த•ழக•• | இ#$% 6 ேப( | தQழக()K 113 ேபU<= ெகாேரானா | ||||||||||||||||||||||||||||||
ெச•ைன, ஜ!•.4- உ)J ெசXயbப#h!ளB. | ேமd•, 12 வயB7E#ப#ட | அேதேபா& | அ:யx2, | |||||||||||||||||||||||||||||
மா+ல-களைவ12 ேபா34578 ேத(9 | த#ழக&'( | ேநRS | இJ& | அJகப#சமாக | 7 Eழ3ைதகD7E•, | 60 | J^h7க& | உ!பட | ||||||||||||||||||||||||
T'தாக 113 ேப*GH | ெச;ைனc& | 81 | ேப2, | வயB7E | ேமMப#ட | 18 | 13 | மாவ#ட.க! | ||||||||||||||||||||||||
ெகாேரானா | உS' | ெச.க&ப#?& | 11 | ேப2 | >Jயவ2கD7E• | ேநM) | ெகாேரானாேவ | இ&லாத | ||||||||||||||||||||||||
ெச•ைன, ஜ!• 4-- | ெசMயOப:X<ள.. | உ!பட 12 மாவ#ட.க"& | ெகாேரானா ெதாM) உ)J | மாவ#ட.களாக | உFவா@ | |||||||||||||||||||||||||||
த•ழகkJ& | ேநM) | ெதாM) பாJbO பJவா@ | ெ ச X ய b ப # h ! ள B . | உ!ளB. | ||||||||||||||||||||||||||||
த#ழக&'( | இ*+. | '.0.க., | ||||||||||||||||||||||||||||||
OJதாக 68 ஆ^க!, 45 | உ!ளB. 26 மாவ#ட.க"& | |||||||||||||||||||||||||||||||
அ2ணா | '.0.க., | கா67ர9 | ||||||||||||||||||||||||||||||
ெப^க! என ெமாkத• 113 | யாF• | OJதாக | ||||||||||||||||||||||||||||||
க:;க< | சா=>( | 6 | ேப= | |||||||||||||||||||||||||||||
ேபF7E OJதாக ெகாேரானா | பாJ7கbப#ட<&ைல. | +[பைன அ+7] | ||||||||||||||||||||||||||||||
மாCல6களைவGH ேபா:IJ•K | ||||||||||||||||||||||||||||||||
கைல7ப_வலL: )U. `)* ெஜb* | ||||||||||||||||||||||||||||||||
ேத=L ெசMயOப:டன=. | ||||||||||||||||||||||||||||||||
த•ழக• | உ!"#ட | ப&ேவ) | ||||||||||||||||||||||||||||||
மா,ல.கைளேச23தமா,ல.களைவ | Q*-ஏல. | |||||||||||||||||||||||||||||||
எ•.6.7க! 57 ேப:; பத< கால• | ||||||||||||||||||||||||||||||||
$வாX ம•YR $வாX <3ZT, 2016% &' ெசா./•கைள #•பைன ெசJதX | ||||||||||||||||||||||||||||||||
<ைர<& | >?வைட@றB. | இ3த | %--ஏல.ேத$ ம•YR ேநரR: ஜ`% 17, 2022 மாைல 3.00 cதX 5.00 வைர | |||||||||||||||||||||||||||||
EMD சம•4•4பத•கான கைடh ேத$: ஜ`%, 2022 | ||||||||||||||||||||||||||||||||
இட.கD7E | வF@ற | 10--3 | ேதJ | (ஒiெவா%YR 5 jடkக0 வரRப•ற l@M45ட%) | ||||||||||||||||||||||||||||
ேத2த& நைடெப)@றB. இதMகான | ||||||||||||||||||||||||||||||||
ேவ#OமP | தா7க& கட3த | மாத• | ||||||||||||||||||||||||||||||
(ேம) 24--3 ேதJ ெதாட.@யB. | ||||||||||||||||||||||||||||||||
ஒF | மா,ல.களைவ | எ•.6.ைய | ||||||||||||||||||||||||||||||
ேத2W ெசXய 34 எ•.எ&.ஏ.7க"; | ||||||||||||||||||||||||||||||||
ஆதரW | ேதைவ. | தMேபாB | ||||||||||||||||||||||||||||||
J.>.க., | அ^ணா | J.>.க. ஆ@ய | ||||||||||||||||||||||||||||||
