Train to Pakistan (1956)

Train to Pakistan was originally written by Khushwant Singh* in 1956 but my Kindle edition, published by Penguin, was produced in 2016. The digital edition is 190 pages long and the novel comprises of four chapters. I read this for my university course in an attempt to explore partition literature. I'll discuss the writing style and literary devices as well as bias and political motives for independence.

The novel is set in a Sikh village on the Indian side of the newly-created border and has a mixed population of Sikhs and Muslims; they all live happily and harmoniously together. The village is "Sikh" in that all the land belongs to Sikhs, while Muslims only work on the land or have other trades. The interfaith love affair is controversially that of a young Sikh man and a Muslim girl, which may be considered a metaphor for the male power over women suggesting a sense of domination just as the land is owned by the Sikhs. 

Part of my analysis has me searching for bias and balance in my readings. Singh begins his novel diplomatically, noting that all parties involved contributed to the bloodshed and harm during the partition. However, I noticed that Muslims, in the novel, committed grave crimes while the Sikhs committed fewer crimes or only expressed the desire, motivation and attempts to retaliate equally or with twice as much force. In the end the violence appears to be realised by Muslims and only desired by Sikhs. In this way I felt there was a disproportion, yet I'm sure there were equally heroes and villains on both sides and the crimes equally heinous. 

An interesting political remark was that Indian (and Pakistani) Independence was a movement for the rich Indians, who would be thus allowed to replace the British in higher governmental positions. The poorer members of society, including peasants, had little to gain and history shows us just how much they lost, including their lands and lives. The contrast in motivation for Independence highlights the disconnect between social classes amongst Indians themselves. 

I found the writing style to be fairly stiff and simple. Oftentimes I felt that the expressions and dialogue did not sit well in English yet when I thought about them in Punjabi, they sounded better. I suppose they were not well translated to capture the right tone. I noted that Rushdie did this well in Midnight's Children. The use of Iqbal as a foreign-educated youth was an effective way to introduce Western impressions in contrast to the Indian peasant world. He also functions as a connecting figure to a Western audience and mentality. There is a pretty linear plot, although Singh does play with chronology in his first chapter. 

Overall, I found that the novel's language was not its strength but rather its historical significance is what makes it a valuable addition to partition literature. It is a tribute to all the unknown heroes in times of intense conflict. Train to Pakistan was one of Singh's earlier writings so perhaps his later works adopted a more complex style. 

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*While Khushwant Singh was born into a Sikh family, apparently (Wikipedia notes) he adopted an agnostic/ atheist-inclined worldview later in his life. I do not know whether this novel was written before or after his change of faith and whether this affected or would have affected his work. 

The Ministry of Utmost Happiness (2017)

This post is long overdue but I needed to think about the novel for some time before compiling any sort of review. In all honesty I feel like I shouldn't really write one until I read the novel again but that seems like it will be many months away considering my current schedule and reading list. For the reason of not wanting to delay it any further, I'm now making my attempt at this review.

For the record this is Arundhati Roy's second novel, after an immense gap of 20 years (see note) and was published by Hamish Hamilton (Penguin) in 2017. The hardback copy is 445 pages including acknowledgements and 438 without, making it a pretty chunky read; I can't say I didn't wish I had it in a kindle edition just for that reason (there is one by the way). The novel is divided into 12 chapters, plus a short passage prior to chapter one. I will discuss her style as well as some of the key issues or themes she deals with, although a blog post is far from sufficient.

Roy begins the novel with a short passage on how consumerism is harming the environment. This issue is revisited especially at the end of the novel, although it is one of many threads and is linked closely to her political stance. She raises so many issues concerning the effects of modernisation, consumerism and capitalism, especially on the poor, which are linked to her arguments from non-fiction.

The Ministry of Utmost Happiness begins in Dehli, India where we follow the story of a transgender woman, Anjum previously Aftab. I found myself quite "settled" into the novel when Roy changes the scene and begins the parallel plot in Kashmir. My knowledge of the Kashmir affair is vague, at best, and Roy illustrates just how much of a nuanced and delicate issue it is. This definitely made it heavy reading despite the captivating narrative and suspense. She is clearly well-informed and has produced an insight into a region that has been in a state of conflict for decades.

In terms of style Roy uses both the first person narrative as well as an omniscient narrator. She uses a very different writing style to The God of Small Things and shifts in chronology (flashbacks and flashforwards) thus allowing the reader to recreate the order of events. Her writing is full of wit, sarcasm and beautiful turns of phrase.; it's a pleasure to read. I believe she used layers of microcosms with Anjum's internal turmoil reflected in Kashmir, which is a microcosm for the problems affecting India, which is in itself a microcosm of the global crises we face.

Roy doesn't shy away from addressing some sensitive yet core social issues. She makes consistent references to the social relationships between Hindus and Muslims in India, including some severe political consequences. She raises awareness on the increased religious discrimination towards Muslims in India and in other parts of the world. One of the ways she made this novel so rich is by including various beliefs and cultures- from shrine visiting to references to jinn and witchcraft and omens- which highlight the complex and nuanced mentalities of the people, which affect how people live with one another in a context of differences.

The Ministry of Utmost Happiness is a dark, dense and richly crafted novel. It is about love and heartbreak in the broadest sense and of all types. I struggled with this novel because while it is fiction, it is based on some of the harshest realities and truths of our modern world. It provokes thoughts on who we are in the novel: those who contribute to the conflict and chaos or those who attempt to relieve it. It ends on a note of hope, yet I'm not really sure how hopeful it really is. This is definitely an important read and a reality check packaged in fiction.

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Note: Although Roy hadn't written a novel in a good few years, she was still actively writing non-fiction in the interval. I was fortunate enough to read her Algebra of Infinite Justice last semester and this definitely gave me a grounding in Roy's activist positions and the issues she relates in this monumental piece.

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milk and honey (2015)

Milk and honey was published by Andrews McMeal Publishing in 2015 and consists of 206 pages of poetry, divided into four chapters: the hurting, the loving , the breaking, the healing, with an additional two pages, one about the book and one about Rupi Kaur. The format of the book is black and white, including several black pages with white print. Kaur includes several of her own illustrations alongside her poetry to complement her words.

I finally decided to jump on the bandwagon, albeit far too late. The reason for this review and even reading milk and honey in the first place was my sister's references to the book, her underwhelmed opinion and her seeking my thoughts on the matter. Naturally I wasn't quite in a position to give a fair opinion on Kaur's work without having read it. So now here we are. No doubt I had heard a lot about this book and consequently I went in expecting a certain kind of narrative. I also know that Rupi Kaur's work seemed to bring joy to many women of colour. I'll describe what she writes about, how she writes, the nature of love in her work and some references to her work as a woman of colour.

Kaur uses highly emotional language in her poetry to evoke strong feelings in her readers; she appears to have wholly adopted an aesthetic approach to her writing in order to create an experience of strong sentiments and physical sensations. Kaur covers issues like rape and sexual violence and the silencing of the female voice, including abusive relationships and even angry couples. These images can be taken literally or interpreted metaphorically as various difficulties being faced in life. 

