Meditation camp for jail inmates
Your Gateway to COOCHBEHAR - the City of Beauty (CoB). Mail to : newsman.cob@gmail.com
Teaching, writing
Ms Chitra Divakaruni Banerjee is a professor at the University of Houston's creative writing department. Although she wears many hats ~ acclaimed writer, activist, mom ~ this is the avatar in which many know her best. Sitting in a circle with graduate students in the master fiction workshop, where each student's short story collections or novel drafts are critiqued, she guides discussions, praises strengths, points out what she sees as weaknesses, and suggests changes. Most importantly, she gives advice about the ruthless world of publishing, about how to write a synopsis for an agent, how to pick a title for the novel, how to arrange stories for a collection. Invaluable advice from someone who's realised most writers' dreams ~ published over a dozen books, published in 16 languages, had two books made into movies, and is a tenured professor at a prestigious creative writing programme in the US. Ms Divakaruni's latest book, The Palace of Illusions, a retelling of the Mahabharata, from the point of view of Draupadi, is a departure from her other adult novels which deal primarily with immigration. But once again it draws attention to some of the themes and issues that Ms Divakaruni seems compelled by gender politics and women's rights, elements of mysticism and the supernatural. She speaks to Oindrila Mukherjee about her writing, teaching, and about the beliefs and ideas that inform them both.
Let's talk about Palace, your latest book. Even though some of your earlier novels dealt with mystical elements, they were primarily set in the contemporary world. This one's more in line with your children's trilogy, The Conch Bearer, set in a fantasy world. What made you choose this subject?
I have loved the Mahabharat ever since my grandfather told me the stories from it in my childhood. I was always most fascinated by the women's stories ~ but there never was enough about them ~ their inner lives, their thoughts, their motives ~ to satisfy me. So in Palace of Illusions, I have tried to imagine Panchaali's life.
What sort of research did you do?
My main sources were Kamala Subramanium's translation, Rajagopalachari's translation, and Kashiram Das's Bengali version. I also researched novels written on the subject, critical essays and information provided about the lifestyle of the period.
How much of the novel is fictionalised? Did you want to stick to the original tale as much as possible, or were there places where you deliberately wanted to embellish?
All the main actions are taken from The Mahabharat. I mostly wanted to add Panchaali's thoughts and motives. I have sometimes created characters who are close to her, such as the nurse, Dhai Ma, or embellished on things mentioned briefly, such as the close relationship with her brother, or her attraction to Karna, which has surprised many readers.
Would you call Draupadi a feminist? Is this a feminist reading of the Mahabharata?
Feminism has become such loaded word that I don't think it is useful to apply it to the novel. I wanted to write a story with a woman at its centre, with a woman's concerns. Draupadi is already, in the original, a very strong woman, so I didn't have to add anything there. I also wanted to focus on how women see war (which is in my opinion quite different from how men see it) and the impact of war on women.
Of all your books, this one perhaps might be more suited for an Indian audience? Did you think of a Western non-Indian audience when writing it? Do you think familiarity with the Mahabharata is required to enjoy this book fully?
I think familiarity certainly would enhance enjoyment. Therefore, Indian audiences would enjoy it at a deeper level. They would also be aware of the creative angles of my presentation ~ for instance, Draupadi humiliates Karna at her swayamvar. But my Draupadi does it for a clearly different motive. Overall, reviews in the West have been very positive, I think that's because the Mahabharat is such a great story ~ timeless and universal ~ and everyone can relate to it.
So the question that Indian writers writing in English are asked all the time: What's your primary audience generally? Indian or Western?
I'm greedy. I want them both. And readers in other countries, too. I believe a good book transcends borders, and that's what I'd like to aim for. We live in a global world ~ in terms of books, too.
Compared to a lot of Indian writers writing in English, your work isn't read as widely in India. Why?
Who knows why one book is more popular than another. I can only guess. It might partly be because I live abroad and don't have an Indian presence like some of the others. Also, I think the problem has been partly one of publication and distribution ~ my publisher for Indian books so far (because of contractual issues) has been British, which means the books are more expensive ~ almost twice as much as books printed in India. I've been fighting that for a long time, but I really didn't have much control. Still, with the last couple of books they were on the India Today bestseller list). That's one reason I'm very excited about my children's books being published by Indian publishers and being competitively priced. Let's see if that affects the readership.
Your critics level two charges at you: first, that you cater to Western audiences by "exoticising" India and by writing about things like arranged marriages which are stereotypica.l
It's not a matter of catering to Western audiences ~ even in the US, a large segment of my readership is Indian. Besides, as a writer you know that one has to write about things we know and are passionate about. And that's what I do. A lot of my writing is about the immigrant experience ~ and about the second generation. Mistress of Spices and Vine of Desire and Queen of Dreams are set in the US and bring up many issues and challenges that the immigrant community faces. QD deals with violence faced by our community after 9/11. Sister of My Heart is set in two continents and deals with some very realistic issues.
Second, that your depiction of India is a bit dated and not contemporary and that your books don't always reflect the changed realities of urban India today.
