The 2024 edition of the Crossword Book Awards, a literary event that brings together authors, publishers, readers, and the literary community, is poised to leave a significant impact. The award, known for blending both critical recognition and popular appeal, aims to celebrate Indian authors writing in English, offering a platform for both established and emerging voices.

Read This: Delhi by Khushwant Singh: A journey through the city’s grandeur, brutality, and resilience

Reopening the Stage for Indian Literature

This year, submissions for the Crossword Book Awards opened on March 18, inviting entries from books published in English between March 1, 2023, and March 1, 2024. With hundreds of books submitted across the categories, the competition is fiercer than ever, reflecting the richness and diversity of contemporary Indian writing. The prize for the Jury Award winners, in each category, is Rs 50,000, with a cash prize of Rs 25,000 for translators (in the Translations category) and illustrators (in the Children’s category).

The return of the Crossword Book Awards is being welcomed by the literary community, with Aakash Gupta, CEO of Crossword Bookstores, remarking, “As we bring back the Crossword Book Awards, we aim to celebrate the rich tapestry of Indian literature and honor the voices that shape our literary landscape. This event is not just about recognizing excellence; it’s also about inspiring future generations to explore the power of storytelling and the joy of reading.”

2024 Longlists Announced

The longlists of the Crossword Book Awards, revealed earlier this year, represent a wide spectrum of voices and themes, from groundbreaking works of fiction to thought-provoking non-fiction, captivating children’s books, insightful translations, and cutting-edge business literature. Each category is judged by a distinguished three-member panel comprising some of the most acclaimed names in Indian literature and journalism.

Fiction (Longlist)

• History’s Angel by Anjum Hasan
• Never, Never Land by Namita Gokhale
• The Memoirs of Valmiki Rao by Lindsay Pereira
• The East Indian by Brinda Charry
• The Gallery by Manju Kapur
• Quarterlife by Devika Rege
• Can’t by Shinie Antony
• Chronicle of an Hour and a Half by Saharu Nusaiba Kannanari
• Tall Tales By a Small Dog by Omair Ahmad
• Shakchunni by Arnab Ray

Non-fiction (Longlist)

• From Phansi Yard by Sudha Bhardwaj
• The Day I Became a Runner by Sohini Chattopadhyay
• City on Fire by Zeyad Masroor Khan
• Swadeshi Steam by A. R. Venkatachalapathy
• A Part Apart by Ashok Gopal
• Mother Cow Mother India by Yamini Narayanan
• Anger Management by Ajay Bisaria
• Being Hindu Being Indian by Vanya Vaidehi Bhargav
• Marginlands by Arati Kumar-Rao
• Fire on the Ganges by Radhika Iyengar

Translations (Longlist)

• Beneath the Simolu Tree by Sarmishtha Pritam, tr. from Assamese by Ranjita Biswas
• Boy, Unloved by Damodar Mauzo, tr. from Konkani by Jerry Pinto
• I Named My Sister Silence by Manoj Rupda, tr. from Hindi by Hansda Sowvendra Shekhar
• Dudiya – In Your Burning Land by Vishwas Patil, tr. from Marathi by Nadeem Khan
• Mithun Number Two by Jayant Kaikini, tr. from Kannada by Tejaswini Niranjana
• Fire Bird by Perumal Murugan, tr. from Tamil by Janani Kannan
• Sakina’s Kiss by Vivek Shanbhag, tr. from Kannada by Srinath Perur
• A Woman Burnt by Imayam, tr. from Tamil by GJV Prasad
• Maria Just Maria by Sandhya Mary, tr. from Malayalam by Jayasree Kalathil
• Fruits of the Barren Tree by Lekhnath Chhetri, tr. from Nepali by Anurag Basnet

Children’s (Longlist)

• Zen by Shabnam Minwalla
• The Henna Start-Up by Andaleeb Wajid
• Bipathu and a Very Big Dream by Anita Nair
• The Case of the Vanishing Gods by Mallika Ravikumar
• A Children’s History of India in 100 Objects by Devika Cariapa
• Mommies by Richa Jha and Priya Sebastian
• From Makaras to Manticores by C.G. Salamander and Sheena Deviah
• Are There Bun Shops in the Jungles of India? by Nandini Nayar
• The Dog with Two Names: Stories that Celebrate Diversity by Nandita Da Cunha
• The Misadventures of a Diamond Thief by Lubaina Bandukwala

Business and Management (Longlist)

• Accelerating India’s Development: A State-led Roadmap For Effective Governance by Karthik Muralidharan
• Al Rising: India’s Artificial Intelligence Growth Story by Leslie D’Monte and Jayanth N. Kolla
• Exprovement: Exponential Improvements Through Converging Parallels by Hersh Haladker and Raghunath Anant Mashelkar
• Farmer Sutra by Kalpana Manivannan
• Inside the Boardroom: How Behaviour Trumps Rationality by R. Gopalakrishnan and Tulsi Jayakumar
• Lilliput Land: How Small Is Driving India’s Mega Consumption Story by Rama Bijapurkar
• Mastering the Data Paradox by Nitin Seth
• The Eight Per Cent Solution: A Strategy for India’s Growth by Nikhil Gupta
• Unfiltered: The CEO and the Coach by Ana Lueneburger and Saurabh Mukherjea
• When the Chips Are Down by Pranay Kotasthane and Abhiram Manchi

What’s Next for the Crossword Book Awards?

