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The Hindu
5 hours ago
- Entertainment
- The Hindu
Deepa Bhasthi felicitated in Madikeri
Writer Deepa Bhasthi, whose English translation of Banu Mushtaq's Kannada work Edeya Hanate (Heart Lamp) won the prestigious International Booker Prize 2025, was felicitated in Madikeri by her alma mater and local leaders on Saturday. The Old Students' Association of Field Marshal K.M. Cariappa College, where Ms. Bhasthi pursued her education, college principal, lecturers, and office-bearers of the association visited her residence to honour her remarkable literary achievement. B. Raghav, principal of the college, extolled Ms. Bhasthi for her literary accomplishment and noted that the international recognition has brought immense pride to the institution. 'The achievement of one of our old students was a matter of pride for the college,' he added. The association president B.B. Aiyappa highlighted the difficulty of translating regional literature without losing its emotional depth, commending Ms. Bhasthi's masterful rendering that resonated with a global audience. MLA for Madikeri Mantar Gowda also felicitated Ms. Bhasthi at her home on Saturday. Commending her contribution to literature, he said her accomplishment had placed Kodagu on the global literary map. He said the government would support her future literary initiatives and described her as an inspiration for students and young writers. Mr. Gowda also remarked that it was heartening to see literature of such calibre emerge from the serene surroundings of Kodagu. Plans are under way to organise interactions between Ms. Bhasthi and students from local institutions to foster interest in literature and translation, he added. Ms. Bhasthi said the translation took nearly three years of dedicated work and she is now preparing for literary engagements in London and other cities. Ms. Bhasthi's husband Chettira Nanaiah, her parents Prakash and Sudha Bhasthi, were among those present.
The National
a day ago
- Entertainment
- The National
James Tait Black Prizes 2025 announced
The James Tait Memorial Black Prize, now in its 106th year, is the only major British book prize to be judged by literature scholars and students. This year is the first time that both prizes – which are awarded in fiction and biography – have been awarded to translated works. READ MORE: Warning after 'five lamb heads' found dumped in Glasgow park's pond It is also only the second time a writer and translator have been awarded a prize together in the history of the awards. The prizes were first opened to translations in 2021, with authors and translators honoured equally. The winning authors receive a £10,000 prize. See the winners of this year's prizes below. James Tait Memorial Black Prize winners 2025: Fiction: My Heavenly Favourite, Lucas Rijneveld, translated by Michele Hutchison (Faber & Faber) Biography: My Great Arab Melancholy, Lamia Ziade, translated by Emma Ramadan (Pluto Press) Lucas Rijneveld's winning fiction title, My Heavenly Favourite, translated by Michele Hutchison, charts a rural veterinarian's obsession with a young woman. The novel was commended by judges for its unique voice and uncompromising storytelling. Rijneveld is a Dutch writer known for his emotionally intense and stylistically bold work. His debut novel, The Discomfort of Evening (2018), won the 2020 International Booker Prize. READ MORE: Japanese ambassador meets John Swinney during Scotland visit Translator Hutchison is a British writer and translator specialising in Dutch-language literature, and also won the 2020 International Booker Prize for her translation of Rijneveld's debut novel. Rijneveld said: 'What a glorious honour to be added to the tremendous list of literary giants who preceded me in receiving this wonderful award.' Hutchison added: 'What an honour to share this year's prize with Lucas Rijneveld for My Heavenly Favourite which certainly was a challenging book to translate. 