A new normal has replaced the established order. Distant relationships, virtual work, blurred futures and measuring our way back to this reality occupy us every day. Negotiating these changes, Sanil Sachar’s And… Perhaps Love will work as your companion. It is a silent observer for when you want to read it, and a patient listener when you wish to communicate with it. Capturing the ideas of love, darkness and the attempt to find balance in life, this is a book for now and forever.
Today, we have with us Sanil Sachar, the author of this poetic expedition into the realms of love, sharing with us how the book came into being.
By Sanil Sachar
Love is often romanticised and put on a pedestal
When we think of love, stereotypically, we think of songs with background dancers, serenaded surrounding, flowers blooming, and what not! Why not think of love in ways that don’t put such immense pressure on it? How about love as the reason to feel dismay? Love as the tool to success and failure? Love is more than just a feeling, it is a way of life.
Love is associated almost a hundred percent with people
And…Perhaps Love || Sanil Sachar
When we think of love, we subconsciously associate people with it. When we think of passion, we think of an endeavour. When we think of places, we think of escape. Now, the passion to do something and the feeling of calmness and escape are, in truth, enhanced by the same parts of our body that fuel the feeling of love. So, the next time when someone says love, weigh your options because they all might hold the same weight. In fact, if one diminishes, it directly impacts the other, so hold on to love, in all forms.
Love is given too much responsibility
What is love? Energy. What does energy do? It gets passed on. Who passes on this energy? We, the humans, do. What happens when energy isn’t passed on correctly? Well, love is not passed on. So, who is to blame? Love or us, the people? You see, we make love responsible for much more than it is capable of on its own. It is given too much responsibility, just so we can pass ours onto it. In truth, we aren’t let down by love, we let love down.
To prevent this from happening, we need to acknowledge love in all its avatars.
Books can speak too and they have a lot to share
When we read, we are inspired to speak, write and communicate. To make this experience come to life, it was critical to write in a manner that is uncommon. A book with spaces, in order to make it seem less naked, needed words that were left undone, unless it inspired the reader to fill the remaining spaces with their experiences. Utilising all forms of literature, with a sequencing leading to several endings to the book, helped establish that books can speak too. They have a lot to share and the best bit about them is, we can say anything we want to them and they don’t tell anyone.
Researched the hardest subject on earth, love
I believe And… Perhaps Love when read in the correct permutation by each reader is biographical in nature, simply because hundreds of minds led to what is penned within. Over the course of my writing, I have researched subjects through facts, figures and here, the research is inspired by feelings and facts of lives that I met over a conversation shared between strangers, or those that are now strangers.
What drove you to write children’s fiction in particular?
I have always believed that stories are a great tool for disseminating ideas. When you read a good book, the story grips you and you sponge in the concepts the writer weaves in. Children are receptive, they are open to ideas. Adults are hardened versions of children and stories – as a means for influencing the reader– grow less effective. This is why I find writing for children far more rewarding.
Apart from this I empathise with children and I enjoy spending time with them. By no means can I call myself young, yet I like to believe that there are a lot of childlike qualities in me.
Ladakh Adventure || Deepak Dalal
Your books may fall under the broad genre of ‘children’s fiction’, but the themes you highlight deserve urgent attention. What attracted you to these fragile ecosystems?
The threat to the well-being of our planet is very real. Across land, freshwater and the oceans, human activities are forcing species populations and natural systems to the edge.There have been 5 mass extinction events in the 4.5 billion years that the earth has existed. Each of them due to natural causes. It is the current belief that we are in the midst of the sixth mass extinction and this one is entirely due to humans and our activities.
Most children live in cities today, entirely disconnected from the natural world. Through stories set in wilderness destinations I try to connect children with wildlife, forests and the great beauty of our planet. My hope is that if at a young age they can be drawn to the natural world, they will help in saving what remains of it.
Ranthambore Adventure || Deepak Dalal
How would you describe the wildlife conservation efforts in India at the moment?
We have some of the best wildlife scientists and conservationists in the world. Several species have been brought back from the brink through their efforts. These include animals like the tiger, the snow leopard, the rhinoceros, and birds like vultures and the amur falcon. But it isn’t all hunky dory. In spite of our best efforts, we are about to lose the Indian bustard and with the shrinking of wildlife habitats many more creatures will disappear. The loss of forests and wildlife isn’t for lack of effort on the part of conservationists. Rather it is the absence of political will and the apathy of our public – for most of whom wildlife is inconsequential – that is at the root of the problem.
