New India’s New Fictions

Some years back, I found myself attending the farewell function of a sarkaari officer, a bureaucrat. The usual white-cloth covered chairs, the podium with a small shaky wood table, a vase of short stemmed officious looking desi roses and a red carpet on the stage. Like the tradition of speech delivery goes, the speeches started from the junior-most officers and slowly moved upwards, in peculiar babu English.

Hybridity: Fluid Bridge of History

In Season 6 of the Game of Thrones, an American epic fantasy television drama series, an adaptation of A Song of Ice and Fire, George R. R. Martin’s series of fantasy novels, one of the characters Lord Baelish poignantly remarks, The realm You know what the realm is? Its a thousand blades of Aegons enemies, A story we agreed to tell each other over and over till we forget it was a lie

‘The Million Masks of God’

Sunil Janah’s Photographing India reminded me of Dziga Vertov’s Man With A Movie Camera. The photographer protagonist in the Russian avantgarde filmmaker’s iconic documentary is constantly on the move—shooting on the road; in the mines; at the dam; inside a factory; by the sea; in a park; or in a playground. Cranking his camera, he goes around tirelessly documenting the lives of Russia’s men and women, and the rhythm of its cities. Similarities between the film and Janah’s work just don’t end here.