Kaur calls on "self-love", a popular term referring to caring for oneself, to be the foundation of human strength and this comes before loving others or seeking the love of others. There is a consistent desire to be loved, wanted and to belong in these poems and Kaur attempts to balance these desires out with advice on beginning with the self. However, she nonetheless values the search for love and a partner, recognising it as an added strength. 

I was quite surprised at the highly sexualised imagery Kaur used, mainly because I wasn't expecting it. The poetry felt so much about human desires, its wants and needs and they are significantly on carnal and "animal" levels. The strong sexual themes and language, for me, seem like a contemporary "necessity" for success in the arts. I remember once during my Bachelors degree having a class discussion on how it is literary critics who decide whether sexual representations in literature are pornographic or tasteful and artistic. I personally found it a little vulgar and a strategy to pander to a wider audience, considering that mainstream modern Western society is hyper-sexualised and we live in an increasingly promiscuous culture. These themes subsided towards the end of the book. 

Kaur included one poem on mainstream European standards of beauty and highlighting the richness and beauty in Indian and other coloured skin tones. There is one poem on women of colour and then one poem on being a Kaur and Sikhi. She also writes a three-lined poem on seva, selfless service, which is an element of the Sikh religion. While I was glad to read these short poems, I felt they were too little and too discreet. I could not but help compare it to Nayyirah Waheed's approach, which is far more potent as she abruptly condemns her colonisers and their languages. Kaur is far more gentle and doesn't point fingers at the colonisers or the West, which may well have allowed her to enjoy a more white, middle-class audience. 

Towards the end, the book felt like a self-help handbook for women coming out of relationships or difficult periods in their lives, which is useful to those who want to seek solace in it. However, I was somewhat disappointed with this collection of poems because I had hoped for a richer representation of Punjabi and/ or Sikh culture. Not only did I not get these, but I felt the Divine was not referred to at all and these poems were only about humans at their lowest levels, and not the transcendent. Greatness was in the "universe", terms that probably sound lovely to atheist ears. Overall Kaur's writing is definitely provocative and the themes may well resonate well with a mainstream audience but I didn't quite find them to suit my taste nor did I find them particularly uplifting (in a spiritual sense); it was a tad mundane. 

Northanger Abbey (1817)

While the original Northanger Abbey was published in 1817 after the death of Jane Austen, my copy is a Collins Classics edition published in 2010. The novel itself is 230 pages and there are an additional 27 pages of "Words and Phrases from Classic Literature" to help with any unknown terms. I'll give a little insight into my thoughts on the style and some other points of interest raised by Austen. I'll also compare this novel more to Mansfield Park, since I read it not so long ago.

Reading Northanger Abbey straight after Mansfield Park allowed me to make more direct and precise comparisons between the two. While I find the plot of Mansfield Park to be somewhat more complex and with more closely interwoven stories, I can appreciate Austen's not-so-affluent heroines and their relatively more humble family backgrounds in both of these works. That's not to say Austen isn't about high class society, but she plays on the interactions between the various levels in the hierarchy of the gentry.

I found Austen's style in Northanger Abbey to be rather distinct in its more overt sarcasm and wit. I believe the tongue in cheek humour in the descriptions is somewhat more discreet and subtle in some of her other works. To incorporate some Gothic thriller elements into her writing illustrates Austen's engagement with other literature of her time and her own attempts at experimentation with other genres. This is also evident in her significant emphasis on a theatrical play in Mansfield Park, another example of crossing between various art forms. She also overtly discusses the role and nature of novels of the period, especially those written by Anne Radcliffe. Austen opens up this discussion on female writers and attempts to determine where their value in society is in relation to other traditional texts, such as histories, written largely by rich men.

Austen's way of developing characters seemed different from her previous approach, such as in Mansfield Park, where she describes the character for you. I was quite fascinated this time as Austen used her protagonist, Catherine's naiveté to give every other character she interacted with a fair chance to expose themselves through their own words and actions. I found this characterisation intelligent and a refreshing change from a dictated judgement from the narrator. In terms of character, I found the hero in this novel, Henry Tilney, to be fairly likeable excepting his tendency to make general passing judgements on what is appropriate, acceptable and/ or good in the female sex. But it probably represents a fair part of ideal gender roles of the time. Austen chooses to (sarcastically) elaborate on this tendency through her narrator, who enlightens us on the advantages of ladies, especially pretty ones, to remain ignorant in order to flatter the vanity and ego of their conversational partner. Charming tips!

Another similarity between the two novels is that of the rather swift conclusions. I felt that Northanger Abbey's conclusion could have been lengthened and developed a little more as it felt unsatisfactory, considering the sudden plot twist that had to be explained and then resolved. There was little news on James, Catherine's brother, and his future. I personally felt as if Austen needed to quickly create and write her happy ending without wanting to write reams more and thus wrapped up the story in a rushed fashion. I think the emotional challenges in Mansfield Park made the quick conclusion an acceptable relief, yet insufficient in Northanger Abbey since there was less "drama" so to speak.

Overall, it was a less gripping read than Mansfield Park, yet more light and humorous. It was also a much shorter novel, comparatively, which explains the less dense plot, yet Austen still explores a wide range of issues from gender roles, social hierarchy, education, honesty and sincerity as well as the role of literature in relation to real life. She merges the concepts of fiction and reality and this makes for some thought-provoking discussion.

Mansfield Park (1814)

I'm currently catching up on some of the books on my personal reading list now that I have a little break between semesters. I thought I'd begin with Mansfield Park since it's been a while since I've read anything by Jane Austen. This edition was published in 1949 by the Novel Library and is 479 pages long on remarkably thin paper. 

I was surprised to find myself much more captivated by this novel than previous ones I've read (quite long ago), such as Sense and Sensibility and Pride and Prejudice. I'm reconsidering whether I will read them again as a more mature reader or if I'll just put it to Mansfield Park being written after the two above mentioned and thus attribute it to Austen's own matured style.

Austen's novel makes a change from more contemporary fiction in so many ways: the steady chronological style, the value given to religious and moral conduct and the lack of vulgarity. Of course Austen had her own context to consider and the novels reflect this but she clearly has a moral stance and preference in the novel where religion seems like it ought to be valued more sincerely than the upper class can admit. The religious and moral values she advocates include sincerity and humility, which are lacking in high society in favour of material wealth. Despite this critique of the upper classes, Austen demonstrates her partiality to refined upper class etiquette as being indispensable in a truly noble character. This naturally puts the lower classes at a great disadvantage.

A refreshing element in the novel was the insight into the Price family, a family who is considerably less wealthy and "refined" than the principal Bertram family. While it clearly shows the failings of character that can easily pervade with lack of financial means and poor management, it also provides some hope and an incentive for wealthier members of society or a family to take the initiative to help "raise" others in order to increase goodness, or the potential of goodness, in society.

On a less positive note, I felt that the main protagonist in the novel, Fanny, was a little too sensitive, fragile and timid for my liking and it felt like a character that was, although morally correct, difficult to identify with. This, I can argue, also allows Austen to create a perfect, angelic character, which goes against contemporary subjectivity of character, judgement and a general trend for rebellion.

Overall, it was a rather pleasant, almost indulgent, read and I look forward to reading Northanger Abbey in order to increase my exposure to Austen's writing.

