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The Return

By Paul Mirabile

Jonathan Harper was startled out of sleep by an impatient ringing at the door bell. He rolled out of bed, tip-toed to the sitting-room and peeked through the curtains covering the bay windows. In the dim, moonlit night he perceived a slender, young man dressed in some sort of long robe. He was completely bald. Again the bell rang and rang under the young man’s relentless ringing. Jonathan hastened to the hearth, picked up the poker out of its andiron then quietly moved towards the door. With a quick jerk he unlocked it so as to take the knocker by surprise. The knocker looked stonily at Jonathan’s sleepy, pale face and at the poker.

“Whatever are you doing with that mighty weapon, father?” was that knocker’s first remark. Jonathan stared in astonishment, mouth agape. “Yes, father it’s me, your son Francis. Have you forgotten me ?”

And that was how Francis Harper, the fugitive Buddhist monk, and his father Jonathan, completely thunderstruck, were reunited …

“Quick, come in … come in … At this hour of the night, Francis. And look at you, dressed like a beggar monk. So thin. I hardly recognised you.” Jonathan was in a state of great excitement. Francis sailed in, closed the door and settled on the familiar canopy. He scanned the sitting-room: Nothing had changed.

“You gave me a scare, Francis,” Jonathan resumed, still standing.

“Well, who would be ringing at this hour of the night?” Francis returned in a flat voice. His father hadn’t quite understood the question. He seemed half asleep. “Where’s mum?”

“Who?”

“Mummy … your beloved wife?” Francis pressed ironically. Jonathan stared emptily at him. “Well, is she here, or has she gone to see her boring sister Hazel ? Perhaps she’s out with her lover?” Jonathan winced.

“Don’t be vulgar, Francis, please.”

“Come on, I’m only having you on. Where is she?”

Jonathan stepped forward: “I thought she was with you! She went to find you in Laos a year ago, and I’ve never had any word from her since.”

Francis looked blankly at this father then jumped up. “She’s mad ! Why did you let her go, damn it?”

“I didn’t let her go, Francis; she woke up one morning and off she went leaving me a note.”

“What note? Do you still have it?”

“The note … Yes …” Jonathan shuffled to his bedroom to procure Heather’s note that she had left for him on the chimney-mantle. He handed it to his son. It seemed that it had been wrinkled up into a ball then roughly flattened out.

“Bloody hell! Why did she do that?” Francis gritted his teeth. “It’s such a dangerous place to be for mummy. She has no clue of the dangers : the jungles are infested with disease and wild animals. Food and water are dodgy. It’s another world.”

The son glared at his father then threw himself down onto the canopy, burying his face in his hands.

“I’ve put the police on to it but nothing has come up,” Jonathan defended himself, yet in a contrite tone of voice. “She believed that only she could bring you back to us. But … how did you come back here?”

The question struck Francis oddly. He looked at his father who still stood: “Do put down that poker, you cut such a ridiculous figure.” Indeed, Jonathan hadn’t noticed that he still clenched the poker tightly. He tossed it into the cold hearth. Francis sighed: “Me ? Do you really want to know, father?”

“Of course I want to know, then we can both set out to find mother.”

“No we cannot just set out to find mother. I am a wanted criminal in Thailand and in England. Have you forgotten?”

“Rubbish! How then did you manage to get home if you are wanted by the police?” Jonathan persisted, trotting back and forth from the sitting-room to the kitchen to make coffee and toast muffins.

“That’s a long story,” Francis lamented, crumbling up the letter and dropping it to the carpeted floor.

“Well, we have the whole night, so please, I must know the truth. It’s been a nightmare for me in this house all alone. You know that Andy pops in almost every day to rub salt into my wounds, drinking my brandy and wheeling that mordant wit of his.”

“You mean that you’ve been pissing it up with that halfwit?” Francis snapped.

“No … no, of course not. But he invites himself over and never knows when to leave. How many times have I put up with his drunken effrontery.”

“Well, if I ever see him here …”

“No ! He must not see you; if he does all Stevenage will know and that means the police, too. No. We must find a way to hide you, to keep you safe from the law until this rotty mess is straightened out.”

“Straightened out?” Francis sneered. He eyed his father coldly. ‘Forced’ solitude had wrinkled the old man’s ashen face, had given him the appearance of Gandalf straight out of The Hobbit, all he needed was a grey cloak, staff and floppy hat to complete the portrait instead of his thirty-year old pyjamas. The flesh on his neck had gone flabby and his eyes, colourless, like his thinning, flaky hair. Jonathan finished his coffee: “Please tell me how you left Laos and managed to reach England,” he said in a weak voice, practically beseeching his son.

