16 August 2013

One India, Different People

By Rahul Karmakar

Guwahati, Aug 16 : India's northeast is often out of the subconscious when it comes to ‘Indian culture’. Featured here are people across the NE spectrum who feel as Indian as anyone else until mainland dwellers make their otherness a talking point.

John M Sohtun, Meghalaya

What's Meghalaya for the rest of the country is ‘Meiglya’ for most of its inhabitants. You can perhaps attribute it to pronouncing a Hindi or Sanskritised name given to the state when it was carved out of Assam in 1972.  

But few feel the name is an imposition in a state that would have struggled to come up with a localised alternative acceptable to its three matrilineal tribes – Garo, Jaintia and Khasi – after they sought not to be a part of the Assamese-dominated polity.

The average person in the Abode of Clouds, though, is an Indian at heart. Until Indians elsewhere hurt their Indianness.
http://www.hindustantimes.com/Images/Popup/2013/8/John_Sohtun_Meghalaya.jpg“I do take myself as an Indian first but frankly speaking even doubts do creep into my thoughts, particularly when my fellow citizens from the mainland consider me a foreigner.
"I suppose it’s because of our different physical characteristics and different cultural practices. But Indianness is not only restricted to race and culture but to an ideology rooted in mutual acceptance of our diversity,” says John M Sohtun, a writer-musician-thinker from Shillong.

Sohtun generally feels comfortable among his own, the reasons being similarities in physical characteristics, culture and maybe similar socio-economic status ‘when considered broadly’. Superiority complex is certainly not a factor, he says.

“Superior in what sense? There are many facets to this term. But I suppose we are superior in our acceptance for change in mindset. In other words, we are superior in absorbing the goodness from other cultures and imbibing into ours thereby making us more tolerant towards people from different places,” Sohtun, a biochemist who writes operas for theatrical dramas, says.

“We will always see differences until and unless we consider ourselves to be above race and culture and have a common ideology,” he adds.

Dahey Sangno, Arunachal Pradesh

In India's Land of the Rising Sun, the fear of a Chinese eclipse is often in the subconscious. It almost happened 51 years ago, making many wonder if Mandarin or Cantonese would replace Hindi as the lingua franca of some 140 tribes and sub-tribes in Arunachal Pradesh.

Arunachal Pradesh was too remote to merit adequate military set-up prior to the 1962 Chinese aggression. Most locals, scattered across virtually inaccessible mountain slopes, didn’t know a world called India existed beyond the boundaries of their villages. Yet Hindi unwittingly bound them to Bharat.

Beijing’s taking of Tawang in 1962 changed all that, and the Arunachalee brand of patriotism was the most intense in the Northeast. Gradually, though, locals began asking if the rest of India cared for them beyond the rhetoric.
http://www.hindustantimes.com/Images/Popup/2013/8/Dahey_Sangno_Arunachal.jpg

“I am an Indian first – this no one can change. Perhaps, I am a better Indian than most of the non-Hindi speaking Indians of the mainland.
Like all other Indians, I grew up singing old Hindi patriotic songs, swearing Daily Pledge in school and making a lot of friends from the mainland. Hindi as a lingua franca bridged the great regional divide at that point of time.
Today, ironically, my ability to speak Hindi stands against me. I am branded as a daju or kanchha (terms to mean Nepali) outside my state,” says Itanagar-based Dahey Sangno, an Arunachal Pradesh Civil Service officer belonging to the Nyishi tribe.

Sangno, 35, has never faced discomfort in mingling with people outside his ethnic background; hardly anyone in the multi-ethnic state with age-old socio-economic ties with Assam does. But at the same time, he finds it is easier to connect with people of his own community.

“Trust is the factor. If I go outside the Northeast, say New Delhi, I would trust a Naga, a Mizo or an Assamese more than a Delhiite no matter how sober that Delhiite may appear. Our first impression about this mainland people is that they are cunning, deceitful, untrustworthy and timid by birth. That’s why I feel we are morally stronger and mentally tougher — in other word superior – than them,” Sangno says.

