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Big Sky by Kate Atkinson – an excerpt

In Kate Atkinson’s new book, Big Sky, Jackson Brodie has relocated to a quiet seaside village in North Yorkshire, in the occasional company of his recalcitrant teenage son Nathan and ageing Labrador Dido, both at the discretion of his former partner Julia. It’s a picturesque setting, but there’s something darker lurking behind the scenes.

Jackson’s current job, gathering proof of an unfaithful husband for his suspicious wife, seems straightforward, but a chance encounter with a desperate man on a crumbling cliff leads him into a sinister network—and back into the path of someone from his past. Old secrets and new lies intersect in this breathtaking new novel, both sharply funny and achingly sad, by one of the most dazzling and surprising writers at work today.

Read on for an exclusive first chapter of the book.


The Battle of the River Plate

And there’s the Ark Royal, keeping a good distance from the enemy…There were a couple of quiet explosions – pop-pop-pop. The noise of tinny gunfire competing unsuccessfully with the gulls wheeling and screeching overhead.

Oh, and the Achilles has taken a hit, but luckily she has been able to contact the Ark Royal, who is racing to her aid . . .

‘Racing’ wasn’t quite the word that Jackson would have used for the rather laboured progress the Ark Royal was making across the boating lake in the park.

And here come the RAF bombers! Excellent shooting, boys! Let’s hear it for the RAF and the escorts. .  .

A rather weak cheer went up from the audience as two very small wooden planes jerked across the boating lake on zip wires.

‘Jesus,’ Nathan muttered. ‘This is pathetic.’

‘Don’t swear,’ Jackson said automatically. It was pathetic in some ways (the smallest manned navy in the world!), but that was the charm of it, surely? The boats were replicas, the longest twenty foot at most, the others considerably less. There were park employees concealed inside the boats, steering them. The audience was sitting on wooden benches on raked concrete steps. For an hour beforehand an old- fashioned kind of man had played old-fashioned kind of music on an organ in a bandstand and now the same old-fashioned man was commentating on the battle. In an old-fashioned kind of way. (‘Is this ever going to end?’ Nathan asked.)

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‘Didn’t you hear, Jackson?’ Julia said. ‘The class war’s over. Everyone lost.’

Jackson had come here as a kid once himself, not with his own family (when he had a family) – they never did anything together, never went anywhere, not even a day-trip. That was the working class for you, too busy working to have time for pleasure, and too poor to pay for it if they managed to find the time. (‘Didn’t you hear, Jackson?’ Julia said. ‘The class war’s over. Everyone lost.’) He couldn’t remember the circumstances – perhaps he had come here on a Scouts outing, or with the Boys’ Brigade, or even the Salvation Army – the young Jackson had clung to any organization going in the hope of getting something for free. He didn’t let the fact that he was brought up as a Catholic interfere with his beliefs. He had even signed the Pledge at the age of ten, promising the local Salvation Army Temperance Society his lifelong sobriety in exchange for a lemonade and a plate of cakes. (‘And how did that work out for you?’ Julia asked.) It was a relief when he eventually discovered the real Army, where everything was free. At a price.

‘The Battle of the River Plate,’ Jackson told Nathan, ‘was the first naval battle of the Second World War.’ One of his jobs as a father was to educate, especially on his specialist subjects – cars, wars, women. (‘Jackson, you know nothing about women,’ Julia said. ‘Exactly,’ Jack- son said.) Nathan met any information conveyed to him by either rolling his eyes or appearing to be deaf. Jackson hoped that, some- how or other, his son was unconsciously absorbing the continual bombardment of advice and warnings that his behaviour necessitated – ‘Don’t walk so close to the edge of the cliff. Use your knife and fork, not your fingers. Give up your seat on the bus.’ Although when did Nathan ever go anywhere on a bus? He was ferried around like a lord. Jackson’s son was thirteen and his ego was big enough to swallow planets whole.

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Looking on the bright side, Nathan was talking in more or less whole sentences this afternoon, rather than the usual simian grunts.

‘What do they mean – “manned”?’ Nathan said. ‘There are people inside the boats, steering them.’ ‘There aren’t,’ he scoffed. ‘That’s stupid.’

‘There are. You’ll see.’

Here comes Exeter as well. And the enemy submarine is in trouble now . . .

‘You wait,’ Jackson said. ‘One day you’ll have kids of your own and you’ll find that you make them do all the things that you currently despise – museums, stately homes, walks in the countryside – and they in turn will hate you for it. That, my son, is how cosmic justice works.’

‘I won’t be doing this,’ Nathan said.

‘And that sound you can hear will be me laughing.’ ‘No, it won’t. You’ll be dead by then.’

‘Thanks. Thanks, Nathan.’ Jackson sighed. Had he been so callous at his son’s age? And he hardly needed reminding of his mortality, he saw it in his own boy growing older every day.

Looking on the bright side, Nathan was talking in more or less whole sentences this afternoon, rather than the usual simian grunts. He was slumped on the bench, his long legs sprawled out, his arms folded in what could only be described as a sarcastic manner. His feet (designer trainers, of course) were enormous – it wouldn’t be long before he was taller than Jackson. When Jackson was his son’s age he had two sets of clothes and one of those was his school uniform. Apart from his gym plimsolls (‘Your what?’ Nathan puzzled), he had possessed just the one pair of shoes and would have been baffled by the concepts ‘designer’ or ‘logo’.

By the time Jackson was thirteen his mother was already dead of cancer, his sister had been murdered and his brother had killed him- self, helpfully leaving his body – hanging from the light fitting – for Jackson to find when he came home from school. Jackson never got the chance to be selfish, to sprawl and make demands and fold his arms sarcastically. And anyway, if he had, his father would have given him a good skelping. Not that Jackson wished suffering on his son – God forbid – but a little less narcissism wouldn’t go amiss.