'I've long been aware of the prize's reputation and its sterling catalogue of winners so to be included among them is a genuine thrill." The fiction prize judging panel, led by University of Edinburgh academics Benjamin Bateman and Hannah Boast, said: "Lucas Rijneveld's challenging, inventive novel is a major literary achievement that confirms his status as one of Europe's most exciting new writers. "Our panel praised his distinctive and vivid language, which was rendered in a stunning translation by Michele Hutchison. My Heavenly Favourite is a uniquely claustrophobic and compulsive read.' The biography prize has been awarded to Lamia Ziade for My Great Arab Melancholy, translated by Emma Ramadan. The text traces the lives of Arab intellectuals from the mid-20th century onward, exploring the cultural and political upheaval of the Arab world, capturing a sense of collective loss and longing. READ MORE: 'Do something!': Question Time audience member in fiery row with Labour MP on Israel Beirut-born Ziade is a French-Lebanese author and illustrator, while Ramadan is an award-winning literary translator, specialising in French to English work. Commenting, Ziade said: 'It is a great honour to receive this prestigious prize. I want to thank the jury from the bottom of heart for granting such distinction to a book so passionately supportive of the Palestinian cause. 'In the horrific times we are living through, I am doubly touched by this honour. I am also very grateful to David Shulman, my editor at Pluto Press, for publishing this book so unusual in both its form and its subject, and to my translator Emma Ramadan for her excellent work.' Ramadan said: 'My deepest gratitude to the jury for recognizing this essential book by Lamia Ziadé that uplifts the undersung stories of martyrs, revolutionaries, and dreamers of the Arab world, decrying the imperialist forces that wreaked havoc in this region, and revealing the ripple effect in our current climate. 'This award for a hybrid work of writing and illustrations, is a recognition of bravery and originality in storytelling and publishing.' Biography prize judges Dr Simon Cooke and Desha Osborne said: "My Great Arab Melancholy presents a visually striking and poignant blend of text and image that tells a story of overwhelming loss and perseverance for the people of the Middle East. "The images – historical and traumatic – linger in the memory long after turning the page. The words - beautifully translated - speak only when necessary and yet are inseparable from the images. "Both speak to the past, present and future of a world through the eyes of its author-illustrator.' A ceremony to recognise the winning titles and the shortlisted entries will take place on Friday.
The Wire
a day ago
- General
- The Wire
Banu Mushtaq's Importance Goes Much Beyond the Booker
Menu हिंदी తెలుగు اردو Home Politics Economy World Security Law Science Society Culture Editor's Pick Opinion Support independent journalism. Donate Now Top Stories Banu Mushtaq's Importance Goes Much Beyond the Booker Irfan Chowdhury 38 minutes ago Mushtaq's determination and resilience showcases how individuals still continue to fight for greater betterment of society at large. She is a beacon of solidarity. International Booker Prize winner Banu Mushtaq during her felicitation ceremony by the Karnataka Union of Working Journalists, at Gandhi Bhavan, in Bengaluru, Wednesday, May 28, 2025. Photo: PTI/Shailendra Bhojak Real journalism holds power accountable Since 2015, The Wire has done just that. But we can continue only with your support. Contribute now Her eight-minute acceptance speech tells it all: No story is ever small, and together we build a world where every voice is heard and every person belongs. A woman with extraordinary desire to express herself in words. But in which language? As a woman from South India's minority Muslim population, it was her family and community that imposed upon her the Dakhini or southern Urdu – somewhat distinct from the varieties spoken in northern places like Allahabad or Lucknow. But her home state Karnataka's native language, which she chose to write it in, is Kannada. Not many with this profile, particularly in her generation, achieve higher education, let alone dream of writing or pursuing a professional life or even choosing their own life partners, as she did. For a Southasian to win a Booker is no novelty. Many luminaries from the region have been awarded this prestigious literary award for the best single work of sustained fiction over the last few decades. Sir Salman Rushdie not only got the Booker for his acclaimed Midnight's