க#`கD7E உ!ள எ•.எ&.ஏ.7க! | ||||||||||||||||||||||||||||||||
எ^a7ைக அ?bபைடc& J.>.க. | ||||||||||||||||||||||||||||||||
4 இட.க"d•, அ^ணா J.>.க. 2 | ||||||||||||||||||||||||||||||||
இட.க"d• ெவMe ெபற >?f•. | ||||||||||||||||||||||||||||||||
அத;ப? J.>.க. - 3, அ^ணா | ||||||||||||||||||||||||||||||||
J.>.க. - 2, கா.@ரg - 1 இட.க"& | ||||||||||||||||||||||||||||||||
ேபா#?chவB என >?வானB. | ||||||||||||||||||||||||||||||||
இJ& J.>.க. தரb6& @:ராஜ;, | ||||||||||||||||||||||||||||||||
க&யாணj3தர•, | ராேஜgEமா2 | |||||||||||||||||||||||||||||||
ஆ@ேயாF•, | அ^ணா | J.>.க. | ||||||||||||||||||||||||||||||
சா26& | `.<.ச^>க•, | த2ம2 | ||||||||||||||||||||||||||||||
ஆ@ேயாF•, | கா.@ரg | சா26& | ||||||||||||||||||||||||||||||
ப.`த•பர>• | ேவ#பாள2களாக | |||||||||||||||||||||||||||||||
அe<7கbப#h, | அவ2க! | ஓ••• ••! & ைபனா'•ய) ச+,ச• இ./யா 01ெட4 | ||||||||||||||||||||||||||||||
ேவ#OமP தா7க& ெசXதன2. | ||||||||||||||||||||||||||||||||
ேமd• | பkமராஜ;, | அ7l | ||||||||||||||||||||||||||||||
m | ராமnச3Jர;, | ம;மத;, | ||||||||||||||||||||||||||||||
ேவ&>Fக; | ேசாழகனா2, | |||||||||||||||||||||||||||||||
ேதவராஜ;, | க3தசா•, | j3தரo2kJ | ••ேச••ைக - IV - A (#$ 8(6)-% &') | |||||||||||||||||||||||||||||
ஆ@ய 7 ேப2 jேயnைசயாகW• மP | ||||||||||||||||||||||||||||||||
அைசயா ெசா./•க0 #•பைன•கான #•பைன அ3#45 | ||||||||||||||||||||||||||||||||
தா7க& ெசXதன2. | ||||||||||||||||||||||||||||||||
கட3த | 1--3 | ேதJ | ேவ#OமP | |||||||||||||||||||||||||||||
ப:pலைன நட3தB. இJ& jேயnைச | ||||||||||||||||||||||||||||||||
ேவ#பாள2க! | 7 | ேப:; | ேவ#O | |||||||||||||||||||||||||||||
மP7க! த!Dப? ெசXயbப#டன. | ||||||||||||||||||||||||||||||||
J.>.க., | அ^ணா | J.>.க., | ||||||||||||||||||||||||||||||
கா.@ரg | ேவ#பாள2க"; | அe<> | ெபM)7ெகா^டன2. அவ2கDட; | - | , | , | ||||||||||||||||||||||||||
ே வ | # | O | ம | P | 7 | க | ! | இைதkெதாட23B | J.>.க. | >;னா! | அைமnச2க! | A , R. ( | 2,15,77,296/- | |||||||||||||||||||
ஏ M ) 7 ெ க ா ! ள b ப # ட ன . | சா26& | ேபா#?c#ட | @:ராஜ;, | ேவdமa, த.கமa, அ;பழக; | `)* ெஜb* | |||||||||||||||||||||||||||
ேநM) மாைல 3 மa வைர | க&யாணj3தர•, | ராேஜgEமா2 | உ!"#ேடாF• இF3தன2. | |||||||||||||||||||||||||||||
ேவ#OமP7கைள | JF•ப | ெபற | ஆ@ேயா2 | ெவMe | சா;eதைழ | கா.@ரg | சா26& | ேபா#?c#ட | 18.06.2022 | |||||||||||||||||||||||
அவகாச• வழ.கbப#?F3தB. | ெபM)7ெகா^டன2. | அbேபாB | ப.`த•பரkJ; ெவMe சா;eதைழ | |||||||||||||||||||||||||||||