Julia, Nathan’s mother, could go toe to toe with Jackson in the grief stakes – one sister murdered, one sister who killed herself, one who died of cancer. (‘Oh, and don’t forget Daddy’s sexual abuse,’ she reminded him. ‘Trumps to me, I think.’) And now all the wretched- ness of their shared pasts had been distilled into this one child. What if somehow, despite his untroubled appearance, it had lodged in Nathan’s DNA and infected his blood, and even now tragedy and grief were growing and multiplying in his bones like a cancer. (‘Have you even tried being an optimist?’ Julia said. ‘Once,’ Jackson said. ‘It didn’t suit me.’)

‘I thought you said you were going to get me an ice-cream.’

‘I think what you meant to say was, “Dad, can I have that ice- cream you promised and seem to have temporarily forgotten about? Please?’’ ’

‘Yeah, whatever.’ After an impressively long pause he added, reluctantly, ‘Please.’ (‘I serve at the pleasure of the President,’ an unruffled Julia said when their offspring demanded something.)

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She had a lovely throaty laugh, especially when being self-deprecating. Or pretending to be. It had a certain charm.

‘What do they mean – “manned”?’ Nathan said. ‘There are people inside the boats, steering them.’ ‘There aren’t,’ he scoffed. ‘That’s stupid.’

‘There are. You’ll see.’

Here comes Exeter as well. And the enemy submarine is in trouble now . . .

‘You wait,’ Jackson said. ‘One day you’ll have kids of your own and you’ll find that you make them do all the things that you currently despise – museums, stately homes, walks in the countryside – and they in turn will hate you for it. That, my son, is how cosmic justice works.’

‘I won’t be doing this,’ Nathan said.

‘And that sound you can hear will be me laughing.’ ‘No, it won’t. You’ll be dead by then.’

‘Thanks. Thanks, Nathan.’ Jackson sighed. Had he been so callous at his son’s age? And he hardly needed reminding of his mortality, he saw it in his own boy growing older every day.

Looking on the bright side, Nathan was talking in more or less whole sentences this afternoon, rather than the usual simian grunts. He was slumped on the bench, his long legs sprawled out, his arms folded in what could only be described as a sarcastic manner. His feet (designer trainers, of course) were enormous – it wouldn’t be long before he was taller than Jackson. When Jackson was his son’s age he had two sets of clothes and one of those was his school uniform. Apart from his gym plimsolls (‘Your what?’ Nathan puzzled), he had possessed just the one pair of shoes and would have been baffled by the concepts ‘designer’ or ‘logo’.

By the time Jackson was thirteen his mother was already dead of cancer, his sister had been murdered and his brother had killed him- self, helpfully leaving his body – hanging from the light fitting – for Jackson to find when he came home from school. Jackson never got the chance to be selfish, to sprawl and make demands and fold his arms sarcastically. And anyway, if he had, his father would have given him a good skelping. Not that Jackson wished suffering on his son – God forbid – but a little less narcissism wouldn’t go amiss.

Julia, Nathan’s mother, could go toe to toe with Jackson in the grief stakes – one sister murdered, one sister who killed herself, one who died of cancer. (‘Oh, and don’t forget Daddy’s sexual abuse,’ she reminded him. ‘Trumps to me, I think.’) And now all the wretched- ness of their shared pasts had been distilled into this one child. What if somehow, despite his untroubled appearance, it had lodged in Nathan’s DNA and infected his blood, and even now tragedy and grief were growing and multiplying in his bones like a cancer. (‘Have you even tried being an optimist?’ Julia said. ‘Once,’ Jackson said. ‘It didn’t suit me.’)

‘I thought you said you were going to get me an ice-cream.’

‘I think what you meant to say was, “Dad, can I have that ice- cream you promised and seem to have temporarily forgotten about? Please?’’ ’

‘Yeah, whatever.’ After an impressively long pause he added, reluctantly, ‘Please.’ (‘I serve at the pleasure of the President,’ an unruffled Julia said when their offspring demanded something.)

‘What do you want?’

‘Magnum. Double peanut butter.’

‘I think you might be setting your sights quite high there.’ ‘Whatever. A Cornetto.’

‘Still high.’

Nathan came trailing clouds of instructions where food was concerned. Julia was surprisingly neurotic about snacks. ‘Try and control what he eats,’ she said. ‘He can have a small chocolate bar but no sweets, definitely no Haribo. He’s like a Gremlin after midnight if he gets too much sugar. And if you can get a piece of fruit into him then you’re a better woman than me.’ Another year or two and Julia would be worrying about cigarettes and alcohol and drugs. She should enjoy the sugar years, Jackson thought.

‘While I’m getting your ice-cream,’ Jackson said to Nathan, ‘make sure you keep an eye on our friend Gary there in the front row, will you?’ Nathan showed no sign of having heard him so Jackson waited a beat and then said, ‘What did I just say?’

‘You said, “While I’m gone make sure you keep an eye on our friend Gary there in the front row, will you?”’

‘Right. Good,’ Jackson said, slightly chastened, not that he was going to show it. ‘Here,’ he said, handing over his iPhone, ‘take a photograph if he does anything interesting.’

When Jackson got up, the dog followed him, labouring up the steps behind him to the café. Julia’s dog, Dido, a yellow Labrador, overweight and ageing. Years ago, when Jackson was first introduced to Dido by Julia (‘Jackson, this is Dido – Dido, this is Jackson’), he thought the dog must have been called after the singer, but it turned out she was the namesake of the Queen of Carthage. That was Julia in a nutshell.

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‘Nat Brodie’, on the other hand, sounded like a robust adventurer, someone striking west, following the frontier in search of gold or cattle, loose-moraled women following in his wake.

Dido – the dog, not the Queen of Carthage – also came with a long list of instructions. You would think Jackson had never looked after a child or a dog before. (‘But it wasn’t my child or my dog,’ Julia pointed out. ‘I believe that should be our child,’ Jackson said.)

Nathan had been three years old before Jackson was able to claim any ownership of him. Julia, for reasons best known to herself, had denied that Jackson was Nathan’s father, so he had already missed the best years before she admitted to his paternity. (‘I wanted him to myself,’ she said.) Now that the worst years had arrived, however, it seemed that she was more than keen to share him.

