Haroun and the Sea of Stories; Salman Rushdie

I do not remember the last time I was grinning, smiling, excited, and as eager to know what happens next – as I was – when I was reading Haroun and the Sea of Stories by Salman Rushdie. For a while now, and age probably has got something to do with it – I have ceased to call things – life-changing. Perhaps, as we go along in our life and get to know that lesser life remains, perhaps there is less of life to change.

For two days, I lived an experience similar to that when I used to read story-books, a long time ago. That experience has a few determining qualities:

First, it creates heart-wrenching curiosity to know what happens next. There is excitement due to the dark shroud of dread, fused with a bright tube of hope. You feel all the emotions that the author wants you to feel. There is a sense of freedom in those slavish moment.

Second, the experience allows you to allow yourself to allow irrationality that we have absorbed from this world. And after we have allowed this willing suspension of disbelief, the fantastical journey becomes your own and you travel beside every character as you do with people in your everyday commute.

Finally,  it remains with you. Stories told well have a lasting impact on you. Think about the grandmother-generalisation, if you will. Her stories are the ones that have remained with you for ever. Grandparents in general and grandmothers in specific are prone to developing skills of good story-telling.

This is the first book by Salman Rushdie that I have ever read, and like most others, I know more about his infamous book and the surrounding controversies than anything else. If you have been following my reviews for a while, I usually refrain from superlatives, but this is the work of a genius.

Potential Spoilers Ahead

The story runs at three levels. In order that they were revealed to me: The first one and the most enjoyable is the story itself – the vents, the characters and their lives and accidents. Below it, not very well camouflaged is, a political and social level, which an adult will want to uncover. The partially concealed metaphors make you want to probe within the store of your mind about relationships, meanings and linkages. The last one, is philosophical. This is a layer that can be said to be common in almost every book, because of the subtle nature of philosophy and its ability to be found almost anywhere. Yet, in this book, it stands strong. It is forceful and has an enduring after-taste.

The meat of it, however, is still in the story and the adventure. It is fully fantastical, curiously exaggerated , and a challenge to your imagination at all times. The language is young and flows like child-like curiosity and mischief.

It is not, as I have now stopped calling things – life-changing – but it is definitely a book that may allow you to change your perspectives about some things in life.

In the worst case, it is a beautiful story – and this is such a wonderful worst case to have!

Empires Of The Indus: The Story Of A River; Alice Albinia

Somewhere in the middle of September 2009, was when I started reading this book. As I went through the early pages, I slipped into a comfortable and complacent state – I would finish reading Empires Of The Indus: The Story Of A River in a few of days; I’ll cruise through it, I told myself.

It wasn’t to be so.

The history of the river and of the ‘empires’ and the folklore and the community that laces this river challenged my curiosity as I, now, slowly made through the pages. The excitement that the author causes as she takes you, deftly through the caves and waterways and tunnels of 19th century history, folk-tales, social issues and right up to history that occurred a few thousands year ago – is a wonderful ride.

Your affinity for history will be of some importance as you read this book. First, because though it is on my history bookshelf, I would not classify this as a ‘history’ book as such. The other option is travel – but it does not sit snugly in that bookshelf, either.

To my mind, it is a biography – of a geographic feature. There is research there – loads of it – as becomes evident when you read through – yet the book is not blemished with distracting footnotes.

The writing is straightforward, simple and inviting; to participate in her adventure. And never a dull moment in that adventure (I must say warn, you must have that streak of historic curiosity to some extent). The content very easily incorporates facts, whole stories, references, extreme emotions, and a sense of belonging. It has been a while, since I have enjoyed reading non-fiction history.

So after having started it in September 2009, I reached 2/3rd of the book by January of 2011. I cannot read books on history without context – I need maps, some background to an event, and an overview of the chronology. The book is now full of post-its and notes. For various reasons, I did not read the book after that. When I picked up the book again, earlier this month, I obviously could not recall the adventure earlier. Back to page 1. Thankfully my notes allowed me to cruise through, the pages I had read.

Pithy observation and insightful comments mark the book in equal measure. I loved the book!