The final shortlist of nominees will be announced on November 11, and voting for the Popular Choice Awards will soon open to readers. The winners will be celebrated during a grand awards ceremony in Mumbai on December 12, where India’s literary giants, creative minds, and influential industry leaders will gather to honour the best of Indian writing.

In addition to the Jury Awards, where a distinguished panel of judges selects the best works, the Popular Choice Awards allow readers across the country to have their say in choosing their favourite books. This unique format ensures that the voices of the audience and the literary elite converge, making the Crossword Book Awards truly reflective of the best of Indian literature.

The return of the Crossword Book Awards mark a pivotal moment for the Indian literary scene, with 2024 shaping up to be an exciting year for readers and writers alike.

The post Return Of Crossword Book Awards 2024 – See Longlist appeared first on Delhi Messenger.

Early Life and Background

Jaun Elia was born into an intellectually vibrant family. His father, Allama Shafiq Hasan Elia, was a respected scholar and poet, and his brothers, Rais Amrohvi and Syed Muhammad Taqi, were also prominent figures in literature and journalism. Growing up in such an environment, Jaun was naturally inclined towards literature and philosophy. His early education in Arabic, Persian, and Urdu laid a strong foundation for his literary pursuits.

Yun jo takta hai aasman ko tu

Koi rehta hai aasman mein kya

Ye mujhe chain kyun nahin padta

Ek hi shakhs tha jahaan mein kya

Jaun Elia

The Migration and Personal Struggles

The partition of India in 1947 brought about a significant change in Jaun’s life. His family migrated to Pakistan, a move that deeply affected him. The transition was not just geographical but emotional and cultural, leaving an indelible mark on his psyche. Jaun often expressed his sense of loss and dislocation in his poetry, capturing the pain of uprooting and the longing for his homeland.

Jaun’s personal life was marked by turbulence. He married Zahida Hina, a fellow writer, but their relationship was fraught with difficulties, eventually leading to a separation. The emotional turmoil of his personal life seeped into his poetry, adding layers of depth and sorrow to his work. Despite these struggles, Jaun continued to write, drawing inspiration from his own experiences and the world around him.

Bada ehsaan hum farma rahe hain

Ki unke khat unhe lauta rahe hain

Kissi surat unhe nafrat ho hum se

Hum apne aeb khud ginwa rahe hain

Jaun Elia

Literary Career and Highs

Jaun Elia’s poetry is celebrated for its unique style, blending classical and modern elements. His work is characterised by a profound sense of existential angst, intellectual rigour, and a rebellious spirit. Jaun’s mastery over the language and his ability to convey complex emotions with simplicity set him apart from his contemporaries.

His first collection of poetry Shayad was published in 1990, when he was nearly 60 years old. Despite the late publication, the book was a phenomenal success, resonating with readers and critics alike. Shayad was followed by other collections, including Yaani, Gumaan, and Lekin, each further establishing Jaun’s reputation as a literary genius.

Jaun’s poetry often delved into themes of love, loss, and the search for meaning. His verses were a mirror to his soul, reflecting his innermost thoughts and feelings. His ability to capture the intricacies of human emotions and his philosophical musings endeared him to a wide audience, making him one of the most beloved poets of his time.

Ho raha hu mai kiss tarah barbaad 

Dekhne wale haath malte hain

Kya takalluf karen ye kehne mein

Jo bhi khush hai hum us se jalte hain

Jaun Elia

Recognitions and Legacy

Despite his reclusive nature and the challenges he faced, Jaun Elia received considerable recognition for his contributions to Urdu literature. He was not just a poet but also a scholar, philosopher, and translator, bringing many classical texts into Urdu. His work transcended boundaries, resonating with people across generations and cultures.

Jaun’s legacy is not just in his published works but also in the impact he had on his readers and the literary community. His poetry continues to inspire and move people, offering solace and provoking thought. Jaun Elia’s life and work are a testament to the enduring power of words and the profound impact a poet can have on society.

