
Dear Sir or Madam, will you read my book? / It took me years to write, will you take a look? The Beatles.
Indian writers and writers of Indian origin, and they are not necessarily the same thing, are ruling the roost in the publishing world. Salman Rushdie doesn’t count, any more than does V.S. Naipaul. Rushdie is more English than most Englishmen. Naipaul was a Trinidadian-turned-Englishman. Shashi Tharoor is decidedly Indian, notwithstanding the brogue. And he can jaw with the best of them in Malayalam. More often than not, our decorated authors are a dead cinch to be long-listed and at times, short-listed by Man Booker on the honours board. Once the all-knowing Booker gives the nod, the sales (hardback and paperback) start going through the roof. Eminent authors from the west speak in glowing, if somewhat patronising, terms about Indians writing with such felicity in English. Book reviewers fall over each to sing hosannas to the new releases. Truly, our writers are the toast of a nation and we Indians can rightly puff our chests out with pride. Your correspondent was fortunate to meet up with a senior functionary (who prefers to remain anonymous) from one of India’s leading publishing houses, Kinfe Edge Publishing (name changed). Over tea and biscuits, I was granted exclusive rights to publish brief extracts from some of the mouth-watering, appetite-whetting, upcoming novels that will hit the stalls before India’s long, festive season kicks in.
Hunting the Hun, by Major Gen. (Retd) Arun Bakshi
A company of 17 Pakistani soldiers had been worsted in a bloody battle, deep in the forests of Pakistan Occupied Kashmir, engaging in hand-to-hand combat and the occasional gunfire. We were 5 in all. We lost Subedar Charni Singh, who laid down his life to save my life. Telecommunications with HQ was snapped. 4 against 18, 17 Pakis perished but their leader, Major Aftab Younis stood defiant in front of us. He was unarmed and bled freely from his nostrils. I had to hold my fire. I struck a friendly note. ‘You have a nosebleed, Major. Would you like it staunched?’ The Major was bloody, but unbowed. We army folks are like that.
The Major sneered. ‘I don’t even know what staunched means, but if you have to shoot, shoot. Don’t talk.’
I kept up the banter. ‘I seem to have heard that line from somewhere. The Good, The Bad and The Ugly? Of course. Clint Eastwood, though that particular punch line came from Eli Wallach in a bathtub, his gun hidden under the soapsuds. You watch Hollywood movies, Major?’
The lone enemy survivor was not amused. ‘I would rather die than be captured by you. Kill me now, or I swallow this cyanide pill hanging round my neck.’ My soldiers rushed towards the Major. I held up my hand, barked an order and they froze. Our boys are trained to obey. I looked at the Major. Straight in the eye. Still with Clint Eastwood, I switched to Dirty Harry. ‘Go ahead. Make my day.’ The Major looked crestfallen.
(Read the rest of this 574-page real life thriller, written in a guts-and-glory style, in which blood and gore mix nicely with passion and patriotism. Plus, references to several more war movie titles like The Longest Day, Haqeeqat, Hindustan Ki Kasam and Border are guaranteed. You want war stories? This is the real McCoy).
The God of not-so-small Things, by Arunima Roy.
It was the height of summer in Nabadwip, the village in Bengal that boasts of more temples than worshippers can visit in a whole year. Just a 4-hour drive from Kolkata. April was a dry month. The eagerly anticipated nor’wester (kalbaisakhi) did not arrive to cool tempers and temperatures. The temple priests, through a direct line from Ma Durga, predicted May will be worse. Rani found a shade at the foot of a large banyan tree just across the broken pathway from the Durga temple, much patronised by the locals and visitors. She was sweating and panting profusely and hoped someone would notice her plight and come to her aid. No one did. Rani could feel in her bones that the end was near. At last, a 12-year-old girl ran towards the fast-dehydrating Rani with a bowl of water and screamed to her mother to bring something, anything that the poor thing could eat. Rani barely looked at the girl, her eyes rolled upwards, she was trying to say something but all that came out of her mouth was a soft, whistling sound. Could this be her last breath? The girl, Bulbul was her daak naam, was beside herself with grief. She begged Rani to drink from the water bowl. At last, Rani struggled to stand up, took a couple of licks from the bowl, looked with immense gratitude with her cow eyes at Bulbul, sank to the floor and silently passed away, her tail wagging briefly at the girl before the final moment. Bulbul was inconsolable.
(This is a story of unending grief, sorrow and copious tears. 312 pages of dense descriptions of humans and animals braving through immense suffering. Heat and dust with a vengeance. The late maestro Satyajit Ray would have smacked his lips to make a film out of this tale. After all, the great man had theatres flooded with tears thanks to his celebrated film on the Great Bengal Famine of 1943, Ashani Sanket, all those years ago. Pick up the book and keep a box of Kleenex handy).
Lalgudi Days, by R.K. Narasimhan
The violin strains of Sankarabharanam came wafting through the house on Gowri Manohari Street in the quiet village of Lalgudi. Having completed his early morning rituals and obeisance to all the godheads, the man of the house turned his devotion to his sacred instrument while his 8-year-old son followed every movement of his father’s bow and expert fingering with precise strokes. It was too hot and stiflingly humid to sit outside on the open thinnai. It was hot inside the house too and they had no electric fan installed in the early 30s. The elder’s wife Parvati, ‘fanned’ the two of them with a hand-made, palm leaf visiri, all the while her admiring, longing eyes trained only on her preternaturally gifted son. Nobody felt the heat.
‘Sankarabharanam is the most basic raga in our system, Balarama,’ explained the boy’s father to his ardent devotee. ‘In school, did not your English music tutor teach you the basic western scale, the solfège system, those seven notes do-re-mi-fa-so-la-ti? Sankarabharanam is notated in exactly the same scale, except we play it with gamakas, beautiful cadences while the westerners play it flat. Here, let me show you.’
Little Balarama sat and watched his father with rapt attention. All of a sudden, a large, black scorpion fell on his old man’s lap from a gap in the poorly tiled roof. The intense heat of Tamil Nadu attracted all kinds of creepy-crawlies during the hot season, which was almost throughout the year. Balaraman was horrified but kept his composure and drew back his bow to swat the poisonous scorpion away from his revered guru and father’s lap. However, Sabesa Iyer, for that was the family patriarch’s name, held up his hand and firmly instructed Balaraman to do nothing.
‘Just keep playing, Balarama. Tyagaraja’s Swara Raga Sudha is such a beautiful song and will ensure no harm will come to me. As father and son went into the depths of this monumental kirtanam (composition),the scorpion hopped off the father’s lap and disappeared into the crevices of the outer wall of the old house. Balarama was stunned and stupefied, his mother had profuse tears running down her cheeks while the old man kept exploring Sankarabharanam’s subtle nuances with his eyes blissfully closed.
(This 180-page novella takes us deep into the heart of the Cauvery delta, where Carnatic music was an article of faith. A touching story of how a little village boy of humble beginnings from a modest, but determined family, utterly devoted to his parents, reaches the highest echelons of Carnatic music, braving intense heat and great deprivation, not forgetting snakes and scorpions, to conquer the world. RKN delivers yet again with his simple, homespun stories and their lasting lessons of dedication and piety).








