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Title: Seeing like a Feminist
Author: Nivedita Menon
Year of publication: 2012

Feminist politics is complex, critical and contains a pattern of innumerable structures – just like the patriarchy it opposes. At the same time, being a feminist living in a patriarchal society comes with its own set of complications – from being labeled a man hater to questioning your own beliefs. Nivedita Menon’s book published jointly by Zubaan Publications and Penguin Books – speaks of all this and more. What is both insightful and humbling about Menon’s style is her sheer lucidity, which makes this book simple yet powerful, ridden with modern examples (like the ban on the Burkha in France) yet historical (like the existence of the stereotypical gendered colours of pink and blue having swapped genders only 50 years ago!)

Having been both a student and a professor at Delhi University, Menon connects patriarchy’s several structures and weaves them into a chain of thought that will not let you put this book down. Seeing like a Feminist starts with the concept of nude make up – make up that makes one look ‘natural’ and draws an analogy of the same with the present social order – which goes through the most painful rites and rituals only to finally move towards the natural order of things. She explains patriarchy through many such interesting insights and anecdotes, going through what it is to be a feminist, feminism’s relationship with family, love and marriage. She talks about bodies – what it is to be feminine and masculine and how these are mere social constructs and how these associate with sexuality. Menon’s take on today’s feminism is beautifully seasoned with the history of feminism in India; it’s associations with formal structures like law and historical ones like caste. She quotes several scholars, writers, writes extensively about contemporary movements, gets into the specifics of the Indian Penal Code, and yet, never once, does her writing make you feel like you’re reading a piece of academic work.

Feminism, for Menon, ‘’is not about a movement of final triumph over patriarchy, but about the gradual transformation of the social field- so decisively- that old markers shift forever.’’ This book is a brilliant read for anyone who wishes to understand feminism as a political ideology, along with its influences on informal and complex structures that makes up today’s conflicted society. Seeing like a Feminist is bold, thought through and in many parts – contrary to what is expected of feminism – very, very entertaining.

So, then. You want a story and I will tell you one.

Anyone who has reconciled themselves to the fact that Khalid Hosseini has already  exhausted the stock of their emotions, especially sheer despondence, ought to seek his latest offering to experience the intensity all over again.

Pari and her elder brother, Abdullah share a bond that can only decay in death because for Pari, her “Abollah” is no less than a parent and for Abdullah, Pari is just like the fairy her name translates into. Their young minds do not even waste time to contemplate their lives without one another. However, a ruinous journey of the two siblings with their father to Kabul culminates in the event that changes their lives once and for all.

‘And The Mountains Echoed’, the third book by the best-selling author Khalid Hosseini, is a peregrination across time and places with the reader finding oneself in circa 1952 and Kabul at one point, and circa 2010 and Tinos at another. With the decent shovel of a pen, the author has dug across boundaries and unravelled more haunting elements that remain invisible and, yet, are present around each one of us.

The story is a multi-generational family saga narrated from the perspective of several people which might force the readers to reluctantly lose a particular streak, though in the end the details merge to give us a clear image. Whether the book will be perceived at par with the previous ones is not known as of now because an inevitable comparison with its predecessors tells us that the book could use a more dense and prolific conclusion, a point that the previous books do not lack.

But above the grim reality that the author has introduced us with, he has told us a story because we wanted him to tell one.

But just the one…..

3.5-ratingRating: 3.5/5

Thosepriceythakurgirls

“Dabbu’s list of reasons for turning down perfectly nice, healthy, decently earning incomepoops under thirty:

(Compiled by Anjini Singh and Eshu Thakur)

  1. He said “intrusting” instead of interesting
  2. He had hairy ears! (like Yoda)
  3. He had uncool bum
  4. He came first in every exam, all his life, from nursery to IIT to IIM!
  5. He wasn’t Dylan Singh Shekhawat.”

Anuja Chauhan is back again with yet another RomCom hit. After patronizing cricket in “The Zoya Factor” and politics in “Battle for Bittora”, the author takes up press in the backdrop pre-liberalization New Delhi back in the ‘80s.