Children but also won the Booker of the Booker, a special award that recognised the best of the prize's winners, and Best of the Booker, at the award's 25th and 40th anniversaries respectively. Other Southasian Booker awardees include Arundhati Roy for her The God of Small Things which had made a big storm with a story based in Kerala, Kiran Desai for The Inheritance of Loss, and Aravind Adiga for The White Tiger, just to name a few. Nor is Banu Mushtaq's Heart Lamp the first translation from Southasia to win the prize. Geetanjali Shree won it for her Hindi book translated to English, Tomb of Sand in 2022. So what's so special about Banu Mushtaq? For one, hers an exceptional tale of a spirited human journey overcoming societal taboos and defying cultural, even habitual boundaries put up by generations of practice. It is a triumph of stories that many may imagine but usually do not get a chance to appreciate, pushed aside amid daily grinds of life, or not prioritised due to stereotypes. To appreciate Mushtaq and her work is to celebrate the diversity of Southasian languages, culture and many minorities. Over a century ago, the iconic poet Rabinrantah Tagore won the Nobel for translating his own work from Bengali to English. However, seldom do we take time to explore works in other regional languages, for example, Tamil, Telugu, Assamese or Balochi. Kannada is estimated to be spoken by 65 million in a region of nearly two billion people. Of course, there is a successful South Indian movie industry and its music that many devour. Eminent local literary figures like R.K. Narayan are widely read. But we rarely take time to hear, learn or share the riches of diversity that our region presents. As tasty cuisines from Southasia's diverse regions whet our appetites, there are plenty of unheard stories and views to enrich our souls, and widen our understanding of each other. Stories which could help us see that deep down we are mere human societies trying to overcome mostly common challenges, regardless of what nationalistic politicians may have us believe Banu Mushtaq, translated by Deepa Bhasthi Heart Lamp: Selected Stories Penguin, 2025 Mushtaq's achievements have put a spotlight on significant issues worthy of attention. Her stories contain vital social context, focussing on Muslim and Dalit women and children – showcasing her lifelong dedication and commitment to marginalised voices. Through fiction, she captures the textures of life in southern India's patriarchal Muslim society, which she also experiences first-hand as a lawyer fighting for these women. As an activist, her insights carry both emotional depth and political weight, making Heart Lamp a work of both literary and social importance. In Deepa Bhasthi's translation, Mushtaq's work, spanning over three decades, gains a new international audience — a significant milestone given the linguistic and cultural barriers often faced by regional writers, especially women. This award has come at a time when the region from Bangladesh to Pakistan is embroiled in uncertainty and conflicts. Mistrust among communities and countries are high. At a personal level, Mushtaq's success is far more than just another Booker. Over three decades ago, I lived in Bangalore, the capital of Karnataka, for undergraduate studies in a Muslim neighbourhood, Shivajinagar, just after the demolition of historic Babri Masjid in 1992 and the arrest of Bollywood actor Sanjay Dutt, coinciding with the release of his blockbuster Khal Nayak. Communal tensions ran high, but as a teenager from a Muslim majority Bangladesh, I had the opportunity for casual, unguarded discussions with local Muslims, including over occasional meals at their homes. It was starkly obvious how ostracised ordinary Muslim women were in the glitzy, globalised metropolis Muslim girls in Mushtaq's generation seldom got the chance to finish high school before being married off to begin and look after families. She herself was allowed to attend a Kannada-medium missionary school on condition that she would be able to read and write in Kannada within six months. If this puzzles you, my observation from a long while ago was that Indian Muslims regardless of the regions they were from usually spoke Urdu with varying accents and proficiency as their first tongue, sometimes