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'Fast & Furious 9' Moves Back a Month for Summer 2020 Faceoff With 'Godzilla vs. Kong'
Universal's move sets stage for showdown with Warner Bros. franchise
Thom Geier | February 15, 2019 @ 3:28 PM	Last Updated: February 15, 2019 @ 3:56 PM
It's the battle of the big-studio franchises! Universal announced on Friday that it had moved the release of the ninth "Fast & Furious" movie from April 10, 2020, to May 22, 2020.
That puts it smack up against Warner Bros.' pricey monster mashup, "Godzilla vs. Kong," as well as Paramount's kiddie-skewing latest "The SpongeBob Movie."
Justin Lin is attached to direct the ninth (and tenth) installment in the fast-moving franchise, with Jordana Brewster, a.k.a. Mia Toretto, also returning to the series opposite her onscreen brother (Vin Diesel). Mia was last seen in "Furious 7," retiring from the family business to start a family with Brian O'Connor, played by the late Paul Walker.
Also Read: 'Hobbs and Shaw': Dwayne Johnson Gets Back in Driver's Seat in First Trailer (Video)
The new "Furious" squares off against another pricey studio franchise: "Godzilla vs. Kong," the fourth installment of the Legendary and Warner Bros. cinematic universe, which Adam Wingard will direct.
Demian Bichir, Alexander Skarsgard and Brian Tyree Henry have signed on to star in the new film, which follows this May's "Godzilla: King of the Monsters," with Kyle Chandler, Vera Farmiga and Millie Bobby Brown.
"Godzilla" brought in $529 million globally after it was released in 2014. "Kong: Skull Island" was released March 10, 2017, and grossed more than $565 million worldwide.
Also Read: All 8 'Fast & Furious' Movies, Ranked Worst to Best (Photos)
Meanwhile, the eight "Fast & Furious" films have collectively grossed more than $5 billion worldwide. "Hobbs & Shaw," a spinoff film from director David Leitch starring series regulars Dwayne Johnson and Jason Statham, drives into theaters on Aug. 2.
All 8 'Fast & Furious' Movies, Ranked Worst to Best (Photos)
Your favorite adult cartoon series is back. And it is your favorite. It's the action franchise that shows no signs of slowing down or losing its way, the perfect juxtaposition of gleaming pop art, lowbrow speed thrills, and character-based myth-building. The "Fast and Furious" films position themselves in a defiantly interconnected world where everybody is in your crew, you're all going to get stupid rich, and nobody gets left behind. Because "family" or whatever. Here's how they stack up, from worst to best.
8. 2 Fast 2 Furious (2003)
Your little B-movie was a giant hit. The studio demands a sequel. You say, "Duh… OK," and remake the first film, only with more of the humorless, tough guy posturing that made it seem camp. The action is rote, the drama is dull, and this franchise that didn't know what it wanted to be yet took itself way too seriously. If it were a sentient being, it would be that guy who still wears Affliction t-shirts and constantly threatens other men for looking at him the wrong way.
7. Fast & Furious (2009)
The franchise shifts back into the snarl it just can't seem to shake after the giddy, hydraulic bounce of "Tokyo Drift." But at least the action is ridiculous, as wacky stunts involving gigantic moving objects like buses and oil tankers steal focus from the street racing. The plot: This heist and that heist and who cares, but it's also the first of the bunch to make you wonder if you might be starting to give a damn about these characters. When Letty fake-dies, suddenly you do.
6. The Fast and the Furious (2001)
Crime and punishment and street racing, when all the filmmakers knew was that they wanted to go vroom and introduce a crew of people who were merely extensions of automobiles. This makes it sort of like the human-growth-hormone remake of David Cronenberg's "Crash," where all the kinky sex is replaced by glowering and monologues about pitiable half-men who have to take the bus to work.
5. The Fate of the Furious (2017)
Mega-hacker Charlize Theron creates the gnarliest of Manhattan traffic jams by remotely accessing a bunch of keyless ignitions, setting up entire future sequels that bypass the need for human drivers altogether. But if those robo-cars can smash into each other, fly out of skyscrapers, and skid across the Russian ice while being chased by nuclear subs as gloriously as in this eighth installment, that's something to keep in mind when it's time to renegotiate actor contracts. #whateverfamily
4. Furious 7 (2015)
"Fast Five" reinvented the franchise, turning it into an all-quadrant cinema event, and the ending of "Fast & Furious 6" approached epic proportions, so all "Furious 7" had to do was keep the party going. Then Paul Walker died, necessitating reshoots and imaginative narrative solutions. The result was a moving tribute to the actor amid the bombast of flying cars and ever-more absurd stunt action, a middle finger to Death.