My books are set in the 1970s (at least the Indian parts) and this is made quite clear in the texts. This is the India I grew up in and know best and can write about authoritatively. My short stories are sometimes more contemporary. I certainly hope to write about today's India someday, after spending extensive periods there, hopefully once my children go off to college.
What projects are you working on?
I am working on a children's novel, the third and final one in the Conch Bearer series, It is titled Shadowland and is set in a futuristic India.
You have a PhD from Berkeley, and are a successful writer. You teach creative writing. You're involved with South Asian women's organisations, and you also manage to spend time with your family. How do these roles contribute to your growth as a writer?
Studying English literature gave me a strong background because I was exposed to so many good writers. But too much reading of lit criticism can actually be a negative. I find that it creates prescriptive editorial voices in my head. As for teaching creative writing, it makes me much more aware of craft and also keeps me current. Doing community work, especially with battered women, is very important for me. As of course is being a mother and wife, I think all these things enrich my life and my writing, and they give me more issues, ideas and subjects to write about. For example, I don't think I could write about mother-child relationships in quite the same way, or about women in situations of domestic violence, if I didn't have those areas in my life and I think having been involved with Pratham (an education-promoting NGO) made me much more aware of children who don't get an education ~ and that led to a scene early in The Conch Bearer.
As a professor in a creative writing faculty, do you think such programmes are useful? Should Indian students apply to these if they are interested in writing?
I feel creative writing programmes are useful. They provide community, guidance, and a lot of focused reading and writing. The students have to provide the talent.
We get advice and feedback from you and other faculty. But most new writers don't have that luxury. What practical advice would you give the growing number of people who want to be successful writers.
Read widely and carefully, as a writer would. Write regularly and join a class or a writer's group so that you can get intelligent and informed feedback. Don't give up ~ sometimes the path to publication can be slow.
(The interviewer is a doctoral
student in literature and
creative writing at
the University of Houston)
Limits of integration
Implications Of Ireland's Rejection Of The Lisbon Treaty
By Sushila Ramaswamy
In the theories of federalism and integration there are crucial differences over the proper balance between the centripetal and centrifugal forces. The ideal type of federalism is said to be dual federalism with equal status for both the Centre and the state units. This was practised in the US from the inception of the constitution till the era of the New Deal.
There is no such "ideal type" in the integration theory though there has been an interesting debate between the "deepeners" and the "broadeners" in the context of European integration. The "deepeners" want more powers for the centralising authority and curtailment of the residuary powers of the integrating units both in terms of fiscal policies and such issues as a comprehensive and coordinated foreign policy. On the other hand, the "broadeners" have a minimalist attitude and propose a functionalist union limiting the function of the centralising authority and leaving most of the powers to the sovereign states which comprise the larger integrated whole.
The Euro zone
In this assumption, integration assumes a purely functionalist arrangement which is mutually arrived at in the context of the economic situation modelled after the economics of scale and comparative advantage of each unit. For instance, in the present financial crisis, Brussels cannot penalise Britain though its inflation is likely to surpass 3 per cent beyond the limit imposed in the Euro-zone countries.
This debate will be heard more frequently and with greater intensity after the rejection of the Lisbon treaty, also known as the European Union Reform Treaty, by Ireland in last week's referendum which followed the rejection of the European constitution in both France and Holland in 2005. In the UK, both the opposition Conservative and 25 Labour backbenchers had demanded a referendum, which was defeated by 311 to 148 votes in the House of Commons on 5 March 2008. Gordon Brown's refusal to support a referendum reversed the government's 2005 manifesto pledge to hold a plebiscite on the European constitution. In the Czech Republic, the ratification is delayed as the top court is to decide whether the treaty complies with the constitution. Hungary was the first to ratify the treaty.
It is interesting to note that all the three important political parties in Ireland supported the treaty and the top decision-makers in Brussels expected a cakewalk in a situation when already 18 out of the 27 nations comprising the European Union have already endorsed the treaty. However, a tiny state like Ireland, which has greatly benefited from the EU largesse in economic matters and consisting of less than one per cent of the population of the EU, has halted successfully this march towards a more integrated European Union.
The question that the integration theorists and practitioners will have to address is the issue that has become the focal point in Ireland after the rejection of the EU constitution, namely the limit to integration involving well established nation states with a long historical lineage.
The vote against the treaty is not against the idea of a united Europe, which from the days of de Gaulle has become popular. Indeed, the dream of a unified Europe till the Urals has been made possible after the collapse of communism, with integration and expansion of the central and eastern European nations within the EU. The contentious issue is the nature and content of an integration involving sovereign nations.
The Lisbon Treaty was signed in the Portuguese capital by the leaders of the 27 European member-states in December 2007, and governments were expected to ratify it by 2008 for it to come into effect in January 2009. Drafted in 2004, the treaty consists of 448 articles, and conceives of a first supranational super-state, a huge step towards the evolution of what is referred to as the European project. There already exists a unified European foreign and security policy as well as supranational legal structure. In 1999, the Euro, the single European currency was introduced with a European central bank. The Lisbon Treaty paves the way for the creation of a European foreign minister at the head of the European Foreign Service (with its own diplomatic corps) and a European president of the European council chosen for two years, replacing the current practice where countries take turns at being president for six months, both these positions having the trappings of a fledgling super-state.
