June 20, 2017

‘Sitting in the mountains, I remember the sea: tinsel on a vast field of water, and sunny white sheets billowing in the wind.

I remember a forest of nodding flowers and patches of red, yellow, green and blue light on a wall.

And I remember a little boy who ate a lot of kofta curry and was used to having his way.’

The Sunday Guardian carries an excerpt from Lone Fox Dancing: My Autobiography by Ruskin Bond.

June 19, 2017

‘I chose to name my story “The Adivasi Will Not Dance” as an act of defiance. Adivasis are made to dance at government functions, are made to entertain VIP guests, but what do they get in return? Adivasis are among the major casualties of all the development programmes of the government, be it roads, dams, power plants, or any factory or industry for that matter. So what might happen if Adivasis refuse to dance at a government programme, which has been organised to lay the foundation stone of a thermal power plant which would, again, displace several Adivasis from their villages? So, once I had this idea, I turned it into a story, and since my editor and I had this feeling that this was the strongest story in the collection, we decided to name the collection The Adivasi Will Not Dance. .’ Hansda Sowvendra Shekhar’s interview with Preeti Singh, The Sunday Guardian.

June 19, 2017

‘No one ever bothered me, neither man nor beast. I was conscious all the time of the silent life in the surrounding trees and bushes, and on the road. I smelt a leopard on a couple of occasions, but did not see it. I felt the warmth of a body very close behind me, but when I turned there was no one.’
Scroll carries an excerpt from Lone Fox Dancing: My Autobiography by Ruskin Bond.

May 10, 2017

‘The Adivasis of India have been subjected to systematic oppression for centuries and postcolonial India continues with the same processes by different means. Hansda Sowvendra Sekhar’s short story, “The Adivasi Will Not Dance” explores the subalternization of such communities as well as the evolution of subaltern consciousness, as manifested by the protagonist of the text, Mangal Murmu, whose monologue constitutes the narrative.’
Click here to read the entire paper on ‘Examining Subalterneity in Hansda Sowvendra Sekhar’s The Adivasi Will Not Dance‘ published in the journal Postcolonial Text, Vol. 12, No. 1 (2017).

April 19, 2017

‘“I’m a romantic at heart. I have lived a life which is a bit like escaping from ugly realities, not because I like people less but because I like the mystery of wild animals more!”’ Click here to read an excerpt from the interview of Jonathan Scott, author of The Big Cat Man with Indian Express.

April 17, 2017

‘People often look at someone and wish they could do what that person did, but soon they figure out a reason why they can’t. The point is, they can if only they believe in themselves. This book is the link between the dreams and the journey with which I want to inspire people. I want to tell them that I could do it only because I was determined and persisted with my dream.’ Heena Khandelwal, DNA India in conversation with Jonathan Scott, author of The Big Cat Man.

March 31, 2017

‘Is this, at last, the great Marwari novel of modern India?’ Scroll carries an excerpt from the book Harilal and Sons: A Novel by Sujit Saraf.

March 28, 2017

‘The writing of Murder in Mahim was not easy, to say the least. I kept finding holes in my own story. How does he know that? Who led him to see that? Why does he say that? Each time, I had to work on a solution and then fit it in, as seamlessly as possible. I may be tempted again but it would need to be a huge temptation.’ Click here to read an excerpt of the email interview of Jerry Pinto with Indian Express.

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