John Grisham's New Book's Italian Connection

John Grisham, it seems, loves Bologna. His driver in Bologna, Luca Patuelli says that perhaps he (Luca) has inspired the new book being written by Grisham. This is according to our local newspaper called "Bologna".

Actually Grisham had already based his last book, The Broker, in Bologna. As a  recognition of his service to the tourism of the city, University of Bologna had invited him for a high profile thanks-giving in September 2005. To write "The Broker", Grisham had come to stay in Bologna for some time, for going around and checking all the details for his book.

Luca says, "He is a real nice person, does not give himself any airs."

About the insipration for Grisham's new book "Playing for Pizza" (According to Luca; personally to me this title sounds just like a pizza and a joke) that should come out in November, Luca says, "I don't know if I can say that I inspired it. However, Grisham did ask me how did I speak English so well and I told him that I was a player at the American football centre." Infact, Luca had played with Bologna Warriors first and then with Phoenix San Lazzaro. Grisham was amazed when he heard that there was American Football in Italy?

So they say that Luca took him to the tiny town of Scandiano to watch the Italian Superbowl 2007 between Lions Bergamo and Panthers Parma. However, Luca denies it, "No, that is not true. I couldn't take him to any match because at that time the season was already over."

The hero of "Playing for Pizza" is a player of the American national league, who is forced to leave USA and who accepts to play for Parma Panthers.
 

Note: The pictures of John Grisham in this post are from his visit to Bologna University in 2005.

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Arundhati Roy’s speech at Ferrara

Italian weekly magazine Internazionale had organised three days of meetings with journalists and writers from different countries. I had written about this experiences a couple of days ago in under "Word Worlds". This time I am going to write a little more in detail, especially about what Ms. Roy said.

Arundhati Roy spoke in the round table discussion on "Literature, A world of stories: narrative and journalism" on Saturday 6 October. 2007. Other speakers at this round table were Efraim Medina Reyes (Colombia), Elif Shafak (Turkey) and Laila Lalami (Marocco) while the round table was coordinated by Italian journalist Goffredo Fofi.

Efraim, Laila and Elif spoke before Arundhati. Laila explained how American publishing houses have put her in the category of Muslim women writer from middle east and thus they expect her to write about how bad are the things for Muslim women in the middle east and they insist on putting pictures of veiled women, desert and camels on the covers of her books. (In the picture from left: Efraim, Elif, Laila, Arundhati and Goffredo).

Elif also took this theme forward by saying that islamophobia in the western world means that their identities as writers are shaped very much by these perceptions of being a Muslim and being a woman. Explaining her own growing up in different countries and continents, she said that people ask her about her roots and she feels that her roots are up in the air, that she is an upside-down tree. She concluded by reiterating her need for deciding her own themes and not to be dictated by expectations of others, “If I wish to write about a Norwegian homosexual or anything else, I will do so, to be writer does not mean that I have to restrict myself only to write on lives of Turkish women.”

Now, we come to Arundhati’s speech, but before that just a little introduction. I have long been an admirer of Ms. Roy. When I first borrowed God of the Small Things from the library in Bologna, it had already become famous as the Booker award winner. Still I couldn’t go through it. After an initial fifty pages I had given it back, unread. I had thought that her language was wonderful but that it was just too slow for me.

Finally my sister convinced me to give that book another try and I found that it was indeed true. If you stick to that book just a little bit longer, it does grip you.

About the other writings of Arundhati, I liked them as well even if sometimes I felt that she was a little bit too shrill, and sometimes she made me little uneasy - I am not convinced by her defense of violent people who believe in some ideologies like the maoists, islamists and the stalinists. Finally about some of her recent articles, like the one on the judiciary in India that came out in Outlook about 10 days ago, I could not finish reading, because I felt that she is so busy proving her point with relentless precision that her writing has become tedious to read.

A couple of years ago, I had met her on the stairs of the business lounge at the Delhi airport. I was going down to my flight and she had just arrived. “Excuse me, are you Arundhati Roy?” I had asked her on the stairs and when she had nodded, I had asked to shake her hand and ask her for a quick picture. She had said yes and after the picture, I had run off to catch my flight.

