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Spring has Sprung! Books to read this April

Spring, a lovely reminder of how beautiful change can be! So try a new book, a new author: something out of the ordinary. As nature changes around you, bring a change within yourself by giving your mind and soul a new type of narrative to look forward to.

Penguin presents a new list of books this April. Take a look!

Journeys: Pages from My Diaries

Edited by Krishna Ramanujan and Guillermo Rodríguez, Journeys offers access to Ramanujan’s personal diaries and journals, providing a window into his creative process. It will include literary entries from his travels, his thoughts on writing, poetry drafts, and dreams. His diaries and journals served as fertile ground where he planted the seeds for much of his published work.

 

Rajneeti: A Biography of Rajnath Singh

A two-term President, Singh saw the elevation of Narendra Modi as the partys PM candidate and delivered BJPs biggest elections victory in 2014. Since then, as Indias Home Minister, he has ushered in a new phase in the countrys security where both internal and external threats have been minimised. Drawing from a vast amount of research and in-depth interviews, Gautam Chintamanis engaging narrative reveals for the first-time a politician who never shied away from doing the right thing.

 

 

The City and the Sea

Called the novelist of the newsroom, Raj Kamal Jha cleaves open India’s tragedy of violence against women with a powerful story about our complicity in the culture that supports it. This is a book about masculinity – damaging and toxic and yet enduring and entrenched – that begs the question: What kind of men are our boys growing up to be?

 

Re-forming India: The Nation Today

India’s social and political landscape has, in recent times, witnessed many significant transformations. This book offers a wide-ranging review of how India has, over the last few years, fared on the most critical dimensions of our collective life-politics, economy, governance, development, culture and society.

 

Ib’s Endless Search for Satisfaction

In this journey of sadness and self-reflection, Ib tranforms into an ordinary man from an ordinary boy and along the way, tries to figure out life and understand himself. In this audacious debut that is insightful, original and deeply disturbing, Roshan Ali’s play of language is nothing less than masterful.

 

Autumn Light: Season of Fire and Farewells

After his first year in Japan, almost thirty years ago, Iyer gave us a springtime romance for the ages, The Lady and the Monk; now, half a lifetime later, he shows us a more seasoned place-and observer-looking for what lasts in a life that feels ever more fragile.

 

Carpenters and Kings

Carpenters and Kings is a tale of Christianity, and equally, a glimpse of the India which has always existed: a multicultural land where every faith has found a home through the centuries.

 

Siyasi Muslims: A story of political Islams in India

We seldom debate to find pragmatic answers to these queries. Examining the everydayness of Muslims in contemporary India, Hilal Ahmed offers an evocative story of politics and Islam in India, which goes beyond the given narratives of Muslim victimhood and Islamic separation.

 

The Travel Gods Must be Crazy: Wacky Encounters in exotic lands

Punctuating her droll stories with breathtaking descriptions and stunning photographs, Sudha invites readers on an unexpected and altogether memorable tour around the world!

 

The Tiger and the Ruby: A Journey to the Other Side of British India

In 1841, Nigel Halleck left Britain as a clerk in the East India Company. He served in the colonial administration for eight years before leaving his post, eventually disappearing in the mountain kingdom of Nepal, never to be heard from again.
A century-and-a-half later, Kief Hillsbery, Nigel’s nephew many times removed, sets out to unravel the mystery.

 

The Doctor and the Saint: Caste, Race and Annihilation of Caste, the Debate between B.R. Ambedkar and M.K. Gandhi

In The Doctor and the Saint, Roy exposes some uncomfortable, controversial, and even surprising truths about the political thought and career of India’s most famous and most revered figure. In doing so she makes the case for why Ambedkar’s revolutionary intellectual achievements must be resurrected, not only in India but throughout the world.

 

The Lost Decade (2008-2018): How the India Growth Story Devolved into Growth Without a Story

India is not the star it was in 2008 and in effect, the ‘India growth story’ has devolved into ‘growth without a story’. The Lost Decade tells the story of the slide and examines the political context in which the Indian economy failed to recover lost momentum.

 

Once Upon a Curfew

It is 1974. Indu has inherited a flat from her grandmother and wants to turn it into a library for women. Her parents think this will keep her suitably occupied till she marries her fiancé, Rajat, who’s away studying in London.
When the Emergency is declared, Indu’s life turns upside down. Rana finds himself in trouble, while Rajat decides it’s time to visit India and settle down. As the Emergency pervades their lives, Indu must decide not only who but what kind of life she will choose.

 

Dare Eat That

From using sign language to haggle over ant eggs in Bangkok to being hungry enough to eat a horse in Luxembourg, from finding out the perfect eel to barbecue to discovering the best place to source emu eggs in India, Dare Eat That explores their journey to eat every species on earth, at least once!

 

House of Stars

Kabir follows the most beautiful girl he has ever seen into a mall. But there are gunshots and screams as terrorists storm inside after fleeing an operation gone wrong. Kabir and Diya find themselves trapped, along with other hostages. The terrorists make their demands and announce that until they are met, one person will die every hour. The situation begins to spiral out of control.  Held hostage by fate, looking death in the face, it could be Kabir and Diya’s last chance at love.

 

The Secrets We Keep

Rahul, an intelligence officer on a secret mission, is undercover at a major’s house. In the process, he falls in love with the major’s daughter, Akriti, unknowingly putting her in danger. To protect her, Rahul decides to hide her at his parents’ house. However, estranged from his family for years, he must first make amends with them.

 

Mahadev

A little girl asks who Shiva is and it is the beginning of a family journey through stories and incidents across the expanse of Shivbhumi-all the way from the mystical Mount Kailash to the fabled Ocean of Milk and the netherworld. Writing in the Harikatha style of traditional storytelling, Renuka Narayanan builds a unique narrative to draw the reader into the loving, giving world of Mahadev.

 

Where Will Man Take Us?: The bold story of the human technology is creating

This is a new world we are walking into. And the man who began this journey won’t be the man who ends this journey. Where Will Man Take Us? explores the changes technology is bringing about in us-as a society and as a species. What will the next generation turn into, what will it be like, how will the new Adam and Eve live and love?

