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Star of parallel world

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Heinz Günthardt, Martina Hingis Swiss Fed Cup captain, said he believed she was capable of playing on tour until she was 50 years old.

She made it to 37, and though two previous Hingis retirements turned out to be sabbaticals, this one seems like the real deal. "You want to stop on top and not when youre already going backward," she said in Singapore before playing her final match, a loss in the semifinals of the doubles tournament at the WTA Finals.

At the time of her first two retirements, Hingis was nowhere near any sort of tennis pinnacle. In 2003, when she stopped at 22, she was in chronic pain and had not won a Grand Slam singles title in more than four years.

After coming back to the tour in 2006 and rising to No 6 in singles, her momentum faltered and she ended up retiring again in November 2007, at 27, after deciding not to contest a positive test for trace amounts of cocaine. She was later suspended for two years.

This time, there is no apparent dark side behind her decision. She shares the No 1 ranking in womens doubles with Chan Yung-Jan, her last doubles partner on tour, so she is indeed leaving on top even if they could not win their final tournament together in Singapore.

But there is still a caveat. Since her unexpected return in the second half of 2013, she has essentially been a big fish in a small pond: excelling only at doubles while a select few of her former rivals have continued to thrive on the grander singles stages.

Hingis, already in the International Tennis Hall of Fame, remained a star but was no longer a superstar - not unlike Lleyton Hewitt, the feisty Australian who was a precocious No 1 at age 20 and a two-time major singles champion before being eclipsed by the relentless brilliance of the Big Four (Novak Djokovic, Roger Federer, Andy Murray and Rafael Nadal).

Doubles is a parallel universe at WTA events and Grand Slam tournaments. Finals are often played in front of sparse crowds and rarely get mainstream television coverage. Hingis, with her court craft and phenomenal reflexes, was able to rule over this much smaller kingdom, winning 20 Grand Slam doubles titles in all.

But it was still inescapable that, not long after Hingis gave her latest retirement speech, Venus Williams, also 37, went out and pushed Caroline Wozniacki, 27, before losing in the singles final to cap a resurgent season that just might rank as the most remarkable of Williams long career.

In singles, Hingis peaked early. She began playing at 2 and was one of the true wunderkinds in a sport whose history is rich in child prodigies. At 12, Hingis won the French Open girls tournament, which was open to players as old as 18.

"Shes like a young Bobby Fischer playing chess," said Roy Sjögren, Switzerlands national womens coach, before Hingis turned professional at age 14.

She proceeded to outthink and outmanoeuvre her elders on a regular basis with her versatility and cryptic grin: one that could express delight or disdain (and sometimes disdainful delight).

At 15, she became the youngest Grand Slam champion by teaming with Helena Sukova to win the Wimbledon womens doubles title. At 16, she won the Australian Open to become the youngest person to win a major singles title in the 20th century and the youngest No 1.

She had game and she also had attitude. Before playing Lindsay Davenport in Manhattan Beach, California, in 1997, Hingis and Davenport met for the coin toss to determine who would serve first. Hingis said to Davenport: "OK, do you want to get broken first or do you want to let me hold?"

She and Davenport ended up laughing at the net, but there were other cheeky comments from the sharp-tongued Hingis that seemed less light-hearted, like her assessment of young French player Amélie Mauresmo, who had come out as a lesbian, as "half a man" at the 1999 Australian Open.

That was the same year Hingis turned petulant during a dramatic French Open final loss to Steffi Graf, angering the volatile Paris crowd and Graf by violating tennis protocol and crossing the net to examine a ball mark in Grafs half of the court.

Hingis ended up losing her composure and the match, in three sets, leaving the court in tears and only returning for the awards ceremony at the insistence of her mother and coach, Melanie Molitor, who steadied her as they re-emerged together from the tunnel.

Hingis paradoxically never won the French Open in singles despite clay being one of her best surfaces. She did win the other three Grand Slam singles titles; all five titles came in a two-year stretch. She saved her best tennis for the Australian Open, where she won in 1997, 1998 and 1999, and then reached finals in 2000, 2001 and 2002.

Named for Martina Navratilova, Hingis was clearly born to be a champion. Molitor, once a prominent player in Czechoslovakia, made sure that her daughter understood all the angles and that she did sports and activities other than tennis, including horseback riding, in an attempt to avoid burnout and injury.

But there was no planning for the Williams sisters, a tennis success story even more improbable than Hingis. Serena and Venus were not named for any prior tennis greats, but their father and coach, Richard Williams, was every bit as committed to his bold project even if he lacked Molitors playing experience and reticence to commandeer the spotlight. It took the sisters time to end the Hingis era, with ample help from two other Americans, Jennifer Capriati and Davenport.

When Hingis stopped playing singles, she still held an 11-10 edge over Venus Williams and trailed Serena Williams only 6-7. But it was the strength of their games and their personalities that ultimately convinced Hingis that she should be a doubles specialist. "The willpower of Serena, nobody can beat that," Hingis once told me. "There has not been another player who has the same hunger."

Hingis surely possessed plenty of her own to keep returning to the game she played so artfully, to be satisfied in the small pond after all that time navigating larger bodies of water.


Building on his beats

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Legend has it that Nandi played the mridangam to the cosmic dance of Shiva (Nataraja). Mridangam thus occupies a place of importance in the sacred hall of bharatanatyam. Yet, it is not easy to walk the path ridden with many unwritten and unspoken codes.

One can observe a clear demarcation between vidwans who play for Carnatic vocalists and vidwans who play for dancers.

It is felt that everything in bharatanatyam is preset and rehearsed, leaving no scope for manodharma, whereas in Carnatic music, the mridangam vidwan seldom knows in advance what the vocalist is going to sing for the day's concert, but yet has the scope to show his prowess in thani avarthanam (appreciation of rhythms). Nevertheless, the mridangam artiste for dance can never be undermined because the rhythm provides the soul, and it's only in the rendition for the two — mridangam for dance vis-à-vis vocal/ instrumental concert — that it takes a different garb.

Yet, a senior dancer who has learnt mridangam confided, "The acid test that dancers give to a mridangist is to ask him/her to play the rhythmic tonal variations; the creativity of the artiste will come through in that test."

Hierarchies have existed and continue to exist in many aspects of life. In the context of music and dance too, hierarchical structures continue to flourish. It's in this atmosphere that KSR Anirudha, a mridangam vidwan and an advocate, balances deftly his two passions.

Accustomed to the sound

It was not unnatural for Anirudha to get drawn to mridangam, which he had heard as a child as he watched his mother, the legendary Sudharani Raghupathy, dance to the beats of its rhythm. Kamaladevi Chattopadhyay gifted him several skin instruments when she found the little boy with a remarkable talent for rhythm and percussion. Yet, his mother consciously kept him away from the instrument for as long as she could, encouraging him to concentrate on his studies.

"But it is the forbidden fruit that always leads us on," says Anirudha. He forged ahead with his academic life, but unknown and unnoticed by his mother, he simply kept at the percussion.

He used everything from chairs to tables. And soon enough, the tables turned in his favour when he was noticed for his talent at his school as a percussionist of immense promise. He was writing jathis and poems besides playing the percussion as an accompanying artiste to lead dancers.

It was in 1998, when he was awarded the Yuva Kala Bharati by Bharat Kalachar that his mother realised that he was serious. It was in 2000, at Krishna Gana Sabha that he worked on the importance of being an accompanying artiste to the dancer, whereby he would only embellish the dancer without upstaging the dancer, exhibiting his prowess on stage.

The paper was received well and dancers began to relook into the way they knew and understood mridangam.

His arangetram in mridangam went unnoticed not because it did not make an impact; it was because no one expected it to be the arangetram of the mridangam vidwan who played so well, when it was actually the arangetram of the dancer.Anirudha thus moved from one phase to another, gliding ever so gently.