You describe the moments of encounters between human beings and animals with great detail and intimacy. Are these based on your own experiences with animals?
I spend a lot of time researching my books. I travel to the destination where the story is set and hook up with wildlife conservationists who are studying animals there. This could be people who are studying tigers, or snow leopards, or marine scientists researching oceanic creatures.These researchers take me into wilderness areas where others can’t visit and it is my experiences with them that provide the backbone to my stories and help me describe animals and landscapes with clarity and detail.
In this moment, do you think it is possible for human beings and animals to really live in harmony without impinging on each other’s spaces?
One can’t do away with human-animal conflict. It will always exist. But we can significantly reduce the conflict. Today wildlife exists in isolated forests, most of them small and inadequate for species like elephants that roam in search of food. Wildlife scientists are campaigning for building corridors (stretches of jungle) that will connect the forests and allow animals to move unhindered from one forest to another. These corridors are vital for reducing tragic encounters between animals and humans.
‘We often think of the serious artist as one who is difficult or contrary, who struggles in anonymity. Ravi Shankar does not fit this description: he was a charismatic extrovert who earned and loved the limelight, a polished performer who brought a new professionalism to Indian music. There was something irresistible about him, as millions of fans (and dozens of lovers) would attest.’
– Oliver Craske
Oliver Craske’s captivating biography Indian Sun: The Life and Music of Ravi Shankar is a labour of love. Born out of over 130 new interviews and unparalleled research and access into the legendary musician’s life and works, this is the first biography of Pt. Ravi Shankar. It immortalises an already unforgettable man by transposing his mesmerizing body of work and the rhythms of his life into the written word. Going a step further,Craske has also curated a playlist of Pt. Ravi Shankar’s work, a combination of short and long pieces that enhance our insight into the maestro through the medium of his genius – music. Here areCraske’s notes on some of these tracks, explaining in his own words why he chose these particular pieces:
An Introduction to Indian Music [from Sounds of India (1957)]
‘A short spoken introduction, with demonstrations on sitar, tanpura and tabla. Recorded on Ravi’s first US album. Gives us a sense of how earnestly and engagingly he played the role of pioneer, educating his new audiences but trusting them to listen with open minds. (4:08)’
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Dhun Kafi [from In London (1962)]
‘Kafi is a springtime raga, associated with the Holi festival and the romance between the gods Krishna and Radha, a favourite theme of Ravi’s. Here he plays it in thelight classical thumri style, with tabla accompaniment by Kanai Lal. This recording, one of Ravi’s own favourites, is the likely inspiration for George Harrison’s Beatles song “Love You To” (on Revolver), which was based on the same raga and recorded shortly before the two met in 1966. Both tracks open with an arpeggio on the sitar’s sympathetic strings, and the melodic resemblance is closest between 2:30 and 3:05 here. (12:38)’
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Tabla Dhwani [from Portrait of Genius (1965)]
‘This album Portrait of Genius is a fine example of how Ravi raised the profile of percussionists, previously the poor relations of Indian classical music. Under Ravi’s direction, “Tabla-Dhwani” features three tabla players, the masterful AllaRakha taking the lead and improvising freely, with flute accompaniment by Paul Horn. Absorbing in its deceptive simplicity. (4:53)’
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Raga Kedara[from The Living Room Sessions, Part 1 (2012)]
‘Aged 91, he recorded his last two albums at home, “fooling around” on sitar along with Tanmoy Bose, latterly his regular touring tabla accompanist. The result was an intimate, close-miked snapshot of his late-period inventiveness, the fruits of a lifetime. His fingers may not have moved quite as adroitly as in his heyday, but this playful rendition of Raga Kedara, from the Grammy-winning first volume, shows how fertile his mind was to the last. (4:47)’
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Dhun [from Ravi Shankar at the Monterey International Pop Festival (1967)]
‘Playing Monterey Pop in 1967 marked the arrival of Indian music into the Western mainstream. Ravi’s three-hour set, accompanied on tabla by AllaRakha, closed with this dhunin one of his own ragas, Pancham Se Gara. It has an emotional crescendo and such an ecstatic climax that when D. A. Pennebaker cut his famous documentary of the festival, he realised that the only place to put this sequence was at the end of the film. Nothing could follow it. (19:41)’
Indian Sun || Oliver Craske
What Ravi Shankar has left behind is inimitable and irreplaceable. Through his magnificent literary homage, Oliver Craske ensures that the genius lives on through the pages of history.