Francis took a gulp of coffee, he made a wry face: “I haven’t drunk coffee for over twelve years.” Setting the cup down on the settee, he began his tale. And as Francis fumbled to find his words Jonathan observed the metamorphosis of his appearance.

Francis’ face, laboured by years of privations, illness and fasts, had the appearance of rough, sandy stone. His eyes were set deep in their orbits whilst the furrows of his crow’s eyes twitched at every slight movement or sound in the sitting-room. The callousness of his face darkened all its former freshness of youth – that youth he had abandoned in southeast Asia. He swayed slightly in the canopy, nibbling at his muffin, apathetically. Jonathan made some more coffee and toasted more muffins for his enfeebled son. He opened slightly the bay window curtains then finally settled down in his wicker chair.

Francis began lethargically, rubbing his hairless head: “I had been living from monastery to monastery in northern Laos, constantly ill because of the food and water until one day I decided that I had no future in those remote places of worship. Mind you, the religious services captivated me as did the jungle and the snaking, mystical Mekong. The monks were jovial chaps, very respectful and reserved. They offered a soothing solace to my inner and outer sufferings. But I had to leave and return to England. My mind and body ached for familiarity… for mother and for the English language …”

“And your father?” interposed Jonathan, biting his quavering lower lip. Francis looked sadly at his aging father. “I know I haven’t been the best of fathers to you, Francis,” Jonathan conceded, his cheeks flushing red with shame. “But you will acknowledge that I did encourage you to travel to Asia to earn your livelihood. You know, I did not choose my solitude. It was imposed on me.”

“Did we then impose it, me and mummy?” came Francis’ laconic retort.

Jonathan looked dismal, a bit jarred by the remark. He stared at his son through sleepy, spent eyes. Francis laughed: “Of course I’ve returned for you too!” He pursued: “Thanks to my Lao passport procured for me by the Venerable Father, I travelled to visa-free countries. First, I boated it down to Vientiane, then took a cheap flight to Moscow. From there to Cairo, where I renewed my British passport at the embassy wihout any questions asked, although it had expired over six years. Anyway, with my British passport I entered Italy by boat, and from there on used my British passport since European border officials hardly looked at it. To avoid the usual big entries into England I hitched up to the Hook of Holland and took the ferry to Harwich.”

“But hadn’t the border officials suspected anything … your dress?” 

“I changed dress in Italy but wore my robe when crossing into England.”

“But your photo?”

“My face has undergone a drastic change, father — haven’t you noticed?” Jonathan had but said nothing. “Anyway, what could they say to a tonsured-headed Englishman who had become a Buddhist?” Jonathan paused, as if reflecting.

“And the money to pay for all these flights, boats and trains?”

“I had my Cook’s travellers’ cheques safely in my money belt.”

Jonathan sighed. “Look Francis, we must not dilly-dally, Interpol may be on your trail at this very moment. No dawdling about, I have to find a place to hide you.”

“Don’t exaggerate, father, please.”

Jonathan sized up his gaunt, emaciated son: “I hope you’re not thinking of turning yourself over to the police.” Jonathan wrung his hands fearfully.

“No, no, I’ve paid for my selfishness and stupidity. Every day and night for twelve years that horrible scene still floods my mind.”

Here it seemed to Jonathan that Francis began to weep quietly. What to do ? What to do ? Comfort him with a fatherly hand on the shoulder ? A paternal embrace ? Or simply a kind, appeasing word ? Jonathan, whilst he observed his son, realised that he had never been a fatherly towards his son. Heather had been right — he thought as he looked on helplessly at his son’s bony, trembling shoulders.

The grandfather clock struck six.

“My God, it’s morning!” Jonathan cried, going to the bay window. “People will be milling about.”

“So what, people always mill about in the morning,” came Francis’ sardonic reply.

“Someone may see you.”

“Through the window? Who will see me father if I stay in the house?”

“Right you are, Francis.”

“And mother?” Francis retorted, a glare of reproach in his cloudy eyes.

“Mother? Why hasn’t she ever written to me? Did you not have any news of her in Laos?”

“Some monks did speak about an old lady with grey hair seen in different boats on the Mekong. That’s about all. It could have been anyone … “

“Anyone? An old, grey-haired lady traipsing up and down the Mekong,” Jonathan cut in savagely. He fell back into his wicker chair. “I have to get you out of England before I tend to your mother. I will act quickly and decisively for you and her.”