Julia was going to be ‘ferociously’ busy for nearly the entire school holiday, so Jackson had brought Nathan to stay with him in the cottage he was currently renting, on the east coast of Yorkshire, a couple of miles north of Whitby. With good wi-fi Jackson could run his business – Brodie Investigations – from just about anywhere. The internet was evil but you had to love it.

Julia played a pathologist (‘the pathologist,’ she corrected) in the long-running police procedural Collier. Collier was described as ‘gritty northern drama’, although these days it was tired hokum thought up by cynical metropolitan types off their heads on coke, or worse, most of the time.

Julia had been given her own storyline for once. ‘It’s a big arc,’ she told Jackson. He thought she said ‘ark’ and it took him a while to sort this mystery out in his head. Now, still, whenever she talked about ‘my arc’ he had a vision of her leading an increasingly bizarre parade of puzzled animals, two by two, up a gangplank. She wouldn’t be the worst person to be with during the Flood. Beneath her scatty, actressy demeanour she was resilient and resourceful, not to mention good with animals.

Her contract was up for renewal and they were drip-feeding the script to her, so, she said, she was pretty certain that she was heading for a grisly exit at the end of her ‘arc’. (‘Aren’t we all?’ Jackson said.) Julia was sanguine, it had been a good run, she said. Her agent was keeping an eye on a Restoration Comedy that was coming up at the West Yorkshire Playhouse. (‘Proper acting,’ Julia said. ‘And if that fails there’s always Strictly. I’ve been offered it twice already. They’re obviously scraping the bottom of the barrel.’) She had a lovely throaty laugh, especially when being self-deprecating. Or pretending to be. It had a certain charm.

‘As suspected, no Magnums, no Cornettos, they only had Bassani’s,’ Jackson said, returning with two cones held aloft like flambeaux. You might have thought that people would want their kids to stop eating Bassani’s ice-cream after what had happened. Carmody’s amusements were still there as well, a rowdy, popular presence on the front. Ice-cream and arcades – the perfect lures for kids. It must be getting on for a decade since the case was in the papers? (The older Jackson grew, the more slippery time became.) Antonio Bassani and Michael Carmody, local ‘worthies’ – one of them was in jail and the other one had topped himself, but Jackson could never remember which was which. He wouldn’t be surprised if the one in jail wasn’t due to get out soon, if he hadn’t already. Bassani and Carmody liked kids. They liked kids too much. They liked handing kids around to other men who liked kids too much. Like gifts, like forfeits.

An eternally hungry Dido had waddled back hopefully on his heels and in lieu of ice-cream Jackson gave her a bone-shaped dog treat. He supposed it didn’t make much difference to her what shape      it was.

‘I got a vanilla and a chocolate,’ he said to Nathan. ‘Which do you want?’ A rhetorical question. Who under voting age ever chose vanilla?

‘Chocolate. Thanks.’

Thanks – a small triumph for good manners, Jackson thought. (‘He’ll come good in the end,’ Julia told him. ‘Being a teenager is so difficult, their hormones are in chaos, they’re exhausted a lot of the time. All that growing uses up a lot of energy.’) But what about all those teenagers in the past who had left school at fourteen (nearly the same age as Nathan!) and gone into factories and steelworks and down coal mines? (Jackson’s own father and his father before him, for example.) Or Jackson himself, in the Army at sixteen, a youth broken into pieces by authority and put back together again by it as a man. Were those teenagers, himself included, allowed the indulgence of chaotic hormones? No, they were not. They went to work alongside men and behaved themselves, they brought their pay packets home to their mothers (or fathers) at the end of the week and— (‘Oh, do shut up, will you?’ Julia said wearily. ‘That life’s gone and it isn’t coming back.’)

‘Where’s Gary?’ Jackson asked, scanning the banks of seats. ‘Gary?’

‘The Gary you’re supposed to be keeping an eye on.’

Without looking up from his phone, Nathan nodded in the direction of the dragon boats where Gary and Kirsty were queuing for tickets.

And the battle is over and the Union Jack is being hoisted. Let’s have a cheer for the good old Union flag!

Jackson cheered along with the rest of the audience. He gave Nathan a friendly nudge and said, ‘Come on, cheer the good old Union flag.’

‘Hurrah,’ Nathan said laconically. Oh, irony, thy name is Nathan Land, Jackson thought. His son had his mother’s surname, it was  a source of some contention between Julia and Jackson. To put it mildly. ‘Nathan Land’ to Jackson’s ears sounded like the name of an eighteenth-century Jewish financier, the progenitor of a European banking dynasty. ‘Nat Brodie’, on the other hand, sounded like a robust adventurer, someone striking west, following the frontier in search of gold or cattle, loose-moraled women following in his wake. (‘When did you get so fanciful?’ Julia asked. Probably when I met you, Jackson thought.)

‘Can we go now?’ Nathan said, yawning excessively and unselfconsciously.

‘In a minute, when I’ve finished this,’ Jackson said, indicating his ice-cream. Nothing, in Jackson’s opinion, made a grown man look more of a twit than walking around licking an ice-cream cone.

The combatants of the Battle of the River Plate began their lap of honour. The men inside had removed the top part of the boats – like conning towers – and were waving at the crowd.

‘See?’ Jackson said to Nathan. ‘Told you so.’

Nathan rolled his eyes. ‘So you did. Now can we go?’ ‘Yeah, well, let’s just check on our Gary.’

Nathan moaned as if he was about to be waterboarded. ‘Suck it up,’ Jackson said cheerfully.

Now that the smallest manned navy in the world was sailing off to its moorings, the park’s dragon boats were coming back out – pedalos in bright primary colours with long necks and big dragon heads, like cartoon versions of Viking longboats. Gary and Kirsty had already mounted their own fiery steed, Gary pedalling heroically out into the middle of the boating lake. Jackson took a couple of photos. When he checked his phone he was pleasantly surprised to find that Nathan had taken a burst – the modern equivalent of the flicker-books of his own childhood – while Jackson was off buying the ice-creams. Gary and Kirsty kissing, puckered up like a pair of puffer fish. ‘Good lad,’ Jackson said to Nathan.

‘Now can we go?’ ‘Yes, we can.’