before the local native languages. There are post-Moghul historical and political reasons for this. What about the situation of Muslim girls in the three decades since? Mushtaq responded to this question from Vikhar Ahmed Sayeed in an English-language video interview for Frontline Magazine, after Heart Lamp was shortlisted for the Booker. She said that there are more Muslim (and other) girls with education and degrees now compared to then, but alas not so for Muslim boys who are accepting jobs, even menial jobs. This discrepancy is probably creating tensions, disharmonious relationships, issues and challenges for women which Mushtaq's work highlights. In fact, listening to Mushtaq in numerous interviews has been truly inspirational. We often hear how successful people overcome unfathomable odds to reach their goals. Mushtaq's obstacles were manifold, they include her own postpartum depression. Her dogged pursuit of raising her voice for marginalised women brought threats and attacks on her. Mushtaq's over three decades-long work encompasses these experiences,portraying the injustices, unfairness and confinement that society subjects girls and women to. Her success is about resilience and defying patriarchy. It is important to realise that Mushtaq would not have achieved her goals, specially the goal of writing, without the help and guidance of her community and wider public – majority non-Muslim. Besides her husband, she mentions a number of local literary societies and her involvement in the Bandaya Sahitya movements in the early 1970s which introduced protest writing by minority communities in the Kannada language, aiming to establish an equal society, without hierarchy – based on caste, creed, gender or languages. While the movement appealed to her as a youngster, Mushtaq struggled not only to choose the language she would write in, but her topics. Workshops and discussions with the Bandaya Sahitya guided her, and she began writing about her own Muslim community and challenging its patriarchy. Recognition of her work should be heartening to all Southasians, helping to remain positive during an uncertain time. Southasian artists, sport personalities have always tried to break the arbitrary boundaries, and the general public also responded positively. Ask many Indians who contributed to Imran Khan's cancer hospital for example. Mushtaq's determination and resilience showcases how individuals still continue to fight for greater betterment of society at large. She is a beacon of solidarity. As she said in her acceptance speech at the Booker award ceremony, 'This moment feels like a thousand fireflies lighting up a single sky – brief, brilliant and utterly collective…' She accepted the honour 'not as an individual but as a voice raised in chorus with so many others.' 'I am happy for the entire world which is full of diversity… this is more than a personal achievement… it is an affirmation that we as individuals and as a global community can try when we embrace diversity, celebrate our differences, and uplift one another… that in the tapestry of human experience every thread holds the weight of the whole… ' Irfan Chowdhury is a public-sector policy analyst and adviser from Bangladesh based in Australia. He writes opinion columns for Bangladeshi dailies and online platforms, like The Daily Star, Dhaka Tribune, Alalodulal, besides Sapan News. This is a Sapan New s syndicated feature. Make a contribution to Independent Journalism Related News The Politics of 'Heart Lamp' Is Profound, Urgent and Reflects the Lived Reality of Millions Banu Mushtaq's 'Heart Lamp' – Translated By Deepa Bhasthi – Is 2025 International Booker Prize Winner Humour, Scepticism and the Realities of the Familial in Banu Mushtaq's 'Heart Lamp' 'Heart Lamp' Wins International Booker: Banu Mushtaq's First Reaction Why Banu Mushtaq and Deepa Bhasthi's International Booker Is a Seminal Moment Adrift in Conscience: 'Small Boat' Navigates Guilt and Apathy, But Finds No Just Shore No Story Is Ever 'Small': Banu Mushtaq's International Booker Acceptance Speech Instances When PM Modi Did Not Congratulate Indians for International Recognition Trump's Drive for Ocean Bed Mining Threatens Law of the Sea View in Desktop Mode About Us Contact Us Support Us © Copyright. All Rights Reserved.