Innocent Traitor; Alison Weir

It’s much better if you love history. Even if you don’t, the format of the book should compensate for the lack of interest in historical books. This is not historical fiction, though the writer (Alison Weir) has taken the liberty of imagination at certain points, and to good effect.

The places where the text adds imaginative adornments are described at the end of the book, so, if you are persnickety about poetic license, you wouldn’t be too upset.

Personally, interest in the life of Lady Jane Grey was kindled because of a painting that hangs in the National Gallery in London The Execution of Jane Grey, by Paul Delarouche. While I consider myself to be fairly illiterate in terms of art appreciation, this particular masterpiece, has somehow always attracted me to it, sent many a question to my head and made my heart go in a knot. It was indeed fortuitous that my artist friend picks up the book and asks how come I missed noticing this book. I am happy, however, that she did notice the book and I did pick it.

The book is written in the first person, which helps change, the perspective of looking at history. You look at the events from the point of view of the character, in the event, at that time. It adds certain emotion and ‘personality’ to the event(s) and allows history to become warmer than a chronological the presentation of cold facts. And a brave attempt, may I add, for Alison says:

[…] I have tried to penetrate the minds of my characters, which is something that serious historians attempt only at their peril.

There are, I know, a few fussy writers who insist on the facts and the gaps in availability of historical data to be left as empty and dark as a question mark. However, this book, does offer a glow in that abyss. John Man, for example, speculates fairly well when he has to deal with gaps in history. His fillers, however, are more based on reason and logic. He does wonderful justice too – makes for interesting reading. Yet, it is all in the third person.

To read something written by the character, is a new-found pleasure for me.

Creative Authenticity: 16 Principles to Clarify and Deepen Your Artistic Vision; Ian Roberts

If you were a stickler for categorisation of books, you may put this under self-help or guides. The back of the book claims it belongs to ART/Creativity – but to my mind, this is misleading – to an extent.

Yes, the book has been written for “in-service artists” (painters and writers, the author says), though I found the matter in the book quite relevant. The problem there is not about whether one is creative (as the author describes towards the end of the book), but, probably about who is an artist?

Visual and performance arts have always been considered the domains where creativity abounds. To my mind it flows in every aspect of our life. And if there are sixteen principles to help define the authenticity of your creativity, I think they might be well useful for all of us.

Ian Roberts writes, in very plain and straightforward manner, “16 Principles to Clarify and Deepen your Artistic Vision.” And he does a fantastic job of that. Even if you are way ahead in having formed your opinions about creativity and believe that these have matured like dried acrylic on canvas, it would do you well to read Creative Authenticity: 16 Principles to Clarify and Deepen Your Artistic Vision

There is a lot you may be able to add to your perception of art, creativity and your belief.flag

Creating a World Without Poverty: Social Business and the Future of Capitalism; Muhammad Yunus, Karl Weber

Without doubt, this is an inspiring book.

I did not have a specific expectation of the book, when I started it – having known about the Grameen initiative and its activities. I started reading this book as a part of a course that I am doing (required reading). In reading the book, however, many ideas, thoughts and guiding philosophies came to the fore. It is quite revealing about how the idea of micro-credit has worked, their systems, processes, and importantly – the role of the “human” factor in a business (whether social or profit-oriented).

It is a simple read, employs simple language. It is also a smooth read – something that you do not encounter quite often, these days. There may be a good reason for this. Dr. Yunus knows exactly what he believes; perhaps that’s the reason for his articulation. He works with such a broad spectrum of people; perhaps that’s the reason for the simplicity of presentation. It is, really a story book: a story of the Grameen initiative, the genesis, the growth and the future. There are a few compelling and innovative ideas and thoughts for businesses of all sorts – the focus, undoubtedly on social businesses. Not all of them are laid out on a platter for you in a bulleted list or in a grid like a standard management help book. But without explicit mention or presentation, they come to the fore.

As I neared the end of the book, however, I felt a sense of obstinate and inflexible stand on the constitution of a social business, and the ideas for the future of social business and the new world order became slightly vague, and romantic even. For someone who invented the concept of a social business, I found this stand — of strictly separating financial and social profit — suffocating. No doubt, he provides good reason for this strict separation; to my mind, however, it is the basis of confining a mind to think further. When the description of an innovative idea (the Grameen initiative) disallows further innovation (that has a chance of making it popular and bringing more people to the idea), it seems counter-productive.