The daily instances of discrimination against people of Northeast India in metros also hurt him a lot. “It is accentuated when they ask, ‘Where is Arunachal Pradesh?’, as if we are non-existent. It takes a Chinese claim on Aruanchal to remind the mainland about our existence. Our only links to the mainland appear to be the Central grants-in-aid, colleges and three MPs representing the state,” Sangno adds.

Rina Jamir, Nagaland
A country is nothing but the last word in your address, wrote Hiren Bhattacharyya, the pithiest of Assamese poets who conveyed an epic in his two-line rhymes.

In the Northeast, there are few takers of his idea of a global citizen. Fewer still in Nagaland, witness to a violent insurrection for sovereignty since the 1950s. But anyone familiar with the frontier state’s history would be aware of the Naga pride, each tribe fiercely protective of its territory or area of dominance and reluctant to be ruled by the other.
http://www.hindustantimes.com/Images/Popup/2013/8/Rina_Jamir_Naga.jpgIt is thus not unusual for Nagas on social networking sites or using other forms of communication to end their postal addresses with Nagaland. That, however, doesn’t make a Naga alien to the idea of India, often wielded as a politically-loaded word to mean ‘a government with colonial attitude’.

The Nagas’ best ‘Indian’ connection is perhaps Nagamese, their lingua franca that is an Assamese-Hindi hybrid. Their acceptance of a mainland moniker to generalise more than 50 ethnic groups across Nagaland, Manipur, Arunachal Pradesh, Assam and Myanmar is also a case in point.

But, as Kohima-based executive Rina Jamir says, it is not so much a case of Nagas aligning psychological with the mainstream as Indians elsewhere accepting the Naga way of life as ‘Bharatiya sanskriti’.

“I have travelled widely, and I consider myself as an Indian. But at times I do feel alienated when people go by our looks (call us chinkies) or dresses or what they call exotic food habits,” says Jamir, 45.

Exotic, many in Nagaland feel, works both ways. To a Naga, the way northern India dresses or eats is exotic too. It is a case of respecting the difference in each other’s cultures and finding a common thread, they say, adding even the 15 Naga tribes of Nagaland are different from each other and do not speak the same tongue.

“I am comfortable in my state and with people from my own ethnic backyard,” Jamir says. She is a tad more at home among the Aos, the Naga tribe she belongs to. But, she adds, that does not mean her state or her community is superior or inferior to any other community or state.

“Each has its own uniqueness and reason for existence on earth,” she says.

Manik Barman, Assam

Ever since he stepped out of his western Assam village after dropping out of high school, Manik Barman has had to be specific when asked about his ethnic identity.

“Initially I would parrot one of my Hindi teachers to say ‘India mein raheta hoon, Indian hoon’. But people are not satisfied, and I have to say either Assamese or Bengali. If they are still not satisfied, I say I am a Koch-Rajbongshi.
Nowadays, I don’t beat about the bush,” says Manik, 26, who travelled 220 km west to Guwahati after stepping into his teens to work at a construction site before graduating to be a cab driver.
http://www.hindustantimes.com/Images/Popup/2013/8/Manik_Barman_Assam.jpgManik has heard elders say how the medieval Koch-Rajbongshis ruled much of present-day Assam, West Bengal and Bangladesh. He is also aware of community leaders fighting for Schedule Tribe status and seeking a Kamtapur state straddling western Assam and northern Bengal.

The map of Kamtapur covers Bodoland, specific to the Bodo tribe that is demanding an upgrade to statehood. And this is causing friction between the Bodos and Koch-Rajbongshis who are almost equal numerically.

Manik’s village Bamnigaon was in Kokrajhar district of Assam. But since 2003, it has come under the administration of Bodoland Territorial Council to make a huge difference.

“But you can feel the divide only in towns where the educated and powerful people stay. Our village has some 500 Koch-Rajbongshi households but we have Bodo, Muslim and Assamese neighbours and we have had no reasons to distrust or hate each other. We know we are inter-dependent,” Manik says.