It is not for nothing that Devika Rangachari’s new book is called Queen of Earth; we have been conquered completely by this wonderful historical narrative. Rangachari’s research is urgent and important, and has given us a book that is poignant and inspiring in equal parts. We had a chat with the author and it was delightful.
Since you are a historian by training, was there something specific that led you to choose Prithvimahadevi as the protagonist for Queen of Earth?
Prithvimahadevi and her rule over the Bhaumakara dynasty in the ninth century CE formed part of my post-doctoral research on gender in early medieval Odisha. It was an extension of my doctoral research whose underlying essence was the manner in which women have been made practically invisible in the historical record due to an existing gender bias. The silences pertaining to Prithvimahadevi in the annals of the Bhaumakaras were intriguing given that the records of her family, the Somavamshis, indicate that she held her own over this rival dynasty for a period of time. The content of the inscriptions that she issued also contains clues to her political sagacity and shrewdness.
Most historians, on the other hand, in keeping with the ubiquitous gender bias that governs the writing of history, tend to ignore Prithvimahadevi’s rule or dismiss it in a few grudging sentences, implying that her rule precipitated the downfall of the Bhaumakaras. Her story and the manner in which she has been viewed in later ages formed an immediate and striking parallel with Didda, the protagonist of my earlier work, Queen of Ice, who has been similarly vilified for being a strong and ambitious woman. It was for these reasons that I chose Prithvimahadevi as the protagonist of Queen of Earth. The story of this remarkable woman deserves to be more widely-known.
Gender-sensitivity is such an important qualifier for a genre like historical fiction for instance. What drove you to write these books for children?
The manner in which history is taught in schools only serves to deepen the gender bias that exists in the writing of past narratives. Textbooks continually underline the apparent irrelevance of women to the historical record by only focusing on what clothes or jewellery they wore and being arbitrary in their selection of names to include in the historical sequence. As a result, the overwhelming impression conveyed is of the men always being at the centre-stage of the polity, society and economy in the past, driving all the action and doing the things that mattered, while the women stayed indoors obsessing over what to wear.
This, as a gender historian like me knows, flies in the face of actual evidence. Original sources, such as texts, inscriptions and coins, reveal the palpable—and often powerful— presence that women had in all stages of history and it is very important to acknowledge this if we are to understand the past at all. Gender-sensitive historical fiction would go a long way in correcting this lopsided historical record—and this is the reason I wrote Queen of Ice and Queen of Earth, featuring strong women characters who left a mark on history but who have been virtually erased from it, legitimate parts of their collective past that children would probably never get to know about.
Queen of Earth || Devika Rangachari
Who were your favourite writers growing up?
That is a rather tough question to answer! I read voraciously—anything and everything I could lay my hands on—so I had a very long list of favourite writers when I was growing up. To add to that, my school librarian realised that I was an advanced reader at a very early stage and challenged me with books that were way beyond my age range, so I discovered some wonderful writers through her, too. I loved Enid Blyton, of course, but not her most popular stories, such as her Famous Five series. Instead, I preferred her standalone books, such as The Six Bad Boys, The Family at Red-roofs and The Put-em-rights. I also loved Elinor M. Brent-Dyer’s riveting Chalet School series about a school that started in the Austrian Tyrol and then moved to Guernsey and, subsequently, Switzerland. As I grew older, I added P.G. Wodehouse, Agatha Christie, Georgette Heyer, Mary Stewart and A.J. Cronin to my list of favourites.
What are your 3 desert island reads?
Touch Not the Cat by Mary Stewart, Up the Down Staircase by Bel Kaufman and The Code of the Woosters by P.G. Wodehouse. And a million others that I want to mention!
Do any of your characters resemble people you know in real life?
My early school stories regularly featured characters based on me and my friends. However, as my focus is on historical fiction now, my acquaintance with my characters is only through research. It must be noted, though, that Didda and Prithvimahadevi, the protagonists of my latest books, are very relatable people whose dreams, motives and actions have familiar resonances.
