My latest column (“The Bookist,” a monthly column for Hindustan Times Brunch) is on poetry:
One night in the early Eighties, in the basement theatre of Shri Ram Centre in Delhi, I heard the Hindi poet Sarveshwar Dayal Saxena read his long poem Kuano Nadi. This was my discovery. I had taken a DTC bus from Delhi University to Mandi House to listen to this poet without knowing anything about him.
His reading changed me. His poem was about rural poverty and it took me away from myself; it presented a radical vision of art and the language he had used welcomed me as if it was the doorway of my home.
I saw the above sign at a reading I did at Oblong Books in Rhinebeck. This post is about recent events related to the release of my essay collection, Lunch with a Bigot, primarily links to my radio interviews: with Joe Donahue on WAMC; with Brian Lehrer on WNYC; with John Hockenberry at WNYC’s The Takeaway. Also, check out this podcast on The Aerogram’s “Marginalia” where I was interviewed by Anita Felicelli. In other news, my “Ten Rules of Writing,” excerpted from Lunch with a Bigot, were presented on LitHub. And a wonderful interview with David Burr Gerrard appeared on Biographile.
Forthcoming readings from Lunch with a Bigot:
Tsion Café, Harlem, New York, Thursday, May 7, 2015, 7 PM, in conversation with Akhil Sharma;
Oblong Books, Rhinebeck, Friday, May 9, 2015, 7 PM;
Community Bookstore, Brooklyn, Tuesday, May 12, 2015, 7 PM, in conversation with Dani Shapiro;
Inquiring Minds Bookstore, New Paltz, Friday, May 15, 2015, 7 PM.
I have just written a piece for Granta on a visit to my hometown. Ought one get a massage in Patna? How about a wedding? Or a funeral? These and other questions answered here.
The day after the wedding, I flew out of Patna. When I returned to New York, I found copies of Granta 130: India waiting for me. At the end of his introduction, the issue’s editor Ian Jack had mentioned Patna. Jack had known Patna thirty years ago; he had had his appendix removed there and someone had remarked that if he had gone to the state hospital he wouldn’t have come out alive. Jack’s piece ended with these lines:
‘Now I’m going to Patna again. Of all the things it needed – decent sanitation, drinkable water, honest policemen – who would have guessed the latest aspect of its public life? To a city where I once bought Treasure Island as the most interesting book in a bookshop, I am returning for the Patna Literature Festival.’
Today I was sent the full cover of the new book.
Kirkus Reviews calls Lunch with a Bigot “an exuberantly inquisitive collection of essays.” The photograph above is of Hanif Kureishi. I’ve put it up here because 1. he is looking good; 2. I have an essay on him in the forthcoming book; 3. I just wrote a review piece on his latest novel, The Last Word, and will post a link when it is published.
Go here for the review in Kirkus.
Granta 130 carries my essay, “Pyre,” a report on my mother’s death in Patna. A different version of this essay will appear in my forthcoming book, Lunch With a Bigot. This longer essay is titled “Missing Person.”
This book is forthcoming from Duke University Press, April 2015. Picador India will publish it in the summer of 2015. The cover-art is by Subodh Gupta: “Full Moon,” oil on canvas. My essays in the book, spanning fifteen years, are divided under four headings: Reading; Writing; Places; People. The book includes this brief piece: “Ten Rules of Writing.”
My essay about Akhil Sharma’s writing, and his new novel Family Life, is now available on the Indian Quarterly website. Here’s an excerpt:
I have read what I have written above and am struck immediately by the thought that Sharma himself would never approach his subject in the same way that I have. His writing isn’t clogged with commentary. Instead of being academic, he reaches for the heart of the matter. A recent article by him begins, “I am not sure what caused me to start sleeping with married women, especially ones who were much older than I was.” Which is to say, his sentences, with their air of simplicity, and their energy, are also characterised by their directness. This is a part of the writer’s honesty. (Jonathan Franzen once said to me about Sharma: “His candor almost gets to be frightening but stops at exhilarating.”) Honesty in a writer doesn’t mean simply the desire to not hide anything; no, it refers to an ability to see through his characters and know what the story is really about.