The new issue of Himal Southasian, the first for 2014 and titled ‘Reclaiming Afghanistan’, is nearly with us! Take a look at the preview on our website. In the coming month, a series of web-exclusive articles will be published on our website, and the hard-copy (containing different articles) will be available to purchase/subscribe to on our website shortly. Or, if you happen to live in Kathmandu or Delhi, they will also be available in several good book shops–including Bahrisons at Khan Market in Delhi, and all the big names in Kathmandu.
The best, and first book that anyone should read, on Nepal. I wish I had read this as soon as I had arrived in Kathmandu, it would’ve helped me understand the politics and history much quicker. Manjushree Thapa is a brilliant writer, no less so in her non-fictional works than in her fiction. Forget Kathmandu begins with the infamous 2001 massacre of almost the entire Nepali royal family (including the king), and ends in the midst of the Maoist insurgency in Western Nepal in 2003. The essays in between are all attempts at explaining contemporary Nepal–both to explain it to others, and for Thapa herself to come to terms with the chaos and instability of her country. Much of this book is akin to her novel The Tutor of History, in its elegant style as well as its vigorous, political content.
An admirable and unusual characteristic of Thapa’s writing (here and elsewhere) is her owning of her bourgeois urban privilege. When she travels, in 2003, into the heart of the Maoist insurgency, she admits her background that enables her to make the judgments she does, far removed from the realities of Nepal’s rural working class, yet she doesn’t apologise for it. There is a fine balance to be struck–between an over-compensatory liberal guilt, and an arrogant dismissal of the ‘masses’–and Thapa does it perfectly. She strongly disagrees with the Maoists, particularly their violent and disruptive tactics, yet concedes that if she were an uneducated young peasant woman, she, too, would have been drawn to the movement. Thapa’s bewilderment at everything that is happening in her country around her could come across as naive or self-indulgent in a lesser writer, but her anger, her deep knowledge of politics and the centuries-long inequities of Nepal turns what could be a book of catharsis into something so much more important.
Forget Kathmandu, though several years old now, is certainly not outdated. The events recounted here are important for Nepal’s history (and its present) and Thapa’s speculations as to what could happen to Nepal are still largely relevant today–things are far from decided, here. Yes, parliamentary democracy has been reinstated, and a fairly successful election was held this past November. But democracy here is young, and there is still no constitution (successive Constituent Assemblies have failed to produce anything) and here the country is, six years later, treading water. The subtitle of Forget Kathmandu is An Elegy for Democracy, and in the years since the book first appeared, that subtitle could very well have become A Eulogy for Democracy. This updated edition, published in 2013, includes updated paratexts, but in 2011 Thapa produced another book to follow the story. The symmetry is clear and jolting: the final essay in Forget Kathmandu is called ‘The Massacres to Come’, and this newer book The Lives we Have Lost. I started that immediately after finishing Forget Kathmandu, to complete the picture.
Isabella Tree’s The Living Goddess narrates a fascinating and unique part of Nepali–or, more accurately, Kathmandu Valley–culture: the tradition of the Kumari, the worship of a prepubescent girl as the physical home of the female mother goddess. Despite living in Kathmandu (Patan, to be precise) I have seen or heard little of this tradition since I’ve been here. Isabella Tree’s personal history, then, of not just the Kumari of Kathmandu, but of surrounding areas (such as Patan, Bhaktapur, and other places that were perhaps once separate kingdoms or entities, but are now suburbs of Kathmandu) was an enlightening read. Tree first came to Kathmandu in the 1980s as an eighteen year old, living in a house on Kathmandu’s Durbar Square, opposite the Kumari Chen, or house. She became fascinated by the tradition then, and made it her mission in subsequent visits to Kathmandu to find out more about it.
After buying my copy in Jaipur in January, I have noticed that this book has sprouted everywhere in Kathmandu, the type of book that will likely sell well among tourists. And it should, it’s an interesting book, but it did have its problems. I have written before that the contemporary re-telling of mythological or religious tales have a tendency to take a stale narrative form. Roughly every second chapter of The Living Goddess is on the religious tales and traditions of the Nepali people, of relevance to understanding the Kumari tradition. But I found myself skimming through these chapters, bored by the unimaginative style. OK, these are tales that have been told again and again, and deviation from the understood narrative could risk offending the sentiments (god forbid that anyone should do that in India) of those belonging to the religion whose stories are being told. But I don’t see why this should be an excuse for bland telling-not-showing. Tree could have done much more with these sections of the book, considering they take up so much of it.
