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Showing posts with label author. Show all posts
Showing posts with label author. Show all posts

Sunday 23 February 2014

Why we write books


ANANYA VAJPEYI in the hindu


Who becomes a scholar in order to insult and injure others? It is the bigots, propagandists, trolls and fundamentalists of the world who trade in insult and injury

Penguin India’s decision to withdraw Wendy Doniger’s book, The Hindus: An Alternative History, from publication — as a result of legal and possibly extralegal pressure from a right-wing organisation — has thrown up a series of questions in the public sphere. These include questions around the ethics of corporate action and the limits of corporate responsibility in supporting and protecting authors; the prevalence of two sets of laws in India — those governing freedom of expression and those governing insult and injury to groups defined around different vectors of identity, including religion and caste — and how these laws might constrain or override one another; and looming questions about the kinds of effects that a neo-nationalist and majoritarian political regime is likely to have on the spectrum of civil liberties and citizens’ rights in the coming months.
Together with five senior historians and Indologists of repute, I co-authored a public petition to our Parliamentarians and the Law Minister about the Doniger issue — (“Signing for freedom,” Comment page, The Hindu, February 15, 2014). Within a week of being up on the website Change.org, this petition garnered nearly 3,500 signatures worldwide. Whatever the actions of the book’s publisher, and whatever our judgment of those actions, I believe that a public conversation leading up to the review and reform of colonial-era laws dealing with hate speech and the incitement of communal passions is absolutely vital to expanding and strengthening freedom of expression in democratic India. But I write today as a scholar and an author, rather than as an expert on the law, or as an advocate of legal reform.
Section 295(A) of the Indian Penal Code, when pressed into service in a dispute of the kind involving Penguin India and the Shiksha Bachao Andolan Samiti, requires that the plaintiffs prove malicious intent — the intention to hurt and slander a community — on the part of the author. (It was not in fact pressed into service beyond a point in this particular case because the parties settled out of court, so let us not say this case but rather this type of case.) As a historian, I would like to examine this business of authorial intention more closely. When reframed as a problem of deciphering intent, the question really becomes: Why did the author write this book? (The implied answer being: In order to injure a given community, as assumption that, per IPC 295(A), the plaintiff must then prove by providing a corresponding interpretation of the text.) But if prima facie we reject this notion, that the author wrote with the intention of causing harm, then we must answer the next logical question: Why did the author write the book? More broadly, as scholars, why do we write?
A scholar’s journey