Only when I was down in the queue for getting in the flight, I had remembered the guy with her and my rudeness - I had not even looked at him, nor said a hello to him or to ask him to be in the picture! I am sure that it must be terrible to have a famous husband or wife, so that people just ignore you, or worst, they push you away while they talk to the famous spouse. I regretted this rudeness even more after a couple of years when I found out that the guy, Pradeep Krishen had written a lovely book about trees. I love trees as well, I love learning about them and talking about them.

Ok, now to come to the speech of Ms. Roy. Here are the main points of what she said:

“I understand this feeling of being .. I have a joke about it, when I read these books, I say, here is another book by CMM. CMM stands for Corporatised Moderate Muslim, it is what makes the west feel good in its interaction with the Islamic world.

I am not so sure about the space between fiction and the other kind of my writing, but none of my writing fiction or non fiction is something that comes out as a policy decision. When I had written God of the Small Things it was in 1997 and then came the booker, that was a period when we were beginning a journey in India, the Hindu nationalist right wing had come in the Government, in 1998 there was the nuclear test that was celebrated with a kind of sexual orgy of pride … at that time I was the darling of the middle classes, that I had made India proud. I saw that I had a platform, a space to raise a voice of dissent. I knew that to say something will be political, without being political I can’t say anything still to allow them to go on was something terrible for me and so I write “End of Imagination”, it was my dissent. Then suddenly we came to a world where there was so much horror… there was the Supreme court judgement about Narmada river, I travelled and saw the level of displacement and destruction that would happen. I felt that it was a story that needed a writer. There were other reports, facts and figures but how they were said did not allow for any common understanding so it was important to say this story in a way that people can understand the extent of horror..

One thing then led to another.. corporatisation, globalisation were coming in. I could see that it is going to unleash a level of violence in India that would require a battle in which writers, film makers, artists had a role to play, to fashion the elements and to explain them to people. When we were fighting for independence we did not need to explain it to people, they understood it clearly and easily. There was this coloniser and he was the bad guy. We were fighting against them. But today what is happening, how can you fight a battle when you don’t know who the enemy is? How can you fight shadows?

That is how I began into that other kind of writing.

All of us have written many times about the role of corporatisation in the media and the impact this is having on journalism but I don’t think I need to go into that with this audience. But I feel that the same thing is happening also with literature. There are huge book store chains that are deciding what kind of books will sell and they are then telling the publishing houses about the kind of books they want, what kind of covers these books should have.

When I am invited to a place, to a meeting like this I feel that I have been invited to tell you about how terrible things are in India. They are terrible but let me tell you that we never had a prime minister who owned all the media and all the book stores.. (like you had here).

When I am put into jail, my body is picked and put into the jail and I know that I am in jail but sometimes there are mind prisons also where imagination has been captured and colonised. Everything you wear is decided by some designer one season earlier. You walk past a shop window and you say ‘what a nice colour’ but the script for this choice was already written and planned in the last season, what you will think of a nice colour was decided and scripted earlier.

Along with corporatisation of media, there is corporatisation of literature as well.

There was two things that we need to talk about. One is language and the other is knowledge.
 

When I finished God of Small Things, I will tell this anecdote, I was on a review programme on the BBC and there were these two other persons, two British historians, on the programme with me. I hadn’t really spent much time in the west before, so I was there listening to these two men, and I couldn’t speak much because these two men were literally justifying the British Empire and I was like…even the right wing in India does not do that and they were justifying colonialism. I felt like I was a Martian come from outer space listening to them and they were saying that British culture was the defining culture of the world, Shakespeare and all. I was new to these things, I hadn’t had much interaction in such debates and they had accents.. so I didn’t know how to deal with it and I didn’t say anything. And then one of them said about me that because your book is written in English that is also a tribute to the British empire. So I said look that is like telling to children of raped parents that they are a tribute to the brutality of their fathers.

When I was growing up, I grew up where we speak Malyalam but I was forced to speak English by my own mother. I had to write ‘I will speak in English, I will speak in English..” a thousand times if I was caught speaking Malyalam by my mother. She said that this is the language that is going to get you where ever you are going to get.