Francis stared at his wizen-faced father, and for the first time in his life the young man felt a pang of pride towards him. Yes, a pang of pride because Francis had always believed his father to be a moral coward, a skulker who purposely disavowed, even mocked all his childhood projects, which had gradually raised an emotional tension between them. The clock struck half-past six. The first rosy rays of the sun trickled into the sitting-room with the warm, gay light. At that stroke of the clock Francis truly felt that their generational tension had been somehow lightened.

Francis stood. Jonathan stood. They gazed at each other and an instant later broke out into howls of laughter, laughing like two little boys. They laughed and laughed as they had never laughed before.

Jonathan strode over to Francis and slapped him paternally on the back: “Let’s have a real British breakfast.” Which they did — bacon and eggs, kipper and fresh orange juice which Jonathan squeezed himself.

The doorbell rang. Jonathan jumped out of his chair. Francis hastened to the bay window. It was Andy. “Blast! Into your room Francis and don’t make a sound. I’ll send that bugger packing. How dare he  come bothering me at this hour of the morning.”

As Jonathan shuffled to the door, Francis made a bee-line for his bedroom. Jonathan threw it open.

“Well old man, up bright and early, hey?” began Andy in his usual strident, exasperating tone. “How about a little excursion to St Albans this morning ? They have an excellent pub where the food is the best in Hertfordshire.” Andy struck his customary ill-bred pose.

“No thanks, not today Andy, I’m terribly busy …”

“You, busy, Johnny old boy? Come on, mate, we’ll take your car.”

“That goes without saying since you haven’t one,” Jonathan rejoined peevishly. “No, today I must finish some work. You go and tell me how the food is. We’ll see about tomorrow.” He corrected himself. “No … next week ; I shall be popping over to visit my cousin-in-law.”

Andy sensed that Jonathan was lying.

“I see,” and a grotesque smile stretched over his red-spotted, pasty face. “What’s good for the goose is good for the gander, hey?”

“What are you insinuating?”

“Oh nothing … nothing, old boy. Have a good time and let me know how things work out.” He gave Jonathan an equivocal wink. Jonathan slammed the door in his face.

“Bloody idiot!” he growled. Jonathan stopped in his tracks. “My cousin-in-law … that’s it ! I’ll send Francis to Mary in Ireland. No one will ever think of searching for him in Ireland.”

Jonathan was all agog. He had found a solution to Francis’ dilemma thanks to Andy’s unexpected visit. He called to Francis who opened the door of his room carefully.

“No bother, the blighter’s gone, and I have a smashing idea, Francis. I have half a mind to drive you to Ireland where the British police will never hunt you down. My cousin-in-law, Mary O’Casey,  lives in Waterville. Once we’re there and you’ve met her, I’ll drive back to England, get a flight to Laos and bring mother back home.”

Francis had never seen his father so animated. His shrivelled features seemed to rejuvenate, new blood infuse that puffy, pasty, unshaven Gandalf face. Francis, however, stood at the door of his room, a strange, alien gleam in his eyes. He turned to his father: “You’ve left everything as it was,” he pronounced softly. “Malraux’s La Voie Royale, Maugham’s The Gentleman in the Parlour. My desk … Everything as it was … exactly … “

“Yes, your mother wished it so. Nothing has been touched. The room has been waiting for your return. Unfortunately the circumstances require desperate action that I would never have imagined. We must buckle up, my boy.”

“Ireland?” wondered Francis sceptically.

“Ireland,” Jonathan echoed. “I shall get you there tonight and we’ll be on the Birkenhead ferry for Dublin tomorrow morning. Dress like an average Englishman and use your British passport.”

“What do you mean by an average Englishman, father?” Francis enquired.

“Well … Put a cap on your bald head and dress in English clothes. You’re not thinking of getting into Ireland with your monk’s robe, are you?”

Francis chuckled: “Don’t worry, my days of impersonating a Buddhist monk are over.”

“Were you then not sincere about your conversion?” his father asked rather puzzled.

Francis shrugged his shoulders: “I don’t know. I don’t know who I really am. I seem to have lost all identity of myself by impersonating or embracing so many identities. Now I’m off to Ireland. Will I become an Irishman?” A melancholic smile stretched his bloodless lips.

“Whatever you become Francis you will always be my son.” Francis nodded, albeit the resigned gesture seemed to embarrass his father who eyed his son with genuine sympathy.

“Mary will have you working in the gardens, and you know she has lodgers there all year round. You could help her out in her home. She lost her husband many years ago. A fine woman, she is.”

