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A lot of kids have grown up on crime thrillers or mystery novels written for kids and teens like Hardy Boys, Nancy Drew, Enid Blyton’s popular series Famous Five and Secret Seven and scores of other books. Tons of Indian kids have also been hooked by these writers and their young detectives. There are many Indian writers also who write detective stories for children as well yet they don’t seem to be very popular as compared to the ones written by the foreign writers. Not many know that one of India’s best film maker, Satyajit Ray, also penned a number of detective stories and created one of his own sleuths, the famous Feluda who would go around solving mysteries with his nephew Tapesh and later on Lalmohan Ganguli.
Satyajit Ray began writing these stories for the Bengali children’s magazine, Sandesh. The first story was titled Danger In Darjeeling and was published in 1965. Thereafter, there was no looking back. Feluda became very popular with its young Bengali readers and Ray wrote at least one story every year. In all, 35 Feluda stories were published from 1965-1996.
Enough about facts, now down to the review. The Penguin Publications came out in 2004 with a definitive two volume edition, The Complete Adventures of Feluda which contains all the stories. So whether you were hooked on to these stories as a kid and want to relive them now or simply love detective stories, these volumes are a must have. Translated from Bengali by Gopa Majumdar, they are chronologically arranged and show the progress of Feluda as a detective along with the marked progress in Ray’s writing too. The initial stories are simple and childish but later on the plots become more dangerous, complex and twisted. The characters become more fully etched and we come to learn more about this beloved detective’s personality-that he is a knowledgeable person, a voracious reader and a very talented man.
The detective’s real name is Pradosh C. Mitter and his nickname is Felu. His nephew’s name is Tapesh who Felu lovingly called Topshe. The suffix ‘da’ is used as a mark of respect when addressing an elder brother. The first volume has 16 stories which are very entertaining and exciting. It is a treat for any fan of crime fiction. Ray’s language is simple and lucid and keeping in mind the primary audience for his stories, he kept them clean and with minimal violence. Reading the Feluda stories doesn’t just proffer its readers dollops of thrill and fun but also a tour of India and an insight into the life the Indian people in those decades. In Volume 1 itself, the trio travelled from Jaisalmer to Lucknow, from big cities like Bombay to small places like Gosiapur, from Shimla to Gangtok and many more places. These stories do not just tell a tale of adventure and crime but take the reader on a journey across India.
Narrated by Feluda’s own Watson-Topshe, these stories connected easily with its teenage audience. Ray was a self professed lover of crime fiction and had read all the Sherlock Holmes story. It is therefore no wonder that those stories provided an inspiration to him and became a reference point for the format and style of his own detective stories. We see a little bit of Ray reflected in Feluda’s personality as well. Often his views are similar to those of the great film maker.
These stories are a great read and quite informative as well. They are a wholesome read for everyone.
Today, Mumbai is obsessed with skyscrapers. The illusion among officials running the city is that high rises (that like its name also have high prices) with kitschy colours or made of crystal clear glass will help the city achieve that elusive status of ‘world class.’ No matter that half the population still lives without access to basic amenities like clean drinking water, proper toilets etc; as long as the city has the veneer of being world class, the have nots be damned. Redevelopment is the norm nowadays and a redevelopment of Dharavi is also on the cards; now whether this move is truly to uplift the people and give them better homes or just a ruse to make available vast tracts of land for greedy land developers is for the experts to decide. What is being missed out in this race for constructing tall buildings in the hope of emulating the Western ‘world class’ cities (remember the program of transforming Mumbai into Shanghai?), is that Mumbai is also home to numerous clusters of chawls, bungalows, smaller buildings, heritage areas that are being slowly effaced from the face of the city.
Once upon a time, a long long time ago, when the fad of high rises was still a distant dream, it was the chawls that dominated the topography of the city with just a few multi storeys towering over them. Kiran Nagarkar’s novel,’Ravan and Eddie‘ capture that time of Bombay by chronicling the story of the two boys of the title who grow up in the Central Works Department (CWD) chawls in Byculla. Set in the 1950s, the novel is a tongue-in-cheek tale that traces the two boys’ growth as they try and overcome the hurdles of living in the chawls and their own set of familial troubles.