Trained well under mridangam maestro Umayalapuram Shivaraman, he also plays deftly three mridangams or triangam — sama, madhyamam, panchamam. He was chosen as the recipient of the Kalaimamani (2003) at a young age. 'Moorthi chikkadadaru keerthi doddadu' is what he established when he was once again conferred with the Ustad Bismillah Khan Yuva Puraskar award in 2007.

Path of surety

He absorbed and took in so much of dance by observing his mother and watching other leading dancers from close quarters that he knew the path that he was taking. When Sangeet Natak Akademi chose him and created a category, he belonged to a league where mridangam was the bridge between music and dance.

He soon went on not only to write scripts and create soundscape for his home productions (Mamudha, Tripada, Na Margam), but also brought together the best of talents. He didn't stop thinking about the needs of dancers even when he began practising as an advocate. He not only helped artistes with legal issues, but even brought out a CD of jathis for dancers.

"When you draw a matrix, ask an artist to paint within a square, and exhibit his talent, that is when he can show his strength, overcoming limitations, where his creativity is put to test. Just as roots of a tree search for venues to expand and grow by breaking the shackles of the confining compound wall, seeking sunlight and freedom, so also a creative artiste can never be shackled," says Anirudha, adding, "That which is real, exists."

Today, Anirudha wields the sacred mridangam, considered as the instrument that Nandi, the bearer of truth and righteousness, played. It seems so perfect because he has also taken up the responsibility of being the instrument of bringing about righteousness as an advocate.

From the hills to the ramp

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It was like going back to my roots," says Delhi-based designer Amit Sachdeva, recalling his visit to the North-Eastern states of India, where his love for handlooms, cotton, eri, gicha silks and other beautiful natural yarns from that region got rekindled a couple of years ago.

For more than a decade, Amit was identified for his stunning wedding trousseau that included embroidered saris, lehengas and gowns in chiffons, georgettes, silks and more. But recently, Amit presented an all-natural fabric collection titled 'Serendipity' under his brand 'Has' (Handlooms by Amit Sachdeva), which offers Western silhouettes, bomber jackets over shorts, short dresses, jumpsuits and more.

Weaves that impress

'Has' is the outcome of the weeks that he spent with the weaver communities of Assam, especially from villages like Bijoynagar and Boko. Amit reveals that the time spent in the North-Eastern states made him nostalgic and also showed him the real beauty of the
local textiles.

For his degree in 2001 from the Pearl Academy of Fashion Technology in Delhi, Amit had done a research project on the weavers in Nagaland and Kohima. Even then, he was highly impressed with their lives, the dedication with which they wove the yarns, and also the beauty of the yarn which is so different from the yarns found in the other parts of the country.

"That difference had always intrigued me. But after graduation, it was like a struggle for existence for me. I never wanted to take any help from anyone. So, I had to start the profession by catering to the popular demand of designing wedding trousseau,'' states the young designer.

Amit lost his father at a young age and was brought up by his mother and his paternal family. Like most parents in India who give utmost importance to academics, even his mother wanted him to earn a good degree first. So, even though he was interested in creative arts, especially designing textiles, he decided to get a degree in Commerce. Once that was achieved, he enrolled into a textile designing course with Pearl.

There was never any direct influence of fashion or textiles on him from his family of business people, but he perhaps had unwittingly inherited the penchant for embroidery from his grandparents who hailed from Lahore and had migrated to Delhi. So in all his designs, one thing that stands out and can be said to be his trademark is a piece of embroidery. Even in his latest collection of cotton, he makes it a point to place a subtle embroidery motif at some place on the garment.

"I won't say I am influenced by the embroidery from Lahore. There are so many intricate and beautiful styles of hand embroidery in our own country. Embroidery brings alive a garment. And over the course of time, I would like to explore all varieties of embroidery, with as many karigars as possible, through my clothes," explains Amit.

Amit had fun working on the wedding garments, but he had an entirely different experience interacting with the weavers from the North-East. However, he encountered many hurdles during this process. First was the language as some weavers spoke only the local dialect. For this, he took the help of his friend and the local NGOs of weaver clusters with whom he worked.

The second hurdle was the size of the looms. "They use small-sized looms as most of their clothes are of smaller dimensions. We had to change that. And the third hurdle was the colour of the yarn. Clothes from the North-East are very colourful and look beautiful on them, but a majority of Indians prefer pastel shades," Amit shares.

So, the yarn was dyed in fusion-ish hues like soft, milky shades of powder pink, light blue, peach, etc. The dyes are free from a strong chromatic content. Besides cotton, Amit preferred to design using only sustainable yarns like mulberry silk, handspun muga, eri and their blends.

The signature hint of bling in his clothes was obtained by using lurex yarns with eri and muga silk. "That slight touch of lurex gives the clothes a festive look, which is so subtle that one can wear these clothes even for non-formal events," explains the designer.

Changing with times

Next, he had to request them to weave differently shaped motifs on the garment as they mostly used geometric motifs. "I wanted curvy motifs and it took subtle coercing to change their style. I found it very intriguing that even though they were traditional weavers who had been following the same patterns for generations, they were ready to learn new things and adapt to changing times. They have realised that to survive and to come into mainstream fashion, they have to contemporise and innovate," explains Amit.

In fact, he feels that every designer should try to bring grassroot weavers and karigars into mainstream fashion to help them survive, and to help preserve our traditional weaving techniques and textiles. Currently, some designers are already doing it. But Amit opines that everyone should join hands to save our heritage.

"Only showcasing Indian weaves in typical Indian garments may not be that successful. If we can incorporate our textiles in Western silhouettes without compromising on their originality, it will benefit our weavers and open a new market for them,'' feels Amit.

Of Leadership and Encounters

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Manu Joseph's Miss Laila Armed and Dangerous is a novel that focuses on the society of today as the author perceives it to be. There's a look at politics and the meteoric rise of a prime minister, there's a shorts-clad group calling itself the Sangh. And in the middle of it all there's a building collapse and threats of an impending terror attack. Miss Laila Armed and Dangerous is a satire, and at the centre of the action is an intrepid young woman, Akhila Iyer.

Akhila is, right at the start, rather brazen as she marches into the offices of the Sangh. A move that invariably gets her into trouble, but she was expecting that. The beating that followed, maybe not so much. And then, she's right in the middle of a building collapse in Mumbai, crawling through a passageway in an attempt to reach a survivor. The survivor, in turn, starts talking about what sounds like a terror attack in real time. He tracks movements, names individuals, describes them, and creates an alarming picture of something about to happen.

There are many real-life parallels to the characters and events in Miss Laila Armed and Dangerous — and they're thinly disguised and easily recognisable. The Sangh in the book is a motley crew of khaki-shorts-clad bachelors who are often and frequently disparagingly described as 'patriots'. They are not particularly intelligent and they follow the prime minister in the book, Damodarbhai. Who is charismatic and vicious and constantly using his position to preach violence against every other community during his radio broadcasts and speeches. Despite that, the Sangh, and a great number of Hindus, follow him because of their bruised pride and lack of intellect. Or so the book repeatedly tells us in different ways.

As for Akhila Iyer, she's in the business of creating videos that sting prominent individuals. Pseudo-intellectuals and activists who thrive on exploiting the poor and marginalised. Those who live in swanky, expensive houses and decry others for doing the same. Akhila has 'Aryan' features (because, what, she's an Iyer, and Iyers are Aryans?) and her mother was a revolutionary, and she's been in trouble more times than she can count, mostly because of her videos. And the Sangh is her latest target. There are references to the Nazis influencing the Sangh, and the supremacy of the Hindu religion, and all kinds of imagined bigotry squeezed into an incredibly small space. Akhila, despite her outspokenness and lack of fear, comes across as something of a lunatic as she sallies into residences and pretends to be part of a Nobel-prize committee, among other things. She enjoys recording the discomfort of her interviewees when they discover they've been conned. She declares to the Sangh on page 7, "I kind of like being an Indian Nazi." Which makes her, apparently, very popular. Or not.