In the urban areas, he has learnt a big lesson – coexistence depends on what others think of you. “You have to be wary. And as a villager used to trusting his neighbours, it doesn’t come easily. But I hope ours is a safer place so that I can go home as often as I like to, not wait for this bandh or blockage to get over,” he says.
15 August 2013

From Manipur Protest Band Comes A Rousing 'Lullaby'

By Gargi Gupta
New Delhi, Aug 15 : “Blood soaked streets/ That’s my ground/ That’s where I play around/ Sound of gunshots/ That’s my song...”

So go the lyrics of ‘Lullaby’ by the Manipuri ‘protest’ band ‘Imphal Talkies’ that, since its release in March this year, has become quite a hit online. Ronid Chingangbam, the band’s founder, frontman and lyricist-vocalist-lead guitarist, says he’s surprised at the response: “I’ve had people writing to me from all over, from Canada and Sweden, saying they like our music. And here we are sitting quietly in far off Imphal, making music and putting it up on the Internet. It’s very encouraging.”

‘Lullaby’ talks about the situation is Manipur: the long-standing insurgency and the army’s brutal repression of it, particularly through the Armed Forces (Special Powers) Act (AFSPA). Most of the band’s songs deal with the experience of living under the shadow of the gun, of people being kidnapped or killed, and women raped. There is anger, of course, in their songs but also pathos and biting satire. An early song is cheekily called ‘AFSPA (Toilet session with Netbook and 50RS condenser mike)’ and ‘Qutub Minar’, another huge hit, tells an elaborate story about lifting the 12th-century monument, the icon of Delhi and carting it off in the Assam-Avadh Express to Imphal, in order to place it next to the Samu Makhong sculpture there. 

Keith Wallang, founder of Springboard Surprises, a Shillong-based company that manages several musicians from the North-east, says that while there has been an explosion in rock bands from the region, no one is doing such baldly political stuff, or hitting out at the army excess as Akhu, as Chingangbam is known everywhere. “Back in Manipur, people are so caught between the police and politicians that they have no voice. It is perhaps because he was away in Delhi that Akhu could be objective about the situation here.”

But not all the songs of Akhu, who formed Imphal Talkies in 2008, have to do with Manipur. ‘India, I see Blood on your Hands’ talks about everything from Kashmir and Narendra Modi to Binayak Sen and the salwa judum, and the recent release ‘Song for Bangladesh’ expresses solidarity with the Shahbag protesters.

It was as a PhD student in JNU, Delhi that Akhu first began making music, spending half his scholarship money to record his first song. “There was just me and my guitar in my room,” he says, only a little fancifully. It was also here that he gained a following, with gigs at university campuses, then small concerts, followed by more established venues such as Blue Frog and NH7 Weekender.

Has there ever been a problem at any of his shows, I ask him. “No, not really,” he says, sounding a little uncertain. “We were dropped from a few concerts in Guwahati and once, after I had performed ‘India, I see blood...’ at a college in Pune, a few students came to me and said that I should not sing such songs. And yes, the students of Manipur University asked me not to perform ‘I want to go to Moscow’ at a recent concert.” (‘I want to go to Moscow’  talks about an army camp inside the university.)    

It is, thus, ironical that Akhu has moved back to Imphal this month. “Our music is not something that is commercially viable. You just don’t earn enough to survive in a place like Delhi. In Imphal, I have a house. I don’t have to struggle, except for the political turmoil. Besides, I have applied for an asistant professor’s position at the National Instituteof technology here. Hopefully, I’ll get it.” And Delhi is just a flight away.

America’s Most Profitable company per employee makes your phone work—and it’s not Apple

You’d be forgiven for not recognizing the name InterDigital, despite the fact that it has been around since 1972 and developed many of the technologies that are critical to our increasingly mobile, wireless world. As a result, per employee, InterDigital is the most profitable company in the US, with a net income of $937,255 per worker, according to Bloomberg’s just-released visual compendium of data. And the only thing InterDigital produces is designs for new technology—and the occasional lawsuit.