The No.17 CWD chawl in which the two boys reside are themselves neatly divided on the basis of religion: on one floor live the Hindus and the other the Roman Catholics. The novel starts with the dramatic birth of Eddie Coutinho with his mother, Violet, in the ambulance just minutes after she lost her husband, Victor, whose only claim to fame in the novel was being infatuated by Parvatibai, Ravan’s mother and dying while trying to save him. Thus Eddie is born fatherless but with Father Agnelo by his side at the time of his birth. The novel then meanders its way snidely and gradually as both the boys grow up hating each other;one accusing the other of killing his father, the other believing in the truth of the accusation and finally convincing himself to be a killer. From Eddie’s dabbling in Hinduism, to Ravan’s tiffs with her mother, from Eddie selling black tickets of ‘Rock Around the Clock,’ to Ravan receiving letters requesting him to kill some irascible person in their lives, from the unending work of Parvatibai to Violet’s mum acting matchmaker for her, from Father Agnelo’s constant reprimands to Eddie to Ravan’s dad, Shankar’s unemployment, from the saga of the nine Sarang girls to the saga of Ravan’s mysterious lecherous aunt, ‘Ravan and Eddie‘ is a hilarious, bawdy post-colonial novel that will transport the reader to the very corridors of the chawls that have been so vividly recreated in the story
As much as, ‘Ravan and Eddie‘ is about the two boys, it is also about the life in the chawls and moreover, a subtle critique of the condition of independent India’s urban areas. The numerous digressions that interrupt the imaginative narrative are telling comments on the tough life of the people there. Kiran Nagarkar captures both the joviality of their lives along with their hardships with the digressions such as, ‘The Great Water Wars’ and ‘A Harangue on Poverty’ breaking the illusion of a problem free, happy, independent India. There are several other digressions that talk about other quintessential aspects of Indian life and don’t necessarily try and burst the safe bubble of independent India. What they have in common is a sarcastic and snarky tone that succeeds in making a point.
The overall tone of the entire novel is cheeky and sarcastic. Nagarkar’s writing is concise, to the point and doesn’t wander away unnecessarily. Like the hustle and bustle of the city and its chawls, ‘Ravan and Eddie‘ is also a bustle of incidents that are crammed into 330 odd pages that leave you in a huff and puff as you try and take in all the delights, adventures and troubles of the variety of people populating the story.
Go grab a copy and immerse yourself in a world where high rises just don’t exist and where chawls were not an eyesore but a living, breathing microcosm of the city.
Mumbai-a city you can have a love-hate relationship with, a city in which people think dreams are built (do they ever think that they are shattered there too?), a city fast moving, on the go, a whirling vortex that will push you into anonymity at times. Yet still we all live, die, dream and enjoy and curse in this bunch of islands reclaimed together to assume the shape of a city. ‘Sacred Games‘ by Vikram Chandra is wholly enmeshed with this whirling vortex of a city whose one claim to fame is being the commercial capital of India. The story focuses on Sartaj Singh, a lone Sikh inspector in Mumbai police and in his forties, who gets an anonymous tip off on Ganesh Gaitonde, a dreaded Hindu don of Mumbai who any respectful inspector would kill to catch and get a promotion. Similarly Singh sees a window of opportunity in this tip off and soon gets to Gaitonde’s shelter from where he chats with Singh through the intercom telling him a winded tale of the start of his criminal life. Sartaj is unable to convince him to surrender and so eventually bulldozes the place and much to his chagrin finds Gaitonde and an unknown women dead already. Thereafter, the book weaves its way in a parallel of Sartaj’s investigation into Gaitonde (after Gaitonde’s death, the Indian intelligence comes to investigate this mysterious presence of the gangster in Mumbai and how he might have posed a threat to national security. Sartaj is recruited to help in the investigation) and Gaitonde’s narration of his life to Sartaj. The latter is rather eerie as it feels like the dead is speaking directly to Sartaj. Within these parallel stories lie countless number of subplots-Katekar’s (Sartaj’s partner) life and death, Katekar’s wife and his two sons, Sartaj’s other numerous investigations such as the case of blackmailing of Kamala Pandey, Sartaj’s mother’s ponderous moods, the Partition and how it affected Sartaj’s mother’s family, Senior inspector-Parulkar’s tactics to stay on the job, Jojo’s dreams of becoming an actress and several more. There are chapters in the novel called insets which can become novellas and short stories in themselves. These insets are related most often to the subplots like Sartaj’s mother’s sister, Navneet, being lost in Partition. Gaitonde’s life story reveals the grim underbelly of Mumbai’s mafia and how much of the city functions only because of them and the fighting between Gaitonde’s Hindu gangster company with the Muslim Suleiman Isa’s company seems faintly reminiscent of real life fighting between Dawood Ibrahim and Arun Gawli in Mumbai. Vikram Chandra has himself said that he did meet up real life ‘bhais’ in Mumbai and perhaps a lot of it is inspired by real life itself. We can only speculate and guess. What we can be sure of is that from this epic novel you can definitely get a lot of excitement and entertainment and thoughts to ponder over.