There was also a rather forced defense on Tree’s part of the Kumari tradition against its detractors. In the past decade or so, questions have been raised from various quarters on the dubious nature of the tradition in terms of the human rights of young girl children. Kumaris, particularly the Kathmandu Kumari, are not treated like normal children, so are often prevented from attending school and from playing and interacting with others of their age. Ex-Kumaris themselves have come out in defense of the tradition, saying that they gained much more than they lost from the experience, and do not feel that any human or child rights were violated. Assessing both sides of the debate was essential for Tree, and while some semblance of a balanced discussion is presented, she at times falls rather too easily back on the side of the defenders. This is her opinion, but I found this particularly problematic when she reiterated the empowering aspects of Hinduism on women because of the importance placed on the divine feminine forces. Such an easy equation between female worship and the actual condition of women is dangerous and usually very misleading. Take the following passage, for instance:
“The question remained as to why UN reports had included the Kumari tradition alongside the most brutal examples of child abuse and sex discrimination in the country when evidence existed suggesting that, far from constituting child abuse, the tradition actively protected and championed the rights of women and children; and that ex-Kumaris themselves supported the practice. Sloppy research must be partly to blame. Like most journalists it seems the UN reporters had also been persuaded by the prevailing rumours and had failed to examine the tradition closely, including the Newar beliefs and intentions behind it. But then, perhaps the answer was simpler than that. Perhaps no one, let alone the UN, could conceive of a tradition anywhere in the world where a little girl was genuinely worshipped as a Goddess.” (p. 229)
I don’t doubt that the UN’s research can be sloppy, or that it may have been inadequate in this case. But I (and a great many other feminists) do not equate any type of religious rituals around the worship of female deities, humans, spirits, or energies with the actual well-being of women in general. Tree seems to make this equation far too uncritically.
For anyone interested in Nepal, this is an interesting book, though certainly not the definitive one on the Kumari tradition.
I’m very pleased to have gotten Atreyee Sen to write for Himal. Atreyee wrote a fantastic book called Shiv Sena Women: Violence and Communalism in a Bombay Slum, which I wrote an article about in Intersections open-access academic journal. Keeping with the topic, in Himal, Atreyee reviews Kalyani Devaki Menon’s Everyday Nationalism: Women of the Hindu Right in India. The review can be found here.
Here is an excerpt:
“For several decades, women’s involvement in various expressions of Hindu nationalist violence has been the centre of controversy in India. The national media has given enormous coverage to the actions and ideologies of political priestesses who have emerged as prominent leaders within the movement. Whether it was Sadhvi Rithambara’s venomous speeches urging Hindu men to be virile and eliminate “the Muslim threat”, or Sadhvi Pragya’s alleged involvement in orchestrating the bomb blasts that shook Malegaon, a small town in Maharashtra, the imagination of Hindu nationalist women as “home-grown terrorists” has continued to capture the attention of the nation. Ordinary Hindu women are also placed at the heart of communal politics, as rightwing rhetoric consistently blames the Muslim community for being historically untrustworthy, carrying out “riot rapes”, and promoting hatred against majority religious communities. Several political parties come forward to support and speak for all Hindu women. While the Shiv Sena, the dominant Hindu nationalist political party in Mumbai, criticised the actions of the anti-terrorist squad which arrested Sadhvi Pragya in relation to the blasts, the women’s wing of the Shiv Sena, the Mahila Aghadi, distributed chilli powder and pocket knives to women at Mumbai bus stops for their self-protection.”
I first read this travel narrative about ten years ago. I was studying at the University of Otago, and aside from the books I had to read for my English major, I would select my reading material by browsing the library bookshelves and picking whatever appealed. I haven’t read like that for a long time, my habits dictated by firmer intentions now. But this system set me on the path of South Asian literature, as it was usually the Indian books that caught my eye on the shelf. One can’t judge a book by its cover, but you can be attracted by it.
Shopping for Buddhas was selected this way, I remember it clearly as it made a strong impression on me. I knew very little about India then, let alone Nepal, and there are three things that I clearly remember from this book: being surprised to learn that Nepal was a Hindu kingdom (it still was, in 2004), as my half-baked impressions of it were of a Buddhist country; being fascinated that in Hindu belief, Buddha was an incarnation of Vishnu, and that the first few incarnations were lost to human memory–I didn’t, and still don’t, really understand Hinduism, but there was something revelatory about this fact; and finally the visual image of Kathmandu that the book conjured stuck with me–until I came here! I imagined a city perched on snow-capped mountains, and when Jeff Greenwald wandered them purposefully on his hunt for the perfect Buddha statue, the streets were steep–probably a result of my living in Dunedin at the time, the city home to the world’s steepest street!