 To know what happens next, get a copy of the book, here!

Reel vs. Real: Adapting My Story into a Book

by Novoneel Chakraborty

One of the things which makes a reader curious about any story is how real or true it is. When authors pen stories, it is believed that they must have written it after being inspired by real-life incidents, which they have lived or seen closely. Majority of the times this assumption is true. What makes my latest novel Half Torn Hearts, an autobiographical attempt, slightly different in its approach is that I didn’t rely on any incident to make it autobiographical. I created the characters, gave them a relatable milieu and dived deep within myself only for their emotional graph, their outlook towards life and their deep character, fishing out emotions and words which were expressed by me and felt by both myself and the three women in my life. It was while penning down this novel that I realized a story becomes impersonal not only because of the plot points you use but also because somewhere the characters and their inner pathos are straight out of your real-life experiences. And, that a storyline may be fictitious but the characters may very well be real.

Half Torn Hearts has an interesting backstory. This is the only book of mine which took five years to complete. The process not only made me revisit old wounds but also convinced me that an author doesn’t tell a story. A story unfolds itself through an author. Few understand this difference. An author is a medium, not the story. For this story to be complete, it had to make me come in touch with someone who eventually became my muse, not only to finish this book but also for my overall creativity. Patience is a virtue and nobody else can understand this better than a storyteller.

In all my stories that I’ve penned so far, I’ve always fine-tuned the real-life inspirations. By fine-tuning, I mean that sometimes reality isn’t as dramatic as fiction should be. And at times, it is too over-the-top to be used in fiction sensibly. The one major limitation of fiction when compared to real life is that fiction always needs to make sense within the parameters of its self-defined logic, while reality is free of such limitations. And when one writes about something deeply personal, one needs to make sure it doesn’t hurt anyone who is involved in the real story. That’s a reason why I used the plot of this novel to hide the emotions of the characters in such a way that only those involved will be able to understand where certain things in the story are coming from. And for a normal reader, it may just read like an engaging story.

A very important aspect while penning down a personal story is editing. I’m not talking about structural- or copy-editing here. When things happen in real life, they have their own pace of events, and every event seems important. But when one sits to write, one cannot write about each and every event because, in a personal, real story, one will be invested since it’s one’s story, but for a reader, the investment happens only when things they are reading aren’t boring.

I write in the commercial fiction zone. Hence, the most important question that plagued me while writing this was what to keep and what not to. And in ‘what to keep’, there was another sub-query of ‘how much’. I follow a cardinal rule of writing: thou shall not bore thy readers, at least not knowingly. To get to this, one needs certain creative objectivity, which can’t be developed immediately. The more one writes and subsequently, the more one edits, the more one will know what really needs to remain in the final version of the manuscript and what simply needs to go. For example, in my current novel, there was a scene between the protagonists, Raisa and Nirmaan, which for the first time in the story was bringing them intimately close. When I read the manuscript for the third time, I realized that for the sake of the sanctity of the story, the scene should not be happening even though it was one of my favourite scenes in the book. Eventually, I edited it out. As they say: ‘kill your darlings’.

Lastly, I would say: telling one’s own story, in whichever way, involves a lot of responsible writing. Truth has interpretation. It also has misinterpretations as well. Hence, it has to be well-balanced. And, getting into that balance requires a lot of redrafting, personal introspection and revisiting things within oneself, things which we are done with—or maybe never done with—until the story shapes up the way we envisioned. But then, there also lies the magic of storytelling.


Half Torn Hearts is a coming-of-age tale of three layered individuals coming in terms with their first loss.

Novoneel Chakraborty is the bestselling author of many romantic thriller novels and one short story collection, Cheaters. Known for his twists, dark plots and strong female protagonists, he is also called the Sidney Sheldon of India by his readers. Apart from novels, Novoneel has written and developed several TV shows such as Savdhaan India and Yeh Hai Aashiqui.

From the Editor’s Desk: Women Writing for you

by Manasi Subramaniam

MARCH | #ReadMoreWomen

This March, we were excited to be partnering with SheThePeople to curate the Women’s Library, which is an exceptional shelf of books – all of which just happen to be written by women! But as we planned the promotions, I started to realize what an extraordinary range we have in our fiction backlists as well – and I wanted to use this opportunity to bring to your attention some writers and books that we’d love to see you revisit – or even discover for the first time.

So here’s a challenge. Let’s try making a conscious effort to read more women. What a conscious effort to read more women does is redouble any unconscious efforts: it holds us to our commitments, it diversifies our reading, and brings the reader’s attention to books that may have – consciously or unconsciously – slipped through the cracks.

Below are my picks of women’s writing that I’d love for you to read

Shashi Deshpande’s That Long Silence is about Jaya, a failed writer who has identified herself as a daughter, a wife, and a mother for seventeen years. When her husband is accused of business malpractice and his career starts falling apart, Jaya finds herself confronting deeply buried fears, especially her fear of anger. Deshpande’s second novel is about the Indian woman who is taught to suppress her voice, long before she takes her husband’s name.

Other books by the author: The Dark Holds No Terrors, Moving On.

Winner of the 1999 Commonwealth Writers Prize for Best First Book (Europe and South Asia), Manju Kapur’s Difficult Daughters is set in Amritsar around the time of Partition. The protagonist is an independent young woman named Virmati, who wants something more than marriage from her life, but her desire for education lands her in an affair with a married professor. When the professor marries Virmati and brings her home, Virmati finds herself in an ironic situation—the choice she made to be free now imprisons her.

Other books by the author: Brothers, The Immigrant.

Taslima Nasrin’s Lajja was met with radical backlash in her home country of Bangladesh. Since 1994, Nasrin has been in exile but her controversial novel received worldwide acclaim. Lajja is about the Duttas, a Hindu family living in Bangladesh. Sudhamoy, the patriarch of the family is unfazed by rising radical sentiments against the Hindu minority in his country. On 6 December 1992 the Babri Masjid in Ayodhya is demolished, and Sudhamoy’s life takes a drastic turn.
Other books by the author: Exile, Split.