 

Do Better with Less: Frugal Innovation for Sustainable Growth

Packed with over fifty case studies, Do Better with Less offers six proven principles that Indian entrepreneurs and businesses can use to co-create frugal solutions in education, energy, healthcare, food and finance that are highly relevant to India and the world.
This book is India’s guide to claiming global leadership in frugal innovation.

 

Dawood’s Mentor

In Dawood’s Mentor, Dawood meets Khalid and they eventually forge an unlikely friendship. Together they defeat, crush and neutralize every mafia gang in Mumbai. Khalid lays the foundation for the D-Gang as Dawood goes on to establish a crime syndicate like no other and becomes India’s most wanted criminal.

Aspects of Shiva that we can use in our Daily Life

Shiva led a life of contradictions, unmitigated wonder and beauty. When faced with difficulties, he had to tread gently, take a deep look into himself, sometimes go against his inherent nature, and change, when need be.

In the earliest and rather scant appearances, Shiva seems to have been a marginalized deity among the pantheon of gods, and yet he has become one of the most ubiquitous.

The Reluctant Family Man is a study of reflection, introspection and the necessity for taking responsibility through the life of Shiva.

Here are some aspects of Shiva’s life that we can use in our daily life.


Sati is Shiva’s first spouse, and with both his spouses, he has memorable exchanges and dialogue, illustrating the caring, sharing, quarrelling and forgiveness evident in these associations.

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The salubrious nature of marital squabbling is shown constantly in Shaivic myths. The fights are remarkable,where both parties threaten, browbeat and try to convince each other so that they can, eventually, come to a rapprochement.

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Shiva challenges conventionally prescribed gender norms and the patriarchal notion of a man having to always appear strong and resolute. Instead, he weeps copiously, wretchedly mourning his dead wife without caring what the world might think. His vulnerability and pathos are on full display.

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What is pleasantly surprising is the fact that Shiva can handle such a strong, almost insouciant wife (Parvati). In fact, Shiva is the only god who has an outspoken wife and perhaps the only deity who does not try to be dominant. Only a self-confident male can coexist with such a female.

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Loving spouses can repeatedly challenge each other if the marital relationship is to serve the function of promoting the mental growth of partners. Shiva and Parvati certainly don’t believe in the silent treatment that many couples have been guilty of from times immemorial. If something troubles them, they address it right away.

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Through Shiva’s attitude towards his wives, we can see him managing his ego. He is the great yogi, the great knower, and although he knows how to play supreme lord and master to an adoring Parvati, he also knows how to give in when she is his spouse and submit totally to her in her form as Devi.

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Do not put all your eggs in one basket. Have your own independent relationships other than the one you share with your partner. Shiva is known to go off with his cronies and partake of a relaxing hallucinogen, and indulge in ‘alone time’ and meditation. Parvati has her friends, Jaya and Vijaya, who help her in her ablutions and other aspects of life. They both also have their own ‘portfolios’ in the celestial world and keep very busy, away from each other. They give each other, as they say in today’s times, ‘space’.

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In a rather unique manner, Shiva epitomizes balance in his life choices, because not only is he Mahayogi, an ascetic, he is also Shankara, the beneficent married one. He balances two opposites.


In The Reluctant Family Man, Nilima Chitgopekar uses the life and personality of Shiva-his self-awareness, his marriage, his balance, his detachment, his contentment-to derive lessons that readers can practically apply to their own lives.

Eight Signs you are Taking your Partner For Granted

When in love, you tend to take each other for granted, and sometimes, that can cost you a lifetime of togetherness . . .

In the book Something I Never Told You by Shravya Bhinder, Ronnie knew that his first crush was way out of his league, and yet he pursued and wooed Adira. Shyly and from a distance in the beginning, and more persuasively later. He couldn’t believe it when the beautiful Adira actually began to reciprocate, falling in love with him for his simplicity and honesty. Slowly, as they get close and comfortable with each other, life takes on another hue. From truly magical it becomes routine.

Here are some quotes from Ronnie and Adira’s relationship that will prevent you from making the mistake they made:

“Every time we had an argument or a disagreement, or if one did not like anything about the other, she used to go silent, or respond in monosyllables, sometimes even sounds—hmmm . . . ah . . . oh . . . what kind of a response was this?”

 

“I have learnt only one thing in my life—that we should not stop expressing our love, ever! After some time together, we usually stop telling our beloveds how much they mean to us. We stop saying, ‘I love you’, and start taking each other for granted. The comfort of company creeps in.”

 

“I took you for granted, I took what was between us for granted as I never knew that all could be lost in the blink of an eye. The few times when I did tell you how much I loved you, I failed to stand by it. I should have told you more often how much you mean to me; I should have not hesitated in saying the three most significant yet sparingly used words in most modern relationships.”

 

“I never thought that you could go anywhere, that I could lose you. Destiny tricked me and shook my world. When in love, we should tell our beloved how we feel about them; every day, every hour if we can, every minute if we must.”

 

“How I wish the walls of my ego had crumbled that night and been buried under the immense love I have always felt for you. How I wish I had disobeyed the devil in me, when I planned to make you suffer remorse for one more night.”

 

“Yes, the mode of communication which is the best for lovers after letters and calls, is email. Not many of us explore that option, but I feel that chatting or texting doesn’t really convey our messages and tone well. I would prefer an email any day to a chat or text.”

 

“We were both a little broken, entirely messed up and madly in love with the idea of love. ‘Love dies when you stop working on it,’ I told her in a reassuring tone. My mind was running on an overdose of emotions.”

 

“If your first day with your girlfriend is the most memorable one, it means that you could never really develop the spark you had into a fire. Love is like wine—the older it gets, the better it becomes. It can intoxicate you, make you forget all your worries, and be the relief that you have always been looking for. The passion should increase day by day, hour by hour and minute by minute. People who say that the spark dies after the first few years have never been in love.”

 


Ronnie and Adira will probably never find their forever after . . Get your copy today to find out more!

 

Black Leopard, Red Wolf – an excerpt

In the stunning first novel in Marlon James’s Dark Star trilogy, myth, fantasy, and history come together to explore what happens when a mercenary is hired to find a missing child.

The child is dead. There is nothing left to know.