<ைற>தப@ச #ைல: D.1,99,44,000/- (DபாJ ஒL ேகாMேய ெதா%N•3ெயா%ப/ ல@ச./ | ||||||||||||||||||||||||||||||||
இ3த அவகாச• >?வைட3தB• | அரj | ெகாறடா | ேகா< | ெசsய;, | அவரB மகP•, எ•.6.fமான கா2kJ | நா•ப./ நா%காPரR ம@TR) | ||||||||||||||||||||||||||
ெவMe | ெபMற | ேவ#பாள2க! | jM)லாkBைற | அைமnச2 | `த•பர• | ெபM)7ெகா^டா2. | ||||||||||||||||||||||||||
EekB | அJகாரq2வமாக | மJேவ3த; | உ!"#ேடா2 உட; | அbேபாB ெத;ெச;ைன | மாவ#ட | அடமான ெசா()* +வர. | ||||||||||||||||||||||||||
அe<7கbபh• என ேத2த& அJகா: | இF3தன2. | கா.@ரg | ெபாFளாள2 | mரா• | | |||||||||||||||||||||||||||
அe<> | அ^ணா | J.>.க. | சா26& | உ!"#ட | ,2வா@க! | உட; | : 600 041, , | |||||||||||||||||||||||||
அத;ப?, | ேநM) | மாைல | 3 | ேபா#?c#ட | `.<.ச^>க•, | இF3தன2. | , ., , .39, ...99/3, | |||||||||||||||||||||||||
. 86/13 86/13, '' '', | ||||||||||||||||||||||||||||||||
மa7E | J.>.க., | அ^ணா | த2ம2 | ஆ@ேயா2 | அ^ணா | இைதkெதாட23B ெவMe ெபMற | . 1 1, 1335 | |||||||||||||||||||||||||
J.>.க., | கா.@ரg ேவ#பாள2க! | J.>.க. | ஒF.@ைணbபாள2 | மா,ல.களைவ | எ•.6.7கD7E | 2750 | ||||||||||||||||||||||||||
713 , 1426 | ||||||||||||||||||||||||||||||||
6 | ேபF• | ேபா#?c;e | ஓ.ப;u2ெச&வ•, | இைண | அ7க#`c; | ,2வா@க!, | . : 12 | |||||||||||||||||||||||||
ே த 23 ெ த h 7 க b ப # ட த ா க | ஒF.@ைணbபாள2 | எடbபா? | ெதா^ட2க! | ெபா;னாைட, | , | |||||||||||||||||||||||||||
ேத2த& | அJகா:f•, | ச#டம;ற | பழlசா• | ஆ@ேயா2 | q.ெகாkB | ெகாhkB | வாvkB | , . D, . B. | ||||||||||||||||||||||||
1, , | ||||||||||||||||||||||||||||||||
ெசயலாளFமான | plவாச; | >;lைலc& ெவMe சா;eதைழ | ெத:<> | . | ||||||||||||||||||||||||||||
$L. D. ேகா•நா. | ||||||||||||||||||||||||||||||||
ேத): 02.06.2022 | ஒ7ப./- | |||||||||||||||||||||||||||||||
கட* கண<= எ? | அ@AகB<க7பCட அ)காB | |||||||||||||||||||||||||||||||
ஓBைபனா*GயK சLMசE இO)யா PQெடC | ||||||||||||||||||||||||||||||||
எ;<எ= >•ெட3 | ||||||||||||||||||||||||||||||||
52 , | ||||||||||||||||||||||||||||||||
| ||||||||||||||||||||||||||||||||
எ.VஎE PQெடCW<> | ||||||||||||||||||||||||||||||||
XY( மKேஹா(ரா |
18 | CHENNAI | 4 JUNE 2022 | 1 |
> |
The strange bestiary of the ancient world
ic tales of monsters and dragons or moralistic tales with life lessons wrapped in metaphor. In such retellings and collections, the stories end up revealing barely a part of the knowledge that their ancient storytellers vested in them.