Described as The Virgin Suicides meets Little Women in Pakistan, This Wide Night is Sarvat Hasin’s debut work about four sisters in the progressive and inclusive era of 70s Karachi. Maria, Ayesha, Leila and Beena live with their mother. Their father, Captain Malik, is barely in the house, which encourages the women to create their own unconventional world. The sisters are forced to confront challenges when their country goes to war.

Other books by the author: You Can’t Go Home Again.

Hedonism and political turmoil serve as the background to Nadia Akbar’s Goodbye Freddie Mercury a novel set in contemporary Lahore. Nida seeks to escape her claustrophobic house after her brother dies in the army. Omer is the son of the Prime Minister’s right-hand man, Iftikhar Ali. Omer’s childhood friend is Bugsy, a Freddie Mercury fan who works as a radio jockey and has feelings for Nida, Omer’s girlfriend. While living their life from one drug-fuelled night to another, the three friends soon become a part of a larger, political agenda.

I’m excited to hear what you’ve been reading as well – and if you have suggestions for our women’s library!

 

Until next month,

Manasi Subramaniam


Photo by Patrick Fore 

Matching The Bhagwaan To The Pakwaan : A Taste of ‘Bhagwaan Ke Pakwaan’

The rice beer bellies of a Christian village in Meghalaya; food fed to departed Zoroastrian souls; a Kolkata-based Jewish community in decline; Tibetan monks who first serve Preta, the hungry ghost; and fifty-six-course feasts of the Jagannath temple-these are the stories in Bhagwan Ke Pakwaan (or, food of the gods), a cookbook-cum-travelogue exploring the connection between food and faith through the communities of India.

Here are some soul-stirring delicacies from the book that explore diverse faiths and unite us with God:

Rongmesek, Meghalaya 

Rice beer is the one true food of the gods…To the Karbi people, rice beer is the fuel that refreshes you with the sweet buzz of life.

Udvada, Gujarat 

 Papra and Bakhra are two of the religious dishes that are made specifically for the Stum ceremony in the death rituals. For us still living, they make great snacks.

Spiti, Himachal Pradesh 

No trip to Kye Gompa would be complete without the breakfast combination of Butter Tea (also known as ‘gur gur chai’ due to the sound it makes when churned) and Puk. There also might not be a more divisive dish than Butter Tea if your idea of tea conflicts with one that is buttery and salty. Very buttery and salty.


There are legends and lore, angsty perspectives, tangential anecdotes, a couple of life lessons and a whole lot of food. Get your copy today!

The Pathan Threat – an excerpt from ‘Dawood’s Mentor’

Tired of being bullied, a scrawny, impoverished Dawood Ibrahim is looking for a saviour, Khalid Khan Bachcha, who would teach him the ropes of handling a bunch of hooligans. Instead, what he gets is a mentor who eventually transforms him into a cunning mafia boss.

Here is an excerpt from the first chapter of Hussain Zaidi’s new book, Dawood’s Mentor


The barrel of the gun was pointed at Dawood Ibrahim’s heart. The gunman had been training his focus for a long time. He was waiting for the right moment to pull the trigger. The gunman had only one chance. If the bullet missed the target, the man at the other end would certainly gift him a not-so-exquisite death.

The man pointing the muzzle at Dawood had been sent by his arch-rivals from the underworld. The gunman was accompanied by his cronies, who were huge, hefty men called the Pathans, with Peshawari and Afghan ancestry. Since the 1950s, the Pathans, known for their moneylending habits, had taken to crime. Cousins Amirzada and Alamzeb wanted Dawood dead. The man was a menace. An audacious chit of a boy, he challenged the Pathan hegemony, and since the time he had emerged in the area as a small-time criminal, was proving to be a headache for the Pathans.

In the 1970s, the turf war among the mob generally ended with some serious skirmishes. But the Pathans were so furious with the tenacious Dawood Ibrahim that they decided to investigate his sources of power. They found a nexus between local newspaper-owner and crime reporter Iqbal Natiq and Dawood. The two shared an amazing rapport, with Dawood invariably spending a couple of hours every day at Natiq’s office in BIT Blocks in Dongri. And Natiq’s newspaper—Raazdaar (The Confidante)—exposed the Pathans often, which brought the police to their doorstep.

As retribution, the Pathans killed Natiq brutally. Dawood and his brother Sabir Kaskar swore revenge. Their first target was Saeed Batla. They did not kill Batla, preferring, instead, to maim him and amputate his fingers, something unheard of in the Indian underworld in those times. Before they could proceed with such ‘special treatment’ for the other Pathans, the police picked them up. However, the Kaskar brothers managed to secure bail on attempt-to-murder charges.

Upon receiving bail, as is routine in any police prosecution case, Sabir and Dawood were supposed to intermittently present themselves at the Nagpada police station in central Bombay (now Mumbai). They had to assure the cops that they were not up to any mischief and that they were miles away from any criminal activities. The slang for these routine police-station visits is haazari lagana (marking one’s attendance), where the accused meet the police inspector, answer a few questions and leave within a few minutes.

Dawood preferred the formality of the official haazari to the cold walls of the prison and, of course, it helped that these visits ensured that the police did not land up at their house and complain to their father, Ibrahim Kaskar, who was also a cop. Kaskar senior was an absolute disciplinarian who was known to reserve his leather-belt treatment for the unbridled Dawood, his third child.

On that cool afternoon in October 1980, a defenceless Dawood, along with Sabir, was the target. The Pathans—Amirzada and Alamzeb—knew that Dawood would not be carrying any weapons to the police station. They decided to take advantage of this particular visit to finish off Dawood, because under no other circumstances would they find him unarmed.

But what they did not see coming was another Pathan, Khalid Khan, who shepherded Dawood to the police station that day. Built like a mountain, with a towering height of 6 feet 2 inches and a brawny physique, Khalid was very attached to the promising young Dawood.

Earlier, Khalid had cut his teeth in crime with another don, a local strongman by the name of Bashu Dada. But that was long before Dawood endeared himself to him. Khalid was very protective of Dawood, and that particular day his instincts told him that Dawood would be vulnerable and in a tight spot around the police station. He rationalized that since Nagpada was closer to Kamathipura and Tardeo, the stronghold of the Pathans, they might make a play for Dawood.