3. The Fast and the Furious: Tokyo Drift (2006)
The franchise was directionless, so they started from scratch with the cast, aimed for Japan and brought in the invigorating presence of director Justin Lin (who poached the character of Han from his own earlier film "Better Luck Tomorrow" like it was always meant to be). The result is a bridge between boredom and blammo, the first of the films to allow for outlandish style and self-aware silliness. It set the template for what the series would become.
2. Fast & Furious 6 (2013)
Implausible to the point of breakage, the sixth installment seamlessly grafted together the solid muscle of "Fast Five," the earnest character development that had previously seemed laughable (the "Family" drinking game reaches its blackout point here), stunts to shame all other stunts, and an operatic, heartbreaking ending nobody saw coming. RIP Giselle (Gal Gadot); you'll probably make a very good Wonder Woman.
1. Fast Five (2011)
One of the best action movies of the new century, the one that made art-house snobs finally take notice of this franchise. It's full of brute force and nerve, car tricks to make you stand up and yell, a truly exciting heist plot, and character friction between The Rock and Vin Diesel that turned into a real-life diva feud of Crawford-and-Davis proportions. Everybody doesn't like something, but nobody doesn't like "Fast Five."
How does "The Fate of the Furious" stack up to the previous ones in nitro-loaded series?
'Hobbs and Shaw': Dwayne Johnson Gets Back in Driver's Seat in First Trailer (Video)
By Jeremy Fuster | February 1, 2019 @ 6:04 AM
Roman Reigns to Play Dwayne Johnson's Brother in 'Hobbs and Shaw'
By Umberto Gonzalez | January 25, 2019 @ 1:24 PM
15 Highest-Grossing American Remakes of Foreign Films, From 'Godzilla' to 'The Departed' (Photos)
By Brian Welk | January 10, 2019 @ 11:39 AM
Godzilla Is Here to Make Humans His Pets in New 'King of Monsters' Trailer (Video)
By Brian Welk | December 10, 2018 @ 9:54 AM


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Shivani's "Bhairavi: The Runaway"
23 10 , 2020 No Comments Share
The well-known Hindi writer, Shivani aka Gaura Pant was enormously popular. She was fluent in four languages — Hindi, Bengali, Gujarati and English. She also knew Sanskrit. According to her daughter, the noted journalist, Mrinal Pande, Shivani wrote her first story in Bengali but was dissauaded to do so by Rabindranath Tagore, who advised her to write in her own tongue. So she became a Hindi writer.
My mother was born in Rajkot & her first language was Kumaoni, second Gujarati. At 8 she went to Shantiniketan and over years Bengali became her language.But when she wrote her first story in Bengali, Tagore told her, write in your own tongue.She rose to be a great Hindi writer. https://t.co/GLTLgvb4DB pic.twitter.com/vFiJsjXhsB
— Mrinal Pande (@MrinalPande1) June 3, 2019
Many who grew up reading Hindi literature have stories to share about how generations of folks would wait for the next story to be published by Shivani. Grandmothers would encourage their granddaughters to read Shivani's stories too. But as her daughter, the noted translator and writer, Ira Pande points out, "she wrote novels and stories that had strong women characters who rebelled against all such values and social inequalities. This also accounted for her lifelong fascination with those who lived on the margins—mendicants, lunatics and lepers. Time and again, she returns in her short stories and novels to characters drawn from those to whom rigid social values cannot be applied." ( "A Conservative Rebel: An Unusual Mother " by Ira Pande, Manushi, No 147 or read Ira Pande's excellent book on her mother — Diddi: My Mother's Voice ) . Nevertheless, by all accounts, Shivani's readers were not confined to a particular gender. Everyone read her. Everyone enjoyed reading her stories. She seems to have been the Indian equivalent of Charles Dickens in her popularity and her readers shared the same sense of excitement for her next story as Victorian readers did for the next instalment of a Dickension story.