Nayak has been diligent in putting together a diverse collection and also steers clear of the usual ways of looking at these unusual
- CAR REVIEW N
SPEC SHEET
Power [PS(kW) @rpm]:
150(110) @ 5,000-6,000
Torque: [Nm@rpm]:
250 @ 1,600-3,500
Transmission: 7-speedDSG
Acollectionofreality-bendinganimal storiesrevealsthestrongtiesthatonce existedbetweenhumansandnature
ARUNDHUTI DASGUPTA | The stories may appear strange |
and unbelievable today, but they | |
ea monsters that gulp down | represent a time (or perhaps an idea |
whole whales, talking parrots | of an age) when all of this was well |
Sthat play matchmaker to | within the realms of possibility. It |
kings and queens, immortal | would have been entirely plausible, |
crocodiles that ferry gods and god- | therefore, to create a heroic charac- |
desses across earth, sky and water, | ter such as Jatayu - a 60,000-year- |
shape-shifting tigers and tortoises | old vulture the size of a mountain |
that hold up the earth - the world | with feelings and fears that were |
of myth, fable and folklore is teem- | only too human - within the epic |
ing with fantastic beasts and their | framework of the Ramayana. Or for |
stories. She turns to them as a researcher would, looking for hidden meanings and multiple versions and the compulsions that drove the storytelling. There is a story about this magnificent sea creature called the Timingila ("Timingila That Once Was"). It was so large that it could swallow a whale in a single gulp and even a glimpse of its undulating form in the ocean could freeze the bravest of warriors. The creature rarely showed itself, but it is believed to have made an appearance for Arjuna, the Mahabharata hero, when he was on a mission to procure divine weapons for the great
Cylinders: 4
Displacement: 1,498 cc
Kerb weight: 1,275 kg
Price: To be announced on 9 June
VW'snewsedantakeson underservedsegment
Virtusbetsbigonprice,localcontentanddesign
fabulous deeds. | that matter, to imagine that the | |||||||
Mythical beasts and reality- | crocodilecouldbementorandguide | |||||||
bending animal stories make their | to the warrior clan (human and oth- | |||||||
way into nearly every | erwise) and also influ- | |||||||
collection | of | ancient | ence the fates of ordi- | |||||
tales. There is no end to | nary human beings. | |||||||
the possibilities | and | Nothingwastoofar-out | ||||||
animal combinations | or outlandish. | |||||||
that were explored as | The Makara, ances- | |||||||
storytellers and myth- | tor to all crocodiles and | |||||||
makers | sought | to | BOOKS | lord of the waters, was | ||||
understand | other | propitiated by kings | ||||||
species and their seem- | & IDEAS | and their armies. His | ||||||
ingly inexplicable ways. | ability to rule over such | |||||||
It was not just the | large swathes of inhos- | |||||||
extraordinary | (lion- | pitable territory made | ||||||
headed birds and fire-breathing | him a power to reckon with, one | |||||||
dragons) that drew the attention | who could swing battles and | |||||||
of storytellers, the regular and the | destroy kingdoms. Thus, he was | |||||||
ordinary too had them in thrall. | memorialised in battle formations | |||||||
The peacock and his rain-dance, | (both the Arthashastra and the | |||||||
the chakor bird (partridge) and its | Mahabharata mention this) and | |||||||
fascination for the moon, the | invoked in war hymns. At the same | |||||||
snake and its shedding of the skin | time, the Makara is also part of the | |||||||
- everything lent itself to a myth | astrological framework of Rashis | |||||||
or a fable. | and Nakshatras in India. Its symbol | |||||||
In her collection (Adbhut: | is the "ear" that represents the pow- | |||||||
Marvellous Creatures of | Indian | er of listening, which brings wis- | ||||||
Myth and Folklore), the author | dom and knowledge. | |||||||
Meena Arora Nayak brings out the | The ability to build a narrative | |||||||