We hear you’re a potato fan. What is your favourite way to eat potatoes– fried, mashed, roasted, something completely different?
Fried, mashed, roasted, boiled, baked—all forms of the potato are delicious—and eminently welcome. Wondering about potato ice-cream but not sure it’s a good idea!
Devika Rangachari
We also hear you’re fond of libraries. Do you have a favourite one, or is there a library you haven’t yet visited and want to?
The British Council Library in Delhi and the Dr. B.C. Roy Memorial Children’s Reading Room and Library, also in Delhi, are my favourites. The place I most want to visit, though, isn’t a library but a museum and visitor centre dedicated to children’s literature—Seven Stories, the National Centre for Children’s Books in Newcastle upon Tyne, England. Not only does it curate its own exhibitions of the best children’s books, including original manuscripts and illustrations, but it also hosts workshops, seminars and author and illustrator visits throughout the year. I think I could live there perfectly well!
Do you have a writing routine? Is there a specific time of the day for example when you are most productive or get the most writing done? Or is your work pattern more flexible?
I am more a reader than a writer, so I could spend the entire day quite happily between the pages of a book. However, deadlines have an unnerving habit of looming, so that is when I write and then usually in the morning for a couple of hours. I do it fairly fast with very few drafts, so the entire process doesn’t take too long. Mine is a rather flexible work pattern!
If you could meet one author, dead or alive, who would you meet and why?
I can’t really choose! I would probably keep an entire day for meeting my favourite authors, scheduling different time slots for them and being in a joyous trance all through. There is so much I want to know from them—their motives for writing particular stories, the manner in which they honed their craft, their favourite writers and so on. If I had to choose, though, I would like to meet P.G. Wodehouse for his masterful blending of humour and language, and Hilary Mantel for her exquisite retellings of history.
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~ We agree with you 100% Devika. Especially about the potatoes. ~
Soulful and uproarious, forceful and tender, Untamed is both an intimate memoir and a galvanizing wake-up call on trusting ourselves.
For many years, Glennon Doyle denied her own discontent. Then, while speaking at a conference, she looked at a woman across the room and fell instantly in love. Three words flooded her mind: There She Is. This was her own voice—the one she had buried beneath decades of numbing addictions, cultural conditioning, and institutional allegiances. Glennon decided to quit abandoning herself and to instead abandon the world’s expectations of her. She quit being good so she could be free. She quit pleasing and started living.
Read on for six life-changing lessons we learnt from Untamed, on finding ourselves, honouring our anger and heartbreak, and unleashing our truest, wildest instincts.
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Embrace sensitivity as an emblem of bravery, as it takes courage to sense and to stand by that response amidst dismissal.
The opposite of sensitive is not brave. It’s not brave to refuse to pay attention, to refuse to notice, to refuse to feel and know and imagine. The opposite of sensitive is insensitive, and that’s no badge of honor…The culture depends on the sensitivity of a few, because nothing can be healed if it’s not sensed first.
Never undermine or under-value the validity of your own desires, feelings and ambitions.
I was wild until I was tamed by shame. Until I started hiding and numbing my feelings for fear of being too much. Until I started deferring to others’ advice instead of trusting my own intuition. Until I became convinced that my imagination was ridiculous and my desires were selfish. Until I surrendered myself to the cages of others’ expectations, cultural mandates, and institutional allegiances.
Pain and the feeling of sorrow are not meant to be avoided, it is meant to be felt-for resurrection and evolution.
I can use pain to become. I am here to keep becoming truer, more beautiful versions of myself again and again forever. To be alive is to be in a perpetual state of revolution. Whether I like it or not, pain is the fuel of revolution. Everything I need to become the woman I’m meant to be next is inside my feelings of now.
Be still and know. When you block out the distractions, and reach within yourself, you find the answers, the meaning already there waiting to be trusted.
It’s my daily reminder that, if I am willing to sit in the stillness with myself, I always know what to do. That the answers are never out there. They are as close as my breath and as steady as my heartbeat. All I have to do is stop flailing, sink below the surface, and feel for the nudge and the gold. Then I have to t rust it, no matter how illogical or scary the next right thing seems.
Untamed || Glennon Doyle
Don’t be afraid to ‘destroy’ your life, because it’s only then that you can begin anew, to rise like as phoenix from the ashes of destruction.