But whatever you do, don’t call InterDigital a patent troll—CEO William Merritt hates that term. And it’s admittedly not a fair label for InterDigital, in contrast to firms that merely buy up patents in order to then sue other people over them. Like ARM, the Cambridge, UK-based company that designs the chips that are in practically every mobile device on the planet, InterDigital does not manufacture anything itself. Yet the company employs more than 200 engineers who have collectively helped InterDigital amass a trove of patents that could be worth billions. InterDigital also creates working prototypes of all of its technologies, in order to demonstrate them to industry partners like Alcatel-Lucent, who later incorporate them into their products.

InterDigital isn’t shy about both licensing the technology it develops and selling it outright. In 2012, InterDigital sold 1,700 patents to Intel for $375 million, which led InterDigital’s stock to surge 27% in a single day as the markets speculated that the rest of the company’s patent portfolio might be equally valuable. In 2011, the company’s stock shot up 70% when its leaders announced the company would be for sale, and rumors circulated that Apple and Google would bid on it, in an attempt to lock up InterDigital’s intellectual property. (InterDigital’s attempt to sell itself ended in January 2012, when the company opted to license its IP instead.)

Using that patent portfolio in court cases appears to be as important to InterDigital as licensing its technology to mobile companies—you might call it the carrot (develop new wireless standards and technology) and stick (sue anyone who violates your intellectual property) approach to innovation. Presently, InterDigital is suing Nokia, Huawei and ZTE for violation of its patents, seeking a ban on import of their products. However, the company’s case may have weakened, and its stock has declined, after another patent case—this one by Samsung against Apple—came to naught when president Barack Obama vetoed an import ban on older Apple products.

InterDigital’s job pages reflect the company’s dual nature. They include openings for both hardware engineers and patent managers. While the company has yet to sell itself, its per-employee revenue suggests that the only thing more profitable than either inventing or suing is doing both at the same time.

In Mizoram, A PRISM Of Hope Against Corruption

By Prasanta Mazumdar 

Almost 7 decades ago, Mumbai's fishermen took up arms for Independence; now Mizo youth wage their battle — for freedom from corruption.

When some young Mizos formed ‘PRISM’ seeking freedom for all from corruption, many thought they were only wasting their time and energy.

Seven years down the line, the Peoples’ Right to Information and Development Implementing Society of Mizoram (Prism) today stands out amidst groups spearheading the fight against corruption. It has made people to believe that no one, how powerful he or she could be, can escape the long hand of law.

By using the Right to Information, Prism pinned down the corrupt, due to which 62 government employees lost their jobs, one was jailed and five placed under suspension.
Today, Prism has grown enough to be a nemesis of corrupt government officials and politicians.

“Prism started its humble journey in 2006 when some like-minded youth came together to discuss issues such as corruption in government establishments, failure of the system at all levels, deprivation of the poor and needy, etc,” said Prism president Vanlalruata.

Initially, he said, Prism was entirely dependent on the RTI  in their crusade against corruption. But soon, it hit upon the unique idea of “eiru thlan bawm”, which is a kind of secret public balloting to zero in on the corrupt.

Vanlalruata explained: “It’s very simple. Prism encourages people to write the names of individuals, who they believe are corrupt, with specific charges. Papers containing the names are then dropped inside ‘eiru bawm’ (corruption ballot box) installed in Aizawl.”

When the boxes are opened at a public meeting, charges against the individuals are scrutinised for veracity and processed for filing of FIR. Alongside, the RTI is used to extract more information about those named by people as corrupt.

“Corruption is a serious problem in Mizoram. Nothing impedes development like corruption. We believe the ‘eiru thlan bawm’ model would help curb the menace significantly,” said Vanlalruata.

Prism does everything possible to help people get justice and basic human rights. At the various seminars which it organises, people are made aware of their rights. As a result, today they are not afraid of raising their voice against injustice. “What inspires us most is to see people starting to believe that even the mighty and powers-that-be are not above law,” added Vanlalruata.