So I said to that person, look it is not my tragedy is not that I hate English, I love the language but I am going to use it against you where ever I can .. and this person was almost crying, he said that he had said it as a compliment. I said that that is the trouble, you crushed a whole civilisation and did not even hear the crunch, did not hear the sound of its breaking.

Language … like in India we have 18 languages and 3000 dialects. For a persons like me,.. my father is a Bengali and my mother is from south, from east Malyalam. I was born in Assam and I speak Assamese. I studied in Tamilnadu and I speak Tamil. My first husband was from Goa and I learned to speak some Konkani, and now Punjabi and so on. So what is my language? What do we mean when we are talking about language of the empires. If I write in Hindi, it will be language of the upper castes, the language of Aryans who came and conquered the indigenous people who were there. So the way I look at it is to to see what do I say in that language. What do you say in it, how do you use the language. After all a writer should not be used by the language,.. uses language. If we are talking about empires and oppression then we can go back a long way and I don’t think that we can get to the end of that journey.

The other thing I want to talk about briefly is knowledge. Today the major form of capitalism is knowledge, accumulation of knowledge is capitalism. It is what the World Bank trades in. It employs the maximum number of people to do the manipulation of knowledge, that is its real talent. Accumulation of knowledge is capitalism and it is used to oppress people.

A few years ago I had been talking about globalisation of dissent, I was talking of globalisation of resistance… I was writing with facts, figures, equipped with every kind of argument. I thought that arguments, arguing well and pushing them in a manhole (??) arguing about gender, about globalisation .. but now I have also listened to the ground, I have travelled, I have travelled to those places where resistance is taking place and I have started to feel exactly the opposite. I feel that we have been burdened by so much information that we have weakened people by all the knowledge that we want to accumulate. If we look at a resistance movement in India that had all the knowledge, that had all the arguments, that had the support all kinds of international NGOs and movements, that had the publicity and notice two things – persons are saying that I don’t want your arguments, I don’t want your publicity and media, I don’t want to go to international conferences and making projects.. I am just going to stop you from coming in here, I will die before I let you inside this space.. and some of them were able to defeat them .. I am not saying that people should go back to being local and insulated once again, but what I feel that accumulation of knowledge that ends up in NGOs and Social Forums .. every institution that we have created has been taken over by them. We need to think about being guerrilla fighters on the subject of knowledge. We need to know that even knowledge can detract.

I certainly feel that as a writer of fiction who has started to write non fiction – though some critics say that my non fiction is also fiction, but that’s another things – but I feel that I don’t need to put it all right, to argue it right, to prove the case. I feel that can also become a prison and there are other ways of fighting. Thank you.”

This transcript is from my ipod, but I was not sitting very close to the loudspeaker and there were sounds of other people sitting around me and lot of applause in between, so I missed bits and pieces of her speech. As you can see, she did talk about being too obsessed with facts, figures and all the possible arguments to prove her point and that she has decided that this way of writing can be a prison as well. I look forward to reading something more concise and less tedious from her.

There was another shorter speech from her as an answer to some questions, that I still need to transcribe. In this speech she mentioned that she was "not writing non fiction right now", that can be interpreted to mean that she is writing fiction. That is certainly another good news.

In terms of her arguments about the language, I agree that in the language issue, it is perhaps more important what you say than the language you say it in. If she spoke in Kannada or Malyalam, probably I will not even know about her. Yet, there is another dimension of English versus other languages debates that is linked to power-hierarchy. English is the language of people whose voices are heard, who are articulate, and who have the power. If Ms. Roy was not speaking in English, no one would have invited her to speak. It is true that a rare Mahashweta Devi can sometimes get invited to speak in an international meeting but compared to writers writing in English, persons like Mahashweata Devi are virtually unknown not just outside India, but even to majority of persons in India itself.

After reading her writings, I had somehow the expectation of very precise way of speaking, and I was a little surprised by her hesitancy, by her search for words, by parts that were obviously heavy with emotions. But it was a wonderful experience. And listening to all the applause to her words, made me swell my chest with "she is a fellow-indian" kind of pride that made me feel a little ashamed.

