Latest news with #SahityaAkademiYuvaPuraskar
Hindustan Times
04-08-2025
- Entertainment
- Hindustan Times
Advait Kottary: ‘I did not want the book to sound preachy or academic'
Mumbai-based actor and author Advait Kottary talks about his novel, Siddhartha: The Boy Who Became the Buddha, which has been awarded the Sahitya Akademi Yuva Puraskar (English) 2025. Actor-turned-author Advait Kottary. What does winning the Sahitya Akademi Yuva Puraskar mean to you? Honestly, it is still sinking in. I am deeply grateful for the recognition. It is incredibly humbling to have my novel acknowledged in this way. It is a tremendous honour for me to be placed alongside some of the finest contemporary writers in the country. I knew that the book was in consideration for the award because my publishers had mentioned it a while ago. But when the news finally came through, it felt surreal. More than anything, I am glad that the story seems to have resonated with readers and critics alike. I believed in it deeply while writing it, and this recognition reaffirms that instinct. What was more challenging to write — Siddhartha as a seeker, or the Buddha as a teacher? Both were equally challenging, but in very different ways. Writing Siddhartha as a seeker meant entering that raw, questioning space — the same questions that many of us still carry. It required deep empathy to understand not just what he asked, but why. Writing the Buddha as a teacher was just as delicate. His insights are well-known, but placing them into believable, emotionally-grounded moments was difficult. I did not want the book to sound preachy or academic. Balancing the vulnerability of the seeker with the stillness of the teacher was perhaps the hardest part of the journey. What kind of research went into describing the period, setting and social structures accurately? What did you read in addition to Thich Nhat Hanh's book Old Path, White Clouds, which you have mentioned in some of your previous interviews? Old Path, White Clouds was a constant guide. It shaped not just the content but the emotional cadence of the book. Thich Nhat Hanh's writing opened a doorway for me into the world of Siddhartha, not as a distant, deified figure, but as someone deeply human and curious; someone who struggled, questioned, and ultimately transformed. Beyond that, I immersed myself in multiple layers of research. I spent hours poring over editions of The Journal of the Pali Text Society, which offered valuable insights into language, context, and interpretation. I also referred to translations of early Buddhist scriptures, especially those by Bhikkhu Bodhi and Thanissaro Bhikkhu — both of whom have done exceptional work in bringing ancient Pali texts into accessible English. Their translations of the Majjhima Nikāya and Dhammapada, among others, helped me understand the world view that Siddhartha was surrounded by, even before he became the Buddha. The research helped me anchor the story in its time, but I was mindful not to let it dominate the storytelling. The goal was always to let the imagination breathe while staying faithful to the spirit of the period. Your mother, Gajra Kottary, co-wrote the television show Buddha: Rajaon Ka Raja. Since she had already immersed herself deeply in the story of the Buddha, what advice and support did she offer while you were working on your novel? My mother's support has been invaluable, but what influenced me most wasn't just her knowledge of the subject. It was the way she approaches storytelling. She taught me how to think structurally, how to build emotional arcs, and how to let the silences in a story speak as much as the words. She gave me the freedom to find my own voice but always offered guidance when I needed it. Her faith in the power of story was something that I carried with me through every draft of the novel. How did visiting Sarnath and Bodh Gaya enrich your writing? Visiting Sarnath and Bodh Gaya brought a quiet clarity to the writing process. There is something incredibly grounding about being in the physical spaces where these moments in Siddhartha's life are believed to have unfolded. It wasn't just about historical immersion; it was about feeling the stillness that those places hold. The silence beneath the Bodhi tree, for instance, gave me a deeper understanding of the inner stillness that Siddhartha must have discovered when he sat there. Later, I also travelled to Ta Prohm and the surrounding temples in Cambodia. Though not directly linked to Siddhartha's life, those spaces had a profound effect on me. The way ancient Buddhist structures have been slowly embraced by the jungle — the stone and the roots tangled together — felt like a visual metaphor for the impermanence and interconnectedness at the heart of his teachings. There was a haunting beauty to it, a quiet reminder of how time reclaims everything, and yet somehow the essence remains. That imagery stayed with me, and I think it found its way into the emotional texture of the book. Retelling stories that involve religious figures can be tricky because there is a danger of offending people who are opposed to creative license. Knowing this, how did you proceed with the writing? Very carefully, and with deep respect. I was always aware that I was treading sacred ground. My intention was never to reinterpret the Buddha, but to humanise Siddhartha — without distorting his truth. I relied on research, empathy, and restraint. The hope was to honour the tradition while making space for imagination and emotional resonance. If there was one guiding principle, it was sincerity. In retrospect, which character in the novel were you unable to do justice to? I think that Amrapali, Bimbisara, and Ajatashatru are three characters whose stories stayed with me long after I finished writing. Amrapali, with her grace, intellect, and quiet resilience, is such a compelling figure. There is both power and pain in her journey, which I could only briefly touch on. Bimbisara and Ajatashatru, too, represent such a rich emotional arc as father and son, who were both shaped in different ways by their encounters with the Buddha. Their relationship holds so much love, ambition, betrayal, and redemption. I often felt I was just brushing the surface of their inner worlds. There is definitely a lot more to be said, and I hope I get the chance to return to them in another story someday. What are the pros and cons of using flashback as a narrative technique? Why did you use it? Flashback allowed me to explore Siddhartha's journey as a series of emotional echoes. We do not live our stories in straight lines. Memories surface in fragments, shaped by the present. The challenge was in pacing, and ensuring that readers stayed emotionally grounded. But I chose it because it mirrors how transformation often works — through revisiting the past until clarity emerges. You have acted in shows like Beecham House and Four More Shots Please. If your novel is adapted into a film or a web series, and you are allowed to audition for as many roles as you like, which character(s) would you audition for? Why? Haha, you are really putting me on the spot! Honestly, I would leave that decision to the director. I would be thrilled just to see it come to life on screen with the right ensemble. But if I were to audition, I would aim for the hardest role of all — Siddhartha. Not just because he is the lead, but because his transformation spans so many emotional textures: curiosity, confusion, courage, clarity. It would be the kind of role that changes you from the inside out, the role of a lifetime! Chintan Girish Modi is a journalist, educator and literary critic. He can be reached @chintanwriting on Instagram and X.