Francis nodded again and stepped back into his room. He closed the door silently and lay on his bed, his blood-shot eyes fixed on all his books nicely arranged on the shelves. He smiled. Then those sleepless eyes fell on a photo of his beloved Irish setter, Patty. He closed them and thought of nothing … nothing at all. He began to murmur a prayer of contrition in the name of the Enlightened One …

Meanwhile in the sitting-room Jonathan set to work without delay. He had already contacted his cousin-in-law by phone, explaining Francis’ predicament. He related everything to her without any feelings of guilt or mawkish sentimentality. Mary despised sentimentality. She would welcome Francis like her own child — a child she had never herself had.

Francis had fallen asleep. His father woke him at five in the afternoon. They had a large dinner, after which, under the cover of darkness, Jonathan packed Francis’ belongings in the boot — two shirts and trousers, a pair of walking boots and woollen socks, and his favourite books, Malraux’s La Voie Royale, Maugham’s Collected Short Stories, three of Richard Burton’s travel books and T.E. Lawrence’s Seven Pillars of Wisdom.

They reached Birkenhead in the morning two hours before the first ferry to Ireland. The bored border official hardly looked at their passports. An hour and a half later they were in Dublin. There the Irish waved them through after having taken a cursory glance at their passports. Two hours later they arrived at Mary O’Casey’s homestead near Hog’s Head. They were both exhausted but relieved to have accomplished their mission.

Mary welcomed them with a hearty lunch. She hadn’t seen Jonathan for over twenty-five years. As to Francis, she had seen him once at the age of five or six. Jonathan stayed on several nights. Mary had no lodgers at that time so she was happy to sit at the welcoming hearth, drink her evening brandy and chat with her distant family-in-law. She read about Heather in the tabloids and wished Jonathan all the luck to bring her back home. If the British bobbies couldn’t do it, well, Jonathan would! He nodded, weakly. Francis remained silent.

Three days later Jonathan bid farewell to Mary and his son. It was time to put into action his plan to retrieve Heather from the jungles of Laos. He would obtain his visa for Laos in London, then buy his flight ticket. He promised to keep Francis informed of any developments.

“Good or bad!” said Francis, with a serious face. Jonathan’s cheeks reddened. He didn’t answer, casting a covert glance at Mary. Instead he strode over to his son, kissed him on both cheeks, something he had not done since he was a baby, kissed Mary on the forehead and hastened out to the car. He was gone in a few minutes.

“I hope you’ll tell me some good stories of your travels, Francis,” Mary chirped cheerfully, taking Francis by the arm. “You know, I like a good story round the hearth. I’ll have you know that you’re in the land of leprechauns, banshees and sidhes.” Her greenish eyes twinkled with impishness.

“What are banshees and sidhes?” Francis asked sheepishly.

“Ah! The spirits of the dead, lad. The unquiet dead. But you needn’t bother about them, I chase minions away with my broom.”  And Mary broke into peels of good-natured laughter.

Francis worked daily in Mary’s lovely flower and vegetable gardens, and when lodgers arrived he cooked them breakfast and dinner whenever she was at Waterville on an errand. Oftentimes, he accompanied the guests on the loop road where he could again and again admire the blanket bogs. Mary warned him on several occasions, waving a minatory finger at him, never to step foot in the lime-covered homestead. He never did, not because he was afraid of ghosts — his upriver experiences in Laos had hardened him on all fear of supernatural beings — but because he hadn’t the heart to disobey his father’s cousin-in-law, a cousin-in-law, by the way, that he never quite came to comprehend the genealogical connexion. No matter. He felt at home with this charming woman and with her lively lodgers.

Four quiet months elapsed. One late misty Autumn morning Mary handed Francis a letter from his father. It was posted from Luang Prabang, Laos. Francis quickly opened it. As he scanned the almost unreadable scribble of his father’s handwriting his now bearded face contracted and hardened into a stony expression of restrained grief.

“What is it, my lad?” Mary strolled over to him, frightened.

The young man set the letter down gently on the table: “Mummy’s dead, Mary. She died of illness in northern Laos six months ago. Father is bringing her back home for burial.” Mary placed a motherly hand on Francis’ shoulder and spoke a few words of real warmth. Francis stared vacantly through the open front door into the greyish autumn sky.

The first lodger of the morning thumped slowly down the wooden stairway for breakfast.  

From Public Domain

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Paul Mirabile is a retired professor of philology now living in France. He has published mostly academic works centred on philology, history, pedagogy and religion. He has also published stories of his travels throughout Asia, where he spent thirty years.