Mizoram-HPC-D Talks Fail

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF5z7yyp8lTiTNr7ZDtE2MYMCzyy4ppDmdn85Gsa-YvOClCNB7YnmGb4q9nw_GlXErQ5NuUhVbDB2lO44qy1f4VUvt5-NV3j9V982Tv5GDyaU_EjbN81SN3kc3JQtlCxSIm6AZOjORE5zG/s1600/peace+talks.jpgMizoram Govt beefs up security

Aizawl, Aug 15 : The talks between the Mizoram government and the militant Hmar Peoples Convention (Democratic) fell through today, bringing the six-month-long suspension of operations with the group to an end.

The government upgraded security in the state after the talks failed.

“Since we could not agree on anything, it means that the suspension of operations with the HPC (D) is not likely to be extended,” Lalbiakzama, joint secretary in the home department, told The Telegraph after the talks ended this evening.

The agreement, whereby the state government agreed to suspend operations against the HPC (D) for six months, came to an end on July 31.

Lalbiakzama said there were several issues but they failed to come to an agreement on any one, leaving little room for further negotiations. However, the ultimate decision will be made by the higher authorities, he added.

Today’s parleys were scheduled to give the two parties one more chance to reach a resolution after the July 18 meeting impasse.

The HPC (D) wants recognition for the Hmar community as a “tribe with autonomy” in the three states of Assam, Manipur and Mizoram. It wants the areas in northeastern Mizoram, bordering Manipur, to be notified as an autonomous council under the Sixth Schedule.

The HPC (D) had walked out of the memorandum of settlement signed between the state government and the HPC on July 27, 1994, alleging that some of its major clauses remained unimplemented. The HPC (D) said the Sinlung Hills Development Council, which was created under the MoU, had become nothing but a political instrument.

Since then the HPC (D) has been waging an armed struggle for creation of an Hmar autonomous council in Mizoram.

Many people have died in the struggle since 1994, including fratricidal killings among splinter groups.

The campaign is going on at a slower pace in Manipur and Assam.

Observers said the HPC (D)’s struggle is more a case of political expression of a marginalised population rather than based on real ethnic differences as Hmars are part and parcel of the Mizo or Zo group of tribes with slight variations.

The Mizoram government delegation was led by local area development secretary B. Lalhmingthanga. The other delegates, besides Lalbiakzama, were superintendent of police, CID (special branch), Ramthlengliana, additional deputy commissioner of Aizawl district, Lalchungnunga, deputy secretary (home), Lalhriatpuia, OSD (home), David H. Lalthangliana and inspector (interpretor) Laltanpuia Sailo.

The HPC (D) delegation comprised its working chairman L.T. Hmar, as well as members Lalchhanhima, Lalthalien, Joseph R. Hmar, Lalmuanpuia Punte, Rohringa and Lalremruata Varte.

Junk Band Boomarang Wants To Work with Vishal Dadlani

‘Aizawl’, ‘Mizoram’ are not names that one would be familiar with unless you’re a fan of home-grown blues and rock music. Boomarang, a four member band from Aizawl, Mizoram in the north eastern region of  India, has come a long way since covering angst ridden American band Rage Against the Machine’s numbers and playing their first gigs (including the Great Indian Rock- GIR) in 2007.

Today the quartet, which plays ‘JUNK’ rock (a blend of Jazz, Funk and Punk music), and considered one of the country’s best rock outfits, is on the verge of hitting big time. Their single ‘Home’ from Luke Kenny’s ‘Rise of the Zombies’ has been well-received. Radioandmusic.com caught up with vocalist Atea for a free-wheeling chat about the band, their philosophy and healthy disregard for Bollywood music.

Excerpts:
A little about the genesis of your band- members/ music influences and style
We are a four-member band- PB Lianmawia (Atea) on vocals, Lalruatliana Hangsing (Boom) on the guitar, Joshua Zoramliana who plays bass and  Rosangliana (R.S.)  on the drums.
We first started out covering Rage Against The Machine at a small gig in our home town, Aizawl, back in 2005. What was thought to be just a bunch of guys jamming some of their favorite covers quickly discovered their potential as a band. We started out writing and playing our own music and soon won several competitions and awards.

