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Scroll.in
3 days ago
- Entertainment
- Scroll.in
‘Not ethical questions, but aesthetic ones': What's on Keshava Guha's mind while crafting a novel
Keshava Guha was born in Delhi and raised in Bangalore. His debut novel, Accidental Magic, was published in 2019 and his most recent novel, The Tiger's Share, was published in 2025 Besides novels, Keshava Guha has also written short stories and essays on politics, culture and sport. He is also a journalist and was previously a senior editor at Juggernaut Books. The Tiger's Share revolves around two women protagonists. After having dedicated her life to achieving professional success in Delhi, Tara is everything her brother isn't: steadfast, independent, thriving. Meanwhile, Tara's friend, Lila, has it all: the great job, the lovely home, the beautiful family. But when her father dies, Lila's brother wastes no time in claiming what's his. Together, Tara and Lila are forced to confront the challenge that their ambition and success have posed to patriarchal Delhi society. In a conversation with Scroll, Guha talked about why he wanted to write about the conflict between different notions of inheritance, why the novel is a love–hate letter to Delhi, and why as a novelist he is more concerned about aesthetics than ethics. Excerpts from the conversation: The Tiger's Share is filled with characters who are intelligent, conflicted, and more often than not, a little out of step with their times or families. Could you share with us what drew you to exploring the inner lives of people who are both privileged and deeply uncertain about their place in the world? Inner life is fiction's particular and exclusive realm; it's what novels and short stories can do, and journalism and cinema/television, on the whole, cannot. That's one reason why the claim, so popular a few years ago, that 'prestige TV is to the 21st century what novels were to the 19th' was a load of nonsense. Indian fiction in English is, more or less by definition, an elite activity – and yet there can be a certain hesitancy about the non-satirical portrayal of English-speaking elites themselves. The notion that in a poor, unequal society literature ought to be 'progressive' – highlight injustice, advance noble causes –has meant that Indian writers, not only in English, have stayed well away from Henry James/Edith Wharton territory. I saw an opportunity, therefore, to write about a world that I knew and that hadn't been fully explored. The feeling of uncertainty you refer to has two sources: one, moral confusion brought on by the pace of social change, and two, a more specific anxiety about the place of the English-speaking elite in today's India. Throughout the book, there is a quiet but powerful commentary on what it means to 'inherit' – not just tangible wealth like money, jewellery, property, land, etc, but also values, identities, even moral burdens. What do you think Indian families today are truly passing down to the next generation? You are absolutely right that questions of 'inheritance' – not only in the material sense – are at the heart of the book. I wanted to write about the conflict between two notions of inheritance that seemed to me to define life in this part of Delhi. First, the idea that wealth belongs to a family, not to individuals, and that means that future, unborn generations too have a stake – this is often cited by rich Indians as a justification for not giving money away to those who actually need it (or, implicitly, as a justification for tax avoidance). 'It's not my money', they say, not mine to give away. One the one hand, this 'Patek Philippe' approach to inheritance – you're not an owner, just a custodian – on the other, an approach to nature which says that all that matters is to accumulate and consume as much as possible right now, and to hell with future generations and giving them a city or planet fit to live in. So Delhi parents hope to pass on physical property, even if that property is in an ecological hellhole. But a question that animates my novel is, what nonmaterial values are they going to pass on? Brahm Saxena's ambition – to pass on, not only to his children but to anyone who will listen, an awareness of what humans have done to our environment and why we have done it – is a throwback to an earlier era, that of the freedom struggle, in which parents might bequeath idealism as well as apartments. As someone from Calcutta who moved to Delhi for work, I often find myself caught in a love-hate relationship with this city. In that sense, one of my absolute favourite aspects of your book was its deeply vivid portrayal of Delhi. It wasn't just a backdrop – it felt like a living, breathing, even rotting organism, thick with unbearable heat, tangled politics, and lingering memories. How did your own experiences of the city shape the way you wrote it into the novel? Like you, I did not grow up in Delhi, and moved there primarily for professional reasons. Very little in the book is directly autobiographical, and I chose to write from a perspective quite different from my own, in that Tara has lived in Delhi all her life and, except as a student or tourist, has known no other city. The novel is, to appropriate your own phrase, a love-hate letter to the city. I hope that enough of the love is evident. I made lifelong friends in Delhi and found it a much more welcoming place than it is sometimes reputed to be. But the balance sheet of love and hate does not even