The story revolves around the five beautiful but troublesome daughters of Justice Laxminarayan who lives in the lavish bungalow on the posh Hailey road with his wife and the two unmarried daughters Debjani, our protagonist and Eshwari, the overly popular girl in school while the other three married ones; Anjini, drop dead gorgeous and incurably flirtatious but childless, Binodini who files a case against her own father to get her “rightful hissa” and Chandralekha, the “black sheep” in the family who elopes on the eve of her wedding.

The hero of the novel, Dylan Singh Shekhawat, Debjani’s “honest, brave and kind” Prince charming and highly patriotic journalist who is haunted by the massacre of the Sikhs in east Delhi and undertakes a personal mission to expose the man behind the riots. The plot thickens when in the midst of on and off romance between Dabbu and Dylan, dirty politics takes over fiery Journalism and our hero is framed with bribery and is sent to jail.

Those Pricey Thakur Girls isn’t just a romantic fiction, it takes us to old India, Delhi in particular. The dialect in which the author makes the character speak makes you laugh with “k****a, and M and B and F words and the mantra gleefully recited in unison by all the sisters: “May she die! May she be eaten by worms! May termites gnaw at her anus!”. The book might apparently be called as Pride and Prejudice of India with all the Indian Masalas of Family drama, sibling rivalry, lover’s quarrel and immense humor.

And because Dylan is “tall and sinewy and muscular”, has “lean dimples”, unruly hair and a torso made up of “muscular toffee-brown bits” I am glad a sequel is on its way.

“It’s like a fucking knife in me”, said Junot Díaz, on the pressure to produce a follow-up to his 1996 short story collection Drown,  that released to explosive critical acclaim.  Greats have been known to succumb, but with the release of his sophomore publication and debut novel The Brief Wondrous Life of Oscar Wao, Diaz, creates a narrative that juggles the two contrasting curses that have been known to afflict Latin-American literature: the “Macondo” (a shorthand for the García Márquez school of fiction) and “McOndo” (a term coined by Alberto Fuguet for the backlash against magical realism), with a breathless, capacious pace.

In what the New York Times called a “Mario Vargas LLosa-meets David Foster Wallace-meets-Kanye West” manoeuvre, three generations, two nations, a multiplicity of voices that echo the complexities of being American, sexual shenanigans, a foppish genocidaire and a sincere homage to all holy tenets of geekery, are all held together by the eponymous Oscar and narrated by his sometime-friend Yunior, in a relentless, streetspeak brand of Spanglish liberally interspersed with flash talk and razzle-dazzle words.

The book opens with a nod to “magic realism,” the most hackneyed tradition associated with Latin American fiction in the United States, introducing “Fuku Americanus,” or “the Curse and the Doom of the New World,” brought into being by the European colonization of Hispaniola and, more specifically, Columbus’ peregrinations circa 1492. But in Díaz’s hands, the “magic” gives way to “realism” in the first few paragraphs. The broad strokes of his global curse suddenly become very personal: “It’s perfectly fine if you don’t believe [in this],” the narrator tells us. “In fact it’s better than fine — it’s perfect. Because no matter what you believe, fuku believes in you.” Not surprisingly, fuku is eventually reconfigured as “fuck you.”

“You really want to know what being an X-Man feels like? Just be a smart bookish boy of colour in a contemporary US ghetto.”