Then there is Laila, a young Muslim girl, the sole breadwinner in her family, mature and caring. Her sister, Aisha, adores her, and at 19, Laila has the compassion and understanding of someone much older. But then, she and her acquaintance, Jamal, come under the Sangh's radar. More characters are introduced. Mukundan, a slightly befuddled intelligence officer struggling with his own ideology and conscience, and AK, who keeps the leader of the Sangh informed. All intelligence runs on the Sangh's whims and fancies, and encounters are framed, faked or otherwise engineered to, eventually, make Damodarbhai look good to the confused, but apparently very jingoistic and foolish voter. Being a 'patriot' is unwelcome in the larger scheme of things is what the book suggests.

Nearly all of the other characters appear to be a little off in the head.

There's a plethora of witticisms in Miss Laila Armed and Dangerous that are supposed to reflect the society the story is located in. Some of them are perceptive; others not so much. Humour is a little forced as the plot moves on, jumping from character to character and event to event in a jumble of suppositions and observations. The Marxists are mocked, activists driven by agendas are criticised — but the majority of the book's ire is directed at the Sangh and its leaders, and Damodarbhai. Who, incidentally, was chief minister of Gujarat before he became prime minister.

Miss Laila Armed and Dangerous is less of a satire and more of a disagreement with… just about everything, really. Whatever thin plot lies between that criticism appears to be incidental. There is far too much crammed into the novel's 210 pages — ranging from nationalism to caste and religion and the pride of the majority community, the 2002 riots, a certain encounter involving a young woman, and pseudo-intellectuals. Weaving all of this together is bound to be a daunting task.


Miss Laila Armed and Dangerous

Manu Joseph

Harper Collins

2017, pp 210

Rs 499

Rest, perturbed spirit...

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They may be shadows of our own demons, shades of our own grief and guilt, unlit cobwebbed spaces of our own minds. But we need to talk about them in periodic rituals of exorcism. And we have told their stories down the centuries in sacred circles, around the fire, huddled in groups — those tales of terror, revenge and cruelty, of sorrow, love and loss — unheeded in this life but singing through many afterlives, as only souls can.

Here they are gathered once again from the Indian soil in a smart little anthology, cockily titled Boo, enticing the reader into that circle of sacred fear and magic beyond our ken. Published by Penguin, with a predictable cover which could have been more in sync with the sophisticated lair of narratives waiting within, this anthology offers a tantalising glimpse into the pathways of the uncanny through which the contemporary Indian mind travels.

Edited by Shinie Antony, the platter offers a varied fare, ranging from a slight fidgeting uneasiness to utter astonishment. These short stories redefine the genre and the form, by using the conventional gothic devices and pushing their limits with a sustained energy and ease. The collection promises to send the proverbial "chill down your spine" and I take up the book with a delicious thrill of anticipation, hoping to let waves of fear and excitement wash over me, leaving me delirious, at the edge of a darkness from whose bourn we 'think' no traveller returns. But we 'feel', they occasionally do.

In these stories, they return through subtle signs, scrambled messages, bewildering screams, rustling curtains, yellow-eyed tomcats, apparitions, figures and shapes transmitted through generations of spookiness. The book is tellingly dedicated "to the invisible fingers that brush against ours" and the editor's introduction oozes with love for the beloved spirits and spectres haunting us through whispering winds. Through the long pauses between raindrops down the deserted road, draped in pale moonlight beneath that lone tree by the denuded hill.

All the authors are reasonable familiar to the Indian English readership excepting perhaps K R Meera from Malayalam and Manabendra Bandyopadhyay from Bengali. It is heartening to see translations from other Indian languages here, although it leaves you wondering why there are no selections from others as well. As the very first story, K R Meera's provocatively titled He-Ghoul (competently translated by J Devika) sets the tenor for the rest of the stories with pungent resonances of gender animosity recurring with an unnerving persistence in the stories penned by Durjoy Datta (Claws) and Kiran Manral (Birth Night). Both are soaked in maternal blood and monstrous babies laying bare the hideous manipulation of an otherwise valorised motherhood.

Ipsita Roy Chakraborthy's The Daayan's Curse is, as one expected, anchored in the milieu of gendered violence in the practice of witch-hunts. Sometimes, these narratives do get a little bogged down by explicit campaign against sexism and misogyny, which could have been woven in a little more artistically without losing out on the elements of suspense and wonder vital to the aesthetics of horror narratives.

Manabendra Bandyopadhyay's The Face, translated by Arunava Sinha, plays upon the vague boundaries of sanity along with Usha K R's Elixir. Kanishk Thakur's Monkeys in the Onion Fields is a foray into the enchanted lives of rural India, its onion- scented fields and the simple longings of a farmer couple. It stands out from the rest as it imagines an encounter between the perceptual worlds of monkeys and the world of 'human' ghosts.

Shashi Deshpande's piece of mythofiction, The Last Tryst, revisits the Mahabharata through the eyes of a forlorn Krishna who is haunted by a female apparition from his past. Who could it be? Jerry Pinto's In a Small Room, Somewhere is a searing read as he turns the pages of reality as the best horror book ever written by we, the ordinary people, with our simple fears and simpler hatred.Horror is no longer fiction; it is all too real and near. Nothing could beat the reams of horror you gulp down with your regular morning cuppa.

Jahnavi Barua's Falling reminds you of the good old ghost story with its soft emotional touches of love, loss and remembered tenderness. She brings alive a picturesque village in Shillong on a rainy evening, with a little corner tea shop and the suggestion of an eerie rendezvous, as a rainbow arcs 'across the late afternoon sky.' The Howling by Jaishree Misra follows a rather familiar route through which many a ghost story has travelled.

Shinie Antony's Ghost No.1 is shot through with wit and irony as in her postlapsarian world, Eve becomes the first woman of dissent and the first ever female ghost to haunt the womankind with her rage and power for ever. What hooked me completely was Madhavi Mahadevan's The Tigerwoman of Kabul, which expands the span of ghostly practices through centuries of conflict, war and espionage. The setting and narrative pace are compelling and relentlessly drive you on to an unsettling end.

These stories nudge us on to the possibilities of more menacing forces around us, invisible fields of energy and desire which are here to stay on and make us echo the Bard's lines, 'Rest, Rest, Perturbed Spirit'.


Boo

Many authors, edited by Shinie Antony

Penguin

2017, Rs 299, pp 224

Book rack...

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The Girl Who Couldn't Love

Shinie Antony

Speaking Tiger, 2017, Rs 299, pp 165

A middle-aged spinster, Roo, lives with her mother and teaches English at a local school. Roo is an introvert, cultivates an aloof manner to distance herself from relationships to escape from her childhood memories. She begins an affair with Kumar, a man much younger to her.

The Rohingyas

Azeem Ibrahim

Speaking Tiger, 2017, Rs 599, pp 235

This is a comprehensive book tracing the historicity of the Rohingya community in Myanmar. In the wake of their ethinic cleansing and refugee crisis, it documents the genocide of the Rohingyas and exposes the culpability of the religious groups and the government.

Stuck Like Lint

Shefali Tripathi Mehta

Niyogi Books, 2017, Rs 295, pp 153

Debika is left distressed when her writer Trisha disappears, complaining of writer's block. Debika is resentful after she finds Trisha's award-winning collection of stories published. A secret unravels itself in a mysterious way during the course of her reading.
Zanskar to Ziro

Sohini Sen

Niyogi Books, 2017, Rs 995, pp 433

A travel through the female gaze, it is laced with self-deprecating humour and allusions to literature. This is an insight into the coping mechanisms of the women while travelling and being women. A narration on the journey and exploration of cultures.
Polymorphism

Indira Chandrasekhar

Harper Collins, 2017, Rs 350, pp 176

This is a collection of 19 short stories about shifting realities, twisted perceptions and live on-the-edge of speculative fiction. These are tales of vulnerabilities and visceral anxieties of the characters.

Chase Your Dreams

Sachin Tendulkar

Hachette, 2017, Rs 299, pp 299

This is a young readers' edition of Tendulkar's autobiography Playing it My Way. Coming from a middle-class family, from being a mischievous boy to turning into a cricket legend, this book is insightful, inspiring, and comes with bonus pages in a comic form.