out – it was ultimately too difficult for me to look past the reality of class segregation, patriarchy, materialism and ecological catastrophe. As Brahm Saxena implies right at the start of the novel, Delhi ought to have been the greatest city in the world. You have also subtly been able to interrogate masculinity, especially modern Indian masculinity, through characters like Rohit, Kunal, and even Brahm Saxena to an extent. What were you trying to uncover about how men relate to legacy, failure, and self-worth? Rohit and Kunal are not meant in any sense as representatives or exemplars. There are many kinds of Delhi or Indian masculinity – look at the evolution of someone like Virat Kohli, who used to be thought of as the archetypal macho West Delhi man, and ended up as perhaps India's most influential advocate of the importance of fatherhood. I wasn't trying to uncover anything about men, or Indian men, in general, through Rohit, Kunal or Brahm. Kunal and Rohit are responding to what they see as threats – the threats posed by their sisters, and by the values of feminism, as well as (although this is explored less directly in the novel) the potential threat of men from less-privileged backgrounds who are more driven. India is more unequal than ever, but the English-speaking south Delhi elite is in some ways less protected than it was before 1991. At some point in the book, Brahm Saxena's character and narrative arc made me wonder: Can someone be good without being useful? And in a deeply compromised world, is moral clarity enough? Were you also consciously grappling with these kinds of ethical questions while writing the novel, in how you shaped your characters, what they stood for, and the story you wanted to tell? These questions are above the pay grade of not just this novelist, but of novelists in general. We dramatise ethical dilemmas, but the point is to show life is or might be lived, not to arrive at generalisable moral claims or precepts. Interviews – and, increasingly, reviews – tend to focus on the moral and political content of novels, to mine them for lessons or controversy. That's appropriate to the form of the interview, which, after all, is meant to be of interest to someone who hasn't read, and may never read, the book in question. I don't mean to diminish the importance of these matters – but they tend not to be top of mind, at least not for me. What is top of mind are not ethical questions, but aesthetic ones – matters of form, above all, prose. Prose is of such primary importance to writers – but we find ourselves reviewed and interviewed with almost no reference to style or form. That is not a complaint; just a reflection on how different the experiences of writing a book and talking about it are. Staying with Tara for a moment, I found her perspective to be particularly fitting for the story you've told. At the same time, I couldn't help but notice how she vocal she is on being self-righteous and yet her actions, such as distancing herself from 'feminist lawyers', activist causes, amongst others, often seem to fall short of the ideals she claims to uphold. What does this ambivalence say about the pressures on women who 'succeed' within the system but are also expected to critique or resist it? I'm not sure that I agree that Tara is 'vocal on being self-righteous'. She certainly can be self-righteous, but at the same time, as her father's daughter, I suspect she would reject the label. Her decision not to become a certain kind of lawyer is down to her awareness of trade-offs. Again, she would disclaim the label, but many people would say that Tara is in fact ambitious. I see her as someone who is morally serious – that is to say, she thinks seriously about moral questions – but not as any kind of earnest 'do-gooder' who, when confronted by a trade-off, always takes the high road even when that means giving up something of value. To your final question – Tara, as I see her, is more committed to succeeding within the system – on her terms – than to critiquing it, except in private. Many moments and instances in the novel seem to resist a resolution as characters choose uncertain paths, and readers are left sitting with open questions. Is this refusal to tie things up a conscious choice? Do you see ambiguity, much like our lives, as a more honest form of storytelling? I don't know if it is more honest, but it is what I prefer, both as a writer and a reader. I love the fact that fiction is a collaboration between writer and reader – that every reader can make up their own mind about whether or not, at the end of Henry James' Portrait of a Lady, Isabel Archer is really going to go back to Osmond. In the case of The Tiger's Share, some of the lack of resolution has to do with the fact that lives are not lived, and ethical questions not resolved, in the abstract. Tara decides that she cannot choose based on moral principles alone, but has to also consider what her choice means for her relationship with her mother. What conversations do you hope this novel sparks – in families, among readers, or in public discourse? If you had to sum up the message in one sentence, would would it be? This is, as your previous question implies, not a didactic novel: it has no message. Of course, I'd be thrilled if it sparks conversations about inheritance, or how to recover idealism, or how to stop and begin to reverse the destruction of our ecology, but it is a novel, not a work of social and political commentary, and I hope it is read that way.