The Good Muslim (2011)

This is only a short entry on my thoughts on Tahmima Anam's novel, which is the second of a trilogy. The Good Muslim was published by John Murray in 2011 and follows the novel A Golden Age, which was published in 2007. The third part of the trilogy, Bones of Grace, was published in 2016. As a disclaimer I would like to clarify that I haven't read the first in the series. The kindle edition that I read is a little under 300 pages, though 305 pages including acknowledgements and a preview into the third book. The novel is set in Bangladesh soon after the war of independence and some time later, as the novel switches between years, slowly developing the narrative and context through visits to the 1970s and 1984.  It is divided into a prologue, three books, whose titles make reference to Quranic verses and an epilogue ; the first book is entitled "All that is in the Heavens and on Earth", the second, "Every soul shall taste death" and the third, "God wrongs no one, Not even by the weight of an atom".

I read Tahmima Anam's novel, The Good Muslim, as part of my self-study unit to explore whether writers from the Indian subcontinent have largely adopted the worldview of their colonisers, that of modernity and secularism. This is also the reason why I didn't read the prequel, as I had to focus on my core reading list before reading around (prequel and sequel). The novel itself is an easy and quick read and yet the cultural and historical significance is very much apparent; it plays an important role in reminding, or even teaching, people about the War and conflicts in Bangladesh, events that I presume are little known outside those directly concerned.

Anam's central protagonist is a young female doctor named Maya. Most of the chapters are given from her perspective through a third person narrator. There was one chapter in her brother, Sohail's perspective, a first person narrative chapter from the eyes of her young nephew Zaid and a part of a chapter recounting Joy's war experiences. This is significant because Maya's voice is the dominant one, and it is a voice of criticism and, more specifically, disdain towards religion, which in this case is Islam.

Her values are more closely aligned to those of secularism, as science and modernity are valued higher than religious principles. She is concerned over her brother's interest and "conversion", having discovered Islam as a source of solace after the war. I felt that Maya's negativity towards religion was not particularly nuanced, as many of the practices adopted by her recently "converted" brother bothered her, despite them being fairly common or understood in a practicing Muslim community. It seems as if those whose religion is imperceptible are the ones that Maya prefers. Maya herself appears to not consider herself a believer and only reluctantly acknowledges her taught prayers. What I found particularly unsettling was that Maya made certain remarks such as "at least he hasn't grown a beard" or referring to the Quran as "the Book", implying it was the source of the problem and her brother's increased interest was a cause for concern. The reason this is problematic is because it perpetuates negative stereotypes that Muslim/ Asian men face when they choose to grow a beard, for example, or take their faith more seriously by learning more about the Quran. The UK, among many other countries, has been known to actively discriminate against people on these bases and it would be unfair to allow that connection to be validated when, for the vast majority, it is not a sign of fundamentalism. For Maya, the problem is religion itself, not solely the injustices practised in the name of religion or misinterpreted for selfish ends.

On the other hand, I found that Sohail's behaviour was not ideal, nor necessarily a perfect reflection of a pious Muslim due to two core issues, his apparent neglect towards his son and failing to be present during his mother's illness when she was seeking him. Those are not values or types of behaviour that are encouraged in Islam, rather to contrary they are looked down upon. And yet I still found myself more sympathetic to Sohail than Maya, because she seemed to be full of absolute revolt and he appeared to be much more docile and searching a way of peace, mercy and clarity after the shock of the war. Maya's only seemingly redeeming factor was when she attempted to save her nephew from injustice. The Tablighi Jamaat, the group that Sohail joined, definitely has some peculiarities but I believe it is not as catastrophic or threatening as made out to be.

An important theme in the novel was also that of children's education and upbringing. It's an increasingly important discussion since oftentimes when children are granted an education, it is a (compulsory) secular one, and one that usually inhibits creativity, an issue that is increasingly being faced in the Western world. Maya is wary of the madrasa education chosen by her brother, which again creates an opposition of two differing worlds.

Overall, I felt that while Anam was able to create some moving, sentimental scenes, the overall tones are strongly, if not too, anti-religion, and not necessarily anti-injustice that may take place under the guise of religion or in any other given context. For Maya, at least, Bangladesh is a country full of a rich culture but ought to otherwise be secular. However, I appreciate the role of Rehana, the mother, who points out that Maya is not simply the innocent, enlightened party in regards to their family dynamics, as she played a significant role in provoking her brother into a more drastic lifestyle change.

Truth in Tradition

I'll be diverting away from my book review posts today to write about something that's been on my mind for a few weeks. It is quite personal and I wondered whether there was any point in putting it on the big, scary place called the Internet at all. However I thought that it's something that doesn't only affect me, though I may be one of the few people aware of it and bothered by it. 

The sentimental side of this post is that I came to the realisation that I was and have been properly naive throughout my studies and especially higher education (sixth form and university). The reason being is that I've always understood that when writers or artists were trying to decipher the meaning of life or answer questions on the nature of the world, the miracles of nature or even death, truth, justice and goodness, I've always felt that they have been seeking God and, more specifically, Islam in that it would answer and resolve their conflicts and dilemmas on the nature of the soul or what makes humans distinct from animals and whether other beings besides the ones we see exist and more. Of course I have a bias but for many other believers I can presume they too would feel that people are searching for God and whatever religion they follow (be it Christianity, Hinduism or Judaism). These religions share a core that answers some of the most complex (or even regular) mysteries that modern thinkers struggle with. And so I've listened to lectures on so many art theories and art movements where they attempt to explain life and I always find myself thinking "ooh, they're so close- there's some truth in this but they've missed the mark" or "it's incomplete".

And yet with my latest essay submission (at Masters level) I was granted quite the reality check. My tutor flat out told me that since we're post-enlightenment (pfft), we no longer "need" God and the Transcendent. And so now I'm faced with this strong, secular worldview that only wants to discuss God and religion in order to criticise and undermine them. Consequently, I've come to the realisation that while all these artists (like all humans) need and seek God, their theories are intentionally constructed in a fashion to exclude Him. They're rejecting God and are trying to fathom the world without Him. By doing so they're not only fostering their own egos but also spreading false, delusional ideas to thousands if not millions of people and causing discord in people's minds. I know secular folk like to think they're all open-minded and all but they're imposing this on everyone and not allowing a parallel narrative to exist, like I thought democracies loved and glorified. Without trying to sound like I'm blaming one person for this, as it is a process that has taken centuries to bring to this state, Descartes is a name that keeps coming up and so what he said, did and represented has and continues to create confusion and doubt in the minds of so many people across the world.

My present concern is that Muslims are being slowly influenced by these ideas as they are everywhere, covert and overt, and are identifying a little too much with the mainstream, modern mentality. Nouman Ali Khan even mentioned in one of his lectures that a problem he faces increasingly is that some Muslims are trying to use scientific rationalism (or scientific empiricism) as an approach to understanding the religion and it is not only insufficient but can lead to coming to some extremely distorted and incorrect conclusions (just like the contemporary "thinkers"). I'm at a point now where I'm not only wary of popular fiction and modern/ contemporary/ mainstream literature but now even of the so-called classics that I used to enjoy and find fascinating because I found them more beautifully crafted and written. That's not to say that nothing written post 14th or 16th century isn't worth reading, but I think I'll have to be increasingly critical and/or selective.