Eight Hours

Upendra Namburi

Westland, 2017, Rs 350, pp 282

Aratrika has eight hours to save her company from bankruptcy. With rivals attempting a hostile takeover, time is running out for her. Weaving her way through a litany of lawyers, politicians, bureaucrats, investors, her dreaded family, and an old flame, Peter, will she win the battle?

The Art of The Good Life

Rolf Dobelli

Sceptre, 2017, Rs 399, pp 260

This book has 52 intellectual shortcuts for wiser thinking and taking better decisions at home and work, on how to live, on what makes one happy, and how one spends their time. The book may not guarantee you a good life, but will give you a better chance at it.

A woman at sea

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One definition of a great novel, William Styron said, is that it should "leave you with many experiences, and slightly exhausted at the end. You live several lives while reading it." Jennifer Egan's immensely satisfying fifth novel, Manhattan Beach, the follow-up to A Visit From the Goon Squad (2010), which won a Pulitzer Prize, has a good deal of that kind of life-swamping and life-supplementing effect.

It's a dreadnought of a World War II-era historical novel, bristling with armaments yet intimate in tone. It's an old-fashioned page-turner, tweaked by this witty and sophisticated writer so that you sometimes feel she has retrofitted sleek new engines inside a craft owned for too long by James Jones and Herman Wouk.

This novel has overlapping stories that, like tugboats, nudge one another into harbour. Most fundamentally it tells the story of Anna Kerrigan, a young woman who works during the war at the Brooklyn Naval Yard, where women have been allowed to hold jobs (welders, lathe operators, machinists) that had belonged only to men before many of them went off to fight.

Over the course of Manhattan Beach, Anna becomes one of the military's first female divers. This novel throws open many other worlds.

Anna's father, Eddie, a union man down on his luck, becomes involved in the wartime financial underworld and disappears.

One of the men Anna's father mingled with, a complicated gangster and nightclub owner named Dexter Styles, who wants to go legit, moves sideways into Anna's life. She begins to comprehend who her father was, and what might have led him to vanish.

This ostensibly traditional novel is not, perhaps, the book we expected from Egan. A Visit From the Goon Squad, set in the music world, was a jittery slice of modern urban life. It made your eyes pop out of your skull, as if you were a prawn, or you had done three fresh lines of white powder. It was unafraid of narrative fripperies. One chapter was told in the form of PowerPoint slides.

One reason that earlier novel branded itself upon your mind was that Egan clearly knew so much about how music gets made and sold. Her handle on how things work is just as present in Manhattan Beach. She is masterly at displaying mastery.

How to search for a body underwater, how to facilitate your rescue if lost and drifting at sea, how to run a nightclub, how to bribe a cop, how to care for an invalid — you learn things while reading this novel. Egan's fiction buzzes with factual crosscurrents, casually deployed.

This is a sea novel, one that is consistently aware of Manhattan as an island. Reading Edna O'Brien's short stories, there's nearly always a fire blazing in the background. In Manhattan Beach, nearly every scene is set against a river or an ocean or a tidal pool.

Water here is a place of rebirth and of mortal terror. Early in the novel, as Anna watches the sea, Egan writes: "There was a feeling she had, standing at its edge: an electric mix of attraction and dread. What would be exposed if all that water should suddenly vanish? A landscape of lost objects: sunken ships, hidden treasure, gold and gems and the charm bracelet that had fallen from her wrist into a storm drain." There are dead bodies down there, too, Anna's father tells her, in lines that ring like a premonition.

Anna goes to work at the Naval Yard, her eyes always flickering toward the ships in the water outside the factory windows. This novel has a bustling sense of war-work and women's place in it. Dexter is given a look at this ferment, and he reports:

"Eight hundred girls worked inside Building 4, a structural shop, their last stop. It was hard to separate them from the men — the welders especially, with their thick gloves and face shields. You had to go by stature, and as their group moved from bay to bay, Dexter got better at this. Girls holding blowtorches. Girls cutting metal into pieces; girls building molds of ship parts from wood. A matter-of-factness about even the pretty ones; look or don't look."

Egan is a generous writer. She doesn't write dialogue, for example, so much as she writes repartee. Many writers' books go slack when their characters open their mouths, as if dullness equals verisimilitude. Egan's minty dialogue snaps you to attention. Anna reads mystery novels, and this novel itself becomes a kind of noir thriller. Egan is aware of the bad luck and missed opportunities that can drive men and women toward crime.

She's aware too of the class element that can be involved. Dexter marries into a prominent family, but can't shake the sense that he's tainted. He looks at his wife's father and thinks: "The Berringers were wearing top hats to the opera when Dexter's people were still copulating behind hay bales in the old land."

The biggest mystery is Anna herself. The war has shaken society loose, she realises. If she can be who she wants to be, what form should her life take? The search for answers to that question will lead her across the country, where she will gaze at a different ocean.

If I have a complaint about Manhattan Beach, it's that while Egan is in full command of her gifts, there's only rarely a sense that she's pushing herself, or us. This novel is never estranging. It never threatens to overspill its levees, or to rip us far from shore and leave us there for a while.

Egan works a formidable kind of magic, however. This is a big novel that moves with agility. It's blissfully free of rust and sepia tint. It introduces us to a memorable young woman who is, as Cathy longed to be again in Wuthering Heights, "half savage and hardy, and free."


Manhattan Beach

Jennifer Egan

Corsair

2017, pp 448

Rs 560

Bachelors need not apply!

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Being in your 20s in the 90s was a sweet-sour thing. The sweet part was that women had started making a presence in the workspace in a bigger way; the sour thing was that they still needed to get married before they were 25 years old.

Those unfortunate ones who turned 26 without getting married gave their parents (and neighbours) ulcers. The astrologer was summoned and remedies like fasting for 16 Mondays or marrying a dog to ward off the evil eye were suggested.

And, if they reached their 28th birthday and were still single, the dog was culled and they were forcibly made to marry the closest possible they could find to a groom: male, some limbs, presence of basic internal organs. If they were really lucky, he had a job and a scooter.

Now, at 26, I was still single. To make it worse, I was working. The two girls I had been living with had gotten respectably married and left by then. And, I had to look for a new place to stay — a smaller accommodation, anywhere close to work, but most importantly, any landlord who was willing to accept a 'single' (shudder), 'woman' (shudder-shudder) who was 'working' (heartbeat fading, call the ambulance).

"How old are you?" the landlady asked me in the preliminary interview.

"26"

"Bachelor?"
"Yes." (Sad smile, pity-pout)

"At your age, I had three-three children."

"Aunty, you hadn't heard of
Copper T?"

Of course, I did not say that! My tenancy-lease was expiring and I had been turned down by three 'bachelor'-phobics already. I was almost on the roads. So, I smiled and schmoozed, and complimented everything in sight, including her badly behaved progeny. The lease was signed and I was given a place to stay in the flat below theirs.

The condition: no male visitors. I abstained from everything male from my life from that day, including male capsicums and flowers with stamens. It was code pink. Till my cooler stopped working in the peak heat of June: I was in utter distress. That is when I asked my then-boyfriend, now father of my children, to come over and help me fix it.

He came that weekend. Well, let me spare you of the gory details. Let me just say we did not need to repair the cooler. The half-opened boxes were repacked the next day: the busted cooler, too, went in there.

The landlady personally supervised the packing, like it was some cockroach-exterminating operation. I was on the roads again.

Sleep... all I will

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Recently, there was this test in Facebook which put down my age as 25. This was based on my responses to questions like whether I like to get up early or go to bed early.

Now, getting up early and going to bed early — these have been two unresolved issues between my appa and me, and later, between me and my husband. Appa never allowed us to sleep beyond six in the morning. We would sulkily listen to his discourse on Saraswathiyamam and how good girls always got up early.

Even later, when I was home for vacation with my kids, he would tolerate my 'bad' behaviour for just two days. And then the reprimand would start, now with a difference: "How can you hope to be a good role model to your kids?"