Destruction is essential to construction. If we want to build the new, we must be willing to let the old burn. We must be committed to holding on to nothing but the truth. We must decide that if the truth inside us can burn a belief, a family structure, a business, a religion, an industry— it should have become ashes yesterday.
Sometimes the best way to reclaim your life is to simply cede the need to control, to restrain, yourself
I quit spending my life trying to control myself and began to trust myself. We only control what we don’t trust. We can either control ourselves or love ourselves, but we can’t do both. Love is the opposite of control. Love demands trust.
Now that we know that Phoenicians probably sailed around the Cape of Good Hope 2000 years before Vasco da Gama, we’re here to find out more about the man who gave us that amazing fact and others like them! Get to know writer Sanjeev Sanyal a little better.
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1) He was one of the first Indians to get a paragliding pilot license. He was part of the first batch of Indians in 1990 to earn a pilot’s license after undergoing training in Himachal Pradesh. Since there was no Indian certification body at that time, the license was given by the British Association of Paragliding Clubs.
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2) He also has an Instructor grade certification for kayaking and canoeing from way back in 1991. He was one of the earliest certified instructors of the Indian Kayaking and Canoeing Association.
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3) He is a martial arts black belt (Taekwondo) which he earned in 2008.
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4) He is currently researching a book on the contributions of armed Revolutionaries in India’s freedom struggle
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5) He collects old maps of India, Indian cities and of the Indian Ocean.
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Sanjeev Sanyal has given us a fascinating maritime history of the Indian Ocean, with the most beautiful illustrations.
The Incredible History of the Indian Ocean || Sanjeev Sanyal
Was there a specific ah-ha moment or an incident that made you realize how necessary a book like this was?
Oh there were hundreds. Between the two co-authors, we have met several hundred start-up founders, and they have all been looking for that elusive manna from heaven, namely funding. But we were surprised at how clueless most of them were about how to go about it. Many of them had no entry barrier – something that investors insist on. Most of them did not have scalable businesses, without which investors would simply pass. In fact many of them had no real business plan – they were simply executing.
We used to advise mentor these founders on all the above issues. And then it hit us. Why not write a book about it. And reach not hundreds, but thousands of start-up founders. And that’s where out book was born.
Co-authoring a book comes with its own asset of challenges but the authorial voice in this is so consistent. How did you manage that?
Right from the beginning, we realized that the style of writing had to be consistent right through. Both the authors provided content – and each one clearly had his own strengths. Both wrote drafts. There were the usual fist fights over some of the material – ending amicably over beer, of course. But the final version was penned by one of us – with both the authors concurring.
Is there a secret sauce for a successful start-up?
Yes there is, but its not secret. It’s a framework that the authors have developed after studying hundreds of start-ups – both successes and failures. And its called PERSISTENT. To explain, P stands for PROBLEM. In other words, are you solving a problem for your customer? E refers to EARNINGS MODEL, or simply, how will you make money? R is the RISKS associated with the business. S stands for SIZE OF THE MARKET. I refers to INNOVATION, which your product or solution must have. The second S implies SCALABILITY. After all, even if you are operating in a gigantic market, you will not get anywhere unless your business is scalable. T refers to the TEAM – starting with the founders of course. E stands for ENTRY BARRIER, or how the business will keep competitors at bay. N refers to NICHE – if you are in a large, crowded market, identify a non-crowded NICHE within it. And the final T stands for TRACTION. You many have everything else, but are you actually getting customers and rupees?
We have found that successful start-ups are PERSISTENT, whereas unsuccessful ones lose out on one or more of the PERSISTENT parameters. And that’s what we have focused on in our book.
Funding Your Startup || Dhruv Nath, Sushanto Mitra
From an investor’s perspectives which sectors do you think would be the best to invest in right now?
We would like to divide sectors into three categories. Those which have been negatively impacted by Covid – such as hotels, restaurants, gyms, movie halls, taxi and bus services, travel, etc. These are a clear no-no for investors right now. After all, why would you invest in such uncertain times?
Then there are those sectors which have not been impacted, either negatively or positively – such as FMCG and agritech. These are evergreen sectors, and will remain so. In fact, Lead Angels has been investing actively in these sectors, even during the pandemic.