It is still a good book and it still worth reading

The Tao of Photography: Seeing Beyond Seeing; Philippe L. Gross, S. I. Shapiro

I chose this book because of a post I read, while surfing for something about psychology and photography. (Don’t ask me why, I now, don’t remember). But I am glad, I did. It is good book, and probably deserves more than the three stars I have given it.

The Tao of Photography: Seeing Beyond Seeing is a book that may get easily misinterpreted as a book about photography technique. It does talk of camera work, method, and techniques. But it is not a book that teaches you photography. At all; if you ask me. The book provides a context to being a photographer in a Taoistic framework, if you will. The book is replete with references and quotes from famous photographers who have found the zen-like state as they took their photographs.

It is essentially a philosophy book, in the context of photography. And an important one, I would think, as more and more of photographic work becomes slave to micro and meta definition. While understanding the science and the technology of photograph is important (and the book makes a small case for it), photographers have an urgent need to get out of the rut of classification and belonging – as more and more photographs start looking the same, there are few that pierce your heart and ooze out emotion, the way they should. Of course, with so many photographs being clicked in the world – finding such photos has become very difficult indeed. But if you do understand this philosophy and are able to import it in your ‘act of photography’, you may find your self discovering things about your art – especially, if you feel stagnated in your work.

The book itself has a very interesting and varying showcase of work from some of the greats, which makes it an interesting read as visual context to the words is woven well. Some of the sections are repetitive – and I have now resigned to this form of writing by most contemporary writers of the non-fiction genre. It seems that constant reminders of the theme of the book is the new template and technique of the modern non-fiction.

If you would like to understand the mind and state of a good photographer, this is a very good book. If you expect tips and techniques to take good photographs, this is not a very good book. If you are willing to keep an open mind and be with the book and yourself, you might discover some interesting secrets about the art you love so much.

Educational philosophies of Swami Vivekananda and John Dewey; D. Vijaya Bharathy

While the subject matter of the book is quite interesting, the presentation and the format of the philosophies, leave much to be desired. For one, the book has apparently not been copy-edited. Spelling mistakes and bad sentence construction abound. Most sections are toxic repetitions, for no apparent purpose.

Since this is a comparative study, you would expect some level of academic and analytical exposition of various attributes of the the philosophies of these two great thinkers of education. The last section, where the comparison is done, is done at a very objective, almost binary level. To someone, who may have an objective-type question paper to answer, this may serve as a good textbook, but for someone trying to understand, internalise and look for a critique of these two thinkers, there’s nothing in the book.

It is doubly unfortunate that while there is a significant body of content that can come from Indian academia –  it is lacking, and; that whatever literature we may find in these subjects is way below quality in content as well as presentation. I do not recommend this book to any serious reader — you are better off reading their biographies and philosophies separately and comparing them yourselves.

The Black Swan: The Impact of the Highly Improbable; Nassim Nicholas Taleb

A fine book. It took three failed starts before I finally got in the groove and completed the book. This, for me was a classical case of “you don’t go the books, the books come to you” and similar esotericism.

One problem, about this book, and I wonder how NN Taleb agreed, was its classification as a book on economics. The range of the domains that this book wanders through are many: sociology, history, philosophy, epistemology, science, mathematics, psychology and of course, economics.

The initial pages are a bit daunting for the casual reader, and unless you tune in to the ideas and become more accepting of the author’s arrogance and his personal brand of humour, you may find it difficult to move ahead. And speaking of arrogance, while this book is all about the uncertainty around us, I cannot but think of a quote from Richard Bach’s The Bridge Across Forever: “…but arrogance came from certainty.“

But as you go through the book, it becomes obvious that this book does not have a “universal appeal”, like some of the other books in the here’s-something-you-never-thought-of genre. It’s not ‘pop’, so to speak. If you read the full book, you may even understand why. I wouldn’t recommend this book to everyone. It requires a certain temperament to get past the first thirty pages and then maintain that sensitivity throughout the time that you read it. In short, you should be willing to allow most of the things that you know, to be broken down (even, if later, you don’t agree with the author).