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Categories
Interview

Shantanu Ray Chaudhuri: A Seeker of Serendipity

In conversation with Shantanu Ray Chaudhuri

Indian President Pranab Mukherjee presents the Swarna Kamal Award to Shantanu Ray Chaudhuri at the 60th National Film Awards ceremony in New Delhi in 2013. Photo provided by Shantanu Ray Chaudhuri

Sandman, the mythical dream maker from Scandinavia, is said to sprinkle magical sand on sleeping children’s eyes to inspire beautiful dreams. What could Sandman have in common with a much-fêted editor who has worked with many celluloid stars and writers?

They both vend dreams – one makes dreams for children and the other is tries to fulfil dreams of writers attempting to create a beautiful book. Meet one such seeker of serendipity Shantanu Ray Chaudhuri, an eminent award-winning editor, who has brought out books on and by film personalities of India as well as assisted less-known writers find a footing in the tough world of traditional publishing. His magical sand is impeccable editing and an open outlook that stretches beyond the superficial glitter of fame and delves deep to look for that hidden well from which he draws out the best in a writer.

Books commissioned and edited by him have won the National Award for Best Book on Cinema twice and the inaugural MAMI (Mumbai Academy of Moving Images) Award for Best Writing on Cinema. In 2017, he was named Editor of the Year by the apex publishing body, Publishing Next. He has worked with famed writers like Gulzar and Arun Shourie as well as Bollywood stars like Rishi Kapoor and with the prestigious Satyajit Ray Archives. He has a book called Icons from Bollywood (2005) with Penguin on films, a set of fifteen essays. And he writes wonderful pieces on films for various sites like Cinemaazi, an archival film website,  and Free Press Journal regularly.

But, Ray Chaudhuri is not just a film buff as he tells the world. He has a well-kept secret like ABBA’s ‘Nina Pretty Ballerina’, who would wear dancing shoes after work and turn into a phenomenon. He emotes beautiful poetry but hesitates to publish…He does have a book of verses though called Whims brought out by the Writers’ Workshop. In this exclusive, Ray Chaudhuri, who has worked in Penguin and Harper Collins and now is the Editor-in-Chief of Om Books International, tells us how he turned from a dry accountant to a seeker of serendipity and what it takes to publish with traditional publishers.

Please tell us what started you out on your journey as an editor and writer.

I have always loved the word serendipity. It accounts for whatever good I have experienced. I loved reading of course but went on to become an accidental editor. I started very early – loved books. Went through the age-specific lists – Hardy Boys, Alfred Hitchcock and The Three Investigators, and Tintin (which I love still), then slowly to Conan Doyle and Agatha Christie and P.G. Wodehouse, Satyajit Ray, Feluda and Shonku, Somerset Maugham, Camus and others.

In fact, I remember, during summer vacations, my mashis [aunts] would often ask to pluck grey hair from their heads and would pay me at Re 1 per hair. So, if I managed 25, I would have money to buy a Tintin. Or novels that were sold in second-hand shops at Rs 10-15. I wanted to study literature and humanities but at the time the stream was looked down upon. People whose opinions we respected kept saying, ‘Will you be a schoolteacher after studying humanities?’ I wish I had said yes at the time.

Anyway… Science I was sure I wouldn’t take. And humanities I wasn’t allowed to. So, I took up commerce, graduated, did my M.Com, studied for chartered accountancy and cost accountancy. Then for years worked in accounts and finance. And hated it. I would leave jobs and go off quite regularly.

Meanwhile, I had started writing poems and on films (as a means of escaping the drudgery of accounts and finance). These were published in magazines regularly. In fact, I won the Filmfare Best Review Award that they had every month a few times. Then, Writers Workshop published my first book of poems. And by this time, nearing thirty, I had had enough of accounts. I realised that any creativity in accounts would lead to jail! And I was damned if I could put up with another day of matching debits and credits. I enrolled for a mass communication course at XIC Mumbai, then started a magazine on cinema on my own, and subsequently moved to publishing and editorial.

What pushed you into publishing others over writing yourself for we can see you are an excellent writer too?

I have often asked myself: do I have anything to say that will make a difference to someone reading? Can I ever write an opening sentence as eloquent as Camus’s The Outsider? Or create a character like Larry Darrel in Maugham’s Razor’s Edge? Or one line like Rilke’s ‘For the Sake of a Single Poem’. Or, in fact, a draft of an unpublished novel a young friend of mine, Ramona Sen, asked me to read recently to comment on editorially – it is so good … could well be the next big thing in publishing. And the answer has always been ‘no’.

I look at what goes for writing today. It dismays me that books have become all about posting your picture with the cover and getting likes – it has to be more than getting FB likes, more than announcing your book as bestseller on social media. I would be mortified about unleashing anything as mediocre as these on anyone.