So when Simon & Schuster India announced the publication of an English translation of Shivani's Bhairavi: The Runaway, it caused a ripple of excitement. Priyanka Sarkar is an accomplished translator and an editor and her awe at being entrusted with a novel by Shivani shines through her prefatory remarks. The foreword has been written by Mrinal Pande who observes that "As her [Shivani] reader and daughter, I meet her countless admirers all over the globe. Among them are simple housewives and professional men and women, school kids, and a surprisingly large number of diaspora Indians from India's Hindi belt, who confess they developed a taste for Hindi after reading Shivani's books. All of them confide how their mother, or grandmother or even great grandmother had first introduced them to Shivani's writings and once into it they were hooked for life."
She adds,
Women writers who have this sort of strange freedom thrust on them, mostly resolve their tensions in laughter and in prose and in doing so they will, almost inadvertantly, confer the gift of free thinking on their daughters. I learnt from Shivani both as mother and reader, that women leading socially secure lives as mother and wives are not morally more credible or more capable than those who are without family or child. Till the end, Shivani remained a kaleidoscopic character for me: outwardly traditional but bold, perverse, un-beholden and totally free when she puts pen to paper. Reading Bhairavi and the strange composure and compassion in these pages that co-exists with pain and hurt, I feel it is not the moralist's why, but a humane what, that the writer ekes out from life, holds tenderly and finally redeems from oblivion.
With the formidable combination of a tremendous writer and of a talented translator, I was looking forward to reading a fine translation of Bhairavi. Instead I was confounded and deeply saddened by what I encountered. Apparently the original novel is written in continuation and slipping in and out of the languages Shivani knew. Of course it is a challenging task to translate such a text for the modern reader but to say "for the sake of readability, the story has been broken down into chapters" was astonishing. I have still been unable to wrap my head around this fact that how can one take such liberty with a piece of work that is already recognised for its craftsmanship. Translated works are known to have been experimental in their literary form such as run on sentences or no chapters but the translators have never taken the liberty of chopping up the original text. Take for instance award-winning writer Laszlo Krasznahorkai who is known for his extraordinarly long and immersive sentences. The English translations of his text are never cut up for the sake of the convenience of the modern reader. And yet, he has won some major prizes such as the International Booker Prize. In fact with Bhairavi too, if the reader chooses to ignore the chapter breaks and goes into a sort of creative sleep and reads the text smoothly, then one gets a sense of rhythm and sense of what Shivani probably conveys in the original text. But if the reader makes the mistake of allowing the present form of the English text to govern one's reading, it does not work.
The second remark that I came upon and troubled me greatly was "the untranslateable has been left as is and explained wherever possible". This comment did not make any sense to me especially since I had recently interviewed the acclaimed translator Anthony Shugaar who is known for his numerous translations of French and Italian texts into English. In fact, he makes precisely this very point "there are no untranslatable words, there are untranslatable worlds. My job is to build bridges from them to where we live" ( "Loss, Betrayal, and Inaccuracy: A Translator's Handbook", VQR, 19 Feb 2014).
Despite reading this remark in the Translator's note in Bhairavi , I proceeded ahead with the novel. Alas, it become a tougher and tougher task to do so. In my humble opinion, if Shivani chose to play with multiple languages to write her novel in, then the least the translator could do is to acknowledge this craftsmanship and understand the cultural context. Perhaps the best way to create a translation in the destination language is to imbue it with the cultural context, much in the way Anthony Shugaar seems to create. Translation is not merely an act of linguistic conversion. If it was only that we could rely upon neural technology and use digital tools such as Google Translate. Somewhere the distinction has to creep in between manmade and computer translations.
Having said that I look forward to the next work of translation Priyanka Sarkar does. She is definitely a translator with potential and we need more translators like her to make our rich cultural heritage visible to a larger audience.
"Letters to Mother"
New age publishing in India = celebrity publishing.
This is the latest offering from HarperCollins India.
Interview with editor and translator, Mini Krishnan
Mini Krishnan worked with Macmillan India (1980-2000) and with Oxford University Press (2001-2018) to source, edit and promote translations into English of works by Indian writers from 13 languages many of which won national prizes and are included in study courses both in India and in universities overseas.
She is currently co-ordinating multiple publishers to build a programme of Tamil-English translations. This is an initiative designed by the Tamil Nadu government and located in their Textbooks and Educational Services division.
1.How did you begin your career as an editor of texts translated from Indian languages into English?