Scottish Sun
26-05-2025
- Entertainment
- Scottish Sun
Kate Moss' daughter Lila reveals she's borrowed supermodel mum's famous Glastonbury outfits for next month's festival
Lila is impressed with the artists announced to perform at the festival this year MOSS BE GLASTO TIME Kate Moss' daughter Lila reveals she's borrowed supermodel mum's famous Glastonbury outfits for next month's festival Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) KATE Moss's daughter Lila has admitted that she raids her supermodel mum's wardrobe — to find outfits to wear at Glastonbury Festival. Kate, 51, used to be a regular at the four-day event — but Lila, 22, is now taking centre stage as the family representative. 4 Lila Moss was photographed in New York for Vogue Australia and stunned in this white look Credit: Dario Catellani for Vogue Australia 4 Lila admitted she raids her mum's wardrobe to find outfits to wear at Glastonbury Credit: WireImage - Getty 4 Lila is the daughter of Kate and publishing maverick Jefferson Hack Credit: Getty The model says she often has the event in the back of her head when she looks through her mum's clothes. Lila said: 'I'll find something in my mum's wardrobe — borrowing a T-shirt — then I'll see something, and say, 'Wait, can I borrow that for Glastonbury?' months in advance.' Kate's garments often proved a fashion talking point at the festival — including wearing a waistcoat and wellies combination in the mud in 2005. Lila acknowledged that she also puts lots of thought and care into the attire she will be taking to Somerset. She added: 'I'll go through my whole closet of fun things that I wouldn't usually wear, and I'll put stuff together. "At Glastonbury I have a lot of fun because there's that British energy and it's exciting and it's just more people I know.' Opening up about heading to the event next month, which starts on June 25, Lila told Vogue Australia during a covershoot feature: 'Glastonbury is all about the crowds, there's nothing like it so I'm always out front. 'I've actually never experienced a super-muddy Glastonbury. "I'm praying I don't this year because it seems like it adds a lot of stress.' Lila is impressed with the artists announced to perform at the festival this year. Like Mother, Like Daughter: Fashion's Fabulous Families She said: 'I'm really excited for Neil Young this year. 'It's a very good line-up. "One of my friend's boyfriends is in Inhaler and they're playing, so that's exciting. Love Fontaines DC, too. "They're great.' Kate was last seen attending Glastonbury back in 2023 when she was pictured watching Primal Scream from the side of the Pyramid Stage. 4 Vogue Australia featuring Lila's interview is on sale Monday, 02 June, 2025 Credit: Dario Catellani for Vogue Australia Vogue Australia today revealed a first look at its June 2025 cover starring British model Lila Moss. Lila was photographed in New York for Vogue Australia by photographer Dario Catellani and styled by Vogue Australia editor-in-chief Christine Centenera. The issue is on sale on Monday, 02 June, 2025. Unlock even more award-winning articles as The Sun launches brand new membership programme - Sun Club.