Diaz creates in Oscar de Leon, (“not one of those one of those Dominican cats everybody’s always going on about. He wasn’t no player. Except for one time, he’d never had much luck with women”) a portrait of the artist as the homely lonely homeboy hero, painfully overweight and overtly precocious user of words like ‘vertiginous’ and ‘indefatigable’, “a hardcore sci-fi and fantasy man”, well versed in “Japanimation” and Marvel comics lore and with a burning ambition to write a space fantasy epic combining the characteristic themes of JRR Tolkien and EE “Doc” Smith. A Dominican-American growing up in Paterson, New Jersey, during the 80s, his counter-stereotypical nerdiness make him a doubly marginalised figure who spends most of his life wondering if he would ever get laid. A sensitive inamorata who ‘falls in love like the rest of us fall asleep’, Oscar’s emotional rawness and authenticity, his willingness to die for love, exasperate and then engross Yunior, are striking. The novel traces the strands of Oscar’s peculiar emotional DNA back through familial and national histories, in particular those of his mother, grandmother and grandfather, all three of whom suffer injustice and brutality at the hands of Rafael Leónidas Trujillo, the Dominican Republic’s iron-fisted ruler from 1930 to 1961. The plot interweaves period chapters set in Santo Domingo with those in New Jersey and New York as if hoping to diagnose Oscar’s addiction to love and Yunior’s encroaching self-loathing via personal and political histories. Accounts of betrayals, beatings, tortures and other manifold perversions of humanity darken Dominican narratives filled with beautiful and strong women seeking love, and proud men crushed by their perceived failure to navigate a ruinous social system.

Funny, unapologetic and intensely readable, his novel has a fine sense of itself as a performance rather than something ominously lapidary. It’s also good on the weight of history. And the reader is left guessing about poor Oscar until the very end.

Iva Dixit
[email protected]

Sometime before the world began perceiving him as a once-brilliant success-cliché who’d simply gone stark raving mad and taken to penning scathing novellas about intolerable ex-wives, Hanif Kureishi produced his debut novel The Buddha of Suburbia – a curiously satirical work that drew almost entirely from Kureishi’s own tumultuous teenage years growing up in the suburbs of South London.

The book is an-almost Bildungsroman of sorts, as it is the chronicle of a short time in the life of half-Indian teenager Karim Amir, (‘an Englishman born and bred. Almost.’) whose narration is a sardonic account of the in-between-ness of his origins: suburban, non-white, (‘more beige than anything’). Pop music, sexual explicitness and suburban self-denial come together in a raucous clash of cultures in ‘70s Tory England, with little doubt as to which side Karim favours.

So what sets Karim apart from the legions of leather-and-Levi’s clad punk heroes found in Beatnik literature, sniffing in disdain at the inanities of suburbia? Young, disrespectful and suspicious of bourgeois working-class pretensions, Kureishi creates in Karim a peculiar anti-hero who is vain, foolish and prone to too many chatty exclamations of hyperbole and superficial witticisms, but somehow rises to any satirical occasion with a laconic, exaggerated insight that is uncomfortably close to the truth.

The ‘Suburbia’ is Chislehurst, snug in its complacent manicured lawns, racist attacks on Pakistanis, and absurd fascination with all things Oriental and exotic, where deadly conformity rules supreme and deviations from established norms are not tolerated kindly.

The ’Buddha’ in the title refers to Haroon, Karim’s father, buttoned-up bureaucrat by day and velvet-waistcoat-clad-mystic yogi by night, dispensing a vague mish-mash of Buddhist and yogic philosophy to suburban yuppies seeking redemption of a higher call than polished wood flooring. Haroon’s mystic stint and eventual relationship with the dilettantish Eva Kay, opens up a world of staggering new possibilities for Karim, as it is she who unfolds the world for his restless ignorance to delve into.

Eva’s unforgivably cool son, Charles, a mediocre musician, with his platinum blonde hair and emotional coldness, is the sexual focus of Karim’s Chislehurst years, who later markets himself as a punk rocker Charlie Hero to the musically forgiving Americans.

It is in London, less than 20 miles away but an alternative universe itself with its hot promise of endless drugs, sex and excitement, that Karim eventually discovers a talent for acting and develops the first of many disillusionments with love and politics.  Karim’s maturity can be measured by the distance he travels from Chislehurst, and the perspective he gains on Charlie

Kureishi’s beginnings as a playwright make plenty of appearances in the technique and narrative of the novel, evident in the precedence of speech over description. Karim’s calculated colloquialisms and the ambiguity between speech and thought are liberally interspersed with mock-dramatic cliché and theatrical narcissism.  The comedy of the novel relies on the narrator’s determination to stay on the surface of things – to combine candour with caricature, espousing an irreverent take on his surroundings while remaining absolutely straight-faced.

“Perhaps in the future I would live more deeply,” he says with comic solemnity as the novel ends, “But that is not for now”.