I probably should have left this book in my fond memory. It is not that I know so much more about Kathmandu these days that led to disappointment, but that I have read so much more travel literature, most superior to this. The basic premise of the book still holds–Jeff Greenwald is a young writer and traveller, who has spent a lot of time in Kathmandu from the late 1970s to ’80s, and embarks upon a mission to find the ‘perfect’ Buddha statue to buy. The more he learns about the iconography and craft of religious statues, and of the Nepali antiques business, the harder his quest becomes. I still liked this part of the narrative, but Greenwald’s forays into the Nepali politics of the time seems forced. Not just that these parts were out of date (that is inevitable), or basic (if one doesn’t know much about Nepal then they’re not basic at all, as my twenty-year-old self found) but they felt like padding, like the author had intended to write a story about shopping for Buddhas, and some editor along the way told him that this narrative alone wouldn’t pass muster.
It’s a light and enjoyable read if you’re in Kathmandu–I read it primarily whilst hanging out in a cafe near the Patan Durbar Square, so near to many of the shops that Greenwald would’ve perused, so it was easy to visualise the world he was trying to invoke. But ultimately the author’s overly-flippant tone (meant to be humorous, but sometimes just not) and meanderings between the world of politics and that of traditional art, with no real integration of the two, left Shopping for Buddhas very flat.
Chinese? Yes, a radical departure from what I normally read, let alone review. I spent far too many years restricting my reading while completing my PhD that expanding it to other places and genres and even genders still feels a bit naughty but also quite liberating. This short piece of autobiographical fiction/ fictional autobiography (?) by one of China’s pre-eminent authors was published by Kolkata-based Seagull Books, and it is really this fact that drew me to it (and motivated my inclusion of it here).
Seagull Books is a very interesting press specialising in publishing translations of radical writers, or non-fiction on ideas that many mainstream publishers overlook. They have published a large body of Mahasweta Devi’s work in English translation; produce a series on censorship (which includes a title on censorship and Islam penned by Kamila Shamsie); as well as curate the series that Mo Yan’s Change belongs to, provocatively titled “What Was Communism?” and edited by Tariq Ali.
Seagull Books deliberately positions itself as an international publisher based in India, rather than an ‘Indian publisher’ which, rightly or not, is a label that can suggest inferior quality to outsiders (though certainly less so these days, with the entry of many international publishers to India). Seagull’s production quality is not only good, it is excellent–eye-catching and innovatively designed. The cover art on their books by Mahasweta Devi is iconic, and this series on communism is just as distinctive, with bold red and yellow designs.
And what about Change itself? Described as a “novella disguised as an autobiography (or vice versa)” I’m not sure it was the best introduction to Mo Yan, who I had been intending to read for some time. The interest in an ‘autobiography’ of a writer whose other work one hasn’t read is limited. But it is certainly a title fitting to this series, as the narrator (whether that is Mo Yan himself, or some fictionalised avatar) recounts growing up in an often illogically rigid communist China. More of Mo Yan’s titles, translated by Howard Goldblatt, appear in the series.
My commentary in Himal Southasian on the disgusting case, in which Penguin India succumbed to the irrational, fundamentalist petition against the American scholar’s book:
“The recent case of American Indologist Wendy Doniger’s book The Hindus: An Alternative History (2009) being withdrawn by Penguin India and committed to pulping is another example of India’s succumbing to regressive politics. An out-of-court settlement was reached between Penguin and the complainants, a right-wing Hindu group called the Shiksha Bachao Andolan (the Save Education Movement), while the Saket court in Delhi was considering the complaint that had originally been filed in February 2010.”
Read the rest here.
Day 4 of the JLF 2014 brought sunnier skies, meaning that sitting around outside became much more pleasant. It was also a Monday, so much of the throng had returned to Delhi (or wherever else from whence they came), making movement between venues at Diggi Palace less of a scrummage.
At every festival there are people who you’ve penciled in to see, and those who you end up listening to because you have a free hour and have managed to secure a seat. Sometimes these latter prove to be revelations, introducing you to writers not otherwise on the radar. Adrian Levy (in conversation with Vikram Chandra, whose epic Bombay gangster novel Sacred Games I am a big fan of) was one of these finds for me, not least because I had a long chat with him over dinner this same night and he proved to be a thoroughly nice man. Levy, with his partner Cathy Scott-Clark, has most recently written The Siege, a non-fiction work on the 26th November 2008 terrorist attacks in Bombay. Most of the session was spent discussing his main ‘protagonist/antagonist’ (my term, not his) David Hedley, a fascinating and complex creature. As Vikram Chandra described him, “If I had made him up and put him in one of my novels, nobody would have believed him.”
My Himal Southasian colleage, Aunohita Mojumdar, appeared in the next session, ‘Elephants in the Room: India and its Neighbours’, along with representatives from Pakistan, Bangladesh, and Bhutan. The chair, a former Indian diplomat, opened by saying that while India might be an elephant, elephants are widely loved, gentle creatures. Aunohita rightly pointed out that they also have a tendency to crush things in their path, indiscriminately.