In those days, getting up early was considered the hallmark of an ideal girl/wife. In fact, when I was married off, such a fear was put into my heart and soul that I used to get up now and again to check the time and sit shivering in the Bengaluru cold, waiting for the household to get up.

My survival instincts were strong and I managed my Jekyll & Hyde act cleverly: getting up early while at my in-laws's but sleeping my head off everywhere else possible.

My husband took up from where my father left off. 'Early to bed and early to rise' is his maxim. He bravely fought single-handedly to reform. When we went on those LTC tours to places like the Himalayas, we would prefer the cosy blankets to the sunrise at Tiger Hills.

I don't know how, but my husband would use the same tone and words as my appa's: "How can you be a good model to the kids? Sleep, you can, any day, any time, but not on trips like this!"

My daughter took after her dad, but the son had more of my genes. With a mother who refused to get up before sunrise, his job was much easier. "Wait till you get a daughter-in-law. That will be your day of reckoning," my husband would threaten with anticipated glee. That day also arrived.

Being a NewGen DIL (daughter-in-law) not set out to impress anyone, she keeps the same routine: getting up and going to bed late, whether she is here or there. I look on helplessly at my bahu, and my husband enjoys my predicament. No lengthy lectures this time, but only a sly smile towards me in a meaningful: "Now let me see how you handle it."

I know when a game is lost. A conscientious MIL (mother-in-law) with pronounced vices should not even try to reform a non-conforming DIL. But when you can't beat them, you can always join them. Thus, I get up only after she has. As for my husband, it is still lonely at the top.

Tropical treats

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It is pitch dark and there is no moon. The air hangs heavy with humidity and the smell of luxuriant wood. In the weak glow of a few torch lights, do I see a swift shape cloaked by night, scurry past me! A many-legged quiver of fear slithers up my spine as the dark wall of trees merge with the darkness of night to look like the ramparts of a sinister castle. Add to this the eerie silence that is broken only by the sounds of the jungle. I might as well be in the thick of a menacing thriller plot!

Even as I wonder if I had made the right decision to come out on this nocturnal journey, a six-year-old in our group squeals with glee having spotted some creature up a tree trunk. A fluttering in my belly threatens to grow into a paralysing weakness as I imagine this creature, whatever it is, pouncing on me. Our guide cautions us to silence and flashes his torch on the tree to reveal a furry spider, one of the deadliest of arachnids species. He remains immobile, majestic against the trunk's mossy background, seemingly impervious to the streaks of light flashed upon him. Our digital devices click away furiously as he seems to oblige us by remaining motionless.

A little more than a dozen of us, tourists from all over the globe, of all ages, are on a Night Jungle Walk at Taman Negara, Malaysia's largest national park and one of the world's oldest tropical rainforests. Skirting the forest for a short distance is the resort where we are staying. The jungle tour begins barely 200 m from our cottage as we step on to a well-laid elevated wooden pathway that is actually a cleavage through the maze of a dense forest.

I calm the tremor in my limbs, wishing my visual senses could have been a match for these nocturnal beings! However, I continue to follow our guide who has his ears and eyes keenly perked to identify sounds and sights to point out to us little-known inhabitants from the insect world. Taman Negara, our guide tells us, is a haven for several endangered mammalian species including the tiger, leopard and the Asian elephant. "But you'd be lucky if you get to spot anything more than some deer, or a tapir, perhaps," he adds. Paradoxically, I feel a sense of relief and disappointment in equal measure on hearing this.

We see a couple of scorpion species, a centipede or two, and a few other insects including the stick or twig insect, which kindles our curiosity. Well, the creature could easily be mistaken for twigs, from which it derives its name. We learn that it's a slow-moving creature that mostly confines itself to the ground level and can remain motionless for hours together. We are fine with this for we are able to leisurely capture him on our lens without fearing he would scuttle away. Our destination for the night is the overlook or observation deck from which we could spot the more challenging natives of the wild, should we get lucky.

Of course, we don't! The deck overlooks a waterbody, and far away on the other side, our guide points out to what looks like a pair of headlights. There is a rush of adrenaline as we flock to a corner of the platform to catch a glimpse of the majestic feline as our fertile imagination supposes the creature to be. Only to discover it is a deer come out for his nightcap!

I am happy and relieved to get back to the safe confines of our chalet at the end of an hour-and-a-half of jungle trekking, only to return to it the next morning, albeit along a different and denser route.

Morning shines pearly light on the mist-kissed rainforest as we embark on the three-hour trek to experience the world's longest hanging-bridge canopy walkway. We take a five-minute boat ride from the cottage to reach the base of our trekking trail, which is itself at an elevation of a few hundred feet. The menacing woods of the previous night take on a different hue as nature unveils herself in all her stunning glory. The rays of a morning sun ignite the treetops in a burst of myriad shades of emerald. Beneath hugely tall and ramrod- straight trees flourishes a whole world of closely packed flora that includes climbers, creepers, palm fronds, foliaceous and variegated plants.

Wilderness for company

We are a lot more Homo sapiens undertaking the hike this morning, suitably attired in trekking shoes and summery cottons. Loud whooping bird call rings through the trees, signalling the beginning of another busy day in the life of these jungle avians. The ambience looks less intimidating than the previous night. But even now we do not get to see any creatures of the wild, but the journey itself is a revelation. We are stunned by the amazing variety of forest flora, the insect world, and not the least by our own physical well-being to negotiate steep inclines, almost vertical in places, against slippery soil made wet by dew. Of course, there are a couple of tricky stretches that give me goose pimples, and my heart is in my hand because there is no rope or support to hang on to! A little slip and I would go diving into a fathomless abyss.

As we prepare to make our first halt in the midst of the thicket, we see some creature dash up a liana and quickly disappear from view. Awo, our guide for the morning, tells us it is the common agamid lizard on the lookout for his breakfast.

An hour into the canopy trail, it is a trudge for many of us. Following brief breaks at two or three vantage points, we are finally at the base of the canopy walk. We gingerly climb a flight of wooden steps to enter a cabin on stilts. It opens out to the half-kilometre walkway, the world's longest hanging bridge suspended at a height of 40 m. We are advised to keep a safe distance of at least five metres from each other while walking on this 'dancing' walkway, and not indulge in any acrobatics.

Speeding on water

It doesn't matter that I have walked the Lakshman Jhula in Rishikesh several times and the walkway in Karnataka's Nisargadhama. Butterflies somersault in my belly as I step on to this swinging bridge, hoping to reach the other end in one piece. A few tens of metres into the walk and I'm thoroughly enjoying myself, absorbing the brilliant vistas of the greens and the muddy waters of the Tembeling river below, dotted with several boats and rafts. Three hours of trudging, half an hour of walking in air and I'm now ready to take on the rapids. A whirring sound and our wooden raft throbs to life, coursing smoothly on the still-muddy waters. There is a rush of adrenaline as we come upon the first of the rapids. Six more follow by the end of which we are drenched and tipsy from the thrilling experience.

Of course, no stills or video on this aqua trip to capture our squeals and shrieks as the boat threatens to turn turtle. We and our digital devices are safe and happy for our adventure in Taman Negara National Park, established in 1938-39, covering the three peninsular states of Pahang, Kelantan and Terengganu.

Clouds adorn this hamlet

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I have a fascination for mountains. I find it extremely hard to resist the call of mountains. So, when a friend suggested we visit Meghma, a sleepy village in Darjeeling district, I just packed my bags and landed in Darjeeling.

It was October and the nip in the air was unmistakable. Early next morning, we began our journey towards Meghma, located along the popular trekking destination of Sandakphu. We hired a vehicle up to Maneybhanjan, which is the starting point for trekkers to Sandakphu in the Singalila range. The place was teeming with trekkers, and it was exciting to watch their enthusiasm to undertake the arduous trek.

Though Meghma is only 12 km away from Maneybhanjan, not all vehicles are sturdy enough to make the journey. Result: we had to give up our comfortable vehicle for a tougher Land Rover. The ride up to Meghma was not bumpy. The view was simply out of the world.