I guess I wanted to voice my concern about an anti-tradition and anti-religion narrative that we're well aware of in terms of its most vulgar and apparent levels in some media outlets and political affairs, but that it also exists in the institutions that are praised for their intellectual contribution (though they reject the intellect for pure reason). Let's hope that there's love, peace and tolerance in our hearts and communities that can overcome this hurdle.

The Algebra of Infinite Justice (2002)

The book The Algebra of Infinite Justice is a collection of eight essays written by Arundhati Roy between the years of 1998 and 2002. My edition was published by Penguin Books in 2002 with a Foreword by John Berger and is approximately 300 pages long. It makes a change to have a little more non-fiction on my university reading list and I'm definitely glad this was mandatory reading. I decided to blog about it mainly because it is such a powerful book. So without much further ado and to keep this post brief I'll share some of my thoughts and feelings about the book but will not delve into too much detail, as I think it would be much better for anyone interested to read these with Roy as their first "exposure" because she articulates her points best and I find it useless paraphrasing them. 

Just to be clear as to what you'll be getting when you get hold of this book I'll list the names of the eight essays. In order of "appearance" they are: 'The End of Imagination', 'The Greater Common Good', 'Power Politics', 'The Ladies Have Feelings, So...', 'The Algebra of Infinite Justice', 'War is Peace', 'Democracy' and 'War Talk'.

As you can probably tell, I'm a fan of the book and would suggest everyone read it. The reason behind this is simply because the issues Roy discusses are so important and relevant to our modern society because it brings into question the nature of the world we're living in. Despite these essays being rather "old" the problems raised in the essays haven't necessarily been resolved, if anything they have been aggravated and I think it would be a crime not to be aware of what major crimes are being committed in the name of globalisation and "progress".

What I love about these essays is Roy's unflinching approach and her fact-filled passion. Not only is she well informed, she is witty and critical in her stance. She does not hold back from exposing enormous injustices taking place in her homeland. Roy critiques the decision to adopt nuclear arms, the business of building dams and notions of terrorism and democracy. She even goes on to explore what it means to be a writer and/ or an activist. Echoes of colonial burdens are ever present in her work, as India is plagued by its desire to compete with or please the "first world". She denounces the scale of the havoc as well as the fact that only the poor have to bear the brunt of it all. She provides us with eye-watering and heart-melting facts and statistics, and I personally found it heart wrenching to realise to what extent we, and governments, are disconnected from nature, the earth and a traditional way of life. Our inability to authentically value nature beyond a resource to be monetised is in great part one of the major causes of environmental destruction in our current climate. We need to open our eyes and look at the world beyond the lens of money and profit.

These essays are so valuable to humanity because they are a brave call in the face of superpowers. They are voicing the concerns of the voiceless or even trying to protect those who are uninformed and ignorant to how they're being taken advantage of and disregarded. The works are largely about India but they concern every human being because India is part of the world we live in and the issues in India are replicated in many ways across the world. If I were to say anything to India or any other developing country it would be to stop humiliating yourself before the West and destroying yourself from the inside. Value your people, including the poorest amongst them, and value a simpler, more traditional way of life and you will find harmony and success.

Born A Crime: Stories From A South African Childhood (2016)

Born A Crime: Stories From A South African Childhood is an autobiography written by the comedian Trevor Noah. It was published by John Murray in 2016 and I downloaded it for a mere 99p on my Kindle. I'm usually not one to be interested in the autobiographies or biographies of "celebrities" but having laughed at a few of Noah's sketches in the past (particularly when he started out) and the bargain Amazon tempted me with, I thought I'd give it a chance. And I'm glad I did. The book is 304 pages long and is divided into three parts and a total of 18 chapters, many of which are preluded by passages that provide context to the following events.

When I messaged my sister telling her a little about the book and how I was finding it, she commented on how it's funny how people can write autobiographies before the age of 40 now. She has a point, and yet I don't think Noah was misplaced in taking out the time to write this piece because it's about more than Trevor Noah the personality. I will explain what I mean. Of course Trevor Noah describes his experiences growing up in South Africa but he does this with plenty of insight into South Africa's history, tribal reputations, linguistic histories, as well as his family environment and his mother's dedication in raising him. This means that we learn about the history of a nation and the richness in just a part of its society and are then given a human side of how living through these complex social structures affects people and smaller communities. As well as a historical and social narrative, Noah's other major influence was his mother and this relationship is one of the main reasons I value this book.

Noah recognises that the world in South Africa is quite particular in its culmination of influences and its apartheid regime in relation to many Western countries' experience of the world. Thus, he makes a sincere effort to provide appropriate analogies along the way, which also function as reminders that the West isn't "clean" of certain sins but rather have their own forms of injustice that may well have been highlighted in the apartheid as being "more severe". He isn't afraid to bring up and discuss real, pertinent issues concerning white (light) privilege, male privilege and patriarchy, domestic violence and injustice towards women as well as reasons for crime and criminality and the breeding of hate and racism in a society. These are not problems that are South African problems alone nor are they "the Black man's problems" but rather issues that concern everybody individually as well as collectively.

Having lived in both Britain (born and raised) and Germany (at present), I would like to provide a minor correction to Noah's comparison to the teaching of the apartheid to South African children post-apartheid to the education Germans provide about the Nazis and Britons about the Empire. He rightly remarks that German students are made aware of the events of the Holocaust and share a public shame at this part of their history, but I felt the description of the British teaching of colonialism is slightly misplaced. I don't recall ever being formally taught about colonialism in school and even any reference to the slave trade was cursory and primarily focused on America. Britain hardly feels regret or shame about the Empire and consistently hides or avoids mentioning the huge injustices it committed and the attitude is rather that of "ah yes, the Empire was a big thing we had, and now don't- but now we have the Commonwealth".

In terms of writing style, the book is captivating and fluid. It's a pleasure to read and includes a fair share of humour with its tales of rather amusing and ridiculous events. However the emotions aren't always high and frivolous but varied and sometimes rather upsetting and serious. Noah manages to balance the emotions for it never to be too dark or pitiful nor simply comic. His narrative is personal and intelligent.

Now, I have to say that I love Mrs. Noah, Trevor Noah's mother. She, for me, is the real star and hero of the book. Coming back to my sister's remarks about someone under 40 writing an autobiography, I felt that it was an excuse rather to write about his mother. For me Trevor Noah, the child, was probably too boisterous but generally a decent lad however what I really savoured was Mrs. Noah and her rich personality. She is such a strong, brave woman and repeatedly shows her dedication to motherhood and her principles and values. Her strength of character and physical capacity to chase a little boy like Trevor left me in awe and hope. I'm not going to say I condone all methods practiced but there is much to learn in this book about raising a child and developing a meaningful relationship with your child. Mrs Noah is about instilling values and dedicated so much to simply opening the eyes of her child. She reminds us of motherhood and its sacrifices, its pains and joys, and how to foster a positive, healthy outlook to life even in the face of adversity. Her faith is her core and her faith is what elevates her. I can't say I wouldn't be happy to meet her myself!