Writing is a deeply solitary and, at the same time, radically intersubjective exercise. One writes to engage with ideas, with language and with texts, but one writes also to communicate the outcome of that engagement to others. Most human beings think about things; writers take the further step of arranging those thoughts to convey them to a readership. A scholar’s labour is immense. One undergoes long and rigorous training; one tolerates poverty and material hardships; and one faces the very real prospect of never getting a big audience. One deals with the indifference, ignorance, contempt, misunderstanding, ridicule or sometimes outright hostility of others towards one’s work. Scholarship requires a belief in the meaningfulness of the human condition, a moral commitment to the idea of human flourishing, a desire to share in, understand and, if possible, alleviate the suffering surrounding us. Often, a scholar’s life is also a teacher and researcher’s life, spent educating hundreds of young people over several decades (like Wendy Doniger), and exploring the immense archives of human knowledge available in the different civilizations of the world. One plumbs the depths of the past to imagine a better future. One learns unfamiliar languages in order to enter, imaginatively, cultural worlds that can be jarringly unfamiliar, sometimes close to incomprehensible. One attends closely to what people say and how they say it, to the complex ways in which words generate reference, implication, connotation, and in certain sublime moments, an intimation of truth. Like artists, scholars too can tell you about the joy that comes from solving an intellectual problem — the “Eureka!” moment when everything falls into place. The perfection of certain sentences after hours of struggle to arrange the words just so. The sudden opening of a vista in the mind where immense swathes of jumbled, disparate human experience fall into a pattern, like the undulations in a landscape seen from a great height.
Indic traditions provide several concepts that begin to approach the inner processes of scholarship: sadhana, consistent practice which leads to perfection; tapas, a fiery determination to endure all the tests that truth demands; karuna, compassion for all sentient beings who suffer the ravages of time;maitri, the conviviality and goodwill without which no learning or teaching is possible; rasa, what it means to be human, to possess a consciousness shot through with impressions, passions and insights that can be recorded in language to outlast our mortal frames; samvad, the exchange and circulation of ideas in an intellectual community, the architecture of dialogue; chintan-manan, contemplation and reflection, turning things over in one’s mind, meditating on fragments so they may cohere into a whole, figuring out the effects of one’s statements on others. Every responsible scholar must cogitate deeply, to untangle the knots of meaning, to assess the flow of words, and to project the future entailments of whatever is claimed to be the case. Two of our greatest contemporary philosophers, Daya Krishna and Ramchandra Gandhi, even added swaraj to this list of what scholarship is about: the complete and final mastery over the self — self-knowledge, self-rule. In such knowledge alone, of and about the self, is there freedom.
Who becomes a scholar in order to insult and injure others? Apart from the Nazi academy, I am not aware of any other example in history of such a perversion of scholarship. If my agenda is harm, I will adopt the methods of himsa, intentional violence, not the laborious and fundamentally humane protocols of scholarly writing. I will go out and do politics, fight wars, extort the poor and crush the weak, not dedicate my entire existence to the love of language and the pursuit of truth. Whoever claims that scholars are power-hungry, money-grubbing, exploitative, aggressive, greedy, self-serving hate-mongers has no inkling what a scholar’s temperament, practice or life is like.
Wendy Doniger — like most of those who have signed our petition to revise the law and keep her book in print — is a practitioner of humanistic inquiry. So many of us work in the disciplines of philology, philosophy, history, literature, classics and the study of religious and cultural systems. Like her, we — Indians and foreigners, men and women, Hindus and non-Hindus, secular and pious — have devoted our lives to engaging the languages, texts, traditions, histories and knowledge systems of the vast universe we call India. What we do is, and cannot be other than, a labour of love. We do what we do because we are committed to our work, not because we expect great success, fame or riches.
As scholars we write because we want to share the knowledge we painstakingly discover and amass; we want our claims to be tested against the experience of others; we want to educate our readership, to enliven public life, to participate as best we can in the decisions that shape our collective future, and to improve the overall condition of our societies. We are in the business of comprehension and communication. It is the bigots, propagandists, trolls and fundamentalists of the world who trade in insult and injury. We reject their methods and condemn their motivations.

Wednesday 11 September 2013

The right to Offend

Pritish Nandy in The Times of India

Implicit in the freedoms we cherish in our democracy is our right to offend. (Editor - Is this so?) That is the cornerstone of all free thought and its expression. In a country as beautiful and complex as ours, it is our inalienable right to offend that makes us the nation we are. Of course I also recognise the fact that this right attaches to itself many risks, including the risk of being targeted. But as long as these risks are within reasonable, well defined limits, most people will take them in their stride. I am ready to defend my right to offend in any debate or a court of law. But it’s not fine when mobs come to lynch you. It’s not right, when they vandalise your home or burn your books or art or stop you from showing your film or, what’s becoming more frequent, hire thugs to kill you. Authors, journalists, painters, and now even activists and rationalists are being openly attacked and murdered.

It’s a constant challenge to walk the tightrope; to know exactly where to draw the line when you write, paint, speak.(Editor - Isn't this contradictory to the implicit right to offend statement at the introduction?) The funny thing is truth has no limits, no frontiers. When you want to say something you strongly believe in, there is no point where you can stop. The truth is always whole. When you draw a line, as discretion suggests, you encourage half truths and falsehoods being foisted on others, you subvert your conscience. In some cases it’s not even possible to draw a line. A campaigner against corruption can never stop midway through his campaign even though he knows exactly at which point the truth invites danger, extreme danger. Yet India is a brave nation and there are many common people, ordinary citizens with hardly any resources and no one to protect them who are ready to go out on a limb and say it as it is. They are the ones who keep our democracy burning bright.

Every few days you read about a journalist killed. About RTI activists murdered for exposing what is in the public interest. You read about people campaigning for a cause (like Narendra Dabholkar, who fought against superstitions, human sacrifices, babas and tantriks) being gunned down in cold blood. Even before the police can start investigations, the crime is invariably politicised. Issues of religion, caste, community, political affiliation are dragged in only to complicate (read obfuscate) the crime and, before you know it, the story dies because some other, even more ugly crime is committed somewhere else and draws away the headlines and your attention. And when that happens, criminals get away. We are today an attention deficit nation because there’s so much happening everywhere, all pretty awful stuff, that it’s impossible for anyone to stay focused.