Finally, we have the star sectors – those that have been impacted positively by Covid. Sectors that have boomed because people were forced to stay at home and change their lifestyle. On-line gaming is one. After all, what do you do, if you have to sit at home 24×7? You play games, don’t you? Another area is On-line education, all the way from little kids to adults. In fact, several investments that Lead Angels has made in these sectors over the past couple of years, have just skyrocketed beyond our own expectations. And of course there is health. People are getting more and more concerned about health, and that is leading to a surge in businesses in health-tech. As well as businesses which are into organic or natural products. You see, eat healthy, be healthy, and invest healthy is the mantra now.
What kind of impact will the pandemic have on startups?
Apart from the sectoral shifts that we have spoken about earlier, there are two significant impacts. First of all, founders have begun to cut costs dramatically – simply to survive in a low-business environment. Salaries have been reduced, plush offices are being vacated and business are shifting to smaller, lower cost environments. Work from home is becoming a bit of a norm. We believe some of these trends will be permanent – such as the trend in increasing work from home.
The second major impact is that Covid has separated the men from the boys. Here we mean the founders of course. There are those who have simply thrown up their hands and are waiting for God – or the appropriate vaccine – to help. But there are those who are fighting. Those who have pivoted their business model, either temporarily or permanently, to stay afloat in this pandemic. Interestingly, this has given investors a great way to separate out the investible companies from the rest. Namely, look for founders who are fighters. Those who have figured out ways to survive. They are the winners of the future, and they deserve your money, dear investor.
Have you observed some startups that have become successful without funding?
Sure. Unfortunately, funding has become a kind of “In-thing”. You have to get funding because your peers have got it. How else will you hold a glass of beer at the next party and talk nonchalantly about Series A and Series B? Funds should be raised because you need them, and not because it is fashionable to do so. Two highly successful companies mentioned in the book – InfoEdge and IndiaMart – started off over twenty years ago and steadfastly refused to raise funding, except when it was really necessary. They are now both market leaders in their respective fields. Among the recent ones, we have an interesting company called Gadgetrestore, which is into the business of repairing and refurbishing mobile phones. They started just over a year ago, never raised funding, are profitable, and are growing. What more can you ask for? Remember, funding is to be taken when you need it, not when your friend has taken it!
Saeeda Bano was the first woman in India to work as a radio newsreader, known then and still as the doyenne of Urdu broadcasting. Over her unconventional and courageous life, she walked out of a suffocating marriage, witnessed the violence of Partition, lost her son for a night in a refugee camp, ate toast with Nehru and fell in love with a married man who would, in the course of their twenty-five-year relationship, become the Mayor of Delhi. Though she was born into privilege in Bhopal-the only Indian state to be ruled by women for four successive generations-her determination, independence and frankness make this a remarkable memoir and a crucial disruption in India’s understanding of her own past.
Read below an interview with the translator of the book, Shahana Raza:
Q: The seed to translate this book was sown back in the day when your grandmother got her friend to read and record it on to audio cassettes for you. Could you shed some light on this incident/process?
My grandmother wrote the book in Urdu. When I told her, I can’t read or translate it as she has written it in a language I can understand well but can’t read, she asked her friend to narrate and record the entire book on to analog audio cassettes. I had no clue she was doing this! One fine day, 8 neatly marked cassettes were handed to me just as I was leaving for America. The tapes travelled with me – from India to the US and are finally here with me in Dubai. When I decided to translate Bibi’s book, (we all called Saeeda Bano, Bibi) I found Syeda Shan who read the entire book out as I transcribed it word for word. Not only was her Urdu fabulous she also had a huge lughat –Urdu dictionary. Then Urdu
litterateur, translator and writer Zakia Zaheer combed through the entire translation with me to ensure my writing had done justice to the original. My grandmother’s Urdu vocabulary was highly erudite.
Q: Translation requires a certain degree of transparency. How did you manage to indulge and also be detached, especially when this book must have rekindled old memories of your grandmother?
Initially I felt awkward, especially the chapters after her marriage when one realizes her experiences as a wife are not entirely joyful! At this point Bibi quotes Mirza Ghalib,
‘Phir waza e ahteyat se …. rukne laga hai dum….’