To conclude I wanted to mention something concerning the sincerity of the book. I may be naive and blind to ulterior motives but while I recognise that Noah suffered a difficult childhood in so many ways, I didn't feel that this book was written in a bid to seek sympathy or to victimise the comedian. Nor was it, for me, a rags to riches story of hope and dreams. To a large degree I have to say that I'm glad of Noah's material success as far as it allowed me to learn firstly about his mother, secondly about the history and experiences of a segment of South African society and thirdly that he is in a position to discuss and denounce ongoing injustice in the world today. I'm rather tempted to write an essay for my seminar on the book, but we'll see what happens. Finally, I find that Noah's personal experiences are so varied, having engaged with such a variety of people from so many different backgrounds and social classes and this is naturally a great asset to him in his work.

Disgrace (1999)

Going back in time a little with this latest read. Disgrace by J.M. Coetzee was first published in 1999, though I read the 2000 Vintage edition on my good old Kindle. It's a novel set in South Africa and it won the Booker Prize. The novel is approximately 216 pages long, depending on your edition I presume. I read this as part of my seminar module on eco-criticism and so I will be referring to some themes linked to this approach as well as my overall thoughts.

Disgrace is written in a third-person narrative voice and expresses the thoughts, feelings and experiences of protagonist David Lurie, a twice-divorced, 50-something university lecturer who gets himself into a spot of trouble that leads to him to leave his job and redirect his time and efforts.

A major theme in the novel is crime and in particular rape. Coetzee appears to criticise not only the policing system but also the general attitude towards crime. Efforts are usually lax and in many ways there is a bias to protect men. Victims are represented, although from an onlooker's perspective- that of Lurie himself, and we recognise marked symptoms of sexual harassment and trauma, such as despondency, distractedness, lack of motivation and animation. Alongside this we not only see rapists as aggressive monster-characters but also as people with friends and family, who do not all necessarily condemn such behaviour. We are given an insight into a rapist's potential reasoning and worldview, his sense of entitlement. Also, crimes, including rape, are not punished severely in the novel, which is probably the most disturbing element. There are sometimes repercussions for the rapist but it seems that the sense of entitlement or "rightness" isn't rectified and this allows the culture of the objectification of women to flourish.

There are also disturbing undertones of paedophilia, as descriptions of attractive women often include child-like qualities. There is a sort of obsession with the young girl, innocent and not yet fully mature. Arguably this representation is just another reference to common images splattered across the media of what beautiful women ought to be, a culture of fetishisation of the extremely young female, disregarding the value and beauty of older women as objects that have passed their best.

My eco-critical analysis means that I can make the connection between the subjugation of women and that of nature. This is more specifically an eco-feminist approach that illustrates how women and nature are both subject to the fleeting desires of men and their demands. The value of nature and of women is determined by their usefulness to men and what they can offer to men. This novel provokes questions as to intrinsic value of the two (women and nature) independent of men. Themes from deep ecology also make an appearance in the notion of population control, demonstrated through the metaphor of dogs and the need to consistently reduce their population size.

What I found most striking in the novel, considering the events that took place, was the tone. The narrative voice was rather calm and matter-of-fact. There was perhaps one episode where there appeared to be an emotional expression of violence and rage but otherwise the tone was clear and collected for the duration of the novel. This conveys the feeling that Lurie lives in his own bubble, which cannot be penetrated by others. Despite the events around him, he lives in a world that is male-centred and his white privilege and academic background means that he is self-confident and hardly feels any sort of remorse or regret. In many ways he is quite cold and frank, yet we see he does have a heart and a great interest in passion and the idea of fulfilling desires.

David Lurie's character is counter-balanced by that of his daughter, who appears to be the complete opposite to him. While he is a man of the city, she is drawn in by the country, while he is heterosexual, she is homosexual. Their views on life and many issues, including animal rights, differ greatly. She is subject to male-subjugation and her father benefits from it. She is the strong-willed woman living alone in a society that values male strength and takes advantage of female compassion. Lucy is an interesting character that I would have liked have known better but Lurie's limited insight into the workings of his daughter's mind meant that we too can only decipher so much. Her character is rich and seemingly experienced in ways her father's never could be.

Overall, Disgrace was a rather quick read (I read it within 24 hours) and easy to follow. The issues are still relevant to us today and it didn't feel like a novel that was "old". I felt the ending was quite open and I would have liked a better  (or different) conclusion but otherwise it was an interesting read with an insight into South Africa that I may never have had otherwise. I gave it a 3-star rating on goodreads.

The Other Half of Happiness (2017)

It's snowing outside right now, despite the fact that we're supposed to be in Spring by now, being mid-April and all. So it's the perfect time to get down my thoughts on the sequel to Sofia Khan Is Not Obliged. I guess this novel makes it to the top of the list in terms of the most contemporary/ newest book I've read. So just to get the facts and figures out of the way, the novel is a generous 448 pages long and was published in 2017 by Zaffre, Again, I downloaded the Kindle edition, which was significantly cheaper than the hardcopy and some other e-book editions apparently. A thank you to whoever sorted that out!

While I loved the first book and was slightly scared that the sequel wouldn't be able to live up to the high standard, I have to say it wasn't a disappointment but rather an impressive feat. I wouldn't say this is better than Malik's first book, but rather she took advantage of the circumstances and changed the tone. That's not to say that this novel wasn't funny and relatable but it was generally a lot more serious and the tone reflected this. I felt there was a constant worry, threat or concern pervading the novel's plot line, and the "cause for concern" changes enough for the novel to remain dynamic and engaging. Sofia also has a lot on her plate and so she is under pressure, which allows her character to develop further and she can ask herself some serious questions.

What I love about both of Malik's novels are that they are so rich and full of brave and important issues. Some of the ones that come to mind for this novel include the challenges relating to interracial marriages and conversion, apostasy, homosexuality, adoption, separation, racism, culture conflicts, fundamentalism, white privilege, betrayal, heartbreak, resilience, forgiveness, sexism, misogyny, dealing with emotional baggage, sacrifice, challenges relating to major illness and parenting. These themes are linked to various characters and sometimes multiple characters at a time. The characters remain varied and authentic so I feel Malik does make the most of the community she has created by raising as many issues as she can that ought to be addressed in reality.

I don't want to spoil the novel for anyone who may want to read it because many of the events are probably better experienced by "first-hand" reading. But I must admit that I cried a lot in this novel, a lot more than in the first. I may have felt more personally involved in the novel since I am in a Muslim interracial marriage myself so it was quite interesting to see how Malik went about exploring this relationship. She captures the light-hearted humour as well as digs up some serious issues such as women facing a lack of respect by men in the Asian community generally and also a secret desire for people to see an interracial love marriage fail, or even a love marriage for that matter. They are slightly troubling attitudes in the Asian community but they definitely do exist.

I have to say that I wasn't happy with the ending but after some calm reflection, having cried so much during and after the novel, I realised that I wasn't happy with the ending because I would have acted differently. So this made me re-evaluate my character more and so it took me into a phase of introspection and reflection. I had to respect that Sofia was justified in making her decisions based on a different set of values and priorities to me, as everyone is different and we face and deal with challenges differently, and those differences ought to be respected.