The approach

And the fact that the town lies on the border of India and Nepal added to the allure of the place. Along the way, we stopped at various points to admire the views. Driving past a small hillock, the road descended to a valley. "Meghma," announced our driver. But, all that we could see was a misty veil of clouds. No wonder the place is called Meghma, the 'mother of clouds', we thought. As we approached the village, we could see a cluster of houses, huts and a red monastery. The place looked like a picture postcard. Clean, pollution-free, and above all, surrounded by snow-capped mountains. At 2,900 m above sea level, Meghma is mainly inhabited by friendly and ever-smiling Nepalis.

Our first visit in Meghma was to the restaurant in the centre of the hamlet. Sipping on piping-hot tea, we interacted with a few trekkers who were enjoying a hot lunch of curry and rice. They were surprised to learn that our visit to Meghma was just to enjoy the beauty of the place, and not as a transit point to any other trekking destination.

We proceeded towards our cottage in Meghma, a basic wood-finished hut. The place was cosy and anything but ordinary. Overwhelmed by our experiences, we decided to spend the rest of the day at the cottage. Evening being cold, we ended up sitting inside the kitchen, warming ourselves near the earthen oven, listening to stories about the place related by the friendly owner of the cottage.

In a place like this, every other person you meet becomes a friend. Very soon, a few villagers walked in for a cup of tea and we were all exchanging stories till late evening. They told us how agriculture was their main source of income, and how they were experts at making cheese and butter, too. We didn't remember how many cups of tea and how many bowls of scrambled eggs we downed.

Early next morning, all that we did was to have a cup of tea and toast, and watch the majestic mountains around. It was fascinating to see white stone-markers all around the place reading either Bharat or Nepal. Going around the tiny place, we also came across several men in uniforms who were manning the India-Nepal border. Eager to talk, they made it known to us that we were welcome at the place. They shared their stories and pictures of their families. Allowed to go home only twice a year, they told us they missed their families but took pride in their work. Two of them were even kind enough to accompany us to Tonglu, a hamlet just a two-km walk away.

Imagine the view

Along the walk, with the sun playing peekaboo with the clouds, we spotted several shepherds with their flock, and yaks lazing around. We walked in silence, enjoying the view of the snow-capped mountains around. One of the border security guards accompanying us pointed at the Kanchenjunga mountain standing as the tallest among the snow peaks.

Back at Meghma, it was another evening of peace at the cottage over endless cups of tea, aloobhajjis and bowls of hot noodles. The very thought of leaving Meghma the next afternoon sunk us into depression, but we cheered ourselves up thinking of our visit to the monastery the next morning. The monastery, known as Hoshel Dechenling Gompa, built in the early 1950s by one Pasang Tamang, belongs to the Nyingmapa sect of Buddhism, we were told. Housing 108 Buddhist idols, this monastery is a must-visit owing to the beauty of its idols and its quiet ambience.

It was time for us to leave, but we had loads of interesting memories of the place that would keep us company in the days to come.
Getting there


By air Nearest airport is Bagdogra, 85 km from Darjeeling.

By rail Nearest railheads are at New Jalpaiguri, 85 km away, and Siliguri, 75 km away from Darjeeling.

By road There are several direct buses from New Jalpaiguri and Siliguri to Maneybhanjan, from where vehicles can be hired.

Carry

Warm clothes & a comfortable pair of shoes. A raincoat is a must.

Movember reigns

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Its that time of the year when men are sporting the macho look and flaunting beards. Think no further, Movember or No Shave November is here and men in the city have their best unshaven look on in support of a cause.

It was in 2003 that two brothers in Australia decided to flaunt their moustaches and the following year, one of them who is also the co-founder of Movember, made it a symbol in support of prostate cancer. This is how the movement started.

Many men registered on the official website and showcased their clean-shaved faces transforming into lengthy beards and moustaches.

Many are supporting Movember while not being aware of the cause. Yet others are sporting elaborate beards as they believe that "most Indian men sport moustaches anyway".

Aviraj Satyam, an MBA student, a first-timer supporting the movement, says, "I understand the bigger cause behind the movement now. When we rest our razors and pause our visits to the salon during this month, it is a way to save
the money and help those who are suffering with certain health problems," he adds.

Syed Sajjad, an engineering student with New Horizon College of Engineering, says that Movember is not just about showing off ones beard but understanding the larger concept.

"For me, the concept is so important that even if I get any modelling assignments during this month, I stick by the cause and do not shave," he says.

He adds that more awareness campaigns need to be conducted to create awareness on mens health issues.

Be it a stubble or a full-grown beard, beards are a good way of expressing solidarity in style, believes model Rohit Lohmod.

"I sported a beard because it went with my style. But when I read about No Shave November, I took it more seriously. While I respect womens issues, its time mens issues are also taken seriously. I am excited to be part of a movement that can help bring these issues to the forefront," he says.

Actor and model Gaurav Gupta has always loved the bearded look.

"But, I am sporting a beard specifically for this month as the cause is dear to me. There are many men who silently suffer with health issues like cancer and depression and this movement is a silent symbol of the same," he says. Gaurav adds that apart from posting bearded photographs online, one needs to be broad-minded to talk about mens health issues.

"Often men shy away from talking about these ailments or depression and this is a strong way of supporting the cause," he says.

Sporting a beard has moved beyond a fad and is more about making a statement now and there are groups in the city who have taken up the cause.

Vishal Singh, founder of the Bangalore Beard Club excitedly shares, "We are hosting a Beardo-Thon at Cubbon Park on November 19 and a Beard and Moustache Competition on November 26 at the UB City. Fun pop-up events at different restaurant and bars to create awareness about cancer and mens health will also be hosted."

He hopes that such events will create opportunities for more interactions.
"They also act as a great platform to discuss topics like grooming and lifestyle habits openly and connect with people from all walks of life," he adds.

And we go, All for beard, beard for all!

'The band is a wild mixture of feelings'

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All-brass German Band Erpfenbrass has an unlimited and diverse repertoire and when combined with outfits as colourful as their music, it is no wonder they are in demand all across the globe.

The award-winning outfit has performed more than 1000 shows and workshops till date. Recently in the city to perform at Shangri-La Hotel for the Oktoberfest celebration, the band members, which comprise Sebastian Jäger, Christopher Schneider, Andreas Schmid, Alexander Parzhuber, Jan Jäger and Christian Grässlin, spoke to Rajitha Menon about their musical journey.

How was the band formed?

Sebastian: The band was formed in 2009 by my brother Jan and I and our friend, Andi. We started by playing at shows and so, even before we began our professional careers, we became famous in the scene. At University, we got the idea to unite the crème de la crème of young professional musicians from Germany. This is how Erpfenbrass was born.

How would you describe your music?

Christopher: Funk, brass, pop, jazz, party - there is no way to describe Erpfenbrass in a single word or style. Like the members, the band is a wild mixture of feelings, emotions, moods and energy.


It is said you differ your line up according to the needs of the occasion. How does that work?

Jan: Imagine a summer night at a beach club with relaxed music and a view of the sunset. It calls for bass and saxophone and smooth vocals. But a traditional jazz brunch or a swing night will need different music. Distinctive styles of music require something unique from the musicians and we try to cater to that.

So the original band...

Jan: The original Erpfenrass consists out of a six-musician lineup. Most shows are played with this lineup. But here in India we travelled with a four-man lineup and traditional old German instruments. This was to fit the travel needs and play in the streets as well.
Favourite performance venue so far?

Alexander: We played at a professional firefighters wedding. Lars loved his job and so we played on top of a rolling firefighter truck at the local fire department. Apart from that, we loved playing at the Woodstock of brass music in Austria, in front of 40,000 people. That was a one-of-a-kind experience as well.


Thoughts about India music?

Christian: Indian music represents the spirit of the people here. What we heard so far was done with passion and perfection.

Have you heard the works of any Indian artiste?