Saarey rishte tabaah kar aayaa

Dil-e-barbaad apne ghar aaya

Mai raha umar bhar judaa khud se

Yaad main khud ko umar bhar aaya

Jaun Elia

Jaun Elia: The Enigma Lives On

Jaun Elia passed away on November 8, 2002, but his spirit lives on through his poetry. He remains an enigmatic figure, a poet whose life was as complex and captivating as his verses. Jaun’s journey from the narrow lanes of Amroha to the literary circles of Karachi is a story of passion, struggle, and brilliance.

In the world of Urdu poetry, Jaun Elia stands as a beacon of intellectual and emotional depth. His words continue to echo in the hearts of those who seek solace in poetry, offering a glimpse into the mind of a genius who dared to bare his soul to the world.

The post Jaun Elia: The Rebel Poet of the Subcontinent appeared first on Delhi Messenger.

Singh, a renowned writer and historian, was born in Delhi in 1915, and he spent most of his life in the city. His love for Delhi is evident in every word he writes. He has a way of bringing the city to life, making it seem like a character in its own right. Through his vivid descriptions, he paints a picture of Delhi that is both alluring and complex.

Delhi by Khushwant Singh: Parts of the novel

The book Delhi by Khushwant Singh is divided into two parts, ‘The Historical City’ and ‘The Contemporary City.’ In the first part, Singh delves deep into the history of Delhi, starting from its earliest days as Indraprastha, the capital of the Pandavas. He then takes us through the various dynasties that ruled Delhi, including the Mughals, the British, and finally, independent India.

Through his words, we get a glimpse of the grandeur and beauty of Delhi’s past. The Qutub Minar, the Red Fort, the Jama Masjid, and the Humayun’s Tomb are just a few of the many monuments that Singh writes about. He brings these monuments to life, giving them a personality of their own.

But Singh does not shy away from the darker aspects of Delhi’s history. He talks about the brutalities of the rulers, the invasions, and the massacres that took place. He talks about the destruction of temples, the forced conversions, and the atrocities committed against the people. He brings to light the fact that Delhi’s history is not just a story of grandeur but also of bloodshed and oppression.

Delhi by Khushwant Singh: Second part of the book

In the second part of the book, Singh takes us on a tour of the contemporary city. He talks about the changing face of Delhi, the politics, the people, and the culture. He writes about the emergence of ‘New Delhi’ and how it transformed the city. He also talks about the social and cultural changes that took place in the post-independence era.

His love for Delhi is evident throughout the novel Delhi by Khushwant Singh, and he captures the spirit of the city in every chapter. He talks about the people of Delhi, their warmth, their wit, and their resilience. He talks about street food, festivals, music, and art. He paints a picture of a city that is both traditional and modern, both chaotic and serene.

Delhi by Khushwant Singh is not only a love letter

But the book is not just a love letter to Delhi. Singh is also critical of the city and its problems. He talks about pollution, traffic, corruption, and inequality. He highlights the challenges that the city faces and the need for change.

Overall, Delhi by Khushwant Singh is a fascinating read. It is a book that captures the essence of a city that is both beautiful and complex. Singh’s writing is engaging, and he has a way of bringing the city to life. Whether you are a Delhiite or someone who has never visited the city, this book is a must-read. It will give you a deeper understanding of Delhi and its history, people, culture, and the challenges the city faces in the modern era.

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The fourth day of the Festival had concluded with a session featuring writer and film director Rick Stroud in conversation with journalist and best-selling author Shrabani Basu discussing the life and times of Noor Inayat Khan. Basu shed light on the eventful life of Khan, the descendant of Tipu Sultan, who was the only Asian secret agent in Europe during World War II. Basu talked about Khan being a Sufi, a writer of stories for children, a musician, a dreamer, but most of all, a woman who was determined to fight for the right cause. She also spoke about the importance of the radio and how Khan was the first woman wireless operator to be flown into occupied France during the War. 

History at Jaipur Literature Festival

Art historian Katy Hessel and historian Alex von Tunzelmann discussed the historical documentation of art and Hessel’s attempts at dismantling patriarchy within the art world. The conversation revolved around her book, The Story of Art Without Men, reviving the legacy of women artists from the 1500s to the 21st century, and addressing the challenges that women artistes face to get the recognition they deserve. Speaking of what inspired her to write this book Hessel said, “…seven years ago…I walked into an art fair, looked at thousands of artwork in front of me and realised not a single one was by a woman… had I essentially been looking at the history of art from a male perspective?”