I am so consumed with the anxiety of being discreet, I feel suffocated
I realized this was my grandfather she was talking about! Though he passed away before I was born, everyone who knew him said he was a kind man and a loving father. So, that was not easy. But I strongly believe, people have several sides to their personality, we are not unidimensional creatures. I mean, for example, I may be a better daughter and mother, than a wife or a sister … we can’t judge a person from the perspective of one relationship. I kept this focus while translating. I saw both her (and him) for who they were – a young couple unable to navigate the complex world of marriage, not from the point of view of my relationship with them. This helped me to flesh out the various shades of emotions Bibi has expressed so beautifully in her memoir.
Q: Is there any section from the book that you look back to in times of uncertainty/adversity?
Several actually, but the main one is the determination with which she leaves behind the life of comfort and familiarity she was used to in Lucknow and comes to Delhi in August 1947, to start working in a male dominated industry as the first woman news reader for AIR’s Urdu service. She chooses to live in a single woman’s hostel (in YWCA) instead of with family friends, experiences communal riots, endures financial hardships and despite tackling occasional bouts of self-doubt, never ever looks back or gives me. I admire the fact that she did what she did without making an apology of the truth, curtailing her innate spirit or bowing down to societal expectations. I am quite fascinated that she could sit and write whatever she faced in life, this candidly.
Q: Which people, other than your grandmother, inspired you while you were growing up?
Most definitely my mother Naushaba. She was quite something herself! Extremely gutsy, loving, fiery, bold, great sense of humour, she could zap boredom out of any experience and make it memorable – from a torturously bumpy rickshaw ride to a formal Parent-Teacher meet. I remember her telling my teachers that they should let me focus on my extra-curricular activities instead of pressurizing me to get better grades! Like all dynamic women she too had several sides to her personality. She is no more, but my aunts and my Mum’s close friends inspire me in many ways to keep focus but not miss the wood for the trees. These ladies have carved strong identities for themselves despite all odds, we have to accept them for the women they are, not just as mothers, aunts and grandmothers.
Get your copy here to get to know about the life and times of Saeeda Bano
Dr Kashyap Patel is a renowned oncologist in the US who works with terminally ill cancer patients. In Between Life and Death, through him, we meet Harry, who, after a life full of adventure, is diagnosed with terminal lung cancer. As he stares death in the face, Harry leans on Dr Patel, an expert in understanding the process of death and dying. His questions and fears are addressed through the stories of many other patients that Dr Patel has treated-from the young and vivacious to those who had already lived full lives, from patients who could barely afford their rent to those who had been wildly successful. What ties these stories together is the single thread of the lessons Harry learns along the way, lessons that ultimately enable him to plan his own exit from the world gracefully-dying without fear.
We caught up with Dr Patel on his motivation behind turning to writing, his changed perspective on life as a result of his professional experiences and the advice he’d give to terminally-ill patients. Keep reading to find out his answers!
Question:From a renowned oncologist in the US to a now published writer of a book, this seems like quite a journey to undertake. Please share with us what drove you to write this book?
I have lived in three different continents and treated cancer patients in multiple cities from Mumbai
to Manchester and then onwards to New York, US. My purpose of writing this book is to prompt
communal and personal preparation for a profound human experience that is unavoidable,
yet—paradoxically—too seldom a subject of open conversation. I personally feel that humans will
have more meaningful and comfortable experiences of death if we do not treat death as a taboo
subject, or an event to be delayed through extreme, often painful measures that yield meager
improvement in longevity or quality of life. I, therefore, took on this arduous journey to share my
own experience of learning and teaching my patients about the process of death and dying so that
they can have a meaningful life until their scheduled departure from this planet into a blissful
infinity.
Question: Has your job as an oncologist changed your perspective on life? Do you think coming in contact with terminally-ill patients every day has made you value life more?
Indeed my professional role as an oncologist and walking against the horizon of facing death and
finitude every single day, week, month and year for almost three decades has enabled me to peep
through my own mortality. More than half of the patients I take on to treat for cancer are not likely to
live beyond a few months to years. I have come to value life a whole lot more every second as I could
be one of them, with our roles reversed, having to prepare for my own journey.
Question:How difficult was it for you personally to face a terminally-ill friend and be their doctor? In what ways was it different from treating a stranger?
I have a difficult time detaching and distinguishing between professional and personal relationships
when it comes to treating cancer patients. I tend to draw very close to my patients and eventually
they tend to become my own family members. Treating all cancer patients as if they were all my
family members allows me to put a complete closure and provides me with a sense of fulfillment and
yet, leaves behind the lasting struggle of separation.