To conclude my thoughts on the matter, I have to say it was an impressive and brave sequel with a lot of drama and emotion. It still makes me emotional thinking about certain scenes and turns of phrase in the novel. An important thing that this novel made me think about was the question of what can a person accept or forgive or live with, as well as the negatives to those thoughts. To each his own limits and strength of character. I hope to study these novels in a bit more detail in a post-colonial context because they are really quite fitting. Thank you and again, well done to Ayisha Malik!

Sofia Khan is Not Obliged (2015)

The 480-paged novel Sofia Khan Is Not Obliged was written by Ayisha Malik, a British Muslim woman and was published in 2015 by twenty7. I came across it as a suggestion by someone, perhaps @pardonmywritings, on Instagram. I downloaded and read the Kindle edition. The chapters are divided into months which are accompanied by headings. Each chapter then is subdivided by specific entry dates (and times) of the given month, as the novel is in the format of an informal personal journal/ diary. The events span from September 2011 to August 2012. 

Prior to reading the book I was rather sceptical and had low expectations because I doubted the quality of contemporary writing and perhaps even dreaded the representation of Muslims. I guess I've also read so many classics that I tend to grant them a higher status. In any case, I was not disappointed with this novel at all, rather it blew me away. It was such a pleasure to read and I have to say an amazing piece of work on so many levels, which I will outline briefly below. I read the book within a few days and it had me laughing out loud as well as crying real tears. 

I'd like to begin with Malik's characterisation of Sofia as well as in general. Sofia was immediately a character that felt normal and while I personally don't quite approve of bad language, I cannot deny that people swear, and Muslim women also swear. Sofia is a practicing Muslim (i.e. she tries to implement her faith in her daily life including praying her five daily prayers as well as wearing a headscarf). Yet she is flawed, she makes mistakes and she isn't the "ideal" or "perfect" Muslim woman either. Rather she is perfectly imperfect. She is still likeable and doesn't claim or pretend to be some saint though she tries her best to do what's best, as most Muslim women do in normal everyday life. Every Muslim woman (and man for that matter) has their own set of struggles and weaknesses but that doesn't mean that they're not Muslim nor less worthy of our respect. Sofia also smokes and I value this attribute because it is fairly taboo and frowned upon. Some Muslim women also smoke, albeit a bad habit it isn't reserved for men. Some of those Muslim women happen to wear a hijab. I identified with Malik's suggestion for us to try to be a little more forgiving and look at the human behind expectations. Malik beautifully captures Sofia's increasing frustration and grumpiness as the pressure around her augments. I found the characters in the book to be so real and raw. They are quirky in their own ways but they're real. For example the Pakistani parents, especially Sofia's, are rather typical in their way of being but they are still cute and funny. They're definitely not perfect, nor political correct, but Malik illustrates a vast array of different types of Muslims and personalities overall. There is a sense that everyone is just trying to do their best in their own way, just like in real life I guess. 

A little word on writing style before I discuss some of the themes raised in the novel. Malik's style is witty and humorous. It is also touching and the narrative voice is authentic. I found it interesting that she decided not to italicise the Punjabi words, practically adding them to the English language. Her style is also concise, and yet she is able to rapidly capture the awkwardness of a whole range of everyday (and not-so-everyday) situations. Her use of slang alongside the expectations of good standard English and correct grammar are not only realistic but reflect the fluid nature of language and what its use says about us. 

In terms of the themes in the novel, I have to say I found that Malik provided a rich variety of valuable material. Not only was she brave but she was brutally honest in raising so many of the issues that exist in the Muslim Asian community but aren't necessarily acknowledged or dealt with appropriately. This romantic comedy managed to raise these issues carefully, delicately and tastefully and despite the gravity of some of the matters, allowed one to laugh or at least take a moment to think about them. Just to name a few of the issues raised, we have racism, sexism, colourism, islamaphobia, culture conflicts, difficulties with in-laws, exoticism, polygamy, homosexuality, misunderstandings concerning religiosity and infertility amongst some of the main ones that struck me. However what I loved about this book was that it was perfectly honest about these issues and didn't hide them. I think it was my first time reading about a homosexual Muslim in fiction in a sympathetic fashion, and I felt Malik did well in this respect as I found the story touching and important to be acknowledged amongst the Muslim community. 

Overall, I have to say that I was thoroughly pleased with the novel and glad it exists. I want to thank Malik for taking the time out to write it and doing such a good job. I'm also quite eager to begin reading the sequel, The Other Half of Happiness. I wanted to write these thoughts up before reading the sequel, in case I become disillusioned or disappointed as to where the story is taken. I'm secretly sacred of being disappointed again but also have pretty high expectations now too. This first book in itself is definitely one that, in its own way, has given a pretty authentic illustration of desi Muslim matrimonial issues in Britain without feeling the need to create a protagonist that chooses to compromise core Islamic values or practices to be more "relatable". I finally felt it was a novel that wasn't whitewashed but rather of genuine struggles Muslims faced in white (western) societies. Definitely a book I'd recommend, especially to fellow young Muslim women. 

Wake in Winter (2014/ 2016)

Wake in Winter is a Russian novel initially published in 2014 in its original language and then in 2016 in English by AmazonCrossing. The novel was written by Nadezha Belenkaya and then translated by Andrea Gregovich. It's 368 pages long in my Kindle edition. This is Belenkaya's first novel, although she has written a variety of other shorter pieces of literature previously.

Before beginning the novel I naturally read the "About the Book" section, which is ultimately the blurb in digital format. I was thus prepared for a mysterious novel with rather threatening elements and almost a crime novel. That's not exactly what I got when I read the book itself. The novel is technically one single chapter, "These events actually happened", which is then divided into parts by diamond symbols.

The grim sense of foreboding and corruption is present from the very outset of the novel. At first the descriptive style felt superficial and forced but it improved soon enough and became a more natural read. Nina, the Russian Spanish-speaking doctoral student, is the central protagonist who embarks on a journey far removed from her academic bubble to that of independent international adoptions. Her interpreting jobs and especially her trips to Rogozhin are associated with risks and danger, underlined by the fact that the road itself is dangerous as it is accident prone. The risks go beyond this, in her approach to work where she ventures to bend and recreate some new rules. I was able to identify with the descriptions of the foreign language department in the university having already been part of a language department during my Bachelors degree.

Overall I found the characterisation in the novel to be good. Nina was relatable in many ways and appeared to be a fairly typical dreamy language student while clearly having her own marked, traits peculiar to her. She is well-developed and generally convincing. The dilemma of being interested in academia and research while not necessarily being financially successful is quite a real issue. Ksenia appears to be an opposing personality and yet her words and style are convincing and highly realistic. For me it wasn't very difficult to conjure up this sort of person in my mind as you can quickly identify her attitude, or at least elements of it, in a whole array of people that you may have come across. The background stories relating to the children up for adoption were particularly well-crafted and touching.

I found that in the majority of the novel Nina wasn't facing any real physical threat, which is what I was expecting, however she risks losing rather her integrity, her moral and ethical dignity and her surrounding relationships. The novel is more a story questioning the risks of the soul and more specifically evaluating the power of money and how it can affect even an 'unsuspecting', innocent soul. In some ways it reminded me of A Picture of Dorian Gray in terms of the development of a seedy character which is masked by the accumulation of wealth.