I hear there is a queen in the south who kills the man who brings her bad news. So when I give word of the boy’s death, do I write my own death with it? Truth eats lies just as the crocodile eats the moon, and yet my witness is the same today as it will be tomorrow. No, I did not kill him. Though I may have wanted him dead. Craved for it the way a glutton craves goat flesh. Oh, to draw a bow and fire it through his black heart and watch it explode black blood, and to watch his eyes for when they stop blinking, when they look but stop seeing, and to listen for his voice croaking and hear his chest heave in a death rattle saying, Look, my wretched spirit leaves this most wretched of bodies, and to smile at such tidings and dance at such a loss. Yes, I glut at the conceit of it. But no, I did not kill him.

Bi oju ri enu a pamo.

Not everything the eye sees should be spoken by the mouth.

This cell is larger than the one before. I smell the dried blood of executed men; I hear their ghosts still screaming. Your bread carries weevils, and your water carries the piss of ten and two guards and the goat they fuck for sport.
Shall I give you a story?

I am just a man who some have called a wolf. The child is dead. I know the old woman brings you different news. Call him murderer, she says. Even though my only sorrow is that I did not kill her. The redheaded one said the child’s head was infested with devils. If you believe in devils. I believe in bad blood. You look like a man who has never shed blood. And yet blood sticks between your fingers. A boy you circumcised, a young girl too small for your big… Look how that thrills you. Look at you.

I will give you a story.

It begins with a Leopard.

And a witch.

Grand Inquisitor.

Fetish priest.

No, you will not call for the guards.

My mouth might say too much before they club it shut.

Regard yourself. A man with two hundred cows who delights in a patch of boy skin and the koo of a girl who should be no man’s woman. Because that is what you seek, is it not? A dark little thing that cannot be found in thirty sacks of gold or two hundred cows or two hundred wives. Something that you have lost— no, it was taken from you. That light, you see it and you want it— not light from the sun, or from the thunder god in the night sky, but light with no blemish, light in a boy who has no knowledge of women, a girl you bought for marriage, not because you need a wife, for you have two hundred cows, but a wife you can tear open, because you search for it in holes, black holes, wet holes, undergrown holes for the light that vampires look for, and you will have it, you will dress it up in ceremony, circumcision for the boy, consummation for the girl, and when they shed blood, and spit, and sperm and piss you leave it all on your skin, to go to the iroko tree and use any hole you find.

The child is dead, and so is everyone.

I walked for days, through swarms of flies in the Blood Swamp and skinslicing rocks in salt plains, through day and night. I walked as far south as Omororo and did not know or care. Men detained me as a beggar, took me for a thief, tortured me as a traitor, and when news of the dead child reached your kingdom, arrested me as a murderer. Did you know there were five men in my cell? Four nights ago. The scarf around my neck belongs to the only man who left on two feet. He might even see from his right eye again one day.


Defying categorization and full of unforgettable characters, Black Leopard, Red Wolf is both surprising and profound as it explores the fundamentals of truth, the limits of power, and our need to understand them both.

Big Sky by Kate Atkinson – an excerpt

In Kate Atkinson’s new book, Big Sky, Jackson Brodie has relocated to a quiet seaside village in North Yorkshire, in the occasional company of his recalcitrant teenage son Nathan and ageing Labrador Dido, both at the discretion of his former partner Julia. It’s a picturesque setting, but there’s something darker lurking behind the scenes.

Jackson’s current job, gathering proof of an unfaithful husband for his suspicious wife, seems straightforward, but a chance encounter with a desperate man on a crumbling cliff leads him into a sinister network—and back into the path of someone from his past. Old secrets and new lies intersect in this breathtaking new novel, both sharply funny and achingly sad, by one of the most dazzling and surprising writers at work today.

Read on for an exclusive first chapter of the book.


The Battle of the River Plate

And there’s the Ark Royal, keeping a good distance from the enemy…There were a couple of quiet explosions – pop-pop-pop. The noise of tinny gunfire competing unsuccessfully with the gulls wheeling and screeching overhead.

Oh, and the Achilles has taken a hit, but luckily she has been able to contact the Ark Royal, who is racing to her aid . . .

‘Racing’ wasn’t quite the word that Jackson would have used for the rather laboured progress the Ark Royal was making across the boating lake in the park.

And here come the RAF bombers! Excellent shooting, boys! Let’s hear it for the RAF and the escorts. .  .

A rather weak cheer went up from the audience as two very small wooden planes jerked across the boating lake on zip wires.

‘Jesus,’ Nathan muttered. ‘This is pathetic.’

‘Don’t swear,’ Jackson said automatically. It was pathetic in some ways (the smallest manned navy in the world!), but that was the charm of it, surely? The boats were replicas, the longest twenty foot at most, the others considerably less. There were park employees concealed inside the boats, steering them. The audience was sitting on wooden benches on raked concrete steps. For an hour beforehand an old- fashioned kind of man had played old-fashioned kind of music on an organ in a bandstand and now the same old-fashioned man was commentating on the battle. In an old-fashioned kind of way. (‘Is this ever going to end?’ Nathan asked.)

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‘Didn’t you hear, Jackson?’ Julia said. ‘The class war’s over. Everyone lost.’

Jackson had come here as a kid once himself, not with his own family (when he had a family) – they never did anything together, never went anywhere, not even a day-trip. That was the working class for you, too busy working to have time for pleasure, and too poor to pay for it if they managed to find the time. (‘Didn’t you hear, Jackson?’ Julia said. ‘The class war’s over. Everyone lost.’) He couldn’t remember the circumstances – perhaps he had come here on a Scouts outing, or with the Boys’ Brigade, or even the Salvation Army – the young Jackson had clung to any organization going in the hope of getting something for free. He didn’t let the fact that he was brought up as a Catholic interfere with his beliefs. He had even signed the Pledge at the age of ten, promising the local Salvation Army Temperance Society his lifelong sobriety in exchange for a lemonade and a plate of cakes. (‘And how did that work out for you?’ Julia asked.) It was a relief when he eventually discovered the real Army, where everything was free. At a price.

