No Direction Rome has a truly irreverent tone (and I believe reveals much about our indifferent generation). I’m not sure if that alone comprises courage. If I may use such a grandiose term, I would think Windhorse required far more courage, the exercise of which is often more tedious and dogged than one dramatic gesture. The novel needed years and years of back breaking research: reading archives, collecting video footage, gathering oral histories, and thinking over months about the motivation of a small group of rebels who waged an impossible war, whose lives were radically different from mine. But again, I did the whole exercise because I was fascinated, to the point of obsession, with the Tibetan refugee community and their struggles.  

  1. The prose is experimental. Digression is a pattern in the book. Any comments?

I probably should have mentioned the ‘research’ and preparation earlier. NDR also required extensive research, participatory in this case. I spent hundreds of hours on various online forums and sites, studying (only intuitively, not using any fancy analytical tools) how conversations progress online. Also how we interact with the online world: forever switching tabs, following our thoughts along maddening tangents, diving into a rabbit hole of endless images and ideas and memes. I wanted to mimic that sense of constant digression, the inability to hold a thought for longer than it takes to click on the next tab, the disconnectedness (the vague anaesthetic distaste we feel with ourselves after hours spent online), the extreme solipsism and the painful self-awareness of the first generation to live their lives online. It’s obviously not the perfect recipe for a coherent narrative (and I imagine could be frustrating for some readers), but I selfishly enjoyed the process. 

  1. How did the themes of both your books come to you?

Windhorse came to me in a bookstore (dramatic,also true) in Dharamshala, when I stumbled upon a real life ex-resistance fighter: Lhasang Tsering. He introduced me to his colleagues and friends from the erstwhile resistance and they were all unbelievably generous with their tales (I told them from the beginning that I wanted to fictionalize the story). 

The voice for No Direction Rome came from a few disparate sources: the tiredness that followed Windhorse, some friends’ long term experiments with various intoxicants, another friend’s failed suicide attempt (the friend is now thankfully reconciled to the failure) and, most of all, time spent online (all those hours I thought were wasted). 

  1. You work in Rome. Is there an expat writer’s circle there?

Not at the moment. We had a group for a year or two. A few people moved and the group withered. I would really like a group of fellow writers to critique my work regularly. I will have to do without such regular peer review for some time, I suspect. 

  1. I like the commentary of the social media world we are part of, in the book. Didn’t you worry it would sound banal?

Where it sounds banal, hopefully it succeeds in reflecting the banality of the online world. Now I realize that is also expecting a lot from the text: reflecting and internalizing the banality of the world, not just in theme but also in the voice, while at the same time slyly hinting to the reader that Krantik, the character, is an overenthusiastic observer of the banality and not a participant.   

  1. Why the Colloseum? Isn’t it a cliché like Eiffel Tower-Paris?

I cross the Colosseum every day on my way to work. I decided, on a whim, that I wanted it to feature prominently in my next book. Writing pays so little, the least we can do is feed our whims. 

  1. Didn’t you worry that using ‘shit’ a lot in the book is risky. Isn’t the humour easily exhausted in it?

There is a rich history of scatological humour in books. But the scatology in NDR came from a different starting point. I wanted to portray a slightly exaggerated or grotesque version of the all-revealing, all publicising nature of social media. Taken to its extreme (not really an extreme, just a shifting of the norms), Krantik sharing over-specific details on bowel movements is not so surprising. In fact, people share far more ghastly emotional details online. Yes, the humour could be exhausted easily: as is the case with any specific kind of humour. I found it childishly and constantly amusing (perhaps I should be worried about that). 

  1. There is no reason or genesis to show why Krantik is a cynic in the book. Has it always been his nature or was there a turning point?

If there was a turning point, I have left it outside the book. I think we always demand some evolution or satisfying arc from our tales. Sometimes things just are or remain as they are: not going anywhere, onlymoving in circles or in madly tightening whirls around a central question or an absence. I wanted to capture a kind of stasis instead of a satisfying dynamism. 

  1. You have repeatedly used celebrity names in the book. What was the intention behind it other than to highlightthe obvious worship culture we seem to project towards them?