Conversations at JLF

Today at a Front Lawn session, internationally bestselling and award-winning author Simon Sebag Montefiore, in conversation with academic and author Tripurdaman Singh, discussed the inspiration of Sebag’s book and how he wanted to combine the elements of family unity with world history. While speaking about his book, Sebag said, “I always follow Benjamin Disraeli’s saying that if I want to read a book, I write it myself.” In the context of writing about world history, Montefiore said, “I think I realised the importance of history when I was in the wars at the end of the Soviet Union and I don’t think you can write a world history unless you have seen the downfall of an empire with your own eyes.” The conversation further revolved around discussing the downfall of the Soviet Union and the Russian invasion of Ukraine and the categorisation of various dynasties in Montefiore’s book.

Author Andrew Altschul; poet, novelist, literary journalist, translator, and communications professional Anupama Raju; and writer Ashok Ferrey were in conversation with author Vivek Tejuja, addressing the thin and porous lines between fiction and faction – borders that can blur the fixities of the stories they engage with and leave both the writer and the reader wondering where they stand. On the importance of writing fiction, Ferrey said, “…I think fiction is able to fix the truth in a way nonfiction can’t…”.

William Dalrymple’s take

Radio and TV journalist and recipient of the Penn Hessell Tiltman Award for History Book of the Year, Anita Anand, and historian and Festival Co-Director of Jaipur Literature Festival William Dalrymple, shared the idea behind their podcast – Empire. They further spoke about the editorial process and the research behind it. Anand said, “…there is this political wrestling match going on about what should or should not be said…it is not up for political debate… but there are some incontrovertible facts and we would like to give those to you.” Towards the end of the session, Anand noted that they are about to hit a massive milestone by crossing 5 million downloads of the podcast.

Writer Amit Chaudhuri, in conversation with fellow writer and poet Janice Pariat, discussed Amit’s latest book, Sojourn. During the session, Pariat narrated the overview of the book and laid the ground for the conversation. Chaudhuri’s Sojourn is a narrative that pushes our understanding of narrative techniques, told with musical prowess and literary dexterity. Talking about whether he finds his new novel unsettling, Amit exclaimed that Sojourn is not any more complex than anything else he has written and that the challenge was to write about history without making it something other than the lived moment.

At the Festival, a report titled The Million Missions Report had author Mathew Cherian; Co-founder of Dasra, Deval Sanghavi; founder, GuideStar India, Pushpa Aman Singh; author Kasturi Gandhi; academic Ankur Sarin; Director of the Society for Social and Economic Research (SSER), Jesim Pais and recipient of the Alternative Nobel Prize, Order of the Golden Ark, Global 500 Award of the UN and Earth Day International Award, Vandana Shiva, was released, at session moderated by Managing Director, Teamwork Arts and Festival Producer Sanjoy K Roy. The report was launched by  the UN Resident Coordinator for India Shombi Sharp and Gayatri Nair Lobo.

The report emphasises the importance and contributions of the non-profit sector. Talking about the necessity for producing such a report, Roy said, “Many of us know today that the NGO and the NPA sector are at some risk… what this report has done is really looked at how you can make sure that we are telling a story of change, that we walk together with the governments of our time… in bringing about development”. The panellists discussed the important role of civil society in fulfilling the Sustainable Development Goals, Sharp said, “In India, we have seen important deliverables on education, on health, livelihoods, poverty reduction, to experiment, to innovate, to pave the way for new models of development delivery”. This was followed by a panel discussion on the report and the challenges in making it.

At the Bank of Baroda Charbagh, novelist Chigozie Obioma, in conversation with Editor-in-Chief at Penguin Random House India, Manasi Subramaniam, discussed Obioma’s upcoming book The Road to the Country. Obioma shared anecdotes from his childhood and the narratives that have formed his writing life. Sharing insights into Nigerian culture, languages, conflicts and the tenuous resolutions, he spoke about  the multiple dimensions an ancient land has to cope with when taken over by colonialism. On his own experienceas a kid in Nigeria, Obioma said,“I came to writing by serendipity… I wanted to do something that was more vocational…I would lie in bed, my dad would or my mum would tell me stories…all of a sudden stories meant something different; it was like a major transformative epiphany…”

Poet, novelist, literary journalist, translator and communications professional, Anupama Raju, was in conversation with the debutant novelist, who wrote the part science fiction and part magic realistic, The Immortal King Rao, Vauhini Vara. The novel evokes a very scary world where our consciousness and memories can be evoked, and all brought into a vial that can be injected. The panel spoke about the way Vara has maintained a balance between the real and the dystopian.

