Indi's Blog

Sunday, July 17, 2016

'No Word in Our Language' in Guftugu

No Word in Our Language has been published in Guftugu, the quarterly journal of the Indian Writers’ Forum. The issue is entitled ‘Culture Matters’. I feel proud.

I set the story in a village that is being subsumed by the city; spaces are violated by the encroaching concrete. A group of students from an American University comes to visit. The narrator, a boy, who is at first enamoured of the ‘alien creatures’ ultimately feels exploited and violated by them. The story has remained true to how I first wrote it, but it had much more going on, many more extraneous happenings before the main arc emerged as it has now. 

S Vijayaraghavan's image, Mystic Valley, accompanies the story.






Tuesday, November 10, 2015

'Disappearing Act' in Dead Housekeeping


Thrilled to have Disappearing Act in the fine Dead Housekeeping, a journal that looks at loss through the lens of home management. With micro essays. 
Digital drawing by Indira Chandrasekhar
Dead Housekeeping editors include the wonderful Shabnam Nadiya who gave us such a bold and extraordinary piece of writing for the March 2015 issue of Out of Print.
My piece, like many on Dead Housekeeping, blurs, or rather, perforates the boundaries between essay fiction imagination extension.

Tuesday, March 31, 2015

'The Embryotic' in Cosmonauts Avenus

Rather thrilled that The Embryotic appears in the very cool Cosmonauts Avenue.

This story has been through a bit of an evolution. In a previous incarnation, it was called The Boil and was shortlisted in the 2012 Mslexia short story competition.


Here's a screen shot of the Fiction Page - and in case you are wondering about the photograph, it is taken by my lovely niece, and the sweetest portraitist ever, Devika Raman.



Thursday, April 3, 2014

'Polymorphism' in Eclectica

'Polymorphism' appears in the April/May 2014 issue of Eclectica Magazine.

Here's the link





Friday, October 4, 2013

'She Can Sing' in Far Enough East

My story, She Can Sing has been published in the October issue of 'Far Enough East'.


Here's the link and here the marvellous art by Ying Yefu that accompanies the Fiction section:










Sunday, September 29, 2013

Out of Print 12


Each of the stories in this release of Out of Print has a resonance with an aspect of the cover image by Suki Dhanda, perhaps because it captures something of what the narrator in Gilead (Picador, 2004) by the remarkable Marilynne Robinson says of people: ‘… I am struck by a kind of incandescence in them, the “I” whose predicate can be “love” or “fear” or “want”, and whose object can be “someone” or “nothing” and it won’t really matter because the loveliness is just in that presence, shaped around “I” like a flame on a wick emanating itself in grief and guilt and joy and whatever else.’

Disturbing imagery, disconcerts the reader in Niven Govinden's Grains, which follows a photographer who is recording man taming the wild for his purpose. She is an observer, reconciled to the fact that she has 'no power to stop anything'.

In Word Sanctuary by Meenakshi Chawla, one writer visits another. We discover that their relationship is based in a staggering amorality that the protagonist, despite his fine sensitivity, is compelled to exploit. Shom Biswas' The Other Transgression also tells the story of a character who is driven, this time by loyalty to friend and fraternity, to make a profound and ugly compromise that directly impacts him.

Sathya Saran's, The Lost Note, brings alive the particular and intimate dynamic of orchestral musicians as the flautist awaits his final cue. The imagery has the quality of a dream filled with anxious twists and a yearning for that elusive lost note. Also about finality, Kaushiki Rao's Obituary raises questions of fairness in a situation whose larger structures are outside of ones control. Stylistically, it is an obituary that lays out the life achievements of the dead individual who, in this case, is an insect.

Neeta Deshpande's, The Recounter of Memories leaves us with a sense of resignation and sadness, but also of courage. A woman on the brink of a divorce visits her old home. All that she is leaving behind impresses itself upon her, but at the same time, she examines the levels of breakdown that make it impossible for her to stay. Another story about marriage, Divya A's Bride Barter is all the more brutal for being based on real stories that she encountered as a journalist in rural Haryana. Savitha Devi is torn because her fifteen-year-old daughter is being given in marriage as barter for her son's bride.

In contrast to the inherent cruelties in the previous two stories, Roshna Kapadia's Mrs Aggarwal's Mirror, carries the kind of closure that indents a sense of human grace. Set in the countryside of a changing India, it spans generations and lifestyles, and plays with the inevitable ironies of a complex and multi-layered world. The Love Letter by Madhumita Roy is also based in the great divides that course through the landscape of Indian society; Priyambada Sen, whose view is framed by the English literature she teaches, is full of hope as she contemplates writing a love letter to a man who is barely literate.