And then there’s also the question of what being a ‘writer’ means for you as an individual. Some of these authors and poets I meet are so conceited … I have doubts about myself as a person … you know, as Matthew 16:26 says: For what will it profit a man if he gains the whole world and forfeits his soul? These doubts about whether my writing amounts to anything, whether it says anything about me as a person have kept me from writing and more importantly publishing my writing – barring of course my columns and features on cinema.

Editing and publishing other people’s work is more impersonal – I can keep myself out of the equation. Though when you really like a book, you do tend to get emotionally involved.

You have authored a book of poems, Whims, and Icons from Bollywood. Tell us about these.

I guess both came off just like that – I wonder if there was a case of wanting to show off at the time I had published them. Today, I would think twice. The book of poems, Whims, was published by Writers Workshop, and I was rather proud at one time that Professor Lal deemed it worthy of being published. I often told myself that some of the best Indian poets began with Writers Workshop. I just sent it off to him on a whim.

Icons from Bollywood was a more organised affair. I was working at Penguin at the time. Its children division was doing a series of books on icons – the arts, science, music, etc. Since everyone knew my interest in cinema, I had even met a few of the icons, the publisher, Sayoni Basu, asked me and I agreed. Eventually as no two people could agree on the ten names for the book – all the books in the series had ten icons – this ended up having fifteen names, the only book in the series with fifteen essays. It did rather well, got some good reviews in Dawn and Guardian and a few others.

Is authoring a book more challenging than editing and publishing for another? Or is it the other way? Please elucidate.

Of course, writing a book is more challenging. When you edit, you are working on adding some value to what a writer has already put down. You are not creating the world. At best, you help the author develop his work. It is challenging because often you are the first reader outside the author’s circle and your opinion also shapes the book. But writing is way more difficult. You are literally creating something out of nothing. Even writing a single line of good poetry is tougher than editing.

Tell us what moves your muse for poetry and prose?

That’s tough. It could be anything. For instance, in my college days DTC buses used to have a single passenger seat right at the front. I would often look at it and imagine how lonely it might feel. I eventually wrote a poem on that. Or when my folks narrated the story of Gulzar’s film Lekin to me, I was moved enough to write a poem. The sight of a battered old man, dead-drunk, lying by the roadside led to a story – what if that man had a past when there was hope and love in his life. Being in love has been a muse: I once wrote 21 poems for a beloved friend’s twenty-first birthday. The sight of my son’s sleeping face, his soft breathing, when I wake up at night and look at him. Even hate inspires you. The sense of disillusionment I felt about a ‘great’ poet’s pettiness and hypocrisy led to one of my best poems. My own frailties. The light at dusk, a tired day going to sleep. Lost friends … lost ideals. A good film. A bad film. Anything really.

We have read a lot of film pieces by you. When did your interest in writing for cinema start and how did it take off? Did it ever stray to film industries in other countries?

I think the love for cinema developed once I started studying commerce. The subjects bored me. Films offered me an escape. It helped that there were 4-5 cinema halls within walking distance of both my home and my college. I would often get away from college and make my way to a theatre. In the three years of graduation, I watched 169 films in halls. I watched the first-day-first-show, 12-3, and then would make my way to the evening one 6-9. I used to make a list and write down synopsis of what I felt. This was the 1980s, theatres were in awful shape, a really bad time for films and so most of what I watched were utter crap. But that was a lesson in itself. And I really enjoyed the escape to another world, even if a trashy one.

Slowly, with the coming of cable TV, there were more options. The VCR had come in and with that a few more options. Pirated prints from Palika Bazar. I had meanwhile written a few reviews for Filmfare and won a series of best review awards. That boosted my confidence in both my writing and my understanding of cinema. I also did a course in film and TV from the XIC, Mumbai. I started contributing to journals. I ran and wrote for the journal I started in Bombay, Lights Camera Action. But things took off after I started writing on Bengali cinema for Film Companion. And then with my association with Cinemaazi. I must thank Anupama Chopra and Sumant Batra for this. Couldn’t have happened without them.

I publish primarily on Bengali and Hindi cinema but write on a lot of international films for my own self. It’s tough finding time to watch, write, while keeping to the demands of a regular job and other freelancing assignments that one needs to do to keep the home fires burning. I envy the people who have money to spare, don’t have to worry about a job, and can keep churning out books.

Please tell us a bit about Cinemaazi – is it a website founded by you? It seems to be an archive, there is mention of an encyclopaedia?