Andreas: We have heard the songs of Ravi Shankar and loved it. And of course, Best Kept Secret, the band we played with at Shangri-La.

What do the band members do in their spare time?

Sebastian: What we really do is preparing for the shows. Sometimes we just like to relax and get some rest whilst drinking beer. Sometimes we look at old buildings, chill at the pool, visit museums, read books and so on.

Any mishaps on stage?

Alexander: During a concert four years ago, a cable broke and the guitar stopped working. Hence, Andi had to switch from guitar to quetsche really fast and play the songs in another key with another instrument. The audience loved it though. Since then, we always double-check our cables before starting.

How do you handle goof ups?

Andreas: I think every musician will have many such stories to tell. We took all those lessons seriously and learned from mistakes on stage - whilst performing spontaneously so the audience doesnt recognize it.

What do you like the most about India?

Jan: We love the culture and the people here. As far as our tight schedule allowed, we went outside. We visited a lot of places and talked to some nice people. Lal Bagh was amazing and so was the food. We are definitely coming back.

'I believe in being prepared for the best'

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The digital world became a funnier place after Sahil Khattar started making YouTube videos on the channel Being Indian. He walked around the streets asking people random questions and soon began to be known as Road ka Raja.

He started off in the entertainment world at the age of 17 as a radio jockey. He moved to Mumbai a few years later and started writing dialogues and exploring acting. And now, the internet sensation will be seen hosting Dance India Dance along with Amruta Khanvilkar.

He chats with Anila Kurian about his rollercoaster journey and his future goals.

From being an internet star to entering the television world. Does it feel like youre starting all over again?

Not really as I have been working on the backend, writing and producing all this while. Its just that joining the digital world gave me the opportunity to create content without any strings attached and helped me pay my bills. I just consider this phase as another feather in my cap.

Do you find any similarities between both these mediums?

Everything is similar to everything. The baseline and punchline are the same. Theres always a story, entertainment, drama and romance. The basic definition is the same; its just that its done differently.

How does it feel to be part of Dance India Dance?

Well, its a show thats looking for the best dancing star and its only apt that they were looking for an anchoring star too (laughs).

Jokes apart, Im honoured
to be a part of the show. I used to write scripts for other hosts and I always wondered when my time will come.

What else is on your plate right now?

Im working on a show with Voot called Big Buzz which is a spin-off of Big Boss. Theres also another show on MTV Beats and Im working on my pet projects in the digital world.

Your parents werent too supportive of your career choice. Whats your relationship with them now?

Theyve become so supportive that they are living with me in Mumbai now. I guess Ive proved to them that I could do it. I believe in being prepared for the best and expect nothing so that everything and anything that comes your way will be a bonus.

You gained recognition with your work in Being Indian. Can you share an interesting fan moment?

Apart from the girls screaming when they see me, something interesting did happen. I was at a club and I was sitting in the corner. I suddenly felt two hands and a kiss on my bald head. I couldnt find the person after that. So when I noticed the lipstick mark later, I understood that it was a girl. Long story short, she tried to do that again a while later and was finally caught.

Will the audience get to see more of you in Being Indian?

I dont know about that but you will definitely see more of Sahil Khattar otherwise.

Youre already known as Road ka Raja. What next?

Bollywood, it has to be Bollywood.

Renewing a French connection

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For many years now, Bengaluru has topped the list of the most preferred metropolitan cities by expatriates. Ever increasing career opportunities and the pleasant work culture are some of the main reasons for this, apart from the abundance of green space in the city.

These thoughts are echoed by Anais Libralesso from Nice, France, who landed in the city exactly a year ago with her husband Salim Said and their three children Ilan, Naila and Imani.

For the family, the city has proved to be a melting pot of surprises. When her company, Amadeus India, offered her an opportunity to work in Bengaluru, Anais was more than excited to continue her professional and personal journey in a new place among new people. She works as director engineering with the company.

"Our stay here has been quite peaceful. We have finally settled down and are embracing the citys way of life now. The best part is that my children are enjoying their days in the school
and have made friends too," says Anais.

She adds, "India was a land we were yet to discover. Initially, when we came here, we looked forward to exploring the different cultures and architectural splendour by travelling the length
and breadth of the country. However, that plan seemed to be difficult initially as Bengaluru itself is such a huge city and we still have so much to explore here."

"Having said that, we go for family vacations whenever we get time. Belur, Shravanabelagola, Mysuru, Delhi, Agra, Jaipur, Udaipur and Jodhpur are a few places we have visited within the country as of now," she says. Even with such extensive travel plans, the family can mostly be found spending time at their apartment and hanging out with friends within its premises, thanks to the Bengaluru traffic.

During weekends, the family goes to watch movies, sometimes even Bollywood ones. Apart from taking a liking to the culture, Anais says that they have also fallen in love with the culinary heritage of the country. In fact, she says, all of them relish the different flavours.

When asked what she misses about her hometown, Anais says with a touch of nostalgia, "I miss running in the forest at noon during the lunch break during my childhood. And green leaves! Here the leaves have all been coloured orange with the dust from the new buildings, that keep getting built here."

For Salim, it is the weather that attracts him towards the city. He says, "Bengaluru is sunny every day, unlike in France where the weather is always cold. I am also enamoured by the fact that we can easily get different things like mango, cassava and sweet potatoes here."

Talking about her encounter with people in the city, Anais says, "Apart from the usual hiccups one experiences while settling in, we have not faced any specific issues otherwise. It is not at all difficult to mingle with people here, they are very welcoming. I believe that it is important for me to keep an open mind about the place I am in and the city will automatically accept me. From what I have seen, people in India, especially in Bengaluru, are very close to their friends and family. I like that!"


Licence to quill

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Saba Kausar has an eye for detail and we are taking the pun very literally here. The ophthalmologist has an inclination towards detailed, minute works and strives for perfection - a tendency which is seen in her profession as an eye specialist as well as her hobby of quilling.

"I was interested in arts and crafts since childhood but once I got into medical college in 2004, I stopped. I didnt have time as I was concentrating on my studies. From the beginning of this year, when I finished my course and started working, I started devoting my spare time to this again," she says.

From stuffed toys and handmade candles to quilling on plastic glasses and stitching - she has tried it all. "I think I got my interest in this field from my mother. She does a lot of embroidery and is a true perfectionist. I dont think I have got her talent but I have tried to learn a few things from her," says Saba, adding that the rest of her lessons were largely
by way of experimentation and watching YouTube videos.

Floral motifs are a recurring theme in her creations, many of which find their way into the hands of relatives and friends as gifts. "They love the fact that I spend so much time for them and make something that will reflect their likes and dislikes.
Out of all the things I have made so far, the nameplate that I made for my mother-in-law for her birthday remains my favourite. I was newly married and hadnt started working yet. So I had time to sit and create something truly special and she loved it," recalls Saba.

Time remains a constraint as she puts in many hours of work at the clinic every day but she still manages to find time to indulge in her passion and throw in an occasional visit to Raja Market as well.

"I get my raw materials from Raja Market. For me, that place is like heaven. You get anything and everything there, I feel so excited when I go there."

For inspiration and feedback, Facebook is her go-to place. " I am part of a group called DIY Creations in Facebook. There, I put up pictures of my creations and also see what others are posting. There are many new and innovative things that people are trying and this inspires me. But my ideas are my own," she says.

Saba plans to keep pursuing her interests even in future, both because she enjoys the pastime and because it acts like a stress buster for her, and wishes to display her works in a show or exhibition soon.

Comfort comes calling

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Inspired by Nauticas ethos of sea meets city, the latest line is all about the
nautical style and casual elegance. The garments in this collection come in stripes, floral and quirky prints and include checkered shirts in classic navy, greys, greens and corals.
Talking about the collection, Parag Dani, CEO BTL division, Arvind Lifestyle Brands Ltd, says that while the mens collection has a dual colour palette of traditional red, white and navy along with lighter accent colours like sky blue, heather grey and coral, the womens line is a mix of jewel tones, and transitions into a palette of soft, heathered pastels.
"Athleisure is seen throughout, with cozy raglan logo crewneck sweatshirts in several colorways and half zip pullovers with intricate back graphic detailing. The quintessential trims and finishes are found everywhere this season," says Parag.
The denim for the holiday season ranges from soft washes like light tidewater to darker, heavier washes like smoky blue or pure dark pacific.
"Versatility, comfort and quality is the thrust this season. Our creations are centered on heritage, with modern updates, crisp and clean in silhouettes," he adds.