Daniel Hannan, a European parliament member points out that the treaty with provisions for a pan-European magistracy (Eurojust), a European Public Prosecutor and a federal EU police force (Europol), an European criminal code and removal of national vetoes in a number of areas will erode the legal sovereignty of European nation states. In addition, in about 40 policy areas, Britain would have to sacrifice its veto right over European decision-making.
The European constitution and its successor treaty centralise political power in the hands of the ruling elite in Brussels based on the idea that sovereignty of the nation state should be pooled together for the "greater good" of Europe. Furthermore, the people of Europe should not have a vote on the treaty thus making the European project undemocratic and opaque.
Margaret Thatcher in her seminal book Statecraft rightly wrote: "That such an unnecessary and irrational project as building a European superstate was ever embarked upon will seem in future years to be perhaps the greatest folly of the modern era".
The suspicion of the many of the small units within the EU which has become the key issue in the Irish referendum relates to the question of identity and culture and the capacity to formulate one's own economic policy protecting innovations and creativity, and also to ensure that the voices of the smaller nations are heard with respect by the larger units of the EU without compromising on their self-respect and dignity as an equal unit.
Power-sharing
All these issues are eminently worthy of consideration for a successful federation. The integrationists will have to find a satisfactory answer to all of them if they want a united Europe to be a successful reality.
The key to this success lies in practising democracy and evolving a mechanism of power-sharing in which all the divergent views are accommodated within the national decision making-process. In Belgium and Switzerland, the problems relating to heterogeneity and minorities were resolved by grand coalitions and power-sharing with veto available to the smaller communities in the decision-making process.
The EU is facing a similar crisis of identity and suspicion in which both the more well-off nations like France and Holland do not want a closer union mainly because of their fear that they would lose their privileged status and a high standard of living which many of the new entrants to the EU can only aspire in the future.
The second category is the problem of identity and the issues of language, culture and religion. Abortion, a matter of secondary consideration to the decision-makers in Brussels, is an important issue in Ireland.
It is this intricate balancing and the capacity of the decision-makers to balance both the best-off and the worst-off within the EU and, also to reassure the smaller players of their assured position that will determine the future course of European integration. It will depend on the capacity to decentralise and create confidence in the local units of their meaningful existence in a larger body.
The writer is Reader in Political Science, Jesus and Mary College, New Delhi
Supply-side economics
The Jakarta Post/ANN
The age-old building that housed the office of the district information and cultural affairs department at Sunity Road in Cooch Behar is lying in a dilapidated condition for a long. The employees have to work here with anxiety. The plasters of the roof dropped off several times but the workers are lucky enough that no one had to suffer from injury by those flying chunks.
The office of the district information and cultural affairs department is situated in a very old building. It has every right to be considered as a heritage one in this heritage town as it was erected in the regime of the Maharajas of Cooch Behar. Marks of decay are there everywhere. Electrical wires and switchboards are hanging from its colourless shabby rough walls. Flourishing parasitic plants made the roofs and outer corners of the building green. Visitors feel panicky in using the shaky narrow wooden staircase to go to the first floor. An uncared jungle grew up in front of this 'heritage building'.
The office room of the district information and cultural officer (DICO) is on the first floor. It is also a pale one. The plasters of the roof above the table of the officer dropped off at many places and the iron rods came out to greet the visitors with ugly smile. This building has almost no difference with any haunted house.
The information and cultural affairs department is under the portfolio of chief minister Mr Buddhadeb Bhattacharjee but his office in Cooch Behar reflects nothing like his clean attire. The workers are also aggrieved.
It was learnt that proposals were submitted several times in the past to acquire the building marking it as a heritage one. But no government official took the initiative to acquire it. Reliable sources said the building and the strip of land on which it is standing beside Sunity Road changed the ownership recently. Soon after removal of the office from this building it may be dismantled to erect a multi-storeyed commercial complex.
Presently, the office needs at least eight rooms for sections like audio-visual unit, technical section, reading room and establishment section including a room for the officer. The office needs a garage too.
When asked, Dipen Bhattacharjee, the operator of the audio-visual unit, said, they always have to work with fear of dropping of roof chunks on their heads. In the event of earthquake or heavy downpour the building may cause havoc to all the employees engaged in this office, he opined.
Another staff said the office was shifted to this building in 1980 or earlier. Proposals were placed with higher authorities several times to shift the office in a specious building leaving this dilapidated rented one but all those gone to deaf ears. There is no healthy atmosphere in the existing office, he complained.
The district information and cultural officer, Cooch Behar, Tapan Kumar Sarkar said he already discussed the condition of the office building with the district magistrate Rajesh Kumar Sinha. He hoped that very soon they might get accommodation inside the old collectorate building on the west bank of Sagardighi.
But who will think about the fate of this 'heritage building'?
The members of the Left Front team visit a blazed CPI-M offices at Deocharai in Tufanganj on Tuesday.