Belenkaya brings attention to the nature of literature and what is or can be credible. She also uses her novel to open up the discussion as to the role and nature of literature, where it may be a means to convey incredible depth and meaning or simply provide a fleeting experience that is quickly forgotten. Being the only contemporary Russian literature I have read and only having read a few of the classics, I feel I can only compare her to the greats, the likes of Tolstoy and Dostoyevsky, who wrote immense works about the human soul, and I'm not quite sure Belenkaya has acquired that depth yet, although she shares some similar themes.

On several occasions we are forced to ask ourselves whether the situation described in the novel is true or not. For example the name of the chapter already wants us to believe the events were real, and a discussion between Nina and Dina brings up the idea of writing a story of these adoption events with the given chapter name. However the proposed name of the novel is different to the one we're reading and we're given a disclaimer at the beginning of the book, before the novel, noting that this piece is entirely fictional. Again this attempts to blur the line between fiction and reality and the desire to believe or not believe in certain events actually taking place.

My overall opinion of this novel improved with the case studies of certain children and the plot twist at the end. I feel they really did do the author credit and embellished the novel. I was disappointed because I was expecting something far more captivating and engaging but it was more of a slow read and not full of the drama (or as much drama) as I had expected. My disappointment was rooted rather in that it wasn't the type of story I was expecting, but on its own merit, it was a good first novel.

Dracula (1897)

I finished reading Bram Stoker's Dracula a little while back and I'm finally coming round to writing up a few of my thoughts. I thought I ought to add the date (year) of publication or the edition in my titles so that the period I'm reading from is clearer at a glance. 

I read the Kindle edition once again, which was the 1897 edition of the novel. It is a a self-named mystery novel and I began reading it during my Bachelor's degree in Liverpool but then had to abandon it due to other reading and academic commitments. I'm generally not one to opt for fantasy novels or even horror, thriller and all that is supernatural. I generally prefer novels that are about real people, and are somewhat historical or at least "realistic". However, I decided I ought to read this classic to at least see where this vampire craze and love for horror began. 

The novel is written as a compilation of journal and diary entries, with some occasional letters and telegrams. Stoker captures various voices well, by even incorporating some local dialects of the working classes. I found the characterisation generally quite well-rounded and balanced in terms of developing the more important characters more fully. The general descriptive technique was also fluid and natural, without being tedious and superficial. 

Something I feared about reading this novel was that it wasn't going to be as captivating because many of the constructs of vampires and their lifestyle and weaknesses have been so popularised. However, I was pleasantly surprised to find that right from the start the novel had me pretty hooked as there was a sense of suspense and urgency throughout that kept me wanting to read on. 

This novel incorporates many core themes and concerns of its period, which we still experience in our own time. Those themes include the role of science in our life where there is strong references consistently being made to scientific observation and empirical evidence. The need and attempt to rationalise all matters and yet identifying human error as a pitfall we are given passages where Jonathan Harker, for example, identifies the importance of noting down all of his experiences as soon as possible in order to avoid memory distortion and confusion. This reliance on human reason and scientific observation is repeated in several areas throughout the novel, such as Dr Seward's regular observation of his patient Renfield. Due to our own period being even more steeped in the scientific approach to the world, we can still identify with the protagonists' dilemmas. 

Another facet of the period's concern was that of science being insufficient and the existence of supernatural forces. Stoker clearly introduces supernatural phenomena into the novel through the means of Dracula himself but what is interesting is the attempt to decipher the supernatural with scientific means. However religious ideas are always in the background, since it is a part of the history of Europe. The fact that it is a medical doctor, a man of science and impartiality, that discovers the vampire signs in his patient goes to show the extent to which responsibility and hope and truth is attributed to science. Van Helsing, the doctor in question, is also a devout man and it is in fact his religious insight that works as a form of protection. I found that religious superstition was given some space and some sort of validity when confronted with things that took on a supernatural form. However I also found that for at least the first half of the novel, Christianity had been somewhat simplified to chapels, graveyards and crucifixes. Only towards the end was there a language that sought salvation and appealed to God. As the danger increases in the novel the references to God also increase. Another issue I found was that religion and superstition were considered synonymous and this lack of distinction meant that it was still easy for the protagonists to regards various aspects as "silly", such as the evil eye. And yet, in this period of religious doubt, there is still a recognition that religious seems to serve some purpose albeit in rather extreme and complex conditions. 

This combination of the supernatural and science triggers a discussion on elements that are not wholly supernatural but are nonetheless difficult to scientifically observe and explain. By this I am making reference to the themes of human psychology, an emerging science of the period, and the practise of hypnotism or even the phenomenon of sleepwalking being associated to nocturnal living. We are forced to wonder as to what the nature of sanity and insanity are and what is the nature of the dividing line between the two, as well as between waking and sleeping states or even life and death. Also the period's fascination with the notion of spirits is an especially obvious reference in the novel, as well as life after death and what the nature of death is. Considering the loss of faith in the West at this time, there was an intense desire to seek an explanation on a range of matters relating to the above matters. And this led to the birth of many spiritist and occult schools*. In this sense it is truly a novel of the modern era where there is an active discussion on what is credible and ought to believed and what is the nature of faith and its role for humans. 

In terms of gender roles, the novel presents us with a rather simplified dichotomy of male heroes and female damsels in distress. We have a wise old man that guides the way and any contributions made by Mina to resolve the mystery is attributed to masculinity as if she were acting out of the norm. Her saving grace is that she does not lose her feminine touches of care, affection and fragility as well as an accepting, self-sacrificing nature. The male characters are also rather 'typical' in that they are wealthy, gentlemanly, diplomatic, brave and protective over their womenfolk. I thought it rather a shame that any intelligence and sense of initiative in a female character was considered such a rarity but otherwise Stoker constructs a story that gives a solid motivation to the heroic men to act in the chivalrous manner expected of them. However, I found it rather interesting how there was quite some bribery involved in resolving the case but it was only ever called out as bribery or baksheesh when the characters were off the shores of Britain. When in Britain, the act of bribery was still present yet not considered negative. This made me think of the hypocrisy and double-standards of the 'civilised' nation in relation to other nations, especially the colonial states. 

Overall, I found Dracula to be a highly captivating novel with plenty of suspense as well as an elegant literary style. It is a novel rich in themes of the period, which extend to the present day and thus are still relevant and engaging to contemporary readers. The fact that many of the issues explored in the novel haven't been resolved in the modern outlook means that Stoker provided an excellent foundation for the various scruples and theories people have on to offer to be explored in a literary genre that goes a little beyond the ordinary. 


* I would recommend reading René Guénon's The Spiritist Fallacy for more information concerning the emergence and nature of these schools. 

Zlata's Diary (1995)

I finished reading Zlata's Diary this evening. I read another Kindle edition published in 1995 by Penguin amongst their Puffin Books collection with an introduction by Krishnan Guru-Murthy and translated by Christina Pribichevich.

I must say that I was told to read this book as well as Anne Frank's Diary by a teacher when I was still in primary school, though I never did. From the little that my teacher told us I became quite fascinated by the idea of writing a diary at a young age and even becoming "famous" for it. I remember being inspired by their approach of naming their diaries and so when I was a little girl I not only started writing my own personal diary, with which I had no intention of becoming famous, but I also decided to name it like they did. That diary didn't last but I thought it about time to pick up (or download) Zlata's Diary to at least get an idea, however minute, of the Bosnian war. It's a war that we don't speak enough about and yet it was far more recent than the Second World War and still in a neighbouring European country.