‘The Battle of the River Plate,’ Jackson told Nathan, ‘was the first naval battle of the Second World War.’ One of his jobs as a father was to educate, especially on his specialist subjects – cars, wars, women. (‘Jackson, you know nothing about women,’ Julia said. ‘Exactly,’ Jack- son said.) Nathan met any information conveyed to him by either rolling his eyes or appearing to be deaf. Jackson hoped that, some- how or other, his son was unconsciously absorbing the continual bombardment of advice and warnings that his behaviour necessitated – ‘Don’t walk so close to the edge of the cliff. Use your knife and fork, not your fingers. Give up your seat on the bus.’ Although when did Nathan ever go anywhere on a bus? He was ferried around like a lord. Jackson’s son was thirteen and his ego was big enough to swallow planets whole.

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Looking on the bright side, Nathan was talking in more or less whole sentences this afternoon, rather than the usual simian grunts.

‘What do they mean – “manned”?’ Nathan said. ‘There are people inside the boats, steering them.’ ‘There aren’t,’ he scoffed. ‘That’s stupid.’

‘There are. You’ll see.’

Here comes Exeter as well. And the enemy submarine is in trouble now . . .

‘You wait,’ Jackson said. ‘One day you’ll have kids of your own and you’ll find that you make them do all the things that you currently despise – museums, stately homes, walks in the countryside – and they in turn will hate you for it. That, my son, is how cosmic justice works.’

‘I won’t be doing this,’ Nathan said.

‘And that sound you can hear will be me laughing.’ ‘No, it won’t. You’ll be dead by then.’

‘Thanks. Thanks, Nathan.’ Jackson sighed. Had he been so callous at his son’s age? And he hardly needed reminding of his mortality, he saw it in his own boy growing older every day.

Looking on the bright side, Nathan was talking in more or less whole sentences this afternoon, rather than the usual simian grunts. He was slumped on the bench, his long legs sprawled out, his arms folded in what could only be described as a sarcastic manner. His feet (designer trainers, of course) were enormous – it wouldn’t be long before he was taller than Jackson. When Jackson was his son’s age he had two sets of clothes and one of those was his school uniform. Apart from his gym plimsolls (‘Your what?’ Nathan puzzled), he had possessed just the one pair of shoes and would have been baffled by the concepts ‘designer’ or ‘logo’.

By the time Jackson was thirteen his mother was already dead of cancer, his sister had been murdered and his brother had killed him- self, helpfully leaving his body – hanging from the light fitting – for Jackson to find when he came home from school. Jackson never got the chance to be selfish, to sprawl and make demands and fold his arms sarcastically. And anyway, if he had, his father would have given him a good skelping. Not that Jackson wished suffering on his son – God forbid – but a little less narcissism wouldn’t go amiss.

Julia, Nathan’s mother, could go toe to toe with Jackson in the grief stakes – one sister murdered, one sister who killed herself, one who died of cancer. (‘Oh, and don’t forget Daddy’s sexual abuse,’ she reminded him. ‘Trumps to me, I think.’) And now all the wretched- ness of their shared pasts had been distilled into this one child. What if somehow, despite his untroubled appearance, it had lodged in Nathan’s DNA and infected his blood, and even now tragedy and grief were growing and multiplying in his bones like a cancer. (‘Have you even tried being an optimist?’ Julia said. ‘Once,’ Jackson said. ‘It didn’t suit me.’)

‘I thought you said you were going to get me an ice-cream.’

‘I think what you meant to say was, “Dad, can I have that ice- cream you promised and seem to have temporarily forgotten about? Please?’’ ’

‘Yeah, whatever.’ After an impressively long pause he added, reluctantly, ‘Please.’ (‘I serve at the pleasure of the President,’ an unruffled Julia said when their offspring demanded something.)

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She had a lovely throaty laugh, especially when being self-deprecating. Or pretending to be. It had a certain charm.

‘What do they mean – “manned”?’ Nathan said. ‘There are people inside the boats, steering them.’ ‘There aren’t,’ he scoffed. ‘That’s stupid.’

‘There are. You’ll see.’

Here comes Exeter as well. And the enemy submarine is in trouble now . . .

‘You wait,’ Jackson said. ‘One day you’ll have kids of your own and you’ll find that you make them do all the things that you currently despise – museums, stately homes, walks in the countryside – and they in turn will hate you for it. That, my son, is how cosmic justice works.’

‘I won’t be doing this,’ Nathan said.

‘And that sound you can hear will be me laughing.’ ‘No, it won’t. You’ll be dead by then.’

‘Thanks. Thanks, Nathan.’ Jackson sighed. Had he been so callous at his son’s age? And he hardly needed reminding of his mortality, he saw it in his own boy growing older every day.

Looking on the bright side, Nathan was talking in more or less whole sentences this afternoon, rather than the usual simian grunts. He was slumped on the bench, his long legs sprawled out, his arms folded in what could only be described as a sarcastic manner. His feet (designer trainers, of course) were enormous – it wouldn’t be long before he was taller than Jackson. When Jackson was his son’s age he had two sets of clothes and one of those was his school uniform. Apart from his gym plimsolls (‘Your what?’ Nathan puzzled), he had possessed just the one pair of shoes and would have been baffled by the concepts ‘designer’ or ‘logo’.

By the time Jackson was thirteen his mother was already dead of cancer, his sister had been murdered and his brother had killed him- self, helpfully leaving his body – hanging from the light fitting – for Jackson to find when he came home from school. Jackson never got the chance to be selfish, to sprawl and make demands and fold his arms sarcastically. And anyway, if he had, his father would have given him a good skelping. Not that Jackson wished suffering on his son – God forbid – but a little less narcissism wouldn’t go amiss.

Julia, Nathan’s mother, could go toe to toe with Jackson in the grief stakes – one sister murdered, one sister who killed herself, one who died of cancer. (‘Oh, and don’t forget Daddy’s sexual abuse,’ she reminded him. ‘Trumps to me, I think.’) And now all the wretched- ness of their shared pasts had been distilled into this one child. What if somehow, despite his untroubled appearance, it had lodged in Nathan’s DNA and infected his blood, and even now tragedy and grief were growing and multiplying in his bones like a cancer. (‘Have you even tried being an optimist?’ Julia said. ‘Once,’ Jackson said. ‘It didn’t suit me.’)

‘I thought you said you were going to get me an ice-cream.’

‘I think what you meant to say was, “Dad, can I have that ice- cream you promised and seem to have temporarily forgotten about? Please?’’ ’

‘Yeah, whatever.’ After an impressively long pause he added, reluctantly, ‘Please.’ (‘I serve at the pleasure of the President,’ an unruffled Julia said when their offspring demanded something.)