Even fame and success can’t protect you. Dr Dabholkar was a renowned rationalist, a man of immaculate credentials. Yet he was gunned down by fanatics who thought he was endangering their trade in cheating poor and gullible people. Husain was our greatest living painter. He was forced into exile in his 80s because zealots refused to let him live and work in peace here. They vandalised his art; hunted down his shows, ransacked them. Yet Husain, as I knew him, was as ardent a Hindu as anyone else. His paintings on the Mahabharata are the stuff legends are made of. A pusillanimous Government lacked the will to intervene.

Another bunch of jerks made it impossible for Salman Rushdie to attend a litfest in Jaipur. Or go to Kolkata because Mamata Banerjee wanted to appease a certain section of her vote bank. For the same reason Taslima Nasreen was thrown out of Kolkata in 2007 by the CPM Government. Even local cartoonists in the state are today terrified to exercise their right to offend simply because Mamata has no sense of humour. Remember the young college girl on a TV show who asked her an inconvenient question? Remember how she reacted?

When we deny ourselves the right to offend, we deny ourselves the possibility of change. That’s how societies become brutal, moribund, disgustingly boring. Is this what you want? If the answer is No and you want to stay a free citizen, insist on your right to offend. If enough people do that, change is not just inevitable. It's assured. And change is what defines a living culture.

Friday 7 December 2012

Sex tips for writers

 

stiletto boot and mouse
‘Bad sex' writing is funny because the anatomical vocabulary of conventional sex writing is hackneyed, impossible to visualise, stale, and given to bragging.
 
I started ruminating about sex writing while thinking about the annual Bad Sex awards – won this year by the novelist Nancy Huston for Infrared. Most sex writing is either soft-focus romance, (like those fuzzy movies you can rent in hotel rooms), utterly elided ("they read no more that night ... ") or hardcore one-handed reading, designed more as a substitute for sex than a realistic description of sex, which is usually comic, following Henri Bergson's definition of comedy as something that occurs when the body fails the spirit. Of course "bad sex" writing is funny because the anatomical vocabulary of conventional sex writing is hackneyed, impossible to visualise because full of ludicrously mixed metaphors, stale, and given to bragging.

Years ago Renaud Camus wrote a book called Tricks, which astonished everyone because he was determined to record his fiascos as often as his triumphs. (Today some people don't even know what the word "tricks" means).

Everyone seems agreed that writing about sex is perilous, partly because it threatens to swamp highly individualised characters in a generic, featureless activity (much like coffee-cup dialogue, during which everyone sounds the same), and partly because it feels ... tacky. Even careful writers begin to sound like porn soundtracks when they turn to sex writing.

As Susan Sontag once observed, pornography is practical. It was designed as a marital aid, and its vocabulary should follow natural biological rhythms and stick with hot-button words in order to produce a predictable climax. It is not about sex but is sex. Whereas the great sex writers (Harold Brodkey, DH Lawrence, Robert Gluck, David Plante, the Australian Frank Moorhouse) have a quirky, phenomenological, realistic approach to sex. They are doing what the Russian formalists said was the secret of all good fiction – making the familiar strange, writing from the Martian's point of view.

I've written some of the strangest pages anyone's typed out about sex. In my first novel, Forgetting Elena, an amnesiac man is drawn into sex by the Elena of the title. Only he doesn't remember of course what sex is, and he veers from thinking it's a coded form of communication to imagining it's a way of inflicting pain mixed with pleasure on oneself and on one's partner. I suppose I was basing it on my own first experiences of sex as a sub-teen. In another obscure novel, Caracole, I have lots of heterosexual sex, which is written from the point of view of a virginal teenage boy.

To be sure, most of my sex writing has involved two teen males or two (or more) adult men. I always bear in mind Harold Brodkey's remark to me that if you write "she went down on him", it is a "lie", because no one can summarise an intense, prolonged and inevitably unrepeatable and original sex act with a snappy five-word formula like that. He felt that every sex act had to be entirely rethought and reimagined from the beginning to the end. Which of course made his sex writing very, very long.

I've always thought that the main problem with gay erotica is what I call "the cock-and-balls" problem. It seems to me that gay sex writing is a major test for the typical reader, who is a middle-aged woman. Isn't it terribly alienating to have to read about those rigid shafts and hairy bums?
I guess straight men would hate such lurid passages just as much if they read fiction. But older women, at least, often like sex to be linked to sentiment and never to be purely anatomical. I imagine that's why so few gay novels have "broken through" to the general public; all their sexual hydraulics must seem either bleak or seedy. Or "boring", as middle-class people say when they're shocked.