The Wire
2 days ago
- Politics
- The Wire
Adrift in Conscience: ‘Small Boat' Navigates Guilt and Apathy, But Finds No Just Shore
Menu हिंदी తెలుగు اردو Home Politics Economy World Security Law Science Society Culture Editor's Pick Opinion Support independent journalism. Donate Now Top Stories Adrift in Conscience: 'Small Boat' Navigates Guilt and Apathy, But Finds No Just Shore Suvanshkriti Singh 14 minutes ago Vincent Delecroix's Booker-shortlisted novel probes bureaucratic cruelty and moral fatigue. Yet, its vision remains troublingly narrow, haunted more by moral posturing than ethical clarity. Illustration via Canva. Real journalism holds power accountable Since 2015, The Wire has done just that. But we can continue only with your support. Contribute now For a book that was shortlisted for the International Booker Prize, French philosopher Vincent Delecroix's Small Boat seems to have flown almost completely under the literary radar. Translated by Helen Stevenson, the novel is a fictional account of the drowning of 27 migrants attempting to cross the English Channel from France into England. It is inspired from a real event, and reconstructed from the forensic data produced as part of its public investigation. Despite its politically relevant subject – or, perhaps because of it – hardly a handful of major English language media outlets, including those in India, have spared it any considerable thought. Those that have, have commended Small Boat for its moral stance; few have interrogated its ethically ambiguous politics on the racialised violence migrants experience. Vincent Delecroix's Small Boat Small Axes (2025) The novel is narrated from the point of view of the unnamed French coast guard officer who received distress calls from those attempting the ultimately failed crossing. She is being held accountable for their deaths due to her refusal to send help despite receiving 14 calls in the span of two hours. She insists her inaction was based on the simple, concrete fact of territorial jurisdiction: the dinghy with the migrants had crossed over into British waters, and all she could do was to inform her English counterparts of the situation, which she did. The first part of the novel sees the narrator being interviewed by a policewoman, strikingly like herself in appearance, demeanour, and tone of voice – later revealed to be the former's own conscience. This externalisation of internality is a deft narrative device; it allows Delecroix to paint the portrait of a weary, haunted woman through his political and philosophical arguments. Bubbles in her coffee appear to the narrator as sinking boats, and yet out loud she asks if the true cause for the dead migrants dying was not 'their inability to stay sitting quietly in a room.' And, surely, she cannot be held responsible for their choice to migrate. Or, perhaps, the cause was the under-funding of rescue services, necessitating difficult decisions about resource allocation. All the narrator did was her job in the way she was trained to do, she insists – without the professional handicap of emotions or opinions. A true and mere functionary, but one unable to rid herself of visions of African construction workers sinking in a sea that has encroached inland. Delecroix is clinical and unsparing in his condemnation of the banality of evil, the bureaucratic production of inhumanity, and its psychological toll. But, the primary aim of Small Boat is to take to task the ubiquity of apathy, and the complicity of Every(wo)man in the making of what we end up calling a tragedy. The novel uses the figure of the narrator as the insider who calls out society on its indifference, both through the novel's indictment of her own impassivity and her narratorial defence of it. Delecroix resolutely portrays the narrator as a burdened, enervated woman whose inaction, in a different context, could perhaps be forgiven. She is not so much vile as pathetic; no more a monster than anyone – which is everyone – who deems themselves a neutral, unobligated party to crises happening to other people. However, the novel's moral posture is its greatest limitation, for it gets in the way of its ability to take an ethical stance. Significant portions of the novel read like liberal fantasy, where the admission of guilt relieves one of any reparatory obligations: absolution through self-flagellation. The plot's resolution involves the narrator committing suicide. Unable to bear her guilt or to rationalise it away, she walks into the English Channel. Violence begets violence, but justice is nowhere in sight, nor is any notion of what it might look like. The moment of resolution is presaged by one of Delecroix's sharpest insights. The narrator concludes it is not her actions but her words that have condemned her: it is in the expectation that she would reassure the migrants they will be saved – and not in their actual survival or death – that society had unsuccessfully sought its redemption. But, coming as it does after repeated attempts on the part of the narrator to deflect responsibility, reaching for every explanation other than her own racial antipathy, the critique loses some of