Question:Could you share with us any instances in which a patient or their loved ones showed extraordinary courage in the face of mortality? Do you think such stories should be discussed more often?
Harry falls, one of my patients who was also a retired pilot from the Royal Air Force, when was told
about his grim diagnosis of terminal cancer with life expectancy measuring in weeks decides not to
pursue chemotherapy or any other treatments. He told me “After evaluating where I stand and how
I’ve lived all these years, I feel it would be best for me to start packing my bags for the ultimate and
infinite journey. … God blessed me with a life that I have no regrets over … Let’s face it, Doc. From
everything you’ve told me, treating my cancer is like trying to save an exploding plane in mid-air.
Chances are it’s not going to happen… I think of it like I’ve just received an upgrade on a long flight.
I’ve collected so many miles that God has granted me a charter flight to a destination unknown.
Now the only issue is the waiting time.” This book is based on my weekly conversations with him
until he dies.
Question: If you could give one advice to the loved one of someone who has cancer, what would it be?
“Live life to the fullest and be prepared to leave gracefully when treatment stops working.”
Inside a Dark Box is a simple book about what depression can feel like. When you get trapped in darkness, finding your way out can be a long and lonely battle, especially when the war is within your own head.
Today, we have with us Rujuta Thakurdesai, the illustrator of the book, who talks about her own experience of suffering from depression and what prompted her to take up the project of illustrating Inside a Dark Box.
By Rujuta Thakurdesai
Inside a Dark Box || Ritu Vaishnav
Till about I was fifteen, I would call each and every negative emotion boredom. It may be anxiety, dullness, anger, agitation, sadness, missing, but I would just be ‘bored’. I was thought of as a fickle-minded and disinterested child. In reality, I never meant ‘bored’, but I just had absolutely no idea about how to convey these feelings I was experiencing.
Most of us belong to communities that don’t treat physical and mental wellbeing equally. We don’t talk about anxiety and heartbreaks as openly as we talk about indigestion and fractured bones. This leaves kids with no safe space to understand their minds or tools to diagnose themselves. “You are too young to understand this!” is not a true remark about mental health issues anymore. With changing societal structures, technology, violence and kids’ exposure to it, makes them as susceptible to depression and anxiety as adults.
The opportunity to work on creating this safe space to address these issues came to me in the form of Ritu Vaishnav’s Inside the Dark Box. Ritu had expressed her journey with depression in the form of a short piece reflecting emotions and a few doodles. She wanted to work with someone who had their own experience with depression and could relate to the writing in order to create visuals for it.
Our first meeting was not about discussing the illustration briefs and layouts like any other picture book but was mostly a very deep and personal conversation about our experiences and how our art (writing for her and for me, illustrating) helped us process it. We agreed that we wanted to create a book that would be a conversation starter rather than a how-to guide.
A spread from the book showing the overwhelming darkness
We focused on relatable and friendly yet dark and unsettling art style. Developing a character that has no gender, skin colour or cultural connotations made them just a human, representing all of us. The world around this character is a surreal space that can exist in one’s mind and doesn’t really have physical boundaries. As the book is also intended for kids and young adults, we never tried to dumb it down or overly simplify things. We both believe that kids are much smarter and emotionally evolved than we give them credit for. We created layered images that would evoke emotions every time you look at them.
We used darkness and light as the central metaphor to depict bleakness and hope. Banking on a simple concept like this that everyone can inherently comprehend, we made the story more accessible for all ages. The visual vocabulary used to express the angst in the scribbly ink strokes and calm of the whites is not really hard to decipher either.
The process of developing an artwork from thumbnail to print
Even though it was not easy to talk about my own experience with depression, it gave me deeper understanding and a voice to show what it means to be in the dark box.
The simplicity of Ritu’s writing makes the topic less intimidating and in a way her voice echoes that little voice in your head, making it so much more relatable. Our journey from words to rough thumbnails and then rendered artworks was focused on highlighting the discomfort felt by someone going through a mental illness and creating situations in the book that would resonate with you. The book is one of the most seamless mediums to discuss the delicate topic of mental health. It gives you the freedom to pace it the way you want, interpret it in a way relatable to you and if it becomes too intense, you can close the book and take a breather to open it again and find something new you didn’t see before.