human fascination for a world so | that assigns human roles to ani- | |||||||
near and yet so different from their | mals may seem routine today, but | |||||||
own. The book reveals the strong | when first told, the stories marked | |||||||
ties that once existed between | a remarkable leap of the human | |||||||
humans and nature and also, the | mind. The stories reveal a world | |||||||
remarkable versatility and imagi- | where the human-animal relation- | |||||||
native capacity of the ancient mind | ship was intimate and distant at |
MARVELLOUS CREATURES
OF INDIAN MYTH
AND FOLKLORE
Author: Meena Arora Nayak
Publisher: Aleph
Price: ~499
Pages: 179
the same time. Living in close proximity and yet leading extremely different lives created a space where the lines between the real and imaginary were routinely blurred. Hence animals, fierce and dangerous on the one hand also possessed very human qualities of wisdom and memory, and experienced the same emotions of regret and helplessness.
The tales are, therefore, as much about the animal kingdom as they are about human beha- viour. They were layered in contextual references and meaning and the telling was, almost always, a ritualised performance or associated with special occasions.
Unfortunately, many modern- day retellings lose the nuance and complexity. As children's literature or fantasy, the stories turn into stat-
war. Rama and his army of monkeys also encountered it. But for most, the Timingila fish was an invisible enemy that made its presence felt through stormy seas and crashing waves. This is why, Nayak writes, it came to represent the unfathomable for poets and writers who used it to describe indescribable agonies and torture.
The idea of a mythical beast that makes its presence felt through its absence is not unique to Indian myths. There are similar stories about river and sea monsters in nearly every culture. The point is that the world of animal stories is fascinating not just because they are psychedelic, conscious-expanding experiences, but also because they stretch an invisible web of connections across diverse cultures. Could this book have looked into the comparative frame that such stories live within? Yes, definitely. Does it do that? No. And that is a missed opportunity.
Given the otherwise remarkable manner in which the author has treated these old stories, it would have been interesting to place them within a comparative framework. It would have been an invaluable contribution to the field of mythological and folklore studies and also helped readers look at the world through a different lens; one that
PAVAN LALL
Mumbai, 3 June
India is no easy market for any foreign auto major. Its consumers are pickywithavarietyofchoicesavail- able, the incumbents have a cost advantage, and trends shift rapidly without much warning.
Justadozenyearsago,Indiawas seen as a market predisposed to small, affordable cars such as the Tata Nano, Maruti Alto, Hyundai i20andmore.Thenthemarketswit- ched gears and the SUV segment saw buyers rush to buy their cars, allthewhileclearlyleapfroggingthe sedan segment for the masses.
In fact, there is no shortage of sedans that have been yanked out ofthemarket. ThinktheChevrolet Cruze, the Honda Accord and Civic, the Volkswagen Jetta and many others.
For Volkswagen to then launch a brand new sedan is telling. The Latinword"virtus"meansaspecific virtue, with connotations that include valour and manliness. The car is indeed designed to look, act and behave like a well-built European sedan that swims in the segment between the compact sedan VW Vento and the larger Passat, competing with the likes of the Honda City, Škoda Slavia, HyundaiVernaandtheMarutiCiaz.
tive of earlier larger VW sedans. Deftly sculpted shoulder lines, chrome accents on the door han- dles,grilleandnearthewindowsof the car, all come together to make ittakeonanysedaninthesegment.