The womens collection has sweaters with stripes and flared bell sleeves. There are also colour-blocked knit sweaters as single dresses and those that come separately in blueberry and scarlet.

"Stripes and floral prints are seen on scoop neck blouses and shift dresses. A key piece from this range is the cotton Kaftan top inspired by blanket textile, woven with heathered yarn to
offer a sun-bleached look. You could also use a lightweight denim bomber jacket to contrast the look," he adds.

The brand also stocks an interesting range of accessories from watches, wallets, belts and other accents which complement the clothes.

"The accessories are reflective of our heritage and focus on the same detailing and inspiration as our apparel line," says Parag.

'I want to be remembered as a good soul'

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He started his musical career at the age of seven and there has been no looking back for Shwetaank Gupta since then. He grew up with a penchant for Indian classical music and showcased an early understanding of instruments like harmonium and the sitar. After graduation from Berklee College of Music, he shifted his focus on the blues and electronic guitar. Now, he goes by the artiste name Shwe G.

With his incredible talent and extensive learning for music, Shwe is currently based in New York City working on his debut album. Together with NYC-based Benny Benson and Las Vegas-based Spicy Gringo, he has written, produced and recorded over 25 studio tracks.

In a conversation with Anila Kurian, Shwe talks about his upcoming album and what its like to be an Indian musician based in New York City.

What encouraged you to join the music industry?

I started playing music at a young age. But it was when I first joined Berklee College of Music in 2012 that I knowingly entered the music industry with thousands of other active musicians. I believe that paved my way into the industry.

Did you always know that you wanted to be a musician?

Nobody always knows what they want to be. I wanted to be an archaeologist when I was in the sixth grade. I was fascinated with history, I still am. But I guess watching my idols in my pre-teens, made me realise that they were liberated on stage. Thats what I wanted, that feeling and I decided to pursue music as my life.

Tell us about your debut album.

The record titled 2017Madison is a recollection of my experiences. You can hear a lot of my soul and a quarter of my life, literally. I have collaborated a lot for this, so much so that it is hard to keep up. You can also expect to hear a lot of New York elements if that makes sense.

What kind of musician do you want to be known as?

If I am going to be known at all, I want to be remembered as a good soul, a good compassionate being. Being a musician is secondary but I think a legacy is valid and truly valid only when you touch peoples intrinsic thoughts and reach out deeper. I guess I want to be and want to be known as the most relatable musician in any given century.

What has been your greatest achievement so far?

Being in New York, I have met people from different countries and for them to trust me with their music is indeed an achievement. Never did I think, being in suburban India that I would be in a studio session with somebody from Ghana or Grenada. Its insane how much I get to learn from diversity.

What do you enjoy about India?

Everything. I am an Indian and will always be. India is a very special place and it is a religious experience in itself to be born here. Never did I learn a greater deal about secularism than anywhere else in the world. I think the music scene is just fantastic and its headed in the right direction. I am very positive about Indian music scene and the rapid growth of aspiring musicians who want to pursue music as a career.

Any other interests apart from singing?

Singing good, I guess. Also, everything that has to do with music. Song-writing, composing, guitar-playing, producing, touring - the whole nine yards. Apart from music, I like to
read.

How do you spend your free time?

I have hobbies, a lot of them. Photography, reading and watching old movies.

Any other projects youre working on?

I am working with the pop duo Ehrie; they are about to finish their record and I am psyched personally. Apart from that, I am touring with a few other acts as a guitar player because I am very much fascinated by the rhythm section of the band and I want to nail it.

'I am now learning martial arts'

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Actor Avantika Shetty, who was last seen in RangiTaranga and Kalpana 2, returns in the role of college-goer in Rajaratha. The actor began her career on the small screen and worked in short films before making her appearance in RangiTaranga.

Avantikas experience in television serials prepared her for a career in the film industry. The films she is working in have given her the freedom to add her own flavour to the character. The actor is glad that her contribution to all the projects is more than just acting.

In an interview with Nina C George, Avantika talks about her entry into the film industry and more.

What is different about Rajaratha?

I had heard the script of Rajaratha when Anup Bhandari was still working on it. But I didnt know that I would be a part of the project till I got a call from the crew a year ago.

I agreed to it because I admire Anups unique skills when it comes to telling a story. I also like his style of narration. Like RangiTaranga, Rajaratha looks at the most ordinary things from a different perspective.

How do you relate to your character?

It took me a while to connect to my character because it is different from how I am in real life. I play a very soft-spoken and shy girl in the film. I remember that I was very outgoing and almost like a tomboy in college.

I think I still carry some of those traits with me even today. After a lot of hard work, I have managed to strike a connection with the character.

On working with Nirup...

I am very comfortable working with both Nirup and Anup. I have the freedom to openly tell Nirup about what works and what doesnt. I dont have to think twice before saying anything to him.

What were some of the preparations that you have done for your role?

I had to lose some weight and I worked on toning up my body. We have made all efforts to match the look to the body language of the character.

You have had a lot of love stories coming your way. What is your take on love?

I believe love can change a person from within, but I dont believe that someone should change his or her personality just to fit into the another persons scheme of things.

How is working in television different from films?

Work in the film industry is less monotonous compared to the television industry. Unlike in television where you play the same character, films give you the opportunity to work on different characters.

What do you do in your spare time?

I am now learning martial arts. Since I dont like working out in a gym, I do a lot of running and train outdoors.

What is your mantra to beat stress?

I dont get stressed over anything. In fact, I get excited about the smallest of things. I also do a lot of meditation which helps me tide over tough times.

Touching frames

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The lives and stories of people who belong to the queer community dont get fair representation in mainstream films and television.

With the big names in the industry reluctant to ensure that the queer community gets its due voice, filmmakers from within the community are coming forward to make documentaries and short films highlighting their problems.


Sridhar Rangayan, who made his first LGBTQ-themed film in 2012 called Gulabi Aaina (Pink Mirror), has since been making films about the community. His films like Yours Emotionally, 68 Pages, Purple Skies and Breaking Free portray their problems in a sensitive manner.
"We hope the viewers take home a sensitive story that offers an insight into relationships that are put to test by lifes realities and shifting shadows of time," says Sridhar, who admits that his commitment to the community springs from the fact that he is one of them. "I want to see our lives portrayed in a sensitive manner," Sridhar asserts.


Is it easy to get funds? "The resources are hard to find and it is a huge challenge for filmmakers to make films on LGBTQ subjects due to the constraints posed by industry perceptions, market forces and censorship," he explains.

There are many like Mujeer Pasha, a writer and filmmaker, who feel that it is the ignorance about the community that makes people averse towards them. Mujeers film titled, Project Indian Bride seeks to explore the stereotyping of transgenders.
"Storytelling has been the most effective way of communicating an idea or sowing the seed for something good. These films wish to showcase people of the community as normal human beings. It is like a wake-up call to people in the mainstream society to accept them," he says. He feels that positive stories on the community will help society look at things from a different perspective. "This increases the level of acceptance of society towards queer people," he says.

Software professional and amateur filmmaker Dolly Koshy, was moved after she saw how lesbians were sidelined and decided to make a film based on them.

"It is only when you mingle with them that you realise that they are ordinary people. It is just that their sexual orientation is different. But that doesnt make them any less human," says Dolly.

Her films Love, Lust and Leela and Love is all you need give people a peek into the lives of lesbians. "My films are an attempt to create awareness and draw peoples attention towards the life of lesbians. I look at filmmaking as a social movement to initiate change for the better," Dolly signs off.

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