Well…I think it is fair to say that it began as both an accident and an affinity for things Indian long submerged by training in English Literature! I always felt a vague dissatisfaction with the texts I was reading / studying but had no clear idea of how to access materials written by Indians. Nor how to relate them to what seemed to be important intellectual tools gained in UG and PG degrees in English Literature. In the late 1960s-early 70s when I was a student, books were not that easily available. Because my father was with the Deccan Herald (Bangalore) I got to read the books he received for review and that was about all. My college and university libraries did not stock books by Indian authors.
Seven years after my post-graduation I got an opportunity to freelance with Macmillan India in Madras. I was put to work on anthologies of prose, poetry, fiction and so on. Quite dull work really but I kept asking my editor why she couldn't include some Indian writers other than Nehru, Sri Aurobindo and Tagore. "The members of Boards of Studies do not even consider other Indian writers worth teaching," she said. I thought to myself that if I ever got a chance I would campaign for the inclusion of Indian writers in foundation English courses.
I got my chance when my editor (Viji Sreenivasan) left, creating a vacuum which I filled. I was a square peg in a square hole. A week later the Kerala Sahitya Akademi and Macmillan India signed agreements to produce a two volume publication titled Comparative Indian Literature edited by KM George; with 16 chief editors and 200 contributors, it was a stupendous work. The entire chronology of Indian literature was catalogued and described. Ancient Poetry (all the languages recognized at that time) Modern Poetry. Ancient Theatre, Modern Theatre. Fiction. Short and Long. And so on and so on. It was 4000 pages and took five years to push into shape. I worked on nothing else.
But where might all those Indian language works, described in this publication be accessed? Only a very small number of them were available in English translation. So, since fools rush in, I designed a project of modern novels from eleven Indian languages and tried to persuade Macmillans to invest in the idea. They were astounded. They were textbook publishers and I was their golden goose publishing for the school and college market. Why waste editorial time and money on translation? So I set about looking for support outside Macmillans. If I secured funding I would be allowed to do the project. For seven years I went from door to door trying to convince powerful institutions to part with some money for Indian literature. Mind you I had nothing to show anyone as a promise of what might be possible. Only a single failed translation by V Abdulla of Malayatoor Ramakrishnan's Verukal.
Finally, in March 1992, my friends Valli Alagappan, her father, Mr AMM Arunachalam and her aunt Mrs Sivakami Narayanan who jointly ran the MR AR Educational Society of Madras agreed to fund me. I still do not know why they decided to help me. I had nothing to recommend me but my enthusiasm and determination. I received a letter saying that they would set aside Rs 80,000 per book for 50 books.
No one was more surprised than my highly commercial management but there was trouble. Though my Vice President R Narayanaswamy supported me, my Managing Director Sharad Wasani was unwilling to let me spend a lot of time on what he saw as an unsaleable project. When he received the forms seeking his approval he refused to sign. I wrote him, "You are the only person in the world who will refuse funding for his country s literature"and closed by offering to resign. Only two people from that time left — Jayan Menon and Sukanya Chandhoke— who will remember this.
Anyway, after Wasani changed his mind, I invited eleven eminent writers to be the chief editors for the languages I had selected for the project ( Tamil, Telugu, Kannada, Malayalam, Gujarati, Marathi, Oriya, Bengali, Urdu, Hindi and Punjabi) and they helped to make up lists of five post-Independence novels from their respective langauges. Because I had been dealing with 16 chief editors on the C.I.L volumes I didn't think this strange at all but anyone who discussed the project with me was astonished at the volume of work I had undertaken. It didn't seem like work at all to me ! At last I was getting to do what I had really wanted to do when I entered publishing 12 years before.
Many important works were published in full for the first time in English: Brushte ( Outcaste) by Matampu Kunhukuttan, Randamoozham ( Second Turn) by MT Vasudevan Nair, Bharathipura by UR Ananthamurthy, Danapani (The Survivor) by Gopinath Mohanty, Subarnalatha by Ashapurna Debi, Ponniyin Selvan by Kalki and Karukku by Bama.
In all, between 1996 and 2000 when I left Macmillans I published 37 volumes. They went out of circulation a year or two after I left the company and the C.I.I.L Mysore bought the whole project including unsold stocks in 2007 with a view to republishng the entire list. It never happened because the Director (UN Singh) whose dream it had been, left the Institute.