JLF’s Jaipur BookMark

At a Jaipur BookMark session, founder of Chennai-based Aazhi Publishers and Ailaysa, a multilingual content and translation tech company, Senthil Natha; commissioning editor at DC Books, Govind Deecee; Founder & Managing Trustee of Neev School, Kavita Gupta Sabharwal; author Sabin Iqbal; short story writer, Shinie Antony; Director, Casa de la India, Dr. Guillermo Rodríguez Martín; co-founder and producer at the Bangalore Literature Festival, Srikrishna Ramamoorthy; executive director of JLF Colorado, Jessie Friedman; bilingual poet, author, translator, editor, publisher of Dhauli Books and director of Odisha Art & Literature Festival, Manu Dash; director of ITEF-Istanbul International Literature Festival, Mehmet Demirtas; Director, National Book Trust, India, Yuvraj Malik; and writer and journalist, Julia Wheeler, were

In conversation with Managing Director, Teamwork Arts and Festival Producer Sanjoy K. Roy. The session began with a keynote speech by award winning writer, publisher, and Festival Co-Director Namita Gokhale. In the context of starting a children’s literature festival, Deecee said, “We need to create the next generation of readers; we need to educate our readers.” Dermirtas and Roy discussed the future of literature festivals in India and the need for collaboration to create a more lively literary landscape for future generations.

Jamaican writer Marlon James, in conversation with politician, commentator and social activist Emily Benn, discussed James’ second book of a planned trilogy, Moon Witch, Spider King – a 2022 fantasy novel after Black Leopard, Red Wolf. On speaking about how he went about writing the book, James said, “It was a way to escape from the prison world, COVID was scary but COVID was also incredibly boring…”. The novel revolves around Sogolon (Moon Witch) who struggles against oppression, and ultimately gains a hard-won semi-freedom and a powerful portrayal of feminism, desire, power and survival.

Advocate Saurabh Kirpal, in conversation with academic and author Tripurdaman Singh, discussed Kirpal’s reasoning and inspiration behind the book, Fifteen Judgements: Cases that Shaped India’s Financial Landscape. Discussing how citizens are unaware of their rights that leads to the exploitation of their finances,Kirpal spoke about the relationship between law and finance.

Author of ten books on the history of Russia and Europe, Orlando Figes;  internationally bestselling author of prize-winning books, Simon Sebag Montefiore in conversation with  journalist, writer, and award-winning correspondent Luke Harding, discussed the complicated history of Russia. They also addressed the different concepts of power in Russia and how this has influenced Soviet and modern history. Most interestingly, the panel drew linkages of this understanding of history to Putin’s attack on Ukraine.

Chairman of the newly instituted Dalit Sahitya Akademi and member of the Legislative Assembly of  West Bengal, Manoranjan Byapari, in conversation with Managing Director, Teamwork Arts and Festival Producer Sanjoy K. Roy, discussed Byapari’s life in prison where he learnt how to read and write, and subsequently became a writer in prison. Byapari spoke of his experiences with books, and how they permit the reader to travel wherever they wish—from the Himalaya to the depths of the ocean. As a political activist, he also spoke of how he has worked to improve the conditions of prisons.

Closing debate at JLF

The day concluded with Jaipur Literature Festival’s much-awaited signature Closing Debate. This year, the panellists debated whether the right and left divide can ever be bridged. The debate featured speakers such as member of Rajya Sabha Jawhar Sircar, literary historian and writer Purushottam Agarwal, recipient of the Alternative Nobel Prize, Order of the Golden Ark, Global 500 Award of the UN, and Earth Day International Awardee Vandana Shiva; poet, critic, novelist, columnist, and author of several books Makarand R Paranjape, writer-diplomat and politician Pavan K Varma and Rajya Sabha MP Priyanka Chaturvedi, and was moderated by columnist and television presenter Vir Sanghvi.

While Jawhar Sircar, Purushottam Agarwal and Vandana Shiva stood for the motion, Makarand R Paranjape, Pavan K Varma and Priyanka Chaturvedi opposed it. The proponents of the motion argued that the divide could not be bridged because the left opposed the oppression of people based on their caste, creed and gender and stood for change, while the right wish to further these inequalities by brushing these differences under the carpet. In line with this, Sircar stated, “[In the French Revolution] The ones who were in favour of change, gravitated to the left and ones who wanted monarchy, imperialism, the rights of the nobility, oppression, moved to the right. And that is the beginning of the term, left and right.” Shiva added to this, arguing that due to this fundamental difference, “​​The two spheres are incommensurable. They cannot meet unless you change the terms of the debate, unless you change the parameters.”

In his closing statement, Agarwal said, “…why is this fascination about bridge building between left and right?…every civilisation has a history and every phenomenon has a history. If you look at history…civilisation actually gets enriched by such conflicts, they do not enrich by removing these things or putting the realities under the carpet and therefore the left and right divide is bound to persist.”