The Virtus is available in two engineoptions-a1.0LTSI(petrol)in6-speedmanualtransmissionor automatic transmission options, andasportier(andmoreexpensive) GT Performance Line that runs on the1.5LTSIEVOenginehookedup to a 7-speed DSG transmission.
Inside it has all the expected fitoutsofaGermancar.Understated but premium plastics and fabric comprise the seats, and the dash- boardistypicalVWwith easy-to-read functions andspeedometer.There
are other features which, while premium, are getting to be fairly common among most cars nowadays, including wireless charging, ventilated seats, a large infotainment screen and so on.
When you start the Virtus it respondswithareasonablyrefined engine sound, well-tuned engine thatspringstotheroadandhandles the tarmac with ease and agility. Both on slow, traffic-laden lanes as well as on roaring expressways, the Virtusperformscommendablywith
neck or simply cruising within regular speeds.
The car shifts from gear to gear in automatic mode without jerki- nessorthefeelingofanyturbo-lag, atestamenttothepopularityofthe DSG gearbox that has been widely usedinVW'ssisterbrand,theAudi, and its range of cars as well.
While the Virtus stands out in a segmentthathasrecentlyseenalot of action (new Honda City, Škoda Slavia), it is no secret that the midrange segment of sedans has been sparse when it comes to choices.
Thesedanhasstartedtomakea comeback and the biggest advan- tageoftheVirtuswouldbeitsprice, which thus far has not beenreleasedbutifmark- etestimatesareanything to go by the range is expected between ~11 lakh and ~17 lakh (ex-show- room).Itshighleveloflo- calpartsandcomponents makeitaverycompelling proposition for buyers
who want international design, comfortandperformancewithrea- sonable costs of ownership, maintenance and service and repair.
Sales are likely to be high when thissmartsedanhitsthemarketbut the proof of the pudding will be when owners have them for a couple years and report feedback on
GIVEN THE OTHERWISE REMARKABLE MANNER IN WHICH THE AUTHOR HAS TREATED THESE OLD STORIES, IT WOULD HAVE BEEN INTERESTING TO PLACE THEM WITHIN A COMPARATIVE FRAMEWORK
reveals just how much we have in common - in our fears and anxieties and our relationship with the animal kingdom.
With its svelte profile the Virtus is a sleek, good-looking car that stands out with a body style that is partlybrandnewandpartlyevoca-
the driver always feeling in command of adequate power whether it'sforspeedinguppastaslow-moving truck, braking before a bottle-
maintenance and dealer support. And that is the eternal virtue for what makes a car successful in the long run.
BREAKFAST WITH BS: > | NAVEEN KISHORE | FOUNDER, SEAGULL BOOKS | ||||||
Words worth | acrosssubjects,geographiesandlangu- | ||||||
ages.Someoftheseare:Manifestosforthe | |||||||
21stCentury,TheAfricaList,TheArabList, | |||||||
ThePrideList,TheLibraryofBangladesh, | |||||||
Ashispublishingventure | TheFrenchList,andTheGermanList. | ||||||
Theworkisdeeplycherishedinpublis- | |||||||
turns40,Kishorespeaksto | horewasawardedtheWordsWithoutBord- | ||||||
ChintanGirishModi about | hingcirclesacrosstheglobe.Lastyear,Kis- | ||||||
ersOttawayAwardforthePromotionofInt- | |||||||
theworlditencompasses | ernationalLiterature,recognisinghis"ext- | ||||||