‘What do you want?’

‘Magnum. Double peanut butter.’

‘I think you might be setting your sights quite high there.’ ‘Whatever. A Cornetto.’

‘Still high.’

Nathan came trailing clouds of instructions where food was concerned. Julia was surprisingly neurotic about snacks. ‘Try and control what he eats,’ she said. ‘He can have a small chocolate bar but no sweets, definitely no Haribo. He’s like a Gremlin after midnight if he gets too much sugar. And if you can get a piece of fruit into him then you’re a better woman than me.’ Another year or two and Julia would be worrying about cigarettes and alcohol and drugs. She should enjoy the sugar years, Jackson thought.

‘While I’m getting your ice-cream,’ Jackson said to Nathan, ‘make sure you keep an eye on our friend Gary there in the front row, will you?’ Nathan showed no sign of having heard him so Jackson waited a beat and then said, ‘What did I just say?’

‘You said, “While I’m gone make sure you keep an eye on our friend Gary there in the front row, will you?”’

‘Right. Good,’ Jackson said, slightly chastened, not that he was going to show it. ‘Here,’ he said, handing over his iPhone, ‘take a photograph if he does anything interesting.’

When Jackson got up, the dog followed him, labouring up the steps behind him to the café. Julia’s dog, Dido, a yellow Labrador, overweight and ageing. Years ago, when Jackson was first introduced to Dido by Julia (‘Jackson, this is Dido – Dido, this is Jackson’), he thought the dog must have been called after the singer, but it turned out she was the namesake of the Queen of Carthage. That was Julia in a nutshell.

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‘Nat Brodie’, on the other hand, sounded like a robust adventurer, someone striking west, following the frontier in search of gold or cattle, loose-moraled women following in his wake.

Dido – the dog, not the Queen of Carthage – also came with a long list of instructions. You would think Jackson had never looked after a child or a dog before. (‘But it wasn’t my child or my dog,’ Julia pointed out. ‘I believe that should be our child,’ Jackson said.)

Nathan had been three years old before Jackson was able to claim any ownership of him. Julia, for reasons best known to herself, had denied that Jackson was Nathan’s father, so he had already missed the best years before she admitted to his paternity. (‘I wanted him to myself,’ she said.) Now that the worst years had arrived, however, it seemed that she was more than keen to share him.

Julia was going to be ‘ferociously’ busy for nearly the entire school holiday, so Jackson had brought Nathan to stay with him in the cottage he was currently renting, on the east coast of Yorkshire, a couple of miles north of Whitby. With good wi-fi Jackson could run his business – Brodie Investigations – from just about anywhere. The internet was evil but you had to love it.

Julia played a pathologist (‘the pathologist,’ she corrected) in the long-running police procedural Collier. Collier was described as ‘gritty northern drama’, although these days it was tired hokum thought up by cynical metropolitan types off their heads on coke, or worse, most of the time.

Julia had been given her own storyline for once. ‘It’s a big arc,’ she told Jackson. He thought she said ‘ark’ and it took him a while to sort this mystery out in his head. Now, still, whenever she talked about ‘my arc’ he had a vision of her leading an increasingly bizarre parade of puzzled animals, two by two, up a gangplank. She wouldn’t be the worst person to be with during the Flood. Beneath her scatty, actressy demeanour she was resilient and resourceful, not to mention good with animals.

Her contract was up for renewal and they were drip-feeding the script to her, so, she said, she was pretty certain that she was heading for a grisly exit at the end of her ‘arc’. (‘Aren’t we all?’ Jackson said.) Julia was sanguine, it had been a good run, she said. Her agent was keeping an eye on a Restoration Comedy that was coming up at the West Yorkshire Playhouse. (‘Proper acting,’ Julia said. ‘And if that fails there’s always Strictly. I’ve been offered it twice already. They’re obviously scraping the bottom of the barrel.’) She had a lovely throaty laugh, especially when being self-deprecating. Or pretending to be. It had a certain charm.

‘As suspected, no Magnums, no Cornettos, they only had Bassani’s,’ Jackson said, returning with two cones held aloft like flambeaux. You might have thought that people would want their kids to stop eating Bassani’s ice-cream after what had happened. Carmody’s amusements were still there as well, a rowdy, popular presence on the front. Ice-cream and arcades – the perfect lures for kids. It must be getting on for a decade since the case was in the papers? (The older Jackson grew, the more slippery time became.) Antonio Bassani and Michael Carmody, local ‘worthies’ – one of them was in jail and the other one had topped himself, but Jackson could never remember which was which. He wouldn’t be surprised if the one in jail wasn’t due to get out soon, if he hadn’t already. Bassani and Carmody liked kids. They liked kids too much. They liked handing kids around to other men who liked kids too much. Like gifts, like forfeits.

An eternally hungry Dido had waddled back hopefully on his heels and in lieu of ice-cream Jackson gave her a bone-shaped dog treat. He supposed it didn’t make much difference to her what shape      it was.

‘I got a vanilla and a chocolate,’ he said to Nathan. ‘Which do you want?’ A rhetorical question. Who under voting age ever chose vanilla?

‘Chocolate. Thanks.’

Thanks – a small triumph for good manners, Jackson thought. (‘He’ll come good in the end,’ Julia told him. ‘Being a teenager is so difficult, their hormones are in chaos, they’re exhausted a lot of the time. All that growing uses up a lot of energy.’) But what about all those teenagers in the past who had left school at fourteen (nearly the same age as Nathan!) and gone into factories and steelworks and down coal mines? (Jackson’s own father and his father before him, for example.) Or Jackson himself, in the Army at sixteen, a youth broken into pieces by authority and put back together again by it as a man. Were those teenagers, himself included, allowed the indulgence of chaotic hormones? No, they were not. They went to work alongside men and behaved themselves, they brought their pay packets home to their mothers (or fathers) at the end of the week and— (‘Oh, do shut up, will you?’ Julia said wearily. ‘That life’s gone and it isn’t coming back.’)

‘Where’s Gary?’ Jackson asked, scanning the banks of seats. ‘Gary?’

