We are thrilled to announce that ‘Uncertain Light’ by Marion Molteno is shortlisted for ‘The International Rubery Book Award’.
The Rubery Prize is a prestigious international book award seeking the best books by indie writers, self-published authors and books published by independent presses, judged by reputable judges.
What is terrorism other than forcing and suppressing people, deluding and stupefying them, inflicting pain, contempt and torment with cruel and merciless intent, all the while keeping them in fear of their lives?’ DailyO carries an excerpt from The Division of Heaven and Earth: On Tibet’s Peaceful Revolution by Shokung.
“I used to be rather intense as a young man. As I get older, life seems to get funnier. You also get more philosophical when you look back, you are prepared to be more forgiving,”’
One of India’s favourite authors, Ruskin Bond, on the company of undemanding ghosts, his obsession with semi-colons and why he ought to have named his recently-released autobiography, ‘Twenty-Two Steps’.
‘It can be reasonably argued that in India, from the beginning of its civilisational enterprise, nothing has remained singular for long; in fact, nothing has been, in a sense, allowed to be singular for long. Whether God or religion, philosophy or metaphysics, language or custom, cuisine or costume, every realm is marked by plurality. It is not accidental that in many Western languages the word India is plural—‘Indes’, meaning ‘Indias’.’ Indian Cultural Forum carries an excerpt from India Dissents: 3000 Years of Difference, Doubt and Argument edited by Ashok Vajpeyi.
Book launch of Lone Fox Dancing: My Autobiography by Ruskin Bond. Ruskin Bond was in conversation with Nalin Mehta, Consulting Editor, Times of India, and Joint Director, Times of India Literature Festival. Click here to view the album.
‘Sitting in the mountains, I remember the sea: tinsel on a vast field of water, and sunny white sheets billowing in the wind.
I remember a forest of nodding flowers and patches of red, yellow, green and blue light on a wall.
And I remember a little boy who ate a lot of kofta curry and was used to having his way.’
The Sunday Guardian carries an excerpt from Lone Fox Dancing: My Autobiography by Ruskin Bond.
‘I chose to name my story “The Adivasi Will Not Dance” as an act of defiance. Adivasis are made to dance at government functions, are made to entertain VIP guests, but what do they get in return? Adivasis are among the major casualties of all the development programmes of the government, be it roads, dams, power plants, or any factory or industry for that matter. So what might happen if Adivasis refuse to dance at a government programme, which has been organised to lay the foundation stone of a thermal power plant which would, again, displace several Adivasis from their villages? So, once I had this idea, I turned it into a story, and since my editor and I had this feeling that this was the strongest story in the collection, we decided to name the collection The Adivasi Will Not Dance. .’ Hansda Sowvendra Shekhar’s interview with Preeti Singh, The Sunday Guardian.
‘No one ever bothered me, neither man nor beast. I was conscious all the time of the silent life in the surrounding trees and bushes, and on the road. I smelt a leopard on a couple of occasions, but did not see it. I felt the warmth of a body very close behind me, but when I turned there was no one.’
Scroll carries an excerpt from Lone Fox Dancing: My Autobiography by Ruskin Bond.
‘The Adivasis of India have been subjected to systematic oppression for centuries and postcolonial India continues with the same processes by different means. Hansda Sowvendra Sekhar’s short story, “The Adivasi Will Not Dance” explores the subalternization of such communities as well as the evolution of subaltern consciousness, as manifested by the protagonist of the text, Mangal Murmu, whose monologue constitutes the narrative.’
Click here to read the entire paper on ‘Examining Subalterneity in Hansda Sowvendra Sekhar’s The Adivasi Will Not Dance‘ published in the journal Postcolonial Text, Vol. 12, No. 1 (2017).