Cinemaazi is the kind of serendipity I have been looking for as editor and film lover. It’s an initiative to document the history of Indian cinema across languages under the umbrella project Indian Cinema Heritage Foundation, a public charitable trust. The Foundation is also creating a freely accessible digital archive and encyclopaedia of Indian cinema and its people. No, I am not the founder. It’s entirely the brainchild and vision of Sumant and Asha Batra. Sumant is the kind of collector you can only be in awe of. I met him first at the Kumaon Lit Fest that he runs. And we shared a common love of cinema. In 2019, he started talking of a site to document the history of Hindi films, using his huge collection of film memorabilia. My only contribution, if you could call it that, was suggesting we make it a site on pan-Indian cinema, not just Hindi. He agreed and I worked on getting some material on Bengali and some other languages. Also kept contributing to it with articles and some video essays – we did a six-hour-long oral history project with Dhritiman Chatterjee. Cinemaazi got off to a very good start in January 2020. But by March 2020 we were all locking down. And it affected an endeavour taking its first steps. But it kept on working thanks to a small dedicated team. And now it’s poised to take off in a big way. I would have been very happy to engage in a bigger way with Cinemaazi, but as Sumant says, ‘he can’t afford me’, whatever that might mean. Sigh! I guess one ceases to be useful after a time. I am happy to have been a part of it in a small way in its first years.

You have worked with many icons of the Indian film industry like Rishi Kapoor, Satyajit Ray, Gulzar. Please share with us a few of your more interesting experiences.

The big names I worked with like Gulzar and Rishi Kapoor and Arun Shourie were like perks of the job. Yes, they were FB like/share moments except that I seldom shared those days. I miss Rishi-ji a lot … and often go through the WhatsApp messages he sent me… With Gulzar-ji, it was all about poetry and translations. Never worked on a book of films with him, though I did commission a series of monographs on three of his films that came out after I had left the publishing house.

Shantanu Ray Chaudhuri in conversation with Gulzar and Meghna (Gulzar’s daughter) in Jaipur Literary Festival

The Satyajit Ray association was immensely satisfying. We ended up publishing five very rare books that I think not many editors would have dared to – imagine doing a book on Satyajit Ray’s unmade film on Ravi Shankar! The ones I really enjoyed were the first-time authors I was privileged to publish, people like Balaji Vittal, Anirudh Bhattacharya, Akshay Manwani, Rakesh Bakshi, Parthajit Baruah … and so many. They had no reason to trust me as editor and publisher. I have never been a big-name editor. But to have had them trust me with their books, books that did well, was quite humbling.

I was privileged to have someone like Vishal Bhardwaj trust me with his first book of poems in English. And through Vishal, I came to know Rekha and worked on a series of festival appearances with her – she has so many stories that she should do a book. With Sharmila Tagore, I worked on a book on Mansur Pataudi that did very well. Authors like Krishna Shastri, Sathya Saran and Gajra Kottary became close friends. Rakhshanda Jalil … whom I love and admire – she did a wonderful book on Shahryar with me and a couple of other translations of Gulzar and Kaifi Azmi. There was Nasreen Munni Kabir and her book on Zakir Hussain…

The more interesting encounters are the ones that ended badly. An author, who again published first with me and went on to publish 4 more, turned on me because I took on his rabid right-wing wife on the CAA and their obnoxious reference to ‘urban naxals’ … I was abused and received a lot of threatening messages and calls … I lost a friend and an author, but I am glad I could take a stand on a matter on which many of our ‘liberal’ friends and authors remain silent. Another ‘great’ poet, someone I considered God, turned out to have feet of clay and whose behaviour I find traumatic even today. But those are for my memoir! They taught me a better lesson than anything else could.

You have worked with big multinational names like Penguin and HarperCollins and even brought out collection of books on films. And now you have moved to working with one of the oldest and most iconic publishers from India. Is the experience any different?

Well, the best thing about not being with an MNC is that one is not part of the toxic environment they breed. It was killing after a point. And often they wouldn’t take on an idea just to spite you, even though some of the books that got commissioned were unbelievably bad, had me scratching my head, wondering what I had missed. And they can be very demeaning to authors. And short-sighted too. I remember signing up Rahul Rawail’s memoir of Raj Kapoor. And the publishing house actually reneged on its commitment after sending him an offer. It put me in such a bad place with him. Thankfully, I could get him another MNC publisher. And the book is now getting such rave reviews.

Yes, it’s challenging working in a smaller space. You have nothing going for marketing –  not that the biggies do anything much on this either, unless you are already a big name which makes it easy to market. Then you don’t have budgets for advances and for marketing. So, immediately your commissioning acquires a different take. But that also makes you look for good young talent. I am glad I have found quite a few, thanks to agents like Suhail Mathur and some goodwill I might have built up in the last few years. Authors I am sure I wouldn’t have been allowed to publish in the MNCs. Now, whether they sell and work in the market is a gamble.