raordinarystepstoadvanceinternational | |||||||
literatureinEnglishtranslation"andhis | |||||||
ntheswelteringheatofpeakApril,I | efforts"tobuildculturalunderstandingby | ||||||
haveabreakfastmeetingwith | advancingpopularawarenessof | ||||||
Ipublisher-poet-photographerNaveen | internationalwritersandliteratures". | ||||||
Kishore.Itisamorningtoberemembered | SeagullBooksseesitselfasaninternati- | ||||||
fortheman'swarmth,generosityandsense | onalpublisher."Wedon'treallycalloursel- | ||||||
ofhumour.WeareintheSeaLoungeofthe | vesadecolonisationinitiativebutweliketo | ||||||
TajMahalPalaceHotelinApolloBandar, | assertthatourmoneyisasgoodasany- | ||||||
Colaba.Itisagorgeousheritagestructure | oneelse's,sowebuyforeignlanguage | ||||||
thatstillremindsmeofthehorribleterror | rightsforthewholeworldwhenwe | ||||||
attackin2008thatshookMumbai,thecity | choosetopublishEnglishtranslat- | ||||||
thatIhavelivedinformostofmylife. | ionsofbooksthatwerefirstpublis- | ||||||
KishoreisvisitingfromKolkata,which | SINHA | hedinotherlanguages,"hesays. | |||||
ishometohislabouroflove-Seagull | Publishinginternationallyalsomakes | ||||||
Books-thepublishinghousethatalsohas | BINAY | theirbookseligibleforprizesthatarefor | |||||
officesinLondonandNewYork.Itwas | bookspublishedintheUSorEurope.In | ||||||
foundedin1982.Thisyear,itiscelebrating | ILLUSTRATION: | India,theirbooksaredistributedbyPan | |||||
fourdecadesofbeingaround. | MacmillanandAtlanticPublishers. | ||||||
Iwanttohearallaboutitbutbeforethat | OutsideIndia,thedistributionistaken | ||||||
Itakeinthemagnificentview-thevast | careofbyChicagoUniversityPress.Kish- | ||||||
expanseoftheArabianSeasocloseat | oreisproudoftheworkSeagullBooksdoes | ||||||
hand,almostasifwecouldreachoutand | butrefrainsfromprojectinghispublishing | ||||||
touchit.Iwonderaboutthekindofview | modelassuperiortoothersinIndia. | ||||||
thatthebirdsgettotakeineachmorningas | state,alongwithKatyal.Theymet | "Relationshipsareatthecoreofourjou- | |||||
theyflyabovetheGatewayofIndiabuzzing | playwrights,directors,actors,andavariety | rney,notonlywithwritersandtranslators | |||||
withtourists. | oftechniciansworkingbehindthescenes. | butalsofellowpublishers.Werespectcor- | |||||
KishoreandIwalktowardsthebuffet. | "Theysharedsomuchwithus-hon- | porateentitiesandindependents.Theonly | |||||
Hegetshimselfacroissant,andordersan | estlyandhesitatingly,openlyanddiplom- | one-upmanshipthatIaminterestedinis | |||||
omelette.Igetmyselfacoupleofminiature | atically.Wehadtocastasideourassump- | withmyself.Iwanttokeepdoingthings | |||||
samosas,asliceofbreadwithachocolate | tions,andlisten,"hesays."Withthe | better,"saysKishoreaswesegueintotalk- | |||||
spread,andorderacrispmasaladosa.He | photographs,Iwasclickinginslowshutter | ingabouttheSeagullSchoolofPublishing. | |||||
asksforcoffee;Igetsomefruitjuice. | speed.ItgavemewhatIcallstillsinmotion | "Whenwetrainyoungpeopletoworkin | |||||
Kishoreputsawaythebookthathewas | withaplayoflightanddark."Atthatpoint | publishing,weoftenhavemasterclassesby | |||||
readingwhenIentered-TejuCole's | oftime,therewasabsolutelynoplanto | peoplefromcorporatepublishers.Itwould | |||||
BlackPaper:WritinginADarkTime. | showthephotographsinanartgallery. | befoolishtoturnournosesupatthem.We | |||||