Tuesday 4 September 2012

Fake book reviews are rife on internet, authors warn


 

Fake book reviews are rife on the internet and readers should be aware of the "fraudulent" practices of some writers, a group of leading British authors warn tonight.

Authors Ian Rankin, Lee Child and Val McDermid: RJ Ellory: fake book reviews are rife on internet, authors warn
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Authors Ian Rankin, Lee Child and Val McDermid were among the 49 writers to condemn the "underhand tactics" of colleagues such as RJ Ellory. Photo: CHRIS WATT/GEOFF PUGH/GETTY IMAGES
In a letter sent to The Daily Telegraph, the authors, who have collectively sold millions of novels, “unreservedly” condemned the “abuse” on websites such as Amazon.
RJ Ellory admitted to using false names on Amazon to attack rivals (Picture: REX FEATURES)
The group, including bestselling writers Ian RankinLee Child, Susan Hill,Val McDermid and Helen FitzGerald, said the widespread use of “fake identities” was causing untold damage to the publishing world.
In an outspoken attack on the so-called “sock puppeting” practice, they urged readers and the literary world to help expose colleagues who used the “underhand tactics”.
Their condemnation came after RJ Ellory, the bestselling British crime writer,was exposed for using pseudonyms to pen fake glowing reviews about his “magnificent genius” online while simultaneously criticising his rivals.
The author of A Quiet Belief in Angels and a Simple Act of Violence, whose real name is Roger Jon Ellory, apologised for his "lapse of judgment".
The 47 year-old, based in Birmingham, West Midlands, admitted he had used fake identities to write about his own work on the Amazon book site, giving himself five star ratings.
Ellory, who went to ground today as he faced a deluge of criticism from fans worldwide – many of whom took to the internet to voice their anger – also gave his rivals bad reviews and low ratings using the same pseudonyms.
The father-of-one, who has won a variety of awards including Crime Novel of the Year 2010, was compelled to apologise after Jeremy Duns, a British spy author now based in Sweden, aired the accusations on Twitter last week.
Another thriller writer, Stephen Leather, has also admitted using different online identities to publicise his work.
Authors Ian Rankin, Lee Child and Val McDermid (Pictures: CHRIS WATT/GEOFF PUGH/GETTY IMAGES)
In their public letter, the group of 49 British writers, including Mark Billinghamand Stuart MacBride – who were targeted by Ellory – said that with the advent of the internet, honest comment had never been more important.
“These days more and more books are bought, sold, and recommended online, and the health of this exciting new ecosystem depends entirely on free and honest conversation among readers,” they wrote.
“But some writers are misusing these new channels in ways that are fraudulent and damaging to publishing at large.
“Few in publishing believe they are unique. It is likely that other authors are pursuing these underhand tactics as well.”
They added: “We … unreservedly condemn this behaviour, and commit never to use such tactics.
“But the only lasting solution is for readers to take possession of the process. The internet belongs to us all.
“Your honest and heartfelt reviews, good or bad, enthusiastic or disapproving, can drown out the phoney voices, and the underhanded tactics will be marginalised to the point of irrelevance.”
Mark Billingham was among those authors targeted by Ellory (Picture: GERAINT LEWIS)
The Crime Writers' Association, whose almost 600 members include Ellory, a former board member, have also condemned the “unfair” practice and confirmed they had launched a review.
Mr Duns, 38, also a signatory, exposed Ellory, whose 10 novels have sold more than a million copies, after being contacted by a fellow concerned author.
“It is very encouraging to see the support from so many people in the literary community at large who have come together to stand up against this sort of thing,” he said tonight.
MacBride said he had received dozens of messages of support from both fans and fellow writers.
He added: " It is hard to know what to pity more – the need to create 'sock-puppets to big up your own work or to use those same 'sock-puppets' to attack other writers."
In 2010 Prof Orlando Figes, a leading academic and award-winning historian, confessed to posting similar reviews on Amazon that praised his own work as "fascinating" and "uplifting" while rubbishing that of his rivals.
Ellory was “unavailable” for comment tonight while his literary agent Euan Thorneycroft declined to answer a series of questions from The Daily Telegraph.
An Amazon spokesman did not respond to requests for comment.
Ellory was "unavailable" for further comment (Picture: GETTY IMAGES)