Hindustan Times
30-06-2025
- General
- Hindustan Times
Allahabad University admission through CUET UG 2025: Registration begins today
University of Allahabad will begin the registration process for undergraduate (UG) admission through the Common University Entrance Test (CUET) 2025 today, June 30. Candidates who have appeared for CUET UG 2025 and want to take admission to the university can register themselves at edu in. Allahabad University admission through CUET UG 2025: Apply from today (Representational image)(Unsplash) Also read: CUET UG result 2025 news live updates The admission/counselling process for Allahabad University UG admission 2025 will be done in two phases. The first phase is registration/ profile update, which students must complete between June 30 and July 15, 2025. The second phase is programme selection and payment of the registration fee. Before registration/ profile update, applicants should ensure that they fulfil the eligibility criteria as prescribed by the university and must have the following documents: CUET UG 2025 admit card Class 10 and Class 12 mark sheets and certificates Photograph and signature in the prescribed format A recent caste certificate in the central government format (applicable for EWS, SC, ST, and OBC category candidates) must contain the number and the issuance date. Also read: Allahabad University scholar Neha Rubab wins Sahitya Akademi Yuva Puraskar for Urdu novel The second phase of the admission process will begin after CUET UG result, during which students need to select their preferred programmes and pay the registration fee. Applicants can select course(s)/ on the portal. The registration fee for Allahabad University UG admission is ₹ 300 for unreserved, OBC and EWS category candidates and ₹ 150 for SC, ST, PwD candidates. Also read: JEECUP Counselling 2025: UPJEE Polytechnic admission process begins at Applicants who successfully register/update their profiles and pay the registration fee after programme/course selection will be considered for counselling. The university will notify the schedule for phase 2 activities, such as course/programme selection and fee payment, separately. Meanwhile, the result of the CUET UG 2025 exam is awaited. Candidates are advised to visit NTA websites and regularly for updates.
New Indian Express
29-06-2025
- Entertainment
- New Indian Express
Andhra Pradesh fisherman's son breaks barriers, wins literary award
ANAKAPALLE: In the small coastal hamlet of Vada Rambilli under Rambilli mandal in Anakapalle district, a powerful story of resilience and literary achievement has emerged. Surada Prasad, a 25-year-old writer known by his pen name Prasad Suri, has become the first—and youngest—member of the fishermen community to receive the Sahitya Akademi Yuva Puraskar in 2025. His Telugu novel Mairaavana earned him the prestigious award, marking a significant milestone not just for himself but also for his Vada Balija community along the Visakhapatnam coast. Prasad's journey is one of determination, passion, and an unwavering commitment to storytelling. Born to Surada Chandrarao and Nukaratnam, a fishermen couple who moved from Vada Narsapuram to the Buggavagu reservoir in Macherla of Palnadu district in search of a livelihood, he grew up in a family unfamiliar with reading or writing. Neither of his parents nor grandparents were literate, making him the first in his family to attend school and later graduate. He spent his early years in Macherla, completing primary education before returning to Vada Rambilli to live with his maternal uncle and grandmother for secondary schooling. He pursued Intermediate in Yelamanchili and went on to earn a Bachelor of Fine Arts from Jawaharlal Nehru Architecture and Fine Arts University, Hyderabad. He is currently pursuing Master's degree in Archaeology at Maharaja Sayajirao University of Baroda. Prasad's artistic journey began with childhood sketching and painting, later growing into a passion for history, mythology, and literature. Despite financial struggles, he worked various jobs to support his education and pursue meaningful storytelling. He began his literary career with 'My Name is Chiranjeevi,' a semi-autobiographical novel set against the backdrop of Vizag's culture and slang. Written at the age of 19, it follows the struggles of a teenager named after Prasad's favourite film star, Chiranjeevi, navigating life through high school and Intermediate years.