‘Sacred Games‘ is a massive book-900 pages long-quite daunting to look at and even more difficult to hold for long and if you are one of those who bought a hardback copy (like me) my utmost sympathies. But the size shouldn’t mislead you. The book is very engaging, eloquent and epic in every sense. It is difficult to categorize this novel-it is a mesh of a Bollywood film (and can be adapted into one as well given Bollywood’s penchant for action), thriller, detective novel, city novel etc. Pinpointing to one exact genre is next to impossible because of the sprawling nature of the book’s story which covers such a wide range of subjects and is written in multifarious styles that could be from any genre. ‘Sacred Games‘ is a wholly Indian book, a completely Bombay/Mumbai book reflecting Indian moods, issues, problems, daily existence, language. There is a generous sprinkling of Hindi terms, Bombay Hindi, Hinglish and Marathi too which could be hard for a foreigner or even an Indian unfamiliar with the special mix of Bombay languages to understand. On the author’s website, you can find a glossary for the novel which may or may not be useful. Click here to get it. A little background knowledge about the 80s’ and the 90s’ scenario in India would also help in better understanding as Chandra routinely refers to actual events though he never names them explicitly such as the Partition, the Indo-China war of the 60s’, the Bombay riots of 1993 etc. The book is definitely for a true Mumbai inhabitant, one who will immediately recognize these events, feel a connection with the persistent smoke, traffic, noise and the islands of peace of the city, one who will know about the criminal underbelly of the glitzy city.
The detailing of ‘Sacred Games‘ is splendid. Chandra has done a fabulous job to string together vastly different lives/characters and put them together in the story thus creating a rich, multifaceted tapestry of Mumbai and its many quirks. Sartaj Singh is one of his best creations. He gives the inspector a humane personality which most mainstream portrayals of policemen lack. They tend to demonize them and constantly depict them as cruel,lecherous and sadistic in their behavior (which may be true of some but generalisation is always a dangerous thing to do). Gaitonde is suffused with a very Godfatheresque aura having the same paternalistic outlook towards his people and business as Don Corleone did.
The plot, the writing, the variety are all very fine and good but what eludes the book is any challenges on the author’s part. Vikram Chandra simply spins a yarn and puts it down in a 900 page book which is thrilling nonetheless but there is none of Chandra’s own opinions reflecting through in the novel. ‘Sacred Games‘ is too realist, doesn’t challenge anything. It only states that yes-the city is and will always be ruled by mafia-police-ministers nexus, women will forever be seen as sex objects, Bollywood will always be a dreamland etc. Catherine Belsey, a famous British Marxist feminist critic once asserted that realism only legitimised the actual society and their authors never challenged the several practices of the society: they only depicted it as it was. This is true of ‘Sacred Games‘ as well and the most damning of the ‘realist’ depictions are the inferior status of women in Indian society. The novel is very male centric and women are either only whores or depicted as dispensable dependable objects. There is a tacit subtext of the novel that women only exist to please men’s needs, to do their duty (Sartaj’s mother’s assertion that it is her right to feel happy in being alone after her husband’s death because she has done her duty is rather badly misogynistic. It implies that happiness only comes for women after they have been dutiful all their lives) for society i.e. to get married and procreate and take dowry with them. There are hardly any major, strong women characters barring Anjali Mathur, Mary and Jojo Mascarenhas and Iffat Bibi. This stereotyping fails to do anything except assert the ‘real’ world and does not challenge it. Moreover, there is a sense that Chandra seems biased against the Muslim community. It is a delicate thing to write about Muslim-Hindu mafia or the Partition but it shouldn’t have to hold fingers against a particular religious group. Manto wrote on the most sensitive topics around the Partition but he showed the inhumanity of it all rather than blaming either Muslims, Sikhs or Hindus.
Taken together, ‘Sacred Games‘ can be quite a task to read, but take the book one chapter at a time then there won’t be any problems in finishing this epic novel at all.
This is a cliche but it is quite true that India is a country of rich diversity despite mainstream media and culture’s fervor to paint India as a monotonous abode of one particular religion, caste, class and gender. While we as Indians may live among a variety of people from different cultural backgrounds, how many of us really know each other well-their backgrounds, their religions, beliefs etc.? Lets leave you to ponder at that while we take a peek into one book that brilliantly etches out details of a community in India that has often been relegated to obscurity yet has made an unparalleled contribution to India’s growth and progress. Well, if you think that you have guessed correctly that I am going to ramble a para or two about the Parsis (who have undoubtedly contributed a lot for India’s progress), then you are absolutely wrong. Its not the Parsis I refer to but the Jewish community of India. And no, Jews don’t just exist in Israel and America, but India as well although their numbers have severely dwindled.
