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      • Fiction
        December 2014

        Golden Needle in the Weaver Bird's Nest

        by Arupa Patangia Kalita

        If one can disentangle a weaver bird’s nest, one will find a golden needle that can sew and mend anything, but there’s a small condition: not a single thread must break in the process.  Since no one has met the challenge successfully yet, the needle remains elusive.  Perhaps the secret lies in building the nest with people as threads, perhaps in the harmony of all men. SYNOPSIS Banamali Chaudhury is a revenue collector or mouzadar of the British Raj in a small town dominated by Bodo people.  A tall, handsome, aspiring brown sahib swearing by the British Crown, the philandering pseudo-royal would have women brought to his haveli in a palanquin to quench his lust.  One day, he sets his eyes upon a beautiful girl of lower caste and wishes to marry her.  But unknowingly, he ends up marrying a plain looking but well-educated girl, Santipriya.  Realising his mistake, Banamali searches for the other girl and marries her too.  Mistreatment and depression make Santipriya age quickly, but she gives birth to a pair of male twins, Chandranath and Priyanath. The twins grow up to be the antithesis of their father; they seek India’s freedom and join the Gandhian movement.  Dismayed, their father disinherits them from his estate.  The boys take shelter in a school house and continue their studies from there until their father dies.  The elder becomes a lawyer in the big city and Priyanath takes up the reins of the estate that his debauch father has reduced to shambles.  But Priyanath starts working for the people and gets involved in community activities.  He sires a son and names him Alok.  Alok is talented and an idealist.  He studies in Delhi and gets a scholarship to pursue higher studies abroad.  Defying pressures from his extended family, Alok decides not to leave his father and takes up a job as teacher in a local college.  Difficult days have descended upon Assam; a secessionist movement erupts under a terrorist organisation.  Every year, a family from neighbouring Bhutan would visit Priyanath’s home.  Traditionally, many households here have such families visiting them from the Himalayan kingdom; the same family wouldvisit them every year.  But this is soon going to stop – terrorists kill the entire family camping with Priyanath.  Only a small boy survives and Priyanath takes him as his own.Just as Assam’s secessionist movement was losing steam, another armed struggle begins in this region, entailing the demand for a separate state.  The extortionist militants demand money from Priyanath who refuses to comply.  Out of revenge they barge into Alok’s college one day and gun him down.  The now ageing Priyanath hears about a child born in the paddy fields.  Riots had broken out between the Bodo and Muslim people.  But in the midst of the fight, a woman collapsed.  Nobody knew whether she was Hindu or Muslim, but the rioting stopped and everyone gathered around her.  A lady known as Ammi Jan delivered the baby.  When Priyanath heard this story, he sent his Bhutanese foster boy to fetch the mother and child.  Looking at the innocent eyes of the one who had stopped the riots, Priyanath gives her something close to his heart – a gold chain that once belonged to his own child Alok. The novel carries fifty interwoven stories centred around the plot.  The discreet narrative captures the socio-economic background of a tribal belt of Assam, an easternmost Indian frontier, bordering Bhutan.  The novel traces the historical status of women and the calculated destruction of lush green nature along with its flora and fauna, rivers and hills.  It is rich in the use of myths, tales and description of the different cultural layers of this quaint region.  It traces some endangered institutions like an elephant training centre, along with its colourful folk beliefs and customs.  It touches elements like the advent of Christianity in the place.  An epic novel with its treatment of time and space across a century, it gives meaningful shape to a welter of facts, speculations and elements of popular imagination.

      • Fiction
        January 1994

        Dawn

        by Arupa Patangia Kalita

        Dawn or Solstice is a compelling and moving story grounded in the rich texture of the society that it describes.  The novel centres around the story of a talented, sensitive and intelligent girl who suffers in a society ruled by patriarchy.  Set in the heady days of Indian struggle for independence the saga of a woman dreaming equality and a dignified status of woman is sad as well as inspiring. SYNOPSIS The novel picks up an array of characters from different walks of life.  These characters are well etched coming out of the pages with life-like clarity.  The novel is a status of women in a particular and crucial point of history.  The struggle for independence in India ripens and the life of the women described in the novel have become more and more oppressed by patriarchy in different forms.  The contrast is clear and gives the novel a special character.  None of the women can come out of the cruel patriarchy but the struggle does not stop.  More the oppression becomes cruel, more the struggle gains momentum.  The novel becomes the voice of a voiceless silent group. Colourful characters, interesting story-line, gripping narrative, historical relevance make the novel worth reading.

      • Romance
        September 2015

        Rockies Retreat

        by Jordan, Crystal

        Creative sparks ignite where you least expect to find them. Destination: Desire, Book 5 Despite her dedication to her art, Laurel Patton feels her parents' disappointment hanging over her like a cloud. Just the thought of being a lawyer like her father—or worse, a lawyer's socialite wife—is enough to make her break out in hives. Finally, a feather in her cap: an invitation to a prestigious summer artist-in-residence retreat in Colorado's Rocky Mountains. Three whole months among a community of creative people? Bliss. After his ex-wife's death, bestselling horror novelist Neil Graves will move heaven and earth to make his grieving daughter, Violet, happy. Even if it means moving a mountain of deadlines to the heavenly enclave—the only thing Violet's been excited about for a long time. He never expected Laurel would be the breath of fresh air he didn't realize he needed. But much as Laurel loves Neil and Violet, she's terrified. Because Neil's workaholic ways are too much like the life she never wanted...even if Neil is the one man she wants for all time.