Our sound is a mixture of some of the greatest elements of music ranging from Jazz to Punk, Blues to Metal, Reggae to Funk, etc. called, “JUNK” since it’s basically a blend of Jazz, Funk and Punk. Anyone who loves music can always relate to the unique diversity in the sound of Boomarang.

How has the going been since Boomarang came into being?
We first launched an EP called, ‘Rhythm Of A Revolution’ back in 2005. We had released some few special edition CDs for some promotional uses. Our first album (a self titled album which we always wanted to launch ever since the band started) is expected to come out soon this year.

We always thought that we're doing this band on part-times but we never really had time to do anything else. Ever since we played GIR 2007 in Delhi, gigs and shows never really stopped coming. We're not that busy a band, but we have been traveling reasonably often. So, I guess Boomarang can be considered as a full-time band.

Fast Forward to 2013:  How was your experience working in  ‘Rise of the Zombies’? Is this your first project with a film?
We were stunned to learn that one of our latest songs, ‘Home’ was picked for a film by Luke Kenny. ‘Rise of the Zombie’ is a very interesting film; it is fresh, original and very different from any of the Indian films ever made. We were always hoping for a film like this to come out. We are truly honored to be a part of this project.

Zombie is our second project with a film, our song ‘Stellar’ was also used in a South Indian film, a couple of years ago.

What was the brief for the background music/ song- Rise of the Zombies?
Luke Kenny is always taking steps towards promoting independent Indian films and music. The band had met Luke a couple of gigs before 'Rise of the Zombie' was made. He had seen and heard us play a couple of times and I guess he liked the song from those events. Our part of the project was simple: Home was a song we've already written and we were asked to put the song in the film.

Do you think the Indian audience is more open/receptive to independent music- beyond Bollywood music?
We are not a very big fan of the whole Bollywood scene, so we don't have much of an idea, but it is kind of obvious the majority of the Indian audience is inclined towards Bollywood music.
The North east has strong musical roots, it is usually limited to the region. Do you think there is a need to expand the region’s musical reach to a larger audience?

The North east has a rich taste in both Western music and original roots as well. We need some means to reach a larger audience.

How open would artists be to incorporate ‘Indian’ sounds and styles?
A Fusion of Indian Classical Music with some Western Electro/Funk/Rock etc. is always very classy and interesting. But the typical Bollywood style of pop flavored, dance with lame English lyrics is always a failure.

Any similar projects in the pipeline?
No film projects are currently in our list. But our long awaited ‘First Album’ is soon to come out.

Given a chance, would your band be game to compose/ perform a Bollywood item song? Any artist/ composer you’d like to work with?

If we were to cover a Bollywood song in Bollywood style the answer is a Big NO!
If we were asked to write/compose a song for a Bollywood movie in our own style, the answer is YES! Pentagram's Vishal (Dadlani) would be very interesting to work with.

Inside Walls That Talk

By UDHADITYA BHATTACHARYA

Aruni Kashyap.

Writer Aruni Kashyap talks about his debut novel, and the burden of representing Assam