This afternoon was also spent at the Bookmark event for publishing professionals. As I wrote yesterday, this was industry-related, so while it was interesting and important for those in the industry, I don’t think it needs South Asia Book Blog’s special attention. Being our last evening in Jaipur, we stayed for the entertainment at Clarks Amer hotel, and I’m glad we did: the fabulous Tuarag band from Mali, Tinariwen, played for about an hour. After some lovely conversations with writers over dinner in the delegate lounge, I was sorry to be leaving the festival a day early, having to travel back to Delhi and then on to Kathmandu the next day. Despite the excellent networking opportunities for work, there were so many interesting people I didn’t get to see. Gloria Steinem! Nadeem Aslam! Robyn Davidson! But, we woke up the next day to torrential rain and thunder storms, which lasted all the way through Rajasthan and into Delhi, so in the end praised our own good foresight at calling it quits when we did.
The biggest perk of my job in Kathmandu so far has been a last-minute trip accompanying my boss to the 2014 Jaipur Literature Festival. I returned from a three week holiday to Australia and Cambodia fully expecting to wallow in the rest of the Kathmandu winter, barely enduring tepid bucket showers and twelve-hours-a-day power cuts, missing my partner, with few lights on the horizon expect the monsoon season and hot showers again.
Less than two weeks later I’m in Jaipur, staying in 5 star luxury at the ITC Rajputana! And doing two of my most favourite things–being in India (all the better, Rajasthan) and being bookish.
Being a work trip, we haven’t come for the full five days of the festival, and I’m busy jumping around between sessions so haven’t been able to do the same amount of reporting as I did for the 2013 JLF (see day 1 here, day 2 here, day 3 here, day 4 here, and day 5 here). My experience of the festival this year has been somewhat different, but I think that’s worth reporting in itself.
Our first day at the festival was day 2, Saturday. The crowds are even worse this year, and there are 6 different stages at the Diggi Palace, as well as a separate publishing event, Bookmark, being held at Narain Niwas a short drive away. The crowds have been crippling: it was always the case that if you weren’t early for a session, you wouldn’t get a seat, but now there isn’t even standing room if you don’t arrive early. Surely the organisers will have to start seriously thinking about this for future years, either by setting it in alternative or parallel venues, or perhaps introducing some kind of token fee system for some sessions.
Day 2 began, for me, with an interesting session on the global novel, featuring Ethipian-American writer Mazaa Mengiste, Jhumpa Lahiri, Jonathan Franzen, Jim Crace, and Chinese-British Xiaolu Guo, and moderated by Chandrahas Choundhury. The whole gamut of perspectives on that slippery term ‘global literature’ were put forward. Jhumpa Lahiri stated the common opinion (among literary and academic types, anyway) that ‘global’ is a current marketing term for literature and music, and that perhaps ‘international’ or ‘universal’ is more apt for the kind of literature being discussed. Mazaa Mengiste shared a different opinion, telling the audience about a cousin of hers who moved from their home country to Italy, and then Bulgaria, and finally the US, and is now a filmmaker. This kind of ‘global’ citizen is the person writing truly global literature, sharing experiences and entering language worlds that are beyond simple marketing categories. Jim Crace held a much more simplistic perspective, stating that, to him, global literature is that which intrigues readers from outside, that gives the broader world an insight into Nigeria or Poland or Brazil. But, as Jonathan Franzen rightly suggested, this perspective runs the risk of being simply a nostalgic exoticisation.
Other highlights of day 2 were the horrendously cliche-titled panel ‘Behind the Veil’ which brought together women writers from Turkey, Iran, Egypt and Somalia, moderated by the ever-wonderful Urvashi Butalia; and a discussion between talented Nepali author Manjushree Thapa, new Bangladeshi author Farah Ghuznavi (see my review of her short story collection Fragments of Riversong in The Asian Review of Books), and Indian feminist publisher Ritu Menon. Someone had pointed out to me earlier in the day that it seemed as if women writers were being put together, leaving the ‘general’ or ‘mainstream’ panels male dominated. This may be true to some degree, but these panels consisting entirely of women were very well attended, and one young lad was brave enough to ask “why don’t more men support feminism?” A good question, which prompted just wry smiles.
My review of This Side, That Side has just been published in Kitaab.
This is an ambitious and innovative production but, perhaps ironically for a collection clearly based around a single theme, lacking in clarity and purpose, says Elen Turner.
This book represents an ambitious project: to tell stories of the Partition of India through graphic narratives. It contains twenty-eight short pieces on different aspects of the Partition in 1947, from various locations. Present-day India, Pakistan and Bangladesh are all represented, and while most of the texts were originally written in English, a number have been translated from Urdu, Hindi and Bangla. The majority of entries are collaborations between a writer and an illustrator/artist, often in different locations, particularly across national borders.
Read the rest of the review here.