The opponents of the motion argued in favour of the civilisational unity of India and that all sides needed to join hands for India’s progress. They also criticised the ideological purism inherent in the motion, saying that these distinctions are not applicable to India and do not exist in real politics. Chaturvedi said, “…the left and the right construct do not apply to the Indian governance model, India has its own construct… the country moves forward and the country’s concerns  are supreme in a multicultural country like India in a diverse social set up like ours…it is not a choice”. Talking about how such distinctions have been traversed by politics parties, Varma noted, “It was the Congress that banned the RSS and perhaps rightly so in the 50s, but it was Pandit Jawahar Lal Nehru who invited the RSS to join the 1963 Republic Day parade because of the excellent work they did in supporting the government during the war with China”. Paranjape argued that violence and human rights violations have also taken place under ‘leftist’ regimes, and there is a need to work towards doing the ‘right’ things, not the ‘wrong’. Emphasising how the left and right do not apply to India, Chaturvedi said, “…the left and the right construct do not apply to the Indian governance model, India has its own construct… the country moves forward and the country’s concerns  are supreme in a multicultural country like India…in a diverse social set up like ours…it is not a choice”.

The post Jaipur Literature Festival 2023 ends with a bang appeared first on Delhi Messenger.

Centuries ago, the word ‘Urdu’ was used to refer to the city. At that time, Urdu meant ‘royal camp’. The name could not be more fitting. Delhi is like a camp where people with varied cultures and traditions come to reside and make it their home. It is also the place where Urdu as a language was born.

Birth of Urdu

The earliest traces of Urdu can be found in the 11th century when the northern parts of India were invaded by Persian and Turkish forces. The invaders brought with them Farsi and Arabic languages. Along with these came the Nastaliq script, which eventually became the script of Urdu. Delhi Sultanate became the hotspot for the concentrated development of the language. The streak continued with the Mughal Empire from the 16^th century onwards. 

While the indigenous people spoke Punjabi, Haryanvi, Braj, and Dakkani, the foreigners spoke Persian, Pashto, and Dari. Numerous exchanges happened in markets, mosques, and battlefields. As is the law of nature, the need to communicate necessitated the development of a common register. And thus Urdu, a language by and of the common folks, became Zabān-i Urdū-yi Muʿallā … the ‘language of the exalted camp’, that is, Delhi. 

Urdu = Delhi = Urdu

Not very long ago, Urdu was one of the commonly-spoken languages of Delhi. Now, as per the 2011 census, only 5 per cent of Delhi’s population speaks Urdu. The official percentage is only a record of people who claim Urdu as their mother tongue. But the influence of Urdu that has seeped into our so-called ‘shuddh Hindi’ is tremendous. There are thousands of people who are unaware that the Khariboli that they speak shares has derived many words from Urdu. Because of this, Many deny that Urdu is declining in importance.  

In Delhi, Urdu continues to be integral. Look at all the street signs. On most of them, the names are written in English, Hindi, Punjabi, and Urdu too. Word which we use very commonly such as bazaar, sarkaar, zindagi, waqeel … they all come from the Perso-Arabic dictionary and are shared by Khariboli and Urdu. 

Fighting for survival

It might be safe to admit that the knowledge of the Perso-Arabic script, in which Urdu is written, has fallen. This script, the rasm-ul-khat, is not read or written by many people today. Very rarely do I see a person sitting in a DTC bus reading an Urdu newspaper. I do have friends whose families have been living for generations in Delhi. However, it was very difficult to find one with Urdu-speaking members. But I did not falter in my koshish. Wajeeha Khan, an old friend, tells me that she knows only elementary Urdu. It is from her grandma that she often hears sher-o-shayaris of famous poets. 

Nida Zehra, who works with Josh Talks, started learning the Urdu alphabet from her mother when she was eight. And for the past three years, she has been involved in writing Urdu poetry. “My mother used to read Jaraayem and Mashriqi Aanchal. In order to learn the language, I go back to those oldies,” she says. 

Shop for Urdu

If you are wondering where to get these titles, then Urdu Bazaar is your one-stop shop. This bazaar is located right next to Jama Masjid. Here you will find rare books and magazines in Urdu. One of the oldest publishing units here is Maktaba Jamia. Another is Kutub Khana Anjuman-e-Taraqqi-e-Urdu. Zaidi ji of Maktaba Jamia tells us that lately, the sale of books by poets such as Faiz Ahmed Faiz has increased. And the buyers are all youngsters. 

Another quiet presence of the Urdu era is Ghalib ki Haweli. Located in Chandni Chowk, this old mansion is where the most-quoted Urdu poet spent his last days. It is now a memorial museum where Ghalib’s hand-written books and letters are on display. 