‘The Gary you’re supposed to be keeping an eye on.’

Without looking up from his phone, Nathan nodded in the direction of the dragon boats where Gary and Kirsty were queuing for tickets.

And the battle is over and the Union Jack is being hoisted. Let’s have a cheer for the good old Union flag!

Jackson cheered along with the rest of the audience. He gave Nathan a friendly nudge and said, ‘Come on, cheer the good old Union flag.’

‘Hurrah,’ Nathan said laconically. Oh, irony, thy name is Nathan Land, Jackson thought. His son had his mother’s surname, it was  a source of some contention between Julia and Jackson. To put it mildly. ‘Nathan Land’ to Jackson’s ears sounded like the name of an eighteenth-century Jewish financier, the progenitor of a European banking dynasty. ‘Nat Brodie’, on the other hand, sounded like a robust adventurer, someone striking west, following the frontier in search of gold or cattle, loose-moraled women following in his wake. (‘When did you get so fanciful?’ Julia asked. Probably when I met you, Jackson thought.)

‘Can we go now?’ Nathan said, yawning excessively and unselfconsciously.

‘In a minute, when I’ve finished this,’ Jackson said, indicating his ice-cream. Nothing, in Jackson’s opinion, made a grown man look more of a twit than walking around licking an ice-cream cone.

The combatants of the Battle of the River Plate began their lap of honour. The men inside had removed the top part of the boats – like conning towers – and were waving at the crowd.

‘See?’ Jackson said to Nathan. ‘Told you so.’

Nathan rolled his eyes. ‘So you did. Now can we go?’ ‘Yeah, well, let’s just check on our Gary.’

Nathan moaned as if he was about to be waterboarded. ‘Suck it up,’ Jackson said cheerfully.

Now that the smallest manned navy in the world was sailing off to its moorings, the park’s dragon boats were coming back out – pedalos in bright primary colours with long necks and big dragon heads, like cartoon versions of Viking longboats. Gary and Kirsty had already mounted their own fiery steed, Gary pedalling heroically out into the middle of the boating lake. Jackson took a couple of photos. When he checked his phone he was pleasantly surprised to find that Nathan had taken a burst – the modern equivalent of the flicker-books of his own childhood – while Jackson was off buying the ice-creams. Gary and Kirsty kissing, puckered up like a pair of puffer fish. ‘Good lad,’ Jackson said to Nathan.

‘Now can we go?’ ‘Yes, we can.’


 To know what happens next, get a copy of the book, here!

Reel vs. Real: Adapting My Story into a Book

by Novoneel Chakraborty

One of the things which makes a reader curious about any story is how real or true it is. When authors pen stories, it is believed that they must have written it after being inspired by real-life incidents, which they have lived or seen closely. Majority of the times this assumption is true. What makes my latest novel Half Torn Hearts, an autobiographical attempt, slightly different in its approach is that I didn’t rely on any incident to make it autobiographical. I created the characters, gave them a relatable milieu and dived deep within myself only for their emotional graph, their outlook towards life and their deep character, fishing out emotions and words which were expressed by me and felt by both myself and the three women in my life. It was while penning down this novel that I realized a story becomes impersonal not only because of the plot points you use but also because somewhere the characters and their inner pathos are straight out of your real-life experiences. And, that a storyline may be fictitious but the characters may very well be real.

Half Torn Hearts has an interesting backstory. This is the only book of mine which took five years to complete. The process not only made me revisit old wounds but also convinced me that an author doesn’t tell a story. A story unfolds itself through an author. Few understand this difference. An author is a medium, not the story. For this story to be complete, it had to make me come in touch with someone who eventually became my muse, not only to finish this book but also for my overall creativity. Patience is a virtue and nobody else can understand this better than a storyteller.

In all my stories that I’ve penned so far, I’ve always fine-tuned the real-life inspirations. By fine-tuning, I mean that sometimes reality isn’t as dramatic as fiction should be. And at times, it is too over-the-top to be used in fiction sensibly. The one major limitation of fiction when compared to real life is that fiction always needs to make sense within the parameters of its self-defined logic, while reality is free of such limitations. And when one writes about something deeply personal, one needs to make sure it doesn’t hurt anyone who is involved in the real story. That’s a reason why I used the plot of this novel to hide the emotions of the characters in such a way that only those involved will be able to understand where certain things in the story are coming from. And for a normal reader, it may just read like an engaging story.

A very important aspect while penning down a personal story is editing. I’m not talking about structural- or copy-editing here. When things happen in real life, they have their own pace of events, and every event seems important. But when one sits to write, one cannot write about each and every event because, in a personal, real story, one will be invested since it’s one’s story, but for a reader, the investment happens only when things they are reading aren’t boring.

I write in the commercial fiction zone. Hence, the most important question that plagued me while writing this was what to keep and what not to. And in ‘what to keep’, there was another sub-query of ‘how much’. I follow a cardinal rule of writing: thou shall not bore thy readers, at least not knowingly. To get to this, one needs certain creative objectivity, which can’t be developed immediately. The more one writes and subsequently, the more one edits, the more one will know what really needs to remain in the final version of the manuscript and what simply needs to go. For example, in my current novel, there was a scene between the protagonists, Raisa and Nirmaan, which for the first time in the story was bringing them intimately close. When I read the manuscript for the third time, I realized that for the sake of the sanctity of the story, the scene should not be happening even though it was one of my favourite scenes in the book. Eventually, I edited it out. As they say: ‘kill your darlings’.

Lastly, I would say: telling one’s own story, in whichever way, involves a lot of responsible writing. Truth has interpretation. It also has misinterpretations as well. Hence, it has to be well-balanced. And, getting into that balance requires a lot of redrafting, personal introspection and revisiting things within oneself, things which we are done with—or maybe never done with—until the story shapes up the way we envisioned. But then, there also lies the magic of storytelling.


Half Torn Hearts is a coming-of-age tale of three layered individuals coming in terms with their first loss.

Novoneel Chakraborty is the bestselling author of many romantic thriller novels and one short story collection, Cheaters. Known for his twists, dark plots and strong female protagonists, he is also called the Sidney Sheldon of India by his readers. Apart from novels, Novoneel has written and developed several TV shows such as Savdhaan India and Yeh Hai Aashiqui.