2. What were the languages you first worked on? How many languages have you worked upon so far?
The first scripts I worked on were translations from Malayalam and Tamil. In all, I've worked on translations from Tamil, Telugu, Kannada, Malayalam, Konkani, Marathi, Gujarati, Bengali, Odia, Hindi, Kashmiri, Punjabi, Urdu, and just one from Dogri.
3. How do you select which book is to be translated especially if it is a language you are unfamiliar with?
As I said because of the work I did on Comparative Indian Literature it wasn't difficult to identify what needed to be translated particularly if the Sahitya Akademi had not already commissioned translations. Then again once the Macmillan project took off I was flooded with advice and suggestions. The difficulty was what to leave out. A great disadvantage is that I could not and therefore did not read the critical material on any of these works. I rely a great deal on the advice of others. But when it comes to translators I use a process of running trial drafts of different kinds of passages from the selected work — one might be a descriptive paragraph, a second something very emotional or lyrical, a third passage would cover conversation – to check the translator's strengths and where s/he might back off, or skip or be lazy. The editing process can take anything from two drafts to six depending on the competence of the translator and the cooperation between all parties. Long silences, gaps in the process are not healthy for the project nor is impatience or being a speed queen the answer. As for the reception of a translation! Much depends on how well the publisher promotes the finished product. Publishing is only 50% of the responsibility. The other 50% depends on promotion and follow-up.
4. Do you think it is necessary for an editor to be familiar with the source language? If not, how can the editor ensure that the translation is true to the original text?
Of course it is important for the editor to know the source language but then in how many languages can one gain proficiency? The editor/ publisher must appoint reviewers who will read the translation carefully to ensure (as far as possible) that nothing has been left out or distorted. Then the editor can take over and polish in consultation with the translator and author.
5. What are the kind of guidelines you think an editor of translations should be bear in mind while working on a manuscript?
Listen very carefully to the voice of the author. Does it chime with the translator's? It helps to have someone read out the original even if you do not know the language while you follow the English in a parallel reading. You cannot but help hear the inflexions and emotions as the reading proceeds.
Be respectful. Very important to gain the confidence of the translator. Make suggestions tactfully. Once the translator is convinced you are not out to destroy his work or appropriate it, he will breathe easy and work and redraft willingly. It helps to read other works from the same period and familiarize oneself with the language – bank of that time. You need to enter that world emotionally through images and atmosphere not just intellectually through words.
6. What is your definition of a "good translation"? What are the qualities it must have?
This is something I have been trying to figure out for 30 years! Sometimes a smooth read will fail to capture the imagination of the reader. Sometimes even if a translation is jerky and appears to be rushing along, it will work. I think it is a combination of inspiration and zeal on the part of the translator and very patient work on the part of the editor. The qualities? The language must bring the author alive. It must make you think "If XY had written in English instead of in Marathi this is how he might have phrased it". Now it is all very well to say this to ourselves but to someone who is not Indian, this might still not work at all. Basically I think we should be translating first for our Indian market before trying to reach spaces and minds outside India.
7. When you began translating texts into English for the Indian market, at the time, most publishing houses ignored translations. Today the reality is very different. Most publishing houses have dedicated translation lists and even the local literary awards are recognising translators. What in your opinion are the pros and cons of this deluge of translations in the market — locally and globally?
It is extremely encouraging to see the increased interest in translations and the care with which they are produced but a worrying feature is the way publishers are responding to criteria laid out by the big literary bursaries and prizes for translation. There is a growing tendency to ignore works published more than 20 or 30 years ago and no one seems to want to do a fresh translation of a classic. Then there is the secret craving on the part of publishers to promote a translation as not a translation. So the translator's name disappears from the cover page, a most unfair practice. I put this down to the second-classing of translations—as if they are something inferior and not worthy of being viewed as works of art in themselves.
8. Recently machine translations such as Google's neural technology are making an impact in the space of translation. How do you feel about the impact of machine translation in the literary sphere?
Any technology which helps the human translator will be of enormous help I'm sure but I doubt whether it can supplant imagination and nuanced word choices. For mundane passages for instance this interview can be processed by Google translation but — a poem full of feeling and fire? I doubt it. An approximation would surely be possible but would it be good enough? I've always maintained that the translator is as much an artist as the writer of the original work.