      • Fiction
        October 2020

        Vías muertas

        by Jordi Matamoros

        Antonio, a handsome and ambitious young man, needs to lead a life full of luxury and comfort that his parents, two uneducated and conformist people whom he is deeply ashamed of, could never offer him. His great opportunity comes when he meets Victoria, the only daughter and the apple of of a prestigious lawyer's eye who owns a great fortune. His life is perfect, the one he always wanted, except for a few minor details: he does not love his wife, he cannot stand his father-in-law and boss and he discovers that the family fortune is about to vanish. The plot is further tangled by the secrets that each of the characters hides that, little by little, are woven into endless dead ends. A story in which drama, betrayal, greed, lust ... are the main protagonists. * * * Antonio, un joven apuesto y ambicioso, necesita llevar una vida llena de lujos y comodidades que sus padres, dos personas incultas y conformistas de los que se avergüenza profundamente, nunca pudieron ofrecerle. Su gran oportunidad se presenta cuando conoce a Victoria, hija única y ojito derecho de un prestigioso abogado poseedor de una gran fortuna. Su vida es perfecta, la que siempre deseó, salvo por unos mínimos detalles: no ama a su esposa, no soporta a su suegro y jefe y descubre que la fortuna familiar está a punto de desvanecerse. La trama se va complicando con los secretos que esconde cada uno de los personajes que, poco a poco, se van entramando en un sinfín de vías muertas. Una historia en la que el drama, la traición, la avaricia, la lujuria… son las principales protagonistas. Atención. Esta novela contiene un fuerte contenido sexual que transgrede la moral. Puede herir la sensibilidad de algunas personas.

      • September 2022

        Things I Didn't Throw Out

        by Marcin Wicha

        Marcin Wicha (1972) is a Polish designer, illustrator, columnist, and writer. Having written a few books for children, he turned to adult non-fiction with a personal slant, of which the present book is the second instance, after his debut, How I Stopped Loving Design, was published to popular and critical acclaim in 2015, also by Karakter. Things I Didn't Throw Out is told in short, anecdotal chapters, collected in three sections: „My Mother's Kitchen”, „Dictionary”, and „Laughing at Appropriate Moments”, and forms a loose diptych with How I Stopped Loving Design, which focused on Wicha's father in the aftermath of his death (both books work as stand-alones, too).The book is a first-person account of processing grief through the objects his mother, Joanna, surrounded herself with while living and dying. The first part is mainly devoted to Joanna's books and how they formed a part of her life in its various stages. The second is a series of stories about objects (such as her typing machine and her ballpoint pens), mementoes, phrases and words that were important in Joanna's life and which allow us to construct an image of her as a person, a mother and a Jewish woman living in Communist Poland. The third, shortest one is a stark, unflinching report of her final illness and death.Wicha meditates on the obsolescence of objects after their owner dies. The book is a collection of memories of a difficult person who lived in a difficult time – Wicha realistically describes the material meanness of the Communist regime, the shortages, rudeness and the hoarding instincts shaped by post-war reality. Joanna's Jewishness, her devotion to work, her argumentative temperament, the clarity and no-nonsense quality of her opinions - all that accumulates into a fully fleshed-out character whose decline and death is then described in terse, unsentimental, yet very touching scenes. The result is cathartic.In the first section, Wicha deconstructs the post-war history of Poland in a series of chapters which transform his mother's bookshelves into an almost geological accumulation of many decades of sediment. During his childhood, in times of economic crisis, he has to stage a long war of attrition with a bookshop sales assistant in order to buy the new Tove Jansson book. In a long chapter analysing the caustic wit of Jane Austen's Emma, Wicha describes his mother's passionate relationship with that book, which always consoled her in times of low mood, but couldn't do the trick after her husband's death. He looks for the background stories in the little doodles on the margin, the tiny hole on one page, finds the history of socio-economic transformation of 20th century Europe in his mother's cookbooks, and mentions his mother's jokey ambition to move to Canada, reflected by her English textbook.The second section has a broader context of politics and history. Wicha describes politics as an excuse not to talk about personal problems; his mother's was a life spent with politics in the foreground, because there was no other way. Wicha explores the common, generational trauma of March 1968, when the remaining Polish Jews, frequently hiding their identity, were subject to a campaign of intimidation and social cleansing. In chapters seemingly about trivia, Wicha writes about the legacy of a community of people which was annihilated – about how they continue to be present in tasteless jokes, awkwardly-worded memorial signs, allusions during family gatherings. This section shows incredible sensitivity to the layers of global, local and personal histories that add up and intertwine.In the third section the short chapters are untitled, which adds to the fragmentary nature of the text and the impression that Wicha is barely holding it together. In between conversations with his mother's live-in Ukrainian nurse, doctors, paramedics and his mostly non-responsive mother, Wicha attempts to carry on and make sense of what is happening, give it meaning. The last six short chapters deal directly with his mother's death; they encompass the formalities and banal details that he has to attend to, the unbearable pain and helplessness, the need to keep going. Thus concludes this archeology of love, exasperation and grief, not without moments of dark humour.The book would be perfect for readers interested in: exploring the parent-child relationship, especially (but not exclusively) at the end of the parent's life, and issues of processing grief and remembering, or reading an off-piste exploration of the 20th century history of the Jewish community in Europe. Things I Didn't Throw Out is a wry and unsentimental account of the emotional and physical labour of a carer and an attempt to understand one's parent as a person with their own history, personality and temperament independent of parenthood. It is also a nuanced portrait of a woman who refused to compromise and continued to demand respect, who was sensitive to language and the complexities of history, society and politics. Some comparisons might include Helen Macdonald's H is for Hawk, Cathy Rentzenbrink's Last Act of Love and Brian Dillon's In the Dark Room.

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