Iva Dixit
[email protected]

Memories of a Chemical Boyhood

Author : Oliver Sacks

From his earliest days, Oliver Sacks, the distinguished neurologist who is also one of the most remarkable storytellers of our time and the author of this illuminating and poignant memoir, was irresistibly drawn to understanding the natural world. Born into a large family of doctors, metallurgists, chemists, physicists, and teachers, his curiosity was encouraged and abetted by aunts, uncles, parents, and older brothers. But soon after his sixth birthday, the Second World War broke out and he was evacuated from London, as were hundreds of thousands of children, to escape the bombing. Exiled to a school that rivalled Dickens’s grimmest, fed on a steady diet of turnips and beetroots, tormented by a sadistic headmaster, and allowed home only once in four years, he felt desolate and abandoned.

When he returned to London in 1943 at the age of ten, he was a changed, withdrawn boy, one who desperately needed order to make sense of his life. He was sustained by his secret passions: for numbers, for metals, and for finding patterns in the world around him. Under the tutelage of his “chemical” uncle, Uncle Tungsten, Sacks began to experiment with “the stinks and bangs” that almost define a first entry into chemistry: tossing sodium off a bridge to see it take fire in the water below; producing billowing clouds of noxious-smelling chemicals in his home lab. As his interests spread to investigations of batteries and bulbs, vacuum tubes and photography, he discovered his first great scientific heroes, men and women whose genius lay in understanding the hidden order of things and disclosing the forces that sustain and support the tangible world. There was Humphry Davy, the boyish chemist who delighted in sending flaming globules of metal shooting across his lab; Marie Curie, whose heroic efforts in isolating radium would ultimately lead to the unlocking of the secrets of the atom; and Dmitri Mendeleev, inventor of the periodic table, whose pursuit of the classification of elements unfolds like a detective story.

Sacks, who is perhaps best known for his books ‘Awakenings’ (which became a Robin Williams/Robert De Niro vehicle) and ‘The Man Who Mistook His Wife for a Hat’, invokes his childhood in wartime England and his early scientific fascination with light, matter and energy as a mystic might invoke the transformative symbolism of metals and salts. The “Uncle Tungsten” of the book’s title is Sacks’ Uncle Dave, who manufactured light bulbs with filaments of fine tungsten wire, and who first initiated Sacks into the mysteries of metals. But as Sacks writes, the family influence extended well beyond the home, to include the groundbreaking chemists and physicists whom he describes as “honorary ancestors, people to whom, in fantasy, I had a sort of connection.” Family life exacted another enormous influence as well: his older brother Michael’s psychosis made him feel that “a magical and malignant world was closing in about him,” perhaps giving a hint of what led the author to explore the depths of psychosis in his later professional life.