From the Editor’s Desk: Women Writing for you

by Manasi Subramaniam

MARCH | #ReadMoreWomen

This March, we were excited to be partnering with SheThePeople to curate the Women’s Library, which is an exceptional shelf of books – all of which just happen to be written by women! But as we planned the promotions, I started to realize what an extraordinary range we have in our fiction backlists as well – and I wanted to use this opportunity to bring to your attention some writers and books that we’d love to see you revisit – or even discover for the first time.

So here’s a challenge. Let’s try making a conscious effort to read more women. What a conscious effort to read more women does is redouble any unconscious efforts: it holds us to our commitments, it diversifies our reading, and brings the reader’s attention to books that may have – consciously or unconsciously – slipped through the cracks.

Below are my picks of women’s writing that I’d love for you to read

Shashi Deshpande’s That Long Silence is about Jaya, a failed writer who has identified herself as a daughter, a wife, and a mother for seventeen years. When her husband is accused of business malpractice and his career starts falling apart, Jaya finds herself confronting deeply buried fears, especially her fear of anger. Deshpande’s second novel is about the Indian woman who is taught to suppress her voice, long before she takes her husband’s name.

Other books by the author: The Dark Holds No Terrors, Moving On.

Winner of the 1999 Commonwealth Writers Prize for Best First Book (Europe and South Asia), Manju Kapur’s Difficult Daughters is set in Amritsar around the time of Partition. The protagonist is an independent young woman named Virmati, who wants something more than marriage from her life, but her desire for education lands her in an affair with a married professor. When the professor marries Virmati and brings her home, Virmati finds herself in an ironic situation—the choice she made to be free now imprisons her.

Other books by the author: Brothers, The Immigrant.

Taslima Nasrin’s Lajja was met with radical backlash in her home country of Bangladesh. Since 1994, Nasrin has been in exile but her controversial novel received worldwide acclaim. Lajja is about the Duttas, a Hindu family living in Bangladesh. Sudhamoy, the patriarch of the family is unfazed by rising radical sentiments against the Hindu minority in his country. On 6 December 1992 the Babri Masjid in Ayodhya is demolished, and Sudhamoy’s life takes a drastic turn.
Other books by the author: Exile, Split.

Described as The Virgin Suicides meets Little Women in Pakistan, This Wide Night is Sarvat Hasin’s debut work about four sisters in the progressive and inclusive era of 70s Karachi. Maria, Ayesha, Leila and Beena live with their mother. Their father, Captain Malik, is barely in the house, which encourages the women to create their own unconventional world. The sisters are forced to confront challenges when their country goes to war.

Other books by the author: You Can’t Go Home Again.

Hedonism and political turmoil serve as the background to Nadia Akbar’s Goodbye Freddie Mercury a novel set in contemporary Lahore. Nida seeks to escape her claustrophobic house after her brother dies in the army. Omer is the son of the Prime Minister’s right-hand man, Iftikhar Ali. Omer’s childhood friend is Bugsy, a Freddie Mercury fan who works as a radio jockey and has feelings for Nida, Omer’s girlfriend. While living their life from one drug-fuelled night to another, the three friends soon become a part of a larger, political agenda.

I’m excited to hear what you’ve been reading as well – and if you have suggestions for our women’s library!

 

Until next month,

Manasi Subramaniam


Photo by Patrick Fore 

Beast – an excerpt

When Assistant Commissioner of Police Aditi Kashyap is called upon to solve a gruesome triple homicide in a Mumbai suburb, she is dragged into the terrifying world of the Saimhas — werelions — who have lived alongside humans, hiding amongst them, since ancient times.

Faced with the unbelievable, Aditi has no choice but to join hands with Prithvi, an Enforcer called in to hunt down this seemingly otherworldly murderer.

Here is an excerpt from the first chapter of Krishna Udayasankar’s book, Beast.


The man knew these were his last moments, but his adrenaline fuelled feet kept moving through the rubble and brush. For the first—and only—time ever, he regretted his life of crime as he looked with longing at the warm light spilling out from a cluster of apartments at the far end of the field. But they were too far away to offer hope of help or safety. He had made sure of that. He had chosen this spot because it was perfect for murder.

The irony made Rajan pause, and as he did, his eyes fell on a rusted frame, the partial skeleton of a long-abandoned, industrialsized garbage bin. The smell of fear in his nostrils overpowered the rotten stench that came from it. He clambered inside and crouched down in a corner, his hands clapped over his mouth to silence his own gasps.

The others were dead. Daniel had been the first to fall, before any of them could even understand what had transpired. For his part, Rajan still did not understand.

Kailash had opened the bag to check the money when, out of nowhere, something warm had splashed across his face. A shape had gone flying through the air and landed at his feet, wriggling and squirming: Daniel’s arm, ripped off at the shoulder, the nerve endings at the tips of the fingers still unaware that the body they belonged to was no longer alive. Kailash had secured the bag with one arm while pulling out his gun with the other. He had let loose a few aimless shots in the manner of one who believed that a gun was the solution to all of life’s problems. As soon as the gunfire abated, the screaming had begun.

Rajan had not waited to see what became of Kailash, or to identify the nature of their enemy—the mangled limb at his feet had made it clear that their attacker, whoever it was, ought not to be messed with.

His breath now under control, Rajan set himself to listen for signs of pursuit. Silence sharpened his fear, turning it into a stabbing cramp in the pit of his stomach, as though some force were sucking him dry from within his body.

A rustle, and he started whimpering. Then a loud crash as the wall of the metal bin crumpled inwards, struck from the outside by a powerful force. Another strike and the bin toppled over, ejecting its contents onto the ground. A new stink rose as Rajan soiled himself. All restraint gone, he began wailing loudly, his despair so terrible that it drove all words—even memories of mother and god—out of his mind. He turned to hide his face against the ground as a lithe form stalked out from behind the bin. His hand fell on the bag he was carrying.

A faint hope fluttered through the thug. He staggered to his feet, holding out the bag. ‘Take it. Take it all. Take it, but leave me alive, please, take it, take it, leave me!’

Then, he saw his hunter. Panic turned into a calm madness that made him fall silent and stand still. He was dreaming. He was not dreaming. This could not be happening. It was. Nothing made sense any more. Not even death. This was worse.