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(Edited & updated in 2013)

Word worlds

I had planned this weekend three months ago, when I had first heard about programme of "Internazionale" conference in Ferrara. Internazionale is a strange magazine from Italian standards. Most Italian newspapers and magazines are very introverted, in the sense, their main focus is on gazing at their own belly buttons.

 

 

At the most they look towards USA and to a lesser degree towards, some of the European neighbours. Rest of the world does not exist except as a stereotype or in times of disasters. Internazionale publishes only translated articles from around the world, and not just from English language magazines and these days, it is the only magazine that I now try to read regularly, except for Hans (in Hindi).

They had announced this weekend of round-tables, meetings and debates with many of the well known journalists and writers that appear regularly in the pages of the magazine. I had made elaborate plans that started with daily train journeys to Ferrara and listening to the worlds of some of the authors that I like to read, from morning till late evenings.

Let me start by the last discussion of yesterday evening that is still relatively fresh in mind.

The theme of the discussion was the space between narrative and reporting of what is happening around the writers when they write. The question posed was, is your fiction all immagination even if you are surrounded by bombs, injustice, poverty and all those other things that ask for denouncement? The participants were Arundhati Roy from India, Efraim Medina Reys from Colombia, Elif Shafak from Turkey and Laila Lalami from Morocco. It was moderated by a too verbose Goffredo Fofi (picture below).

After reading many of her writings, I had imagined Arundhati Roy as a person, but the real Arundhati was very different from that imagination. I am sure that if I transcribe her speech (which I can, since I recorded her speech on my Ipod, but right now I can't as I have too many other things to do) it would sound like all other speeches, full of anguish and poetry. Yet, listening to her was different because it also had rawness of emotions and occasional groping for the words, that is missing from her written articles.

Among other things she spoke about the meaning of writing in English for her. She also spoke briefly about Kashmir and Maoists and Narmada river in India. Some bits of her speech, like talking of Indian military in Kashmir as an occupation force, made me a little uncomfortable, even if I agree that stories of what is happening in Kashmir have not been sufficiently told in India. However, I have been to a huge number of countries, and I do not believe in the so-called "freedom struggles" of violent repressive groups powered by their ideologies, such as Maoists, islamists and stalinists. She seemed very coherent but also naive about them. Her contention that knowledge/information, too much of it, may be stopping us from facing the issues, was intriguing, but then many of the issues that she touched upon require a lot more depth and understanding. (I have transcribed her speech in a separate blog-post which you can read).

 
Elif Shafak spoke about her moving from a country to another, about her roots up in the air and about the need to write to escape from the boring reality of every day life.

 

Laila Lalami told about the straight-jacket of being seen as a "Muslim women writer" and stereotypes about what non-western writers can write. Arundhati called it co-operated moderate Muslim, but I don't think that she has ever been forced to live in a conservative islamist society.

Yesterday I also watched a documentary "Lest we forget" of Jason da Silva, about stories of Asians and Arabs in the aftermath of 9/11 in USA. Plain clothes men banging at the door, taking away the "suspicious looking Muslim who has been reported by a neighbour", wives and children in anxiety not knowing what is happening to their husbands and fathers, persons being deported after months of prisons without any news to their families, the film was like hammer blows about all those lives that are seen just as numbers or news-stories as long as they happen to others and that we justify so easily in terms of terrorism, law and order, security and nationhood.

 

The story of Berny from India, with a Canadian passport, held in Chicago airport because they felt that her passport was false and sending her back to India after cutting & cancelling her passport, was scary since it touched on the very roots of our own sense of security. Right now, we may feel "oh, it is something that affects those Muslims, I am a Hindu so this does not affect me..". I think that once the prejudice and racial things starts, it touches everyone and every thing.

Day before yesterday there were interesting discussions about Chavez and Lula, the two faces of the left in Latin America, discussing them were Mino Carta/Brazil, Cristina Marcano/Venezuela and Ugo Pipitone/Mexico. It reminded me of the time when Lula was still a union leader and I had met him in Cruzeiro do Sul in north-west of Brazil.

 

I also liked the discussions about blogs, internet and censorship in China by Pierre Haski and the Chinese dissident student leader, Cai Chongguo. And the discussions by the European correspondents of newspapers living in Rome about Italy and italians.