If you’re looking for a historically accurate tale The other Boleyn Girl is not the book you should pick up. However if you want a story loosely based upon a most exciting period in English History but spiced with intricate characters and well crafted flights of fancy then this book really does make for the perfect choice. A thrilling and romantic depiction of the English Court during the controversial reign of Henry VIII and the English Reformation, the book attempts to give an inside glimpse into the family that changed the course of history and religion forever. Written from the perspective of Mary Boleyn, the historically underrepresented sister of the more famous Anne Boleyn, the book retells and often reinvents history with such vivid and detailed descriptions that the very alien world of a 16th century English court suddenly transforms into a most familiar entity. However many historians have pointed out there exist glaring historical errors in Philippa Gregory’s book though the author staunchly sticks to her claim that all the incidents mentioned in the book with the exception of the characters’ private thoughts are most likely true since there is in any case no proof of their being otherwise. The story starts with Mary Boleyn having returned from the court of France at the age of 12 and her marriage of convenience at the behest of her politically ambitious family to a minor noble William Carey. However the marriage is short lived since she is almost immediately forced into becoming Henry VIII’s mistress and separated from her husband for the same. Mary Boleyn has two children by the king, though this is a debatable fact historically. While pregnant with her second child, a son, her sister Anne who is the better read and more intelligent and independent of the two is pushed by the family to engage the king’s attention and keep it from wandering to someone outside the family. Anne who had returned from the French court shortly after Mary’s marriage and had been helping her suit with the king all this while now decides to take the king for herself, and do so without prostituting herself. Her disappointment at not being allowed to marry a man she loved, as well as her own ambition and constant rivalry with her sister drive her on and she mechanically and later maniacally plots to win Henry over. What follows is political intrigue and religious upheaval as Henry desperately tries to sever his previous marriage to Catherine of Aragon who could not produce him a male heir. This results in his alienating the catholic world, since the pope, imprisoned by the Spanish king who is Catherine’s nephew, refuses to annul their marriage. The religious debate is not highlighted in the book, which concentrates on the political intrigue rather than religious implications of the various incidents. Henry VIII hence heads the Church of England, annuls his own marriage to Catherine and consequently marries Anne, all with the single minded desperate desire of producing a legitimate male heir. To all those who know their history the next course of events are known. To those who don’t the book certainly keeps up the suspense. In any case the events are narrated with gripping skill and are not a mere repetition of known facts. The book is more fiction with a historical setting than a historical novel, since it often deviates widely from known facts simply for dramatic effect or character building. However for all that ,it remains an excellent story and brings to life two of the most fascinating characters in history, of atleast one of whom little was known, hence the title ‘The Other Boleyn Girl’. The only flaw in the book, other than the oft repeated historical bloopers of course, is that it seldom ventures outside the court. Little is told about the reaction of the people of England to the major events that shook the country. The common people intrude merely in a few incidents, such as the rioting mobs hunting Anne down or her cold reception at villages she passed through when in the company of the King. Apart from these brief mentions the world of this politically charged time frame remains solely limited to the English Court. However if the historical awkwardness and lack of wider perspective disappoint, the delightfully well sketched characters and the in-depth psychological perspective into court life more than make up for it. Moreover what some historians find to be a grave anachronism- that of Mary Boleyn’s feminism- is something which I feel only heightens the charm of the book. Though it would have been inconceivable for a woman of that time to realize the unfairness of her lot and lament at the lack of agency or any amount of freedom of choice accorded to women; read from a modern perspective its perhaps an error which would gladly go pardoned, since we can scarcely read such a story without these issues coming to mind and having the protagonist anticipate and echo your objections is interesting. In any case this book makes for a delightful story, and is especially interesting in retrospect. We can now appreciate the irony for example behind the fact that Henry so desperately sought a strong male heir for his kingdom and prosecuted so many wives for failing to deliver the same, when in fact he had already been given the strongest and most able heir imaginable by Anne herself- her daughter Elizabeth. That his heir would bring the country immense power and consolidate the kingdom like never before would be a source of great solace to the paranoid dead king, while the fact of the heir being his daughter and not son probably a massive shock. Quite the historical irony. My Rating: 4/5 ]]>

Author: Haruki Murakami Kafka On The Shore blends fables, legends and mysteries sprinkled with reality. It revolves around two characters, one a teenage boy, Kafka Tamura and the other an adorable and pitiable, Satoru Nakata. Kafka Tamura is a fourteen-year-old runaway who escapes home in search of meaning and to distance himself of his father’s malevolence. Fate leads him to the town of Takamastu. Here, he finds shelter in a library and a mentor in Oshima, a librarian, who is a trans sexual gay. Alternate chapters relate the story of Satoru Nakata who loses higher intellectual functions in a world war 2 accident, under mysterious circumstances. This accident, on the upside, gives him the ability to converse with cats. The plot unfolds as Koichi Tamura, Kafka’s father coerces Nakata into murdering him. This renders him into a journey to right the wrong and restore the balance. He is accompanied on this journey by a disciple who facilitates this process by his own self discovery and encounter with fate in the form of a ghost like pimp. From fish rains to a journey into the after world, the disparate stories of the heroes converge in the library where Miss Saeki connects the dots. Kafka on the Shore is comprehensive – both in its reach and ambition. It is both suspenseful and mysterious, drawing readers to the finish- a real page turner. While it manages to create a surreal experience Murukami does well in delivering a coherent finishing touch.]]>