Webusyourselveswitheating,sipping, | Kishorerecallshowthequarterlywas | areallpartofthesameecosystem." | |||||
andtalking.Theseabecomesour | sustainedbytheenthusiasm | HeisalsokeenlyinvolvedwithPeace- | |||||
silentcompanion. | andinterestofacommunityof | Works,aninitiativeoftheSeagullFounda- | |||||
'We don't | really | ||||||
Kishore,69,isinMumbaifor | call ourselves a | theatrepractitioners,readers | tionfortheArtsledbyMeenaMeghaMalh- | ||||
theopeningofhisphotography | decolonisation | andacademicsthatgrewaround | otra,thatworkswitheducators,artists,his- | ||||
exhibition-TheEpicandThe | initiative but we | it.Beforeitfoldedupin2003, | toriansandcivilsocietynetworks"tostren- | ||||
Elusive-curatedbypoet-critic | like to assert | therewereseriouseffortstokeep | gthenvaluesofmutualcoexistenceand | ||||
RanjitHoskoteforCymrozaArt | that our money | italive."Weinvitedcriticism, | respectforallcommunities".Itcameupin | ||||
GalleryintheBreachCandynei- | is as good as | andwelistened.Someofitwas | 2003inresponsetothecommunalviolen- | ||||
ghbourhood.Thesearephoto- | anyone else's' | valid,somehurtful,"hesays. | ceinGujarat,andthedesiretomakesure | ||||
graphsoftheatreperformances | "Weevenhadagranttoproduce | thatchildren'smindswerenotpoisoned | |||||
inManipur.Theyoriginallyappearedin | moreissuesbutthingswerenotcoming | withseedsofhatred.PeaceWorkshasbeen | |||||
Issue14-15oftheSeagullTheatreQuarterly | together.Wereturnedthemoneysincewe | hosting"HistoryforPeace"conferencesto | |||||
(June-September1997)setupin1994asan | werenotabletodeliver.Sometimes,you | promoteIndia-Pakistandialogue,andto | |||||
initiativeofTheSeagullFoundationforthe | havetofacethefactthatsomethingisover." | counterbigotrywithinIndiaitself. | |||||
ArtswithAnjumKatyalaseditor. | Therewereconversationstocollaborate | Kishorerequestsanothercupofcoffee.I | |||||
Hetellsme,"Wediscoveredthattheatre | withuniversitydepartmentsbut | havehadmyfill.Hehasmoreprojectsup | |||||
personsinIndiaprefertobeinterviewed, | eventuallynothingtookoff. | hissleeve,andhe'lltalkaboutthemwhen | |||||
unlikeintheUSwheremanyofthemhold | TheatreisKishore'sfirstlove.Thepub- | thetimeisright.Fornow,heispleasedwith | |||||
academicjobsandtheirtenuredependson | lishingjourneywasprecededbyhisworkin | havinghisfirstbookofpoetrypublishedby | |||||
writingandpublishingtheirwork.Thro- | theatrelightingdesign,whichwasnoteno- | SpeakingTiger.TitledKnottedGrief,much | |||||
ughtheinterviews,weendedupwithalot | ughtopaybills,sohebecameanimpresa- | ofitissetinKashmir-alandscapeas | |||||
ofprimarymaterialinthevoicesoftheper- | riooreventmanager.Later,whenthepubl- | beautifulandbeleagueredasManipur."It | |||||
formers."Theseinterviewsweretranscrib- | ishinghousewasborn,thefirstsetofbooks | isapeaceofferingandacryofpain.Itisa | |||||
edandeditedforthejournal.TheManipur- | wascalledtheNewPlaywrightsSeries. | songdedicatedtoallofhumanity,"hesays. | |||||
focusedissuegrewoutofhisvisittothe | SeagullBooksnowhasanumberoflists | Iammovedandspeechless. |
Attachments
- Original Link
- Original Document
- Permalink
Disclaimer
Sundram Fasteners Ltd. published this content on 05 June 2022 and is solely responsible for the information contained therein. Distributed by Public, unedited and unaltered, on 05 June 2022 12:31:00 UTC.