Khalid cancelled all his engagements scheduled for that day and decided to follow Dawood to the police station. He also decided to escort him back to his headquarters at Musafir Khana, safe and unharmed. Since Khalid’s name was not in the First Information Report (FIR), he could safely accompany Dawood and also carry a weapon on the sly. The cops would not frisk him for weapons, he surmised.

After Dawood and Sabir signed their attendance and completed other formalities, they saluted the cops—there was a lot of respect for the uniform; it came from their father—and were on their way towards the exit.

They were oblivious to the face of death staring at them from the opposite building and were nonchalantly walking out unaware that their lives would irrevocably change after a few minutes. What transpired in the next few minutes, however, changed Dawood forever, making him invincible.

Khalid, who was extremely alert and looking around, scanning the perimeter, eyes darting like a panther after its prey, suddenly sensed the movement even before he saw the gun. He spotted the barrel of the gun, held by a man at the ground-floor window of Memnani Mansion next door. Khalid knew the man wanted Dawood first, not Khalid or Sabir. In that split second, both the gunman and Khalid acted swiftly.

The gunman pulled the trigger and a bullet flew out, whizzing towards Dawood.

‘Dawood, hato!’ Khalid screamed.

Khalid moved with amazing speed and, before the bullet could complete its trajectory, he managed to push Dawood aside and, in the same moment, whipped out his revolver hidden in the small of his back. Amirzada’s bullet, which was meant for Dawood’s heart, grazed Khalid’s left arm. Khalid began firing at the gunman. Amirzada, who was firing at Dawood, was oblivious to Khalid and Sabir. He had to kill Dawood and kept firing at him. By the time he realized that Khalid had retaliated, he had already been hit below the hip and the bullet got lodged in the flesh. His crony, Alamzeb, saw the blood gushing out and realized that their game was up.


What happens next? Read Dawood’s Mentor to find out!

Beast – an excerpt

When Assistant Commissioner of Police Aditi Kashyap is called upon to solve a gruesome triple homicide in a Mumbai suburb, she is dragged into the terrifying world of the Saimhas — werelions — who have lived alongside humans, hiding amongst them, since ancient times.

Faced with the unbelievable, Aditi has no choice but to join hands with Prithvi, an Enforcer called in to hunt down this seemingly otherworldly murderer.

Here is an excerpt from the first chapter of Krishna Udayasankar’s book, Beast.


The man knew these were his last moments, but his adrenaline fuelled feet kept moving through the rubble and brush. For the first—and only—time ever, he regretted his life of crime as he looked with longing at the warm light spilling out from a cluster of apartments at the far end of the field. But they were too far away to offer hope of help or safety. He had made sure of that. He had chosen this spot because it was perfect for murder.

The irony made Rajan pause, and as he did, his eyes fell on a rusted frame, the partial skeleton of a long-abandoned, industrialsized garbage bin. The smell of fear in his nostrils overpowered the rotten stench that came from it. He clambered inside and crouched down in a corner, his hands clapped over his mouth to silence his own gasps.

The others were dead. Daniel had been the first to fall, before any of them could even understand what had transpired. For his part, Rajan still did not understand.

Kailash had opened the bag to check the money when, out of nowhere, something warm had splashed across his face. A shape had gone flying through the air and landed at his feet, wriggling and squirming: Daniel’s arm, ripped off at the shoulder, the nerve endings at the tips of the fingers still unaware that the body they belonged to was no longer alive. Kailash had secured the bag with one arm while pulling out his gun with the other. He had let loose a few aimless shots in the manner of one who believed that a gun was the solution to all of life’s problems. As soon as the gunfire abated, the screaming had begun.

Rajan had not waited to see what became of Kailash, or to identify the nature of their enemy—the mangled limb at his feet had made it clear that their attacker, whoever it was, ought not to be messed with.

His breath now under control, Rajan set himself to listen for signs of pursuit. Silence sharpened his fear, turning it into a stabbing cramp in the pit of his stomach, as though some force were sucking him dry from within his body.

A rustle, and he started whimpering. Then a loud crash as the wall of the metal bin crumpled inwards, struck from the outside by a powerful force. Another strike and the bin toppled over, ejecting its contents onto the ground. A new stink rose as Rajan soiled himself. All restraint gone, he began wailing loudly, his despair so terrible that it drove all words—even memories of mother and god—out of his mind. He turned to hide his face against the ground as a lithe form stalked out from behind the bin. His hand fell on the bag he was carrying.

A faint hope fluttered through the thug. He staggered to his feet, holding out the bag. ‘Take it. Take it all. Take it, but leave me alive, please, take it, take it, leave me!’

Then, he saw his hunter. Panic turned into a calm madness that made him fall silent and stand still. He was dreaming. He was not dreaming. This could not be happening. It was. Nothing made sense any more. Not even death. This was worse.

Words, he realized, meant nothing to the hunter. Nor did the money. But was there something in his tone, his entreating, that made sense to the monster? It tilted its head to one side, evaluating him, his whimpers.

‘Please . . .?’ Rajan pleaded, one last time.

Its breath was hot. He felt it against his face as the thing sunk its teeth, its long, ivory-white teeth, into his neck. Its thick tongue smacked against his face as it sucked up the blood that began to flow. His blood. He began screaming, but no sound came from his mouth. His vocal cords were already severed. How was it that he was alive?

Even as the thought occurred to him, the creature rectified its apparent omission, biting off his skull like a petulant child pulling off a doll’s head.

Bone crunched against tooth as the creature rolled its toy around in its mouth. With a dissatisfied rumble, it spit the morsel out. The beast clawed once at the headless corpse, like a kitten asking to play, before giving up on the lifeless form. Then, licking its blood-soaked muzzle, it stalked away into the night.


To know how the story unfolds, grab your copy of Beast by Krishna Udayasankar!

Learn Science Concepts On The Go With Biplob The Bumblebee!