I began reading the book just yesterday evening and finished it this evening. It's a fairly quick read because the entries are short and written in fairly simple language. We are quickly made aware that Zlata is an intelligent young girl from a well-off family. Her family is small, as she has no siblings, and appears to be quite secularised. There is hardly any mention of religion apart from major holidays such as Christmas and Bairam (also known as Eid). There are many references to popular culture, which mark the recency of the events but also her general lifestyle and interests.

The diary entries are largely descriptive, as they note key events and happenings in Zlata's life as well as comments on her feelings towards these events. Naturally she makes consistent comparisons between life before the war and during it. Changes such as animals being abandoned and trees in the parks being cut down for firewood are only some small examples of the extent of the desperation in the city.

While the girl is unaware of the political intricacies and reasonings she eventually learns to be quite cynical in regards to political peace agreements and gestures. She learns that reasons for the war lie in the differences between the Serbs, Croats and Muslims, a difference she had never experienced amongst her own community and her mixed group of friends.

What I found significant was that she not only compares the war outside her home to the scenes of films about the Second World War but she was also likened to Anne Frank, which worried her as she did not want to share the same fate. Despite these striking similarities and the act of genocide that took place in Bosnia, we, for some reason, do not remind ourselves of or teach others about the atrocities in this War in the same way as we recall the Holocaust.

The two core things that appear to have helped Zlata, her family and neighbours were humanitarian aid that provided food and water and other supplies as well as the media attention that she was able to receive due to her diary on the war. She was able to develop relationships, spread awareness about the war and eventually find a way to escape the torments of the war zone.

The difficulties of war on civilians is unfortunately something we still know of today and Zlata describes the desire to escape while also recognising that refugee life is not always an easy option either. Even in the not-so-distant past we see that refugees were being rejected and sent back. How history repeats itself! While I found the story touching and valuable, I feel that clearly there is still a warmongering attitude in the world that allows such atrocities to repeat themselves at the expense of millions of innocent lives and the destruction of the environment. And with this in mind, I wonder if the book teaches us anything at all or if this has become a genre of literature designed partly for entertainment and partly to appeal to our desensitised selves to the sufferings of people who could be us.

A Passage to India (1924)

After having completed my exams and assignments for this semester I've been able to turn to some personal reading. I have the intention to explore post-colonial and perhaps even late-colonial writings in the following semester because it's an area that is personally relevant to me and interesting in terms of contributing to my own background experiences as well as historically pertinent. It's also an area that I didn't really get the opportunity to explore in much depth during my BA in Liverpool.

I came across the novel A Passage to India by Edward Morgan Forster on my Kindle and downloaded it out of curiosity. The novel was published in 1924 and is based on Forster's experiences in India. The "About" section of the book notes that the title was borrowed from Walt Whitman's 1870 poem "Leaves of Grass". As per usual I'll avoid any blatant spoilers in case someone does want to go ahead and read the novel for him or herself.

This has to be the first book I've read by an Englishman that criticises the British experience in India and the behaviour of the British during the period of colonisation itself. No doubt this novel comes very near the end of colonisation and just some years before Independence is acquired by India, and Pakistan is formed. I was somewhat skeptical about the novel prior to reading it because I doubted the ability of an Englishman to genuinely capture India, and especially Indians, from his limited standpoint of "whiteness", wealth and authority.

Forster makes a clear attempt to get a variety of characters in his short novel to illustrate that not everyone is the same. However he definitely underlines some general trends, such as the fact that the majority of the Britons were condescending towards "Natives", the Indians. I, personally, was not too impressed with Aziz, a Muslim protagonist, being depicted as someone who, despite his certainty concerning the Unity of God, was doubtful of many parts of his faith, like many Christians of the time. I feel that this is a projection of the modern mindset onto an Oriental to try to bring him closer to the Western man but in an unflattering way and in a way that could have been avoided. Perhaps the fault lies in that the Western author could not conceive the Islamic worldview and thus had to create a protagonist with whom he could somewhat identify with. Nevertheless, Aziz is a fairly likeable character otherwise and the descriptions of hospitality are particularly endearing. Forster nicely illustrates the importance of hospitality in the Oriental mindset and it appears to favour the Indian over the Westerner.

The plot twist and the key event that triggers tension and suspense in the novel comes at about half-way through. It is at this point that you finally feel something interesting is taking place and the story has finally begun, now that an exciting element has been introduced. This episode added momentum to my reading at least but how it was concluded wasn't wholly satisfactory. In some ways it ended rather abruptly and I felt that it was resolved in a rather "cop out" fashion, since elaborating the matter would have been a complex literary task which would be hard to render justice to the case. It also underlines the only realistic solution that would have been possible in a situation of intense bias and prejudice.

A criticism of Forster's description of India is that while he does make a point to highlight the discrimination towards Indians and their inferior status imposed by the Britons, there is next to no mention of violence. The only violence mentioned is that between Hindus and Muslims who manage to scuffle over some minor point of conflict and where the Britons manage to calm the situations. Now one reason for this may be due to the fact that this novel comes at a time where most violence had probably already been inflicted and what remained was the residues of that fear and authority in the mind of the Oriental; he no longer needed violence to subdue him. However, the alternative is that  this was simply ignored and not addressed in the novel either for stylistic purposes or not to incriminate Britons more than what would have been socially acceptable to reveal in his context. History clearly shows us that this period and later became significant in terms of rebellion against the English and Indians may have participated in violent protest of the colonisation but that is not to ignore that this came as a reaction to the violence to which they had been subjected for many years.

Forster captures the willingness on the part of Britons and Indians alike to humanise the other but also the reasons it isn't easy or fully possible because of the centuries of betrayal and manipulation between the cultures. He somewhat criticises the White superiority but never really presents a solution to ending the conflict. What I give the author most credit for is his acceptance of the fact that he understands that he doesn't understand Orientals (Indians) but he does not quite penalise them in the same way some do. Rather, he recognises the oddities in both cultures and attempts in his own way to give them each some due respect.

Before concluding I ought to dedicate a few lines to "the Woman Question". Forster presents us with a few female characters that vary from the good, the bad and the ugly so to speak. We have brave, honest women who are caring and considerate and we have women who are consistently condescending and are ultimately simple snobs. He makes reference to the feminists of Britain and how Britain was experiencing a changed attitude towards women that had not yet come to India. What I particularly liked was his daring remark in the voice of an Indian protagonist that Indian women aren't as oppressed as they are made out to be by the Westerners. This made me chuckle as well as appreciate Forster's attempts to look beyond what certain people insist to be the only, generalised truth of India.

Overall, I felt that this novel was not necessarily a literary masterpiece but it brings up important historical and political issues. Forster admits to his limitations because his race bars him from some physical spaces and experiences in India as well as the limitations in outlook and understanding. It highlights the need to keep dialogue open and for people of privilege to use and sacrifice some comforts for truth and justice. It is a novel I'm glad I read, and may read again. The psychological impact of being colonised is a consistent theme and it is something Indians (and other colonised nations) are still suffering from to this day.