The world of social media is also a world where we could all possibly be fleeting Warholian celebrities. And conversely, celebrities are demystified. Surprisingly, this easy access to celebrities (the terms of the access probably determined by some smart social media strategies) only seems to enhance their divinity. I wanted to capture some of the current fluidity around the nature of celebrity.


About your short story ‘ So far away from me’

It is a short story about ‘cyber voyuerism’, ‘heartbreak’ and more.

  1. How did you conceive the story?

From the idea that we are all constantly being violated by voyeurs and stalkers in the online world but, in a twisted way, we have all provided consent to the institutions and systems that enable this voyeurism (I’m sure no one is naïve enough to believe there is complete privacy in the world of social media).

  1. Your work is very contemporary in a way because of the commentary on how our lives revolve around social media. Did this happen organically or did you consciously decide to write in such a way?

It has evolved over the last few years, especially this obsession with the anonymous urban angst of our times. But my writing is a capricious beast, and might change again.

  1. How did readers receive it?

I think it changed their lives! Of course, I’m joking. I don’t really know. I got a more than perfunctory or expected response in terms of social media likes, messages and other forms of engagement, and they helped to create the satisfying feeling or illusion that some people who read the story liked it a lot.

I know you’re a committed and discerning reader. So the fact that the story resonated with you is heartening.




  1. Any advice to young ambitious writers?

I would suggest she should abandon one of the two: ambition or writing. If she abandons writing, I have no advice worth offering. If she persists with writing, I have some very questionable advice: read every day, read across genres, read people if a book is not available, write as often as possible. 

  1. Books that changed you?

There were no a-ha revelatory books, but a slow osmosis over time and through many books. There were many that influenced both my views on the world and my writing. Here’s a quick off-the-cuff list of books (this may change completely when you ask me the next time) that influenced me, and what I found most striking:

-Most of Graham Greene: The cinematic quality of his writing, empathy for a wide range of characters and people (sometimes coloured with healthy doses of ‘benevolent colonialism’), investigating the nature of doubt and faith in everyday people.

-David Foster Wallace (especially his essays): Effortlessly moulding language, heightened self-awareness and awareness of his generation (also ours?)

-Chuck Palahniuk: the breakneck pace, the ability to capture a mood in a fleeting image

-MamoniRaisomGoswami: Tales from home that brought newness to familiar scenes

-Cormac McCarthy: Painting the apocalypse with such terror and hope

-Sylvia Plath: Brutal honesty, 20-20 vision at the edge of the abyss

-Neil Gaiman: Breaking rules, jumping across genres, having bucket-loads of fun (or so it seems)

-Junot Diaz (Brief Wondrous Life of Oscar Wao) and recently Paul Beatty (The Sellout): Exploring histories and injustices with a sharp eye and rousing humour

  1. What is your take on the very famous Italian writer Elena Ferrante and the whole hype about her identity?

I have devoured her books since I discovered them (a very belated discovery- I only started a year ago when a dear friend recommended her work) and enjoyed how she managed to cover both the grand sweep of recent history and the texture of intimacy.

I think she has the right to her privacy and anonymity, a right many more of us may wish for soon. I didn’t read the article that revealed her identity, and don’t wish to. If she wants to interact with a reader within the margins of her story, I’m totally fine with meeting her only through her books and her chosen name. 

  1. What’s next? A short story collection? Poetry?

I’ve just had the horrifically cathartic experience of abandoning a book I was working on.  After about 50,000 words, enough to know the voice is not working entirely to my satisfaction, also enough for me to have become attached to the novel. It was a brutal murder in the tradition of killing one’s darlings. Once I recover, I’m open to trying different forms or stories.

  1. You have written non-fiction before. Do you prefer fiction?

I currently prefer fiction. I know, especially in our times, there is immense scope for story telling through non-fiction as well. Also, given the bewildering ways in which the world is changing, for example the fact that people with varying political views basically live in alternate realities, I think one could even explore new genres in non-fiction. 

  1. The question you hate the most.

Why do you write?

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Thank you!

 You can buy his books here:

No Direction Rome