It might even be the case, that all that you quietly held as true, finds expressive form, after you read the book.

You never know.

1857: The Real Story Of The Great Uprising; (Translated) Mrinal Pande

Almost two years ago, when I reviewed The Ranee of Jhansi, D. V. Tahmankar, I had expressed a strong desire to lay my hands on Vishnu Bhatt Godse’s Majha Pravas (My Travels), published in 1907, by Chitrashala Press, Pune. While I was quite determined to get my hand on the book – I’ll admit, I wondered if I’d be able to ever get to read that book – it was in Marathi.

I was happily surprised when I saw 1857: The Real Story Of The Great Uprising at Crosswords in Pune – the English translation of Vishnu Bhatt Godse’s Majha Pravas (My Travels). Since I do not take the effort of reading Marathi books, I had to make do with the translation. Some of you may know my thoughts on translations. Having read this book now, I feel the need to go back the beautiful book by DV Tamhankar.

1857: The Real Story Of The Great Uprising is a well-translated book. Given that I haven’t read the original Marathi book, this statement is open to conjecture. Yet, I have heard about this book and its content from family and friends who have read the original – that’s the first premise. The fact that the original was actually written in the Modi Script and translated into Marathi, with some liberties and that Mrinal Pande alludes to using the original, is the second premise. Finally, my own understanding from reading of the book and the uneven granularity of the book, makes me believe that the English translation has not taken (m)any liberties.

Vishnu Bhatt Godshe Versaikar (the original author of the book) doesn’t come across as a very good writer (at least not in the English version, the original may some fantastic idioms and nuances that cannot be captured in English), however he has done a great service to history by this book. The book follows his travels for the most part – and therefore the accounts in the book may be treated as authentic. At times however, he seems to rely on hearsay, and it may be worth noting that these are the parts which actually provide the necessary links to the story of the mutiny – and causes the bumpy texture of the presentation.

Having said all the above, it is a great read – especially if you are interested in history beyond a story (though this one is written more like a story; a travelogue). The text creates stunning visual imagery, which, in my opinion is very necessary when writing historical accounts. Facts and dates may be gleaned from Wikipedia, but a visual presentation is key for non-fictional historical presentations.

That – this book achieves with great aplomb.

Visual Cuture; Richard Howells

I don’t remember the last time, a “text-book” was this interesting. I just finished reading Visual Culture and it more than made for interesting reading. It is a thickish book – and I’ll admit – it seemed daunting when I picked it up.

There is however an ease to the presentation that Howells achieves which slips you in comfortably into the intricacies and complexities of Visual Culture. You are better off reading this book with an Internet connection handy, since not all references are available in the text – for reasons explained in the book: to keep the cost of the textbook down for the benefit of the students.

The book is divided in two parts – the first deals with the theory of visual culture – almost like defining the elements of grammar that we would learn for language and the second part takes up various media that allows us to practice this grammar on them.

In the theory section, Howells covers iconology, form, art history, ideology, semiotics and hermeneutics as the tools of the trade. As soon as we use the word theory – it bring up all possible guards for most of us. However as Howells says:

Do not be afraid of the word ‘theory’. Yes, it can sound dauntingly abstract at times, and in the hands of some writers can appear to have precious little to do with the actual, visual world around us. Good theory however, is an awesome thing. [...] But unless we actually use it, it borders on the metaphysical and might as well not be used at all.

Howells lives up to this premise all through the book. The tools in the first part are well-employed in the second part – media – where he covers fine art, photography, film, television and new media. There is ample historical reference to all media – and the understanding of the media from the point of visual culture is well-contextualised.

One of the most important aspects of the book, however, is that Howells goes through the motions of introducing us to the theories and their sub-theories; he convinces us about the potency of the theory, and as we are about to be convinced of it, he flips it – and asks us to look at the opposite side of it – with equal conviction. He forces us to consider a theory in its own right – and demands that we draw our own conclusion and the application of a theory to a media form.

If you are new to visual culture and are intrigued by it, this is definitely a good start. Remember to have an Internet-enabled device handy. The references are many and useful.