Today is the third and the last day of this initiative and there are some nice speakers planned for the day, but I am too tired to go. I guess that I am too old to stand for hours in queues, get pushed around with huge crowds and then listen to long debates, standing up... I will like to, but my body aches.

So I will wait for the next issue of Internazionale to read it all. It will be less fun but much more comfortable!

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 (Updated in 2013)

Body paints: Hiding the body?

Why did man decide to invent clothes? Did ancient man have a sense of shame about the human body so that certain parts were supposed to be hidden behind clothes? Probably not. Man had evolved in nature full of animals, birds, roaming around without any clothes, except for those given by the nature - the body hair of different animals that covered the body, changed colours according to the seasons.

Probably early humans evloving in the hot tropical climate of Africa, did not even need lot of body hair and thus clothes were probably invented much later, when Homo Sapiens moved towards colder climates in the north?

Another reason could be that the genitals are delicate parts of the body and evolution of human beings from being four-legged creatures like other animals to the upright walking two legged creatures, further exposed to these delicate body parts to possible injury. Thus human beings had to look for something to cover and protect these parts.

Whatever the reason, today clothes are considered necessary for human life, and when ever new tribal groups are discovered, they are taught about the need to cover themselves. Apart from the stray nudists who may rebel against this imposition of the society, we all tend to accept to cover ourselves to varying degrees. Most cultures allow men to wear lesser clothes than women.

Artists have always tried to critically look at the social costumes and question them through their art. One such artist who questions the need for wearing clothes is Joanne Gair. Gair has become famous for her body painting, where she paints the clothes over nude bodies, giving the illusion that the person is wearing clothes. Here is sample of the art by Joanne Gair.

About 10 or 15 years ago, an Indian actress, Pooja Bhatt, had also posed for a magazine cover wearing just body art and that had raised a scandal. I personally admire such persons who dare to provoke the society into questioning the seemingly unbreakable and rigid social costumes.

Here some of my pictures of body paints from the cultural events (mainly the Par Tot summer festival parade and the GLBTI pride parades) in Bologna (Italy) - (Note: images have been updated in 2013):

Did you like my collection of body-paint images? I hope that you will be inspired by these images and then use your imagination to come with new variations in body paint to give shape to your desires.

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Mercy killing

A friend sent this to me and I think that it is worth sharing:

We were talking about life and death.

I said to her, "Don't let me live like a vegetable, completely dependent upon a machine, getting fed from a bottle. If I ever come to that state, switch off all those machines and remove the bottle..."

She got up, switched off the TV and the computer and took away my beer bottle....

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Home: Manju Kapur

During the last trip to India, I had bought Manju Kapur's new book, "Home". I had earlier read her "Difficult daughters" and liked it.

Kapur's book is set in Karol Bagh area of Delhi in nineteen sixties and seventies. That was one reason, why I wanted to read this book as I had grown up in the same area and I could identify with some of the characters of the book very easily. In that sense the book does not disappoint. Once I started reading it, I could only stop when I had finished it. Reading words like "Ajmal Khan Road" or the descriptions of sari shops in Karol Bagh, evoked quick images of real places and persons that I had known.

The book is about the Banwari Lal family. The shop owner Banwari Lal, his sons Yashpal and Pyarelal and their wives and children and it explores the world of joint families. This world of joint families is not the large happy make-believe families of Suraj Barjatya films. It is a world trying to grapple with complexities of adjusting your aspirations and individualities with those of the others inside closed walls of the house, facing challenges of generational changes, trying to accomodate growing children in narrow personal spaces and even narrower working spaces.

This world of joint families does have altruistic elders, a mutual support system and intimacy that makes joint family living such a pleasure and a pain, but the book does not dwell much on these aspects, it rather focuses on tensions and rivalaries, almost a Darwinian struggle of finding your own space for catching the sunlight and growing up, escaping the shadows of the others, who came before you or who have more rights than you.