Biplop is a very busy bumblebee. When he isn’t collecting nectar, he is off on rollicking adventures to save his garden with the help of his friends, farmer Balram and the flowers. From harvesting water to saving baby plants from a dangerous infection, join Biplob in The Adventures of Biplob the Bumblebee as he comes up with innovative ideas that are always eco-friendly.

Here is a very useful scientific technique that Biplob talks about in the book:

Flying Pollen

 

 

 

 

 


These vibrantly illustrated stories from The Adventures Of Biplob The Bumblebee promise to teach kids something new through lessons on science and friendship.

Meet the Author of ‘The Beauty of the Moment’

Tanaz Bhathena’s The Beauty of the Moment is the story of Susan and Malcolm, and how despite being so different from one another they find themselves irrevocably in love with each other. Despite her parents’ impending divorce Susan is sincere and is driven towards making her parents proud. On the other hand, ever since his mother passed away Malcolm has had a reputation of being troublemaker and a bad boy. His adulterous father contributes further into making his life a mess.

Despite their respective burdens, Susan and Malcolm fall for each other. They confide their dreams and aspirations in each other. Read this book to know more about their unbreakable bond that shows the importance of being true to oneself.

Here we tell you a few interesting things about the author:


Even though Tanaz Bhathena was born in Mumbai, she spent her childhood in many different places like Riyadh, Jeddah and Toronto.

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Tanaz Bhathena has also authored the young-adult novel A Girl Like That, which was nominated for the 2019 OLA White Pine award and was also name Best Book of 2018 by The Globe and Mail, CBC, Quill & Quire, Seventeen, PopSugar, and The Times of India. 

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Tanaz Bhathena is fond of travelling, learning bits of foreign languages and taking photographs.

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Many of Tanaz Bhathena’s short stories have been featured in various journals such as Blackbird, Witness and Room.

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As a child, Tanaz Bhathena was an avid reader and began writing at the age of eight. By the the time she was thirteen-years-old, she had made up her mind to be a writer.

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One of the reasons for Tanaz Bhathena to start writing was that she wanted more people like her – Bhathena belongs to the Parsi community – featured in literature, making the readers aware of the South Asian identity and the diaspora in world literature.

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Tanaz Bhathena currently lives in the Toronto area with her family.


Love is messy and families are messier, but in spite of their burdens, Susan and Malcolm fall for each other. The ways they drift apart and come back together are the picture of being true to oneself. Grab your copy of The Beauty of the Moment now!

A Gujarat Here, A Gujarat Here – an excerpt about the author

Part novel, part memoir, part feminist anthem, A Gujarat Here, A Gujarat There by Krishna Sobti is not only a powerful tale of Partition loss and dislocation but also charts the odyssey of a spirited young woman determined to build a new identity for herself on her own terms.

Translated from Gujarat Pakistan Se, Gujarat Hindustan Tak by Daisy Rockwell, the introduction talks about the Sobti MagicHere is an excerpt from there!


I. Sobti Magic

Krishna Sobti is a magical being. Everyone knows this. From her experimental prose to her legendary parties to her unique sense of style to her male alter ego, the writer ‘Hashmat’, everything about her is deeply considered and infused with her special warmth. I myself only had the opportunity to meet her in her nineties, but I consider myself much improved as a result. Perched on one of her sofas, strategizing when I might start asking her the meanings of particular words I wasn’t able to find in the dictionary that no one else seemed to know, stuffing myself with the never-ending delicacies emerging from the kitchen, worrying that I would not be up to the task of translating her novel, I suddenly started to understand the answers to my questions without ever asking some of them at all. To sit in her presence is to open the Sobti lexicon and immerse oneself in Sobti logic. Complex turns of phrase, confusing references, it all made sense once I was there. Translating Krishna Sobti and learning from her made me understand how to use my instincts and creativity to translate things that seemed untranslatable before, and it also taught me how read Sobti style.

II. Krishna Sobti Is Not Here to Tell You Stories

Yes, Krishna Sobti tells stories—interesting ones too—in her writing, and in conversation, but she has an equal if not greater interest in language and style. Her preferred forms have been the novella and the essay, and this is perhaps because she has sought to boil sentences, phrases and entire narratives into the smallest number of words possible. She claims she has never been a poet, but her prose resembles poetry more than anything else. She will often use the fewest words possible in a sentence, sometimes just one, if she can find the perfect fit. The words are carefully considered, weighed out and often very difficult to define or translate into English with just one equivalent word. Sobti’s use of language is experimental and central to her writing, and unlike many women authors, she is not terribly bothered if you don’t understand what she means, or if you cannot entirely follow the story. She is not writing to help you understand, she’s writing to reveal and learn what language can do.

In the section of A Gujarat Here, A Gujarat There that most resembles poetry, Sobti talks of Partition in a stream of words and phrases, interspersing her own family’s experiences with observations about refugees and migrants. In these particular lines, so spare and elegant, Sobti enters the minds of the mobs, the migrants, those fleeing and those chasing, those attacking and those under attack:

Who’s the sinner?
Who’s the criminal?
Who is witness to the crime?
One dagger-plunging hand. Another, match-striking,
lighting an oil-soaked rag.
One stands far off, gathering a crowd.
A clutch of terrified men and women holding their breath in
a jungle of half-dead, frightened voices: They just came—we
just went—we just died—don’t make a sound. Let them pass by.
Piles upon piles of corpses, mounting ever higher.
A wake of vultures roots about.
Rings on hands grown cold; necklaces encircle throats.

Where other authors have spilled buckets of ink writing histories and novels about the Partition, Sobti attempts to use the smallest amount of ink possible, to cut the story of migrancy and violence down to the bone. Even Manto rarely managed so few words in his Siyah Hashiye (Black Borders), his ultra-short stories of the Partition.


To know more about the book, click here!