Words, he realized, meant nothing to the hunter. Nor did the money. But was there something in his tone, his entreating, that made sense to the monster? It tilted its head to one side, evaluating him, his whimpers.

‘Please . . .?’ Rajan pleaded, one last time.

Its breath was hot. He felt it against his face as the thing sunk its teeth, its long, ivory-white teeth, into his neck. Its thick tongue smacked against his face as it sucked up the blood that began to flow. His blood. He began screaming, but no sound came from his mouth. His vocal cords were already severed. How was it that he was alive?

Even as the thought occurred to him, the creature rectified its apparent omission, biting off his skull like a petulant child pulling off a doll’s head.

Bone crunched against tooth as the creature rolled its toy around in its mouth. With a dissatisfied rumble, it spit the morsel out. The beast clawed once at the headless corpse, like a kitten asking to play, before giving up on the lifeless form. Then, licking its blood-soaked muzzle, it stalked away into the night.


To know how the story unfolds, grab your copy of Beast by Krishna Udayasankar!

Meet the Author of ‘The Beauty of the Moment’

Tanaz Bhathena’s The Beauty of the Moment is the story of Susan and Malcolm, and how despite being so different from one another they find themselves irrevocably in love with each other. Despite her parents’ impending divorce Susan is sincere and is driven towards making her parents proud. On the other hand, ever since his mother passed away Malcolm has had a reputation of being troublemaker and a bad boy. His adulterous father contributes further into making his life a mess.

Despite their respective burdens, Susan and Malcolm fall for each other. They confide their dreams and aspirations in each other. Read this book to know more about their unbreakable bond that shows the importance of being true to oneself.

Here we tell you a few interesting things about the author:


Even though Tanaz Bhathena was born in Mumbai, she spent her childhood in many different places like Riyadh, Jeddah and Toronto.

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Tanaz Bhathena has also authored the young-adult novel A Girl Like That, which was nominated for the 2019 OLA White Pine award and was also name Best Book of 2018 by The Globe and Mail, CBC, Quill & Quire, Seventeen, PopSugar, and The Times of India. 

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Tanaz Bhathena is fond of travelling, learning bits of foreign languages and taking photographs.

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Many of Tanaz Bhathena’s short stories have been featured in various journals such as Blackbird, Witness and Room.

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As a child, Tanaz Bhathena was an avid reader and began writing at the age of eight. By the the time she was thirteen-years-old, she had made up her mind to be a writer.

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One of the reasons for Tanaz Bhathena to start writing was that she wanted more people like her – Bhathena belongs to the Parsi community – featured in literature, making the readers aware of the South Asian identity and the diaspora in world literature.

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Tanaz Bhathena currently lives in the Toronto area with her family.


Love is messy and families are messier, but in spite of their burdens, Susan and Malcolm fall for each other. The ways they drift apart and come back together are the picture of being true to oneself. Grab your copy of The Beauty of the Moment now!

A Gujarat Here, A Gujarat Here – an excerpt about the author

Part novel, part memoir, part feminist anthem, A Gujarat Here, A Gujarat There by Krishna Sobti is not only a powerful tale of Partition loss and dislocation but also charts the odyssey of a spirited young woman determined to build a new identity for herself on her own terms.

Translated from Gujarat Pakistan Se, Gujarat Hindustan Tak by Daisy Rockwell, the introduction talks about the Sobti MagicHere is an excerpt from there!


I. Sobti Magic

Krishna Sobti is a magical being. Everyone knows this. From her experimental prose to her legendary parties to her unique sense of style to her male alter ego, the writer ‘Hashmat’, everything about her is deeply considered and infused with her special warmth. I myself only had the opportunity to meet her in her nineties, but I consider myself much improved as a result. Perched on one of her sofas, strategizing when I might start asking her the meanings of particular words I wasn’t able to find in the dictionary that no one else seemed to know, stuffing myself with the never-ending delicacies emerging from the kitchen, worrying that I would not be up to the task of translating her novel, I suddenly started to understand the answers to my questions without ever asking some of them at all. To sit in her presence is to open the Sobti lexicon and immerse oneself in Sobti logic. Complex turns of phrase, confusing references, it all made sense once I was there. Translating Krishna Sobti and learning from her made me understand how to use my instincts and creativity to translate things that seemed untranslatable before, and it also taught me how read Sobti style.

II. Krishna Sobti Is Not Here to Tell You Stories

Yes, Krishna Sobti tells stories—interesting ones too—in her writing, and in conversation, but she has an equal if not greater interest in language and style. Her preferred forms have been the novella and the essay, and this is perhaps because she has sought to boil sentences, phrases and entire narratives into the smallest number of words possible. She claims she has never been a poet, but her prose resembles poetry more than anything else. She will often use the fewest words possible in a sentence, sometimes just one, if she can find the perfect fit. The words are carefully considered, weighed out and often very difficult to define or translate into English with just one equivalent word. Sobti’s use of language is experimental and central to her writing, and unlike many women authors, she is not terribly bothered if you don’t understand what she means, or if you cannot entirely follow the story. She is not writing to help you understand, she’s writing to reveal and learn what language can do.

In the section of A Gujarat Here, A Gujarat There that most resembles poetry, Sobti talks of Partition in a stream of words and phrases, interspersing her own family’s experiences with observations about refugees and migrants. In these particular lines, so spare and elegant, Sobti enters the minds of the mobs, the migrants, those fleeing and those chasing, those attacking and those under attack:

Who’s the sinner?
Who’s the criminal?
Who is witness to the crime?
One dagger-plunging hand. Another, match-striking,
lighting an oil-soaked rag.
One stands far off, gathering a crowd.
A clutch of terrified men and women holding their breath in
a jungle of half-dead, frightened voices: They just came—we
just went—we just died—don’t make a sound. Let them pass by.
Piles upon piles of corpses, mounting ever higher.
A wake of vultures roots about.
Rings on hands grown cold; necklaces encircle throats.

Where other authors have spilled buckets of ink writing histories and novels about the Partition, Sobti attempts to use the smallest amount of ink possible, to cut the story of migrancy and violence down to the bone. Even Manto rarely managed so few words in his Siyah Hashiye (Black Borders), his ultra-short stories of the Partition.


To know more about the book, click here!

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