In a Ted Talk delivered in 2009, the Nigerian writer Chimamanda Adichie talked about “the danger of a single story”. “Show a people as only one thing over and over again, and that is what they become,” she said. Everyone is susceptible to the single story. The mainland understanding of Assam and the rest of North-East, ridden with stereotypes, is reflective of this. If there is a corrective to the danger of a single story, it lies in narrating many more stories. Aruni Kashyap’s debut novel “The House with a Thousand Stories” takes its name from the experience of joint families, where one is constantly surrounded by stories. But it is tempting to read it in light of Adichie’s statement.
The novel, set in the late 1990s and early 2000s, is narrated by its protagonist Pablo over two visits, first for a funeral and then a wedding, to his ancestral family house in Mayong in rural Assam. The shadow of insurgency hangs over these rituals like a lurid rumour. On these visits he discovers many things, about his forbidding aunt, secretive cousin and himself. Excerpts from an e-mail interview:
Can you talk about the origins of your novel? It seems to have been anticipated in a poem you wrote earlier, which also talks about an L-shaped house with a thousand novels.
Actually, The House With a Thousand Stories was born from a short story. I wanted to write a story about a seventeen-year-old boy called Pablo who would visit his ancestral village to attend his aunt’s wedding and fall in love; I'd titled the story 'Country Wedding', a horrible title, if you ask me now...
After I wrote about 10,000 words, I realised it deserved to be a novel, not a short story, not a novella. This decision created a new challenge for me because I had a different ending in mind for the purpose of a short story and since I can’t write fiction without knowing the closure, I had to halt the writing for many weeks until the closure arrived. After that it was very easy because everything sort of happened on its own. I just had to turn up at my desk every morning. As if Pablo stood by me and dictated the whole book to me. I am just Pablo’s stenographer.
How did you go about creating the character of Pablo? Why did you call him that and why was it necessary for him to belong to urban Assam?
I wish I could explain why Pablo is called ‘Pablo’ and why he belongs to Guwahati, not Jokaisuk. When I ‘saw’ this young, seventeen-year-old Lee Cooper jeans-clad boy standing in front of me, eager to tell me about his doomed first love, he started telling me the story only after I called him by the right name. I called him Dhonti, he didn’t turn back. I called him Noyonmoni, he remained quite. But when I called him Pablo, he turned to face me with a smile on his face. There are many things in writing that are beyond your control. All you need to do is turn up at your desk and let it happen. Also, Pablo’s parents are west-facing. They speak in English at home, his mother wants him to enroll for his undergraduate in the United States, so on. It was natural that they wouldn’t name him Pitambor or Tonkeshwor.
You have talked about how in the past your writing tended to carry footnotes and glossaries. When and why did you decide to do away with them?
Since I write in English also, and come from a state that finds little representation in the rest of India, I am expected to take up the burden of ‘representing’ various things in my fiction. Recently, some people told me that I should have provided more details about the history of the Assam-India conflict in my book so that people who read the book learn about it. It charmed me, but at the same time, I am very sure that I don’t want my fiction to be Assam History 101. I tried to educate people through my fiction and poetry when I was younger and very immature but I have learnt that the purpose of fiction is not to teach history, politics, geography.
Which writers have you been influenced by?
Toni Morrison is the writer I have learnt the most from. I read Beloved again and again before writing this novel to learn its structure, and whenever I reached a block, I would open any page of Song of Solomon, Jazz or Sula. Indira Goswami, Amitav Ghosh, Nadine Gordimer, Garcia Marquez, William Faulkner, Ashapurna Devi are some other writers who taught me many things.

An Illegal Mountain Constructed Atop a 26-Story Residential Building in Beijing

An Illegal Mountain Constructed Atop a 26 Story Residential Building in Beijing mountains China architecture
An Illegal Mountain Constructed Atop a 26 Story Residential Building in Beijing mountains China architecture
An Illegal Mountain Constructed Atop a 26 Story Residential Building in Beijing mountains China architecture
An Illegal Mountain Constructed Atop a 26 Story Residential Building in Beijing mountains China architecture
While most property and homeowners might be lucky to erect a small fence, add a new wall, or plant a few trees without applying for a permit or checking local zoning laws, things in Bejing are apparently quite different. For the last six years an eccentric doctor built a sprawling mountain villa on the roof above his top-floor flat in this 26-story residential building, all without asking permission of residents or local authorities. The enormous addition covers the entire 1000-square-metre roof and was built using artificial rocks but with real trees and grass.

It only took six years of complaints from neighbors who suffered from the noise and vibrations of heavy construction machinery, water leaks, and other disturbances to finally get the attention of authorities who recently gave the man 15 days to remove the mountain or else it will face forcible removal.

Read more over on the South China Morning Post. (via dezeen)