9. Your name in Indian publishing is synonymous with translation evangelism. You have been responsible for kick-starting many notable projects. The current one being the Translation Initiative of the Thunchath Ezhuthachan Malayalam University (TEMU). Please elaborate more on this project.
Actually I did not initiate the TEMU project. That was designed by K Jayakumar the first VC of the University. It was a simple plan: an advisory committee selected works, I commissioned the translations and marketed the idea with multiple publishers. In some cases, the publishers already had scripts on hand; in other cases, I found the translators and did some light editing before handing over to the concerned group. The University signed agreements with the publishers to buy 300 copies at a discounted price and the publishers agreed to carry the logo and mission statement of the University in the selected works. I did not initiate any project other than the Macmillan list. In OUP I enlarged and diversified an already extant list which had not — till I began work in 2001— published a single woman writer. Nor had Dalit or Adivasi writers been considered. That was an arm I grew for OUP India and it has done well.
For a year now, I've been working with the Tamil Nadu Textbook Educational Services on a Tamil- English translation project modelled on the TEMU plan. Our collaborators in the first phase are OBS, Niyogi, OUP, Ratna Books, Harper Collins and Vitasta.
10. Can the art of translation and editing a translation be taught or is it a lived experience?
Commitment, determination and passion are crucial to sustained work in this area. To find a forgotten work, to convince people that it must appear in English, to struggle with the translator at its rebirth and to learn that a major publisher in the language of the original work decided to reprint the book (which had lain in a rabbit – hole for four decades) —- that is the best thing an editor of translations can hope to enjoy.
Strategies in translation can certainly be taught. Translator training is certainly possible and necessary but finally the translator is on her own except for her editor and together they complete the phantom work. It might succeed. It might not. It might succeed as an aesthetic product and bomb in the sales department. But then that is the fate of any human product which is judged by both ignorant people and by those who know far more than you do. No amount of reading about tennis or watching it on television can help you to be a good player on the court!
11. Translations are most often construed as being undertaken as a labour of love with little financial resources being available for underwriting the costs involved in the task. What are the economics of publishing translations in India? What has been your experience?
Love is great but it won't put food on the table. Translations need financial support either from a patron or from another line of books from the same publisher who sets aside resources for the translations list.
12. What do you think is the future of literary translations in the world of publishing?
The world literary mart is only just waking up to the hidden power of translations and what they do to cross-pollinate creativity across cultures and civilizations. Consider all the talk about world peace! How can this happen if cultural understanding isn't an organic process? One way to ensure this is to expose children and young adults to writing from different parts of the world at an impressionable time in their lives. Translation can help the humanities to make a brilliant comeback in a global sense. Comparative literature is impossible to teach without discussing the central role of translation. If we are to survive all the artificially orchestrated hatred and violence and misunderstandings created by politicians and power –mongers, venues of mutual understanding need to be very deliberately developed. Cultural competence, soft –skills — these are words one hears very often but what are we doing to build that theatre of human understanding? I think that if literary translations can be included in academic programmes and introduced into high-interest professions like management, finance and public policy it would help humanize these professions and give publishers the big print runs and inflow they need to keep doing what only they can do.
Note: Women Writing in India edited by Susie Tharu and K Lalitha (OUP) was a reprint of the Feminist Press publication, 1993, NY and not commissioned or developed by Oxford University Press.
Zainab Priya Dala's "What Gandhi Didn't See: Being Indian in South Africa"
Like a white net veil worn over a red saree, or an ivory satin gown sleeve that borders ornate paisley mehndi patterns, the people of Indian origin in South Africa evolved from holding tightly onto the shreds of Indian culture that they came with inside locked boxes and sewn into hemlines. But, like all migrants, or perhaps refugees the world over, evolution is the Holy Grail, the ability to blend into the current social strata. The result became the South African Indian. A mix of names formed and re-formed, and clothing worn and then not worn, and eventually as apartheid was abolished, an identity searched for and still to be found.
South African writer Zainab Priya Dala's What Gandhi Didn't See: Being Indian in South Africa is a collection of essays that are a mix of memoir, sharing opinions on the changing political landscape and the growth of Dala as a writer. These essays are sharply written detailing the complicated histories South African citizens of Indian origin have to contend with on a daily basis. It informs their identity. Even details such as if their ancestors came as "indentured labourers" or as "passenger Indians" makes a world of difference to their sense of identity in a foreign land. Zainab Priya is of mixed parentage as her father is a Hindu and her mother a Muslim. Later she married in to a well-established Muslim business family who had come to South Africa relatively recently but she regularly encounters variations between the families in their habits and living styles.