New-found love for Urdu

Delhi’s youth has not limited itself to Ghalib or Faiz. In recent years, there has been a surge in interest in various other poets and writers like Sahir Ludhianvi, Dagh Dehlvi, Iqbal Ashhar, and Shehzad Ahmed. To a large extent, the credit for reviving these poets in the mainstream goes to organisations like the Rekhta Foundation. Rekhta is a Delhi-based organisation that has made Urdu poetry trendy. Its website hosts nearly 45,000 Urdu e-books. It has played a crucial role in reigniting our love for Urdu. The foundation has launched a free online Urdu learning portal and also offers Urdu script learning classes. It also organises various Urdu events in Delhi, of which Jashn-e-Rekhta is the most popular one. Interest in dastangoi, mushairas, and qawwalis has increased lately, thanks to such events. 

Is Urdu a language of the Muslims?

Urdu is often gets associated with Islam. It is a common belief that it is the language of Muslims. However, Monika Sharma thinks that language is just a means to express oneself. “Urdu has developed in and around Delhi. It is the zubaan of the Delhiites. I do not see any reason behind tagging it with a particular religion,” she says. Similarly, student Tazeen Ali feels that one belongs to a language rather than a language belonging to someone. 

Manzar Bhopali aptly wrote about Urdu:  

Ye ‘nanak’ ki, ye ‘Khusraw’ ki, ‘daya-shankar’ ki boli hai; 

Ye Diwali, ye Baisakhi, ye Id-ul-Fitr, Holi hai.

(This is the language of Nanak, Khusro, and Daya Shankar;
It is Diwali, Baisakhi, Eid-ul-Fitr, and Holi.)

The attraction of Urdu 

So, what attracts a common Delhiite to Urdu? Personally, I feel that Urdu has a lot of tehzeeb or politeness oozing out of it. The use of Urdu words in our daily parlays add a hint of freshness and sophistication to our speech. Urdu has a sweet texture and turns heads every time it is fluently spoken. “Who doesn’t want to understand the beautiful Urdu sher-o-shayaris?” says Priyanka Singh Lingwal, a Delhi University scholar. Learning the Urdu script has enhanced her calligraphic skills as well. 

Saliqe se hawaon mein jo khushboo ghol sakte hain,

Abhi kuchh log baaqī haiñ jo urdu bol sakte haiñ. 

(There are some who can still weave fragrance into the air,

There are still some left who can speak Urdu with flair.) 

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The moment, he entered the terrace garden of Hotel Taj Mahal, the venue for the curtain raiser of Jaipur Literature Festival 2016, a photographer asked him for a solo picture. The way he posed, it seems as if he was being clicked for the first time. That is William Dalrymple for you — a raw, witty, and sweet person, full of in-depth knowledge and innocence.

William Dalrymple’s love affair with Delhi

The writer has documented his love affair with India, centering on Delhi — a city with “a bottomless seam of stories” — in his travelogue, City of Djjins.

Shaped more like a novel than a travel book, he and his wife encounter a teeming cast of characters — his Sikh landlady, taxi drivers, customs officials, and British survivors of the Raj, as well as whirling dervishes and eunuch dancers (“a strange mix of piety and bawdiness”). In the book, Dalrymple describes ancient ruins and the experience of living in the modern city.

He goes in search of the history behind the epic stories of the Mahabharata. He also finds evidence of the city’s violent past and present-day — the 1857 mutiny against British rule; the Partition massacres in 1947 and the riots after the assassination of Indira Gandhi in 1984. But, now, he feels that Delhi has changed a lot. “The roads are better. We have fancy malls and better connectivity,” he shared. However, the increased pollution in the city saddens him.

“When I first came to Delhi, there was lack of infrastructure and facilities. Now situations have improved. There are better roads, malls and good transportation, but the pollution is quite depressing,” Dalrymple pointed out.

Being a historian, he believes that, at times, history should be reinvented and re-looked at from different perspectives. His main interests have always been in Hinduism, Buddhism, Jainism, and early Eastern Christianity.

William Dalrymple’s experience with JLF

His experience with Jaipur Literature Festival (JLF) over all these years has been fantastic and this time he believes that it’s going to be the best festival of all. “We have got a completely different set of authors, and the authors are the festival. It is the best range we have ever had,” he said.

The line-up for the 2016 edition is filled with winners of awards such as the Booker, the Pulitzer, and Samuel Johnson among others. Dalrymple elaborated, “We try and get a clean sweep of all the big prizes plus an entirely subjective personal pick of our favourite classics.”

Caribbean writers including Marlon James (Man Booker Prize winner) and Kei Miller (Forward Prize awardee) from Jamaica and several other authors from Central America are also included. “The edition seeks to serve as a platform that promotes the development of thoughts and ideas and respects different points of view,” said Sanjoy Roy, producer of JLF.

On the subject of growing intolerance, Sanjoy shared his point of view, “People should not be intolerant; they may disagree with each other’s opinion, but that doesn’t mean one is wrong and other is right and vice-versa. Everyone has the freedom to look at things and situations from their own perspective. Some might agree or disagree but everyone must respect each other’s opinion.”