The book has a large set of characters, the patriarch, his wife, two sons, their wives and children, a dead daughter and her family etc. The first part of the book focuses on a few of these characters, esepcially on Sona, married to the elder son Yashpal and her sister, Rupa, married to a teacher, Prem Nath. Sona, beautiful, insecure and anxious can't have children while younger brother Pyarelal's ordinary looking wife Sushila quickly has the required sons, Ajay and Vijay. Ten years after the marriage finally Sona has a daughter, Nisha and then a son, Raju.

Death of Banwari Lal's daughter and their decision to take the daughter's son, Vicky in the house with them and Vicky's relationship with Sona, is the subject of the first part of the book. Sona, childless at that time, is expected to take care of Vicky. Vicky's adolescence and his first sexual experiments with his young cousin, Nisha make the family send Nisha to live with her childless aunt, Rupa. Nisha grows up and falls in love with a boy of another caste, and when the family finds out about it, this relationship is quickly snubbed out. Manglik Nisha can't find a husband and remains a spinster in the house, till she decides to set up her own business of making readymade clothes. Success of this business coincides with her marriage to a childless widower and the book ends with her pregnancy and the decision to leave the readymade clothes business.

In terms of characterisations, Kapur paints with a large brush with expressionist brush-strokes, giving a few details here and there and leaving you to fill in the rest from your own imagination. Except for Sona and Rupa, and to a lesser extent, Vicky, Yashpal and Banwari Lal, all other characters in the first part of the book remain shadowy figures. For example, Pyarelal and his wife Sushila, are cardboard characters, there is nothing distinctive about them that you can remember after finishing reading the book. In the same way, the second half of the book concentrates on Nisha, excluding almost everyone else. This helps you to focus on the main story of the book, even as it creates a feeling of dis-satisfaction about other persons in the book.

So compared to another large family story like "A Suitable Boy" by Vikran Seth, here family is just a setting and the story still remains limited to a few main characters and is not a proper joint family saga.

Kapur uses fairly simple language. There is hardly a phrase in the book that you stop to re-read to savour the words construction or profound ideas. Her language is just a tool to tell the story.

There are a few episodes of sex scattered throughout the book. Though it is still does not reach the level of explicit sex in the Harold Robbbins or Sidney Sheldon books written more than thirty years ago, but compared to the staid world of women writers of Indian literature (I confess that I still haven't read anything by Shobha De!), it does seem daring.

Vicky's violence on young Nisha or Nisha's own experience with her fumbling boyfriend, both are explicit enough to make us understand why her character feels and behaves the way she does. Another sex scene between Rupa and Premnath, does not serve the story in any way but it makes the two characters more real. The book throws in an occasional "chutiya" in colloquial way, probably for authenticity.

Overall, the book is a good read, even if I had liked "Difficult daughters" much more. Once you finish it, it does not leave any strong characters in your mind, rather it is all about persons who were shaped by their destinies and they could do little to fight it or to shape it in their own ways. So, after a few days of reading the book you will just remember that it was a good read, but may forget the characters and the story.

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Coffee art

Italians prefer their coffee in small cups. In a bar you can ask for an espresso, at home you make it with moca, but you drink it in small cups. Small amount of concentrated coffee with strong aroma.

Friends from India when they first try it, they think that it must be really strong. "It is like poison", one of my friends had said. But actually it is supposed to be strong only in the flavour and much low on caffeine than those long glasses of watery brew you get in USA.

If you wish for higher dose of caffeine, you can ask for a lungo (longer) or if you are in Rome, you can ask for Alto (higher) but don't expect a larger cup. It would be still in a small cup. If in espresso, you got about 3 cm of coffee for a lungo, you may get about 5 cm. An amount that you can drink in a gulp.

In real good bars, they would bring the cup of espresso with an equally small glass of water. You are supposed to drink water and clean your mouth before tasting your coffee so that full flavour can be felt.

Italians forced to live abroad, often say that the thing they miss most is their coffee in small cups and friends and family members coming to meet them are requested to bring bags of Italian coffee for the moca.

Some people prefer macchiato (pronounced makkiato, means spotted or marked), where you add just just a dash of foamy milk or cream. Macchiato can also be an art form, as you can see from these art coffee cups from the Thai coffee website Roytawan. You can use the different colours, textures and consistencies of milk, cream, foam, coffee and choclate powder to make designs in your coffee cups.

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