The Irish Sun
26-05-2025
- Entertainment
- The Irish Sun
Kate Moss' daughter Lila reveals she's borrowed supermodel mum's famous Glastonbury outfits for next month's festival
KATE Moss's daughter Lila has admitted that she raids her supermodel mum's wardrobe — to find outfits to wear at Glastonbury Festival. Kate, 51, used to be a regular at the four-day event — but Advertisement 4 Lila Moss was photographed in New York for Vogue Australia and stunned in this white look Credit: Dario Catellani for Vogue Australia 4 Lila admitted she raids her mum's wardrobe to find outfits to wear at Glastonbury Credit: WireImage - Getty 4 Lila is the daughter of Kate and publishing maverick Jefferson Hack Credit: Getty Lila said: 'I'll find something in my mum's wardrobe — borrowing a T-shirt — then I'll see something, and say, 'Wait, can I borrow that for Glastonbury?' months in advance.' Kate's garments often proved a fashion talking point at the festival — including wearing a waistcoat and wellies combination in the mud in 2005. Lila acknowledged that she also puts lots of thought and care into the attire she will be taking to Somerset. Advertisement read more on lila moss She added: 'I'll go through my whole closet of fun things that I wouldn't usually wear, and I'll put stuff together. "At Glastonbury I have a lot of fun because there's that British energy and it's exciting and it's just more people I know.' Opening up about heading to the event next month, which starts on June 25, Lila told Vogue Australia during a covershoot feature: 'Glastonbury is all about the crowds, there's nothing like it so I'm always out front. 'I've actually never experienced a super-muddy Glastonbury. Advertisement Most read in Celebrity "I'm praying I don't this year because it seems like it adds a lot of stress.' Lila is impressed with Like Mother, Like Daughter: Fashion's Fabulous Families She said: 'I'm really excited for 'It's a very good line-up. Advertisement "One of my friend's boyfriends is in "They're great.' Kate was last seen attending Glastonbury back in 2023 when she was pictured watching Primal Scream from the side of the Pyramid Stage. 4 Vogue Australia featuring Lila's interview is on sale Monday, 02 June, 2025 Credit: Dario Catellani for Vogue Australia Advertisement Vogue Australia today revealed a first look at its June 2025 cover starring British model Lila Moss. Lila was photographed in New York for Vogue Australia by photographer Dario Catellani and styled by Vogue Australia editor-in-chief Christine Centenera. The issue is on sale on Monday, 02 June, 2025. Unlock even more award-winning articles as The Sun launches brand new membership programme - Sun Club.
Yahoo
26-05-2025
- Health
- Yahoo
Doctors Said It Was Tonsillitis. But 12 Hours Later, This 5-Year-Old Died Sleeping Next to Her Mom
Lila Marsland's family took her to the hospital when she was vomiting and experiencing neck pain and headaches Lila's mom, Rachael Mincherton, says her 5-year-old daughter was diagnosed with tonsillitis The next morning, Mincherton woke to discover her daughter "unresponsive" — later tests would determine she had meningitis, an inflammation of the brainA young girl's family was told she had tonsillitis, but when her mom woke up the next morning, her daughter was unresponsive — the result of untreated meningitis. The family of Lila Marsland, 5, says they took her to a hospital in the English city of Manchester in December 2023 after Lila complained of a headache, neck pain, and had been vomiting. Her mother, Rachael Mincherton, a former nurse, said she asked if her daughter's symptoms were caused by meningitis, or swelling in the brain. But a nurse diagnosed Lila with tonsillitis and sent her home with antibiotics, according to The Daily Mail. 'When we arrived home from [the] hospital, I slept with Lila that night,' Mincherton said. 'When I woke she was unresponsive.' Paramedics arrived "within minutes" Mincherton said, adding they "did everything they could, but it was too late. At that moment our family changed forever." After Lila's death, tests found signs of the bacteria that cause meningitis in the fluid surrounding Lila's brain. As John Hopkins Medicine explains, bacterial meningitis is a 'true medical emergency' that can result in death or brain injury even if treated. Symptoms include fever and chills, nausea and vomiting, and headaches and neck pain. The condition requires 'immediate hospital-based treatment.' Mincherton and her partner, Darren Marsland, also share a daughter, Ava, 15. They've since started a charity, Lila's Light, in their daughter's memory, aiming to support siblings through loss. 'She had a zest for life and her entire future ahead of her. It breaks our hearts that she'll never get to make the most of life and fulfill her potential,' her mom said. 'Lila was the most amazing and adorable little girl. She was a gentle soul who had many friends, and all the teachers at school thought the world of her.' 'I'd pick Lila up and it would take half an hour to leave as she would be hugging all of the teachers,' she said. "One of the hardest things to try and come to terms with is having so many unanswered questions about why Lila died." "We wouldn't wish what we're having to go through on anyone.' Never miss a story — sign up for to stay up-to-date on the best of what PEOPLE has to offer, from celebrity news to compelling human interest stories. Read the original article on People