Writers find it challenging to use traditional publishing. In an attempt to make their writing visible, many are turning to self-publishing and publishing with independent small publishers. What do you think of this trend?

I think it does take a little more time in going the traditional publishing route. Self-publishing is quicker. But then authors also need to be patient. Traditional publishing can give them benefits of a good editor. Give them more time to polish their text. However, it seems more and more authors are in too much of a rush to publish. Getting FB likes and shares is more important than working on your text. Authors don’t feel like they need good editorial intervention. Publishing is all that matters, whatever be the quality of writing.

Unfortunately, traditional publishing too has failed to give good editorial inputs. Some of the stuff I read by the MNC publishers are atrocious. I think everyone wants a book out too quick. When I started out as an editor, we had months to work on a book. These days, authors tend to ask for a marketing plan even before they have completed the first draft of the text. And publishers are only too willing to get on the treadmill. And the post-publication efforts of MNCs also operate on the 90-10 principle: 90 per cent of marketing budget is spent on 10 per cent of the biggies. So, I guess self-publishing works. Some of the most successful mass-market writers we have today started with vanity or self-publishing, then were picked up by the traditional publishers. And the writing continues to be as bad.

Can you tell us as a publisher, what do you look for when you accept or reject a piece of writing?

I don’t think any publisher has figured out what makes a book work. Most of them go by herd mentality: mythologicals are selling, let’s do them, in trilogies, since it’s fashionable these days. Short stories don’t work. Fitness/self-help, yes, let’s do. 

Basically, one looks for (i) is the content engaging (ii) is the writing interesting. Take, Akshay’s book on Sahir … I found the content wonderful. And so well done. Or Balaji-Anirudh’s book on RD Burman … the research was impeccable. And though people were sceptical, saying these people had been dead for decades, one felt that these books had that special something. Or more recently, the anthology on motherhood that Om is publishing. I was immediately interested in the theme and the variety of essays on offer – to have Kamala Das and Mannu Bhandari, Shashi Deshpande and Shabana Azmi between the same covers is…. There’s a collection of essays on the pandemic that I have commissioned, coming out soon – again, from Shashi Tharoor and Vidya Balan to an anonymous gravedigger and migrant worker – the range is incredible. The book that we are doing with Borderless Journal, for example. What a wide variety of international writing! Or the book on cybersecurity. Or for that matter, Suman Ghosh’s Soumitra Chatterjee book, which gave some fascinating insights to the director-actor relationship. I knew people would think it niche, but what if we could make it big? It has the potential.

Thank you for that. What is your vision as a publisher and writer of the future of publishing and writing?

I am too small fry to talk of the future of publishing. It’s a tough time for publishers. At the end of the day, all those 500 likes on FB won’t help if those liking don’t buy books. Social media reach is no guarantee of either good writing or good sales.

The way Westland folded says a lot about how untenable big advances are. Authors must realise that. While publishers must make efforts to sell more of the books they publish so that even if advances are small, the royalty on sales works out.

I think there’s also a lot of snobbery around English-language publishing in India. On the part of publishers, authors, translators, agents, literary festivals. I know an agent, one of India’s most successful, who doesn’t deign to pitch books to me because I am not with the top MNC publishers. Though apart from a hefty advance, there is nothing I cannot deliver that the biggies can. One of the most popular cover designers, who worked closely with me when I was at Penguin and Harper, just put me out to dry when I approached him for a cover on the Soumitra Chatterjee book. He couldn’t be bothered even to respond given that I was with a smaller publisher now. The most popular translator won’t give me time of day, though I edited his/her first book. There’s this author couple I published after both their individual books had been rejected at other publishers. But once they realised that prosperity lay in ingratiating themselves with what they perceived were other more popular and powerful editors … though none of their books have worked in terms of sales so far in the last ten years.

Most editors I have come across give off vibes like they are god’s gift to the language. I mean, not even two per cent of the population engages with the work you do. What are we so uppity about? The local cobbler attends to more people than what your average book gets as readers.

And this snobbery impacts the kind of publishing we do. We are suckers for big names, big advances. We have to move out of that. And out of this herd mentality of publishing. Give new writers, new themes a chance. At the same time, new young authors need to reflect on their work and not rush into becoming a ‘published’ author. It’s not instant noodles or coffee. Books and authors take time to develop. We need to give books that time.

Thank you for giving us your time and also taking on our anthology.

Click here to read poems by Shantanu Ray Chaudhuri

(This is an online interview conducted by Mitali Chakravarty.)

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