The book, ‘India’s Jewish Heritage: Ritual, Art and Life Cycle‘ edited by Shalva Weil and published by Marg Publications provides any curious reader a wonderful insight into Jewish community and their lifestyle as a whole. It is an informative book replete with illustrations and written in simple, lucid language. The book helps to enlighten us about the community we always thought never existed in this country.
‘India’s Jewish Heritage…’ begins by informing us about the long contact between the Indians and the Jews and how they came on Indian shores. Throughout the 10 chapters the book traces their history citing valid sources, talks of how they assimilated with the Indian culture and adopted some existent customs while still retaining their own this forming a unique Jewish Indian cultural group. The book informs us right at the beginning that there are 3 Jewish communities in India-Cochin Jews, the Bene Israel and the Baghdadi Jews. Each chapter pours out details about the history, tradition and customs of each of the 3 communities. The last chapter dwells on the important contribution of the Jews in India and names certain eminent personalities describing their contributions. Mumbaikars may be familiar with the name Sassoon as in David Sassoon Library, Sassoon Docks etc.. The Sassoon family was a Baghdadi Jew dynasty that played a major role in the then Bombay’s development. Nissim Ezekiel is another well known Jewish personality (if not for everyone but at least known to literature students) who was a famous poet and professor. There are several others such as Leela Samson, Isaac Kehimkar, Flora Samuel etc who left a indelible mark on this diverse country.
‘India’s Jewish Heritage…‘ is undoubtedly a hallmark in Indo-Jewish studies. You may not like non-fiction works but stepping into the world that this book portrays is like stepping into an encyclopedia and reliving that feeling of childhood when you would be boggled by your own thirst for knowledge and the facts before you. The book is concise and clear. It acquaints us with a much less talked about community and helps us to know one minuscule patch on a large and varied Indian quilt.
Simplicity personified is one way of describing stories and books penned by Ruskin Bond. ‘The Blue Umbrella‘ is true to this very description. It may be dismissed a little too easily as a simple children’s story but it works at many levels. The story revolves around a young girl-Binya who lives with her mother and brother-Bijju- in the hills in India. One day she comes across a group of picnickers while she was searching for her grazing cows in the evening. Binya immediately falls in love with a blue umbrella which one of the ladies has and hesitantly exchanges her lucky charm of a leopard’s claw for the pretty blue umbrella. It soon becomes her prized possession and also the envy of the entire village particularly of Ram Bharose who owns a tea stall. He badly wants to own that object for its beauty but fails in all his attempts to acquire it. One of those attempts almost brings him to ruin. Eventually Binya herself gives him the umbrella and Ram Bharose gives her a bear’s claw in return.
‘The Blue Umbrella‘ has a Blakean feel about it as the story flourishes on innocence, simplicity, childlike wonder and awe and imagination. The story proffers a simple juxtaposition of the ways of the people of the plains and the mountains as well a juxtaposition of children and adults. The people of the plains are greedy and materialistic while the people of the mountains are inherently joined to the nature and appreciate its value and beauty to the fullest. The adults can be fixated only with meaningless objects while children also do feel awe for objects but they realize that other aspects are of more importance and value which is why Binya willingly gives the umbrella away as she believes that people are more important than objects. She is easily able to forfeit the umbrella as if she wasn’t attached to it at all. This may seem to be a very binary and simplistic analysis but this is what Bond does best-takes the simple things and blows on them the kiss of the extraordinary which will perhaps be able to teach us a thing or two about life and its mystery.
The landscape, as always, is an integral part of Ruskin Bond’s stories and is given quite a lot of spotlight even in ‘The Blue Umbrella‘. The beauty, whims and vagaries of nature are all spread out for the reader to enjoy. The purity of the hills is reflected in the purity of Binya and Bijju’s behavior.
‘The Blue Umbrella‘ may seem very childish to some ‘old’ and ‘erudite’ readers. However Bond’s genius lies in revealing many profound truths in that very simplicity. These profound truths are as useful to children as to adults. The story is even relevant in today’s overtly materialist and consumerist society. We can all depend on our gadgets and designer coffees but at the end of it all that is not what makes life. Its the people, the family, nature, our emotions, feelings,our actions and more importantly-our ability to let go- that matters.
Go ahead, pick up ‘The Blue Umbrella‘ and see if you fail to find some meaning within this’ mere simple tale for kids.’ Be adventurous and accept this challenge.
Feel free to comment about your experience of reading the story and if you have watched the 2005 film adaptation of the same story, do let us know how it turned out to be.