Eight Steps to Hacking your Corporation with Jugaad 3.0

Dr. Simone Ahuja – consultant, author, speaker and entrepreneur, is the CEO of Blood Orange where her mission is to empower innovators in large organizations and mobilize them with entrepreneurial tools for a single purpose: to transform the corporate culture from the inside out using design and lean principles. In Jugaad 3.0 Hacking the Corporation, she shifts the focus from ‘entrepreneurs’ to ‘intrapreneurs’, the incredible ‘corporate hackers’ who tap into and around the bureaucratic machinery surrounding them to advance their projects. Or we could call them ‘constructive disrupters’, since today’s intrapreneurs often seriously challenge existing business from product offering to business model, yet they do it actively from the inside and, by doing this, help keep the enterprise viable.

Based on hundreds of interviews, as well as the author’s consulting work within companies, Jugaad 3.0 Hacking the Corporation identifies the competencies these corporate hackers possess. It also offers a spectrum of carefully crafted archetypes to help people see themselves in this trend and allow organizations identify the innovators in their midst.

Read on to find out how to ‘hack’ your corporation from within itself with these eight essential principles

Keep It Frugal

Intrapreneurs actively solve problems and seek opportunities, relying on pre-existing elements and recombining resources for novel uses.

What organizations need now are the right tools and a ready mindset to innovate from within. The Jugaad 3.0 agenda items that follow directly support my main message: deep-six the deep pockets. Simple tools, small budgets and human ingenuity can deliver impressive results, including maximum agility with fewer ‘business as usual’ strings attached. Knowing that nothing innovative

is ever truly linear (or one size fits all), consider these to be á la carte strategies for keeping it frugal:

  1. Remain Asset-Based
  2. Keep It Simple
  3. Encourage Frugal Experiments
  4. Focus on Teams
  5. Rethink Incentives

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Make It Permissionless

Lets leaders provide support without crushing the creativity and potential of upstart intrapreneurs. Companies need a culture of permissionless innovation a innovation isn’t something that you should be asking approval for.

Making intrapreneurship sustainable requires creating a permission-lite environment for intrapreneurs. It’s autonomy with guardrails. The goal is to establish a network of support rather than a system of tight control by leaders. This ‘support, don’t control’ mantra reinforces frugal funding and has two additional benefits. First, it is an easy fit for intrapreneurs, who want a safe space to pursue new ideas and side projects. Second, it doesn’t oblige large companies and their leaders to bend over backward to manage and measure early-stage projects. Here are the plays that put permissionless to work:

  1. Support, Don’t Control
  2. Say ‘Yes’ More Often
  3. Add Light Structure

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Let Customers Lead

Even though being ‘customer-led’ might sound obvious, it isn’t put into practice by many would-be innovators. Rather than sitting in an ivory tower and thinking about what the customer needs, ask the customer what they want. Look at how the customer is using your product.

Organizations that allow intrapreneurs to take their cues from customers create an instant advantageand avoid many of the barriers that derail internal innovation. These are the plays that I have seen work best in industries and environments across the board:

  1. Create Leading-Edge Customer Focus
  2. Hack Better Access to Customers
  3. Turn Customers into Innovation Partners
  4. Make Intrapreneurship a Sales Priority

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Keep It Fluid

Since fluid team formation does not happen naturally in most organizations, companies need light structures to enable new levels of information sharing, networking and mobility across their talent pools.

Fluidity delivers more control and autonomy to individual intrapreneurs and small groups, and less to the management layers above them. This tricky little paradigm switch packs a positive punch that promises to increase innovation if managed properly. The trouble is that the type of organizational structure that enables fluidity is less rigid than we are accustomed to today. Just as everything digital tears down existing walls, we need to eliminate artificial, outdated boundaries and allow intrapreneurs some latitude to selfdirect, self-manage and self-organize. Here’s a look at how

to make it work:

  1. Create a Team of Teams
  2. Make Management Fluid
  3. Support Agility Through Structure

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Maximize Return on Intelligence

‘Return on intelligence’ is a reformulation of ROI that puts the short term emphasis on intellectual rather than financial gains.

Intrapreneurs rely on constant learning in an open, agile environment where the culture can balance structure with autonomy and metrics with flexibility as part of these J3.0 principles:

  1. When in Doubt, Test It Out
  2. Make Learning a Priority
  3. Measure Return on Intelligence
  4. Make Failure Feasible

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Create the Commons

The corporation should create ‘the commons’, or a space where information is openly shared, for the whole development community,  involving many more types of people and thinking.

 

The idea that intrapreneurship should be open and inclusive should not surprise anyone. Still, we are left with the question of how to achieve that goal. My approach throughout this book has been to hold up principles to help you create your own J3.0 playbook. That approach reflects the realities that (a) best practices are forever changing, and (b) the ‘best’ answers will, in any case, never come down to cookie-cutter solutions but will be customized to particular settings. With that in mind, start your playbook with these field-tested, flexible ideas for inclusive intrapreneurship:

  1. Plan for Full Inclusion
  2. Make It Safe to Innovate
  3. Use Technology in Appropriate Measure
  4. Train Future Intrapreneurs
  5. Create Porous Networks

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Engage Passion and Purpose

Passion is what motivates intrapreneurs to keep going when the work seems thankless or when seemingly insurmountable challenges arise.

 

Recognizing the passion and purpose parts of intrapreneurship allows companies to think more broadly about how to match their people with the problems they care most about. For employees, having the opportunity to work on passion projects creates greater engagement. For companies, it makes the most of creativity and ingenuity. Here’s how to put this win-win dynamic to work in a Jugaad 3.0 way:

  1. Make Purpose Programmatic
  2. Leverage Passion That Bubbles Up
  3. Push Passion Viral

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Add Discipline to Disruption

There should be a full spectrum of innovation options for intrapreneurs in any organization, from eye-popping, potentially disruptive innovations to clever little hacks on existing solutions. They are all valid, and companies can create disciplined systems by thinking through three streams of innovation.

 The J3.0 approach requires structure and discipline in the right measure in order to extract the most value from each stream of innovation and install metrics that guide and measure success

without losing the learning or limiting the idea. The prescriptive plays look like this:

  1. Develop Multiple Streams of Innovation
  2. Create a Culture That Enables Hybridity
  3. Manage Disruption with Discipline

Jugaad 3.0: Hacking the Corporation will prove that every organization’s best chance, to survive and become better than ever, lies within itself.

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