Celebrated writer Anita Desai spoke with Joshua Barnes of Sampsonia Way about how she became a writer, her writing process, and what it’s meant to be an “exile” from her homeland while writing about it. Indeed, writing as a daily practice is inundated with multiple requests to engage and interact with fellow writers and readers in a way not known before, mainly because of the fluidity of communications available through the Internet. She also explains that in spite of our increased connectivity, we are nonetheless drawn to the mode of exile because of its impact upon both our ancestors and our present:
I’m interested in people who live in a kind of exile; it may not be political exile, but in some sense it’s exile from the rest of society. It may have something to do with my upbringing and my parents. My mother, having been German, lived most of her life in India and never felt able to return to Germany . . . But on a superficial level, by uprooting yourself, you experience the world from many different angles. On another level, it leaves you as an outsider for good. You’re always an observer rather than the participant, and that’s a big difference.
To read more of this interview, click here.
Writer Akhil Sharma has an excerpt from his forthcoming novel Family Life entitled “A Mistake” featured in the latest edition of The New Yorker. It is filled with the kind of engrossing details that first-generation immigrants from any nation will recognize, from the wonderment at all the conveniences to confusion at all the seeming sameness. Endless adjustments, to school, to work, to home, and to the comforts of a post-industrial nation both delight and frustrate the narrator as he details his first few years as an Indian in America. An ordinary red shag carpet in a one-bedroom apartment in Queens, NY becomes a thing of luxury, conjuring feelings of “stepping onto a painting.” The stories in Family Life are based in part on Sharma’s real-life experiences and loved ones, and here he reflects upon his deliberate choice to dwell in fiction instead of memoir:
I think one can be more honest in fiction than in a memoir. For me, memoir, because it claims to be factually true, restricts my ability to use dialogue, since I remember only a few things that were said. It also hampers my ability to collapse time, because collapsing time takes events out of context. And I wanted to focus on only certain aspects of the experience; in a memoir, I would have felt obligated to include things, such as boredom, that don’t interest me artistically but were an important part of the experience.
To read more of Sharma’s story, click here. For more about Sharma’s experiences while writing his novel, click here.
Cyrus Mistry (younger brother of Rohinton Mistry) wins the DSC Prize for South Asian Literature for his novel Chronicle of a Corpse Bearer, a love story set in the Bombay amongst a community of Parsi corpse bearers. Below is an excerpt of the beginning:
“‘Oi, Elchi, you bloody drunkard! Still lolling in bed?’
There was no sound more revolting or hateful to the ears than that voice which plucked me rudely from my garden of dreams.
I was under the bower of the giant banyan with Seppy. Of all our numerous hideouts in the forest, this was her favorite. But in that instant, when Buchia’s hideous falsetto impinged on my consciousness, she was gone.”
read more here
an interview with Cyrus Mistry