Indian Express
24-06-2025
- General
- Indian Express
In Jharkhand, an Adivasi poet's fight to document tribal values: ‘Owe this to future generations'
What Parvati Tirkey, an Adivasi poet who's the recipient of this year's Sahitya Akademi Yuva Puraskar, remembers most about her childhood is story-telling sessions with her grandfather. Every year during the tribal festival of Sarhul festival, she would sit at her grandfather's feet as he sang songs of old. The songs taught her everything she needed to hear about her Kurukh culture, their traditional way of life and even legends and myths – all things she could never learn in textbooks. It's through these that she learnt the significance of her surname, Tirkey. 'Tirkey, which means a wild bird found in forests. In the same way, the tiger (Lakra) is a totem animal for those with the Lakra surname. Totem for us Adivasis, simply means a deep sense of guardianship and kinship with a particular species,' she says. For years, Tirkey has been trying to encapsulate her learnings through the tradition of 'oral libraries' in her poetry. Earlier this week, her commitment to this vital cultural reclamation was officially recognised: she was named the recipient of the prestigious Sahitya Akademi Yuva Puraskar 2025 (Hindi) for her poignant poetry collection 'Phir Ugna'. Translated as 'To Spring Again' it is a collection of Kurukh poetry. 'These poems are rooted in the Kurukh lifestyle and their ancestral knowledge systems like the Parha system of self-governance, the totem culture, and more,' she says. From a remote village in Jharkhand's Gumla district, Tirkey completed her schooling in Gumla and went on to earn her graduation, post graduation, and PhD in Hindi Literature from the Banaras Hindu University (BHU). Despite her literary achievements, Tirkey admits she never liked studying as a child. 'I still remember my grandmother's admonition: 'If we go to school, who will go to jatra (processions)?',' she says. During her research at BHU, Parvati made the conscious decision to bring these 'oral libraries' into Hindi literature. 'Our elders had libraries too, hidden ones, oral ones. Why weren't they adopted? Why weren't they given space?' Tirkey, who teaches Hindi literature at Ram Lakhan College in Ranchi, asks. Her choice of language – Hindi – was a carefully thought out one, selected to bridge the gap between indigenous and non-indigenous languages. Through this, she also wanted to explain better the systemic neglect of the Kurukh language and knowledge within academic and cultural institutions. 'Hindi literature has long been dominated by non-indigenous writers. Since our voices have been missing for generations, it's time we document and share our cultural values, those that were passed down orally and never written. We owe this to future generations. Let it be part of the current syllabus,' she says. Among the poems in her collection is 'Lakra Kavita' – or tiger poetry. She describes it as a conversation between a tiger and a Kurukh tribal with the surname 'Lakra'. 'The tiger stops this man on his path and the man reminds the tiger they are family, that they share the same origins and emotions. The poem portrays the emotional bond between the two, and eventually, the tiger allows the man to pass,' she says. For Tirkey, writing poetry and entering the world of literature is her response to cultural displacement — an issue she feels remains under-discussed. She believes that any effort to preserve Adivasi culture and language is a small but significant step toward revival and inclusion in mainstream consciousness. 'These cultural systems now need to be preserved. That's what the title Phir Ugna means – to spring again,' says Parvati. Shubham Tigga hails from Chhattisgarh and studied journalism at the Asian College of Journalism. He previously reported in Chhattisgarh on Indigenous issues and is deeply interested in covering socio-political, human rights, and environmental issues in mainland and NE India. Presently based in Pune, he reports on civil aviation, other transport sectors, urban mobility, the gig economy, commercial matters, and workers' unions. You can reach out to him on LinkedIn ... Read More
Hindustan Times
20-06-2025
- Entertainment
- Hindustan Times
Two Marathi authors receive Sahitya Akademi awards
Pune: Two Marathi authors have been honoured with Sahitya Akademi awards this year. Suresh Sawant received children's literature award for his poetry collection 'Abhalmaya', while young writer Pradeep Kokare was awarded the Sahitya Akademi Yuva Puraskar for his novel 'Khol Khol Dhushkali Dole'. The Sahitya Akademi on Wednesday announced the 'children's literature award' in 24 languages and the 'yuva puraskar' in 23 languages. Deputy chief minister Ajit Pawar said, 'Pradeep Kokare is a realist writer whose literature reflects the lives of the poor, the unemployed, and the marginalised and neglected sections of society. His writing directly engages with social issues The national award is not only a recognition of his work, but also a matter of pride for the Marathi literary community.' Suresh Sawant is a senior Marathi children's writer and poet. His works is marked by a simple, heartfelt language easily understood by children. 'Abhalmaya' is centred around themes such as nature, the sky, dreams, and the emotional world of childhood. Kokare said, 'My novel is based on the identity crisis and the questions faced by today's youth. The protagonist comes from a small village to Mumbai for his education and faces challenges that questions his own existence. His thoughts emerge in a lyrical form throughout the novel. I completed this work on the Yashwantrao Chavan Centre Fellowship received in 2022. While literary meets are organised, real issues faced by youth are not being discussed.'