He added, “I think, we should not be intolerant — we may not agree with each other’s opinion, but that doesn’t mean if you’re saying something, I would say you’re wrong or I’m right. Everyone has their own perspective to look at things and situations, we might agree or disagree but we must respect each other’s opinion.”

This article was also published in The Pioneer Newspaper.

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Upon comparing the two novels, a range of similarities as well as differences emerge. The most obvious similarity is, of course, a female protagonist. An in-depth representation of a female character of the Mahabharata is unusual. And this is precisely what both these novels attempt to do. In doing this, the writers also try to give a voice to the other women in the epic who played crucial roles in its unfolding.  

Divakaruni makes the use of a first-person narrative to present the perspective of Panchali, the wife of the five Pandavas. Born of fire and a hunger for revenge, Panchali carries this trait with her and it is eventually she who acts as the catalyst for the Great War between the Pandavas and the Kauravas. 

Panchali finds herself being married off to Arjun, the third Pandava, taking the first step towards her predestined fate. Although she had a swayamvar, she could not select the man she was in love with, the outcast, Karna. Her circumstances after her marriage were what made her into the woman who was eventually held responsible for the end of the Third Age of Man. 

The author introduces a love angle between Panchali and Karna, indicating their mutual love for each other. It is a sort of love-hate relationship, something that has not been explored in great detail in the original epic but presented beautifully in the novel. 

Divakaruni does not try to create a so-called ideal woman in Draupadi’s character. She presents her protagonist as a human being, subject to human conditions and human vices. Panchali is an almost indifferent mother. She is a devoted wife to all five Pandavas but she loves only Arjun. She uses Bhima’s love as a weapon for her own selfish ends. But she does not have any pretences of being righteous. 

Using Uruvi, the Pukeya Princess, as her protagonist, Kavita Kane tries to present yet another perspective of the epic tale. Uruvi was meant to marry Arjun. Unlike Panchali, she exercised her right to select her own groom and chose to marry Karna, the outcast son of the charioteer. Her childhood circumstances were different from Panchali’s. Uruvi did not have to strive too hard to be educated and to follow her passion, which was healing. She was a fiery woman who, in time, came to be a source of strength for her husband Karna, the greatest warrior of his time. 

While Panchali was constantly instigating her husbands to fight a war with the Kauravas, Uruvi was against the very idea of it. In many instances in the text, she emerged as the voice of reason and logic, trying her utmost to put a stop to the impending war, especially her husband’s part in it. Even after Karna died, she didn’t break down like his first wife, Vrushali. Instead, she focused on her passion for healing and the education of her son. 

The portrayal of Kunti in both novels is quite different. While Panchali saw her mother-in-law as a selfish, cold-hearted, manipulative woman, Kunti was like a mother to Uruvi and later, to her son, Vrishkethu. Kane shows the tender side of Kunti’s personality while Divakaruni sticks to portraying her as the practical woman, who always had to face struggle in her life.

In terms of the language of the text, The Palace of Illusions flows much more smoothly than Karna’s Wife. Both novels do relate the basic story of the epic, but in very different ways. Kane’s approach is anecdotal; the story emerges through long drawn-out dialogues between characters. Divakaruni follows a somewhat chronological approach for telling the story and is more successful in her narration. 

For a lay reader who is interested in knowing the story of the Mahabharata while simultaneously reading a finely written novel, The Palace of Illusions is highly recommended. Where writing skills are concerned, Kane falls short, as her novel does not succeed in gripping the reader. 

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The book was launched in the presence of Tenzing Sonam, Director, White Cranes Production; Vijay Kranti, Journalist, Author & Tibetologist; Lhamo Pemba, daughter of Dr Pemba and poet and academic Shelly Bhoil.

The book was unveiled by the four panelist followed by a trailer on the book. With a vivid collation of images backed by an amazing background score, the book came alive as a visual treat.

There were traditional Tibetan dance and song performances by Thangtong Lhugar Tibetan Performing Arts (TLPA). The TLPA was founded by Phuntsok Tsering in Dharamsala to preserve and promote all aspects of the rich tradition of Tibetan performing arts, especially Tibetan opera.

Pemba then presented a visual chronology on her father’s life and shared snippets from the past, reminiscing fondly on her memories and anecdotes on him.

A discussion on the book followed and extracts were read by Pemba. While Sonam highlighted the historical legacy of Tibet that had bearing on the book, Kranti discussed the book itself and its uniqueness. Speaking on Tibetans and their fight against the Chinese regime he said:

“We should not forget that when it comes to saving identity, Tibetans are as ferocious as anyone else and as big warriors like others.”

He also stated against the general belief that China is responsible for the advent of modernization in Tibet.

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