Daily Record
23-05-2025
- Health
- Daily Record
Schoolgirl dies just hours after being discharged from hospital with 'tonsillitis'
An inquest is due to be held into five-year-old Lila Marsland's death. The mum of a young girl who tragically died just hours after being discharged from hospital has shared her heartbreaking ordeal. Rachael Mincherton took her daughter Lila Marsland, five, to Tameside Hospital in Greater Manchester in December 2023 after she complained of neck pain and a headache, and had been vomiting. The 36-year-old nurse was concerned Lila had the potentially deadly condition meningitis. However, medics told her it was actually tonsillitis and prescribed antibiotics before discharging the youngster. Sadly, just a few hours after returning home, Rachael woke at around 9am to find her unresponsive, WalesOnline reports. Speaking ahead of an inquest into Lila's death beginning on Tuesday, May 27, Rachael said: "When we arrived home from hospital, I slept with Lila that night and when I woke she was unresponsive. The paramedics arrived in minutes and did everything they could, but it was too late. At that moment our family changed forever." Paying tribute to her daughter, she described her as "the most amazing and adorable little girl" who had a "zest for life". She added: "Lila was the most amazing and adorable little girl. She was a gentle soul who had many friends and all the teachers at school thought the world of her. "I'd pick Lila up and it would take half an hour to leave as she would be hugging all of the teachers. Lila played with her friends, loved dancing, cheerleading and Rainbows. "She had a zest for life and her entire future ahead of her. It breaks our hearts that she'll never get to make the most of life and fulfil her potential." Since the tragedy, Rachael and her partner Darren Marsland, 42, have founded a charity called "Lila's Light", which aims to fundraise to provide hospitals with bereavement bags to give to children who have lost a sibling. So far, they have raised over £10,000 via events including a family fun day and a charity football match. Rachael explained: 'No family thinks they'll ever find themselves in this position. It's almost impossible to put into words the feeling of loss our family faces every day and how Lila's death will remain with us forever. 'We wouldn't wish what we're having to go through on anyone. However, fundraising is our way of trying to keep Lila's memory alive while also giving something back and helping other families who may need support.' Join the Daily Record WhatsApp community! Get the latest news sent straight to your messages by joining our WhatsApp community today. You'll receive daily updates on breaking news as well as the top headlines across Scotland. No one will be able to see who is signed up and no one can send messages except the Daily Record team. All you have to do is click here if you're on mobile, select 'Join Community' and you're in! If you're on a desktop, simply scan the QR code above with your phone and click 'Join Community'. We also treat our community members to special offers, promotions, and adverts from us and our partners. If you don't like our community, you can check out any time you like. To leave our community click on the name at the top of your screen and choose 'exit group'. If you're curious, you can read our Privacy Notice. The inquest at Manchester South Coroner's Court in Stockport is expected to last for eight days. An initial investigation into Lila's death showed she had signs of meningitis bacteria in the fluid around her brain. Her parents, who also have a 15-year-old daughter, Ava, hope the inquest will give them the "answers they deserve" and have instructed lawyers specialising in medical negligence. Rachael said: "One of the hardest things to try and come to terms with is having so many unanswered questions about why Lila died. We know the inquest and listening to the evidence is going to be incredibly difficult, but it's something we need to do to establish answers for our girl." Jack Bookey, the specialist lawyer at Irwin Mitchell, representing the family, said: 'Rachael and Darren remain devastated at losing their little girl so suddenly and tragically. Understandably, they have a number of questions and concerns over what happened to Lila and the events leading up to her death. 'While nothing can make up for their devastating loss, the inquest is a major milestone in being able to provide Lila's loved ones with the answers they deserve. If during the course of the inquest any issues in Lila's care are identified, it's vital that lessons are learned to improve patient safety.' The Tameside and Glossop Integrated Care NHS Foundation Trust, which operates Tameside Hospital, was contacted for comment.