its bite. Then, there is the novel's second part: a detailed, but trite description of the hours-long drowning. Delecroix writes – or Stevenson translates – his migrants as featureless, racialised bodies. They are human only insofar as the bruising experience of closely witnessing their suffering. This is trauma porn barely disguised as liberal humanism. The novel is prey to the same tendency of which its narrator is accused – an inability to conceptualise migrants as individuals outside of their victimhood. These perversities reveal further frailties. Despite its philosophical nature, the novel often misses opportunities for original, innovative critique. Consider the narrator's claim that her 'judgment has…no fissures, but it does have boundaries, which correspond exactly to the boundaries of territorial waters.' Minimally, it offers an occasion for examining individual responsibility against structural forces. At best, it is an opportunity to reckon with the validity of the structure itself. But, having glimpsed the possibility, Delecroix forgoes it, focusing instead on rhetorical empathy. Similarly, for all its erudite musings about racial violence, the novel never really asks why it is so that the experience of migrants arouses concern only when their victimisation finds its completion in death. This, despite such a line of inquiry being amply indicated in the narrator's assertion that 'these people were sunk long before they sank.' Its flaws are not insignificant, and for many, Small Boat won't be a book that moves – it wasn't for me. It may even be one that incites pessimistic helplessness, if not cynicism. This may have something to do with its intended audience being primarily White. But, literature has the great advantage of being universal; it can always be read in the context of one's own circumstances. If the fates of those crossing the Channel seem too distant as a subcontinental reader, one can always recall the Rohingya refugees India abandoned in the Bay of Bengal. Despite its imperfections, this is still a well-written novel that warrants reflexive conversation through its own questioning, quietly suggesting that we hold both ourselves, and the political structures we legitimise, accountable for our complicity in the suffering of our others. Suvanshkriti is a journalist and researcher. She has a master's in European Studies from the University of Göttingen, Germany, where she specialised in the literature and politics of migration and citizenship. She writes about books, gender, sexuality, democracy, and global justice. Make a contribution to Independent Journalism Related News An Open Letter: 'I Have Small Eyes, Mr Prime Minister' Banu Mushtaq's 'Heart Lamp' – Translated By Deepa Bhasthi – Is 2025 International Booker Prize Winner Humour, Scepticism and the Realities of the Familial in Banu Mushtaq's 'Heart Lamp' Most Indians Can't Even Afford Entry-Level Cars. Maruti Suzuki Chairman Explained Why 'Heart Lamp' Wins International Booker: Banu Mushtaq's First Reaction The Politics of 'Heart Lamp' Is Profound, Urgent and Reflects the Lived Reality of Millions SIPs, Usually Popular, See Decline in New Registrations 'Completed' on Paper, But Missing in Key Border Areas: J&K Authorities Probe Centre-Funded Bunker Project Choksi Abduction Complaint Shines Light on Modi Government's Attitude to Global Passport Business View in Desktop Mode About Us Contact Us Support Us © Copyright. All Rights Reserved.
The Hindu
3 days ago
- Entertainment
- The Hindu
Signed copies of book in London in Kannada, says Booker prize winner Banu Mushtaq
International Booker award recipient Banu Mushtaq was felicitated by the Karnataka Union of Working Journalists in Bengaluru on May 28. Banu Mushtaq, a writer, lawyer and activist, began writing about her people, their joys, sorrows and anxieties, over five decades ago. On May 20, Heart Lamp, a collection of 12 short stories selected from her work written between 1990 and 2023 and translated by Deepa Bhasthi, won the International Booker Prize for 2025. During the felicitation, among other things, she shared her experience of travelling to London. 'In London, whoever approached me to sign their copy of 'Heart Lamp', I signed them in Kannada. The other shortlisted writers were masters degree holders. I was the only one to be a grassroots writer.' Apart from being a renowned writer, she is an advocate by profession. However, she started her career as a journalist for the Lankesh Patrike, and had a four decade-long stint in journalism. 'Heart Lamp' was a major success in the field of literature earning a huge profit of ₹6 crore for Penguin publishers. Heart lamp will be translated to 35 languages. According to Banu Mushtaq, 'People, irrespective of caste, race and community, were celebrating my success. Following the success of the book, many filmmakers had approached me for film rights.' Girish Kasaravalli, a renowned director, made a film based on Kari Nagaragalu, one of the short stories in the book. The film was called Hasina, and won a national award for best actor. Banu Mushtaq will be felicitated by the government of Karnataka at Vidhana Soudha on June 2.