What Gandhi Didn't See: Being Indian in South Africa is a slim collection of powerfully written essays. These essays by a South African Indian reflecting upon multiple aspects of her existence is much like this book being the sum of many parts of her life — mother, wife, daughter, writer, activist, migrant, political awakening etc ( and not necessarily in the given order of importance). Fact is the moment you are aware of your personal histories the complexities of one's ancestry become evident and it is no longer quite as simple to speak of genealogies in puritanical terms or of political action in black and white terms of "us and they". Zainab Priya Dala is sharply articulate about these complex inheritances and is very aware of the fine negotiations it demands of her on a daily basis which is a given way of life. And it is precisely these day-to-day exercises in living that also sharply bring home to her details in society that Gandhi was blinded by. The South Africa in which he honed his political activism was primarily aimed at the racist modes of governance and not necessarily at recognising the microcosm of South African or South African Indian society and its distinct threads of identity. Curious that Gandhi who otherwise was so very sensitive missed these finer distinctions of identity especially since he and the author both have links to the Gujarati community. Yet for Gandhi it was apartheid of far more importance and it remained so till the 1990s when many of the South African social structures were realigned. In the new era it is not so much as race governing lines of social separation but money. With money becoming the defining factor of ancestries and communal make-up become even more acutely apparent. And as in the jungle, it is the survival of the fittest, same holds true for civil society. Those who survive in the new socio-economic terrain are also confident of their identity while aware of their historical, soci-political and genetic inheritances — a fact that Zainab Priya Dala is clear she will spell out for her children.
What Gandhi Didn't See: Being Indian in South Africa is a sharp commentary on contemporary South Africa. It must be read. The thought-provoking essays will resonate with many readers especially women, across nations. Also for how smartly it puts the reader under the scanner and forces them to question and understand their inherited narratives better.
Read an extract from the book used with permission from the publishers — Speaking Tiger Books.
My father, a third generation non-resident Indian, whose grandfather had come from a village near Gorakhpur in Uttar Pradesh, preferred not to talk much about his heritage. But, things changed when he reached sixty years of age. Why? I will never know. But what I do know is that everything about my heritage from my paternal side had been spoken of by others, including my father's brothers and sisters, not him. Maybe, he suffered the affliction of a love marriage to a woman who was seen as superior to him, and he wanted to delete his inferiority in the eyes of his children. But, I am seeing now how I also do the similar thing to my children. My husband, like my mother, comes from the big city of Durban, and his heritage is one of the Muslim business class that came to South Africa long after the indentured labourers** and anyway, let me just say it – he is considered higher class than I am, so we tend to appropriate this onto our children. Perhaps my father had done the same for many years. And, perhaps he decided to speak openly about our mixed up heritage only after my sister and I were safely and happily stowed away into good marriages. Things are sometimes as ugly as that. But speak he did. It became a river that never stopped. One day a year ago we were at a fancy dinner party held by my cousin from my mother's side of the family – a very rich and successful doctor amongst a family of doctors. He lived in an area we still call today a White Area, which means that before 1994, none of us would have ever dreamed of walking past a house there, let alone living in one. My father was quiet during this dinner, but perhaps a few glasses of expensive whiskey loosened his tongue, and he started talking about his childhood on the farm. My mother tried to quieten him, not because she was ashamed, but because she knew he was about to cry. The room went silent as if a spell had been cast by a mournful farm-accented voice ringing out among the posh "white" accents of my cousins and his friends. But, minutes into his monologue, my cousin's husband blurted:"Oh really now, Babs, should we get you an audition for another 'Coolie Odyssey'?" ('The Coolie Odyssey' was a play on the indentured labourers written, directed by, and starring, Rajesh Gopie, a South African Indian dramatist).
My father fell into silence, and my husband, who is sensitive to the point of extreme protection of my father at most times, ushered him outside. I was carrying my baby son, and looking at these two men, standing next to a Balinese-inspired swimming pool, sharing a cigarette and probably chatting about the price of fuel, it was not lost on me that I was carrying in my arms the actual reality of a class divide. My son will always have to negotiate this divide and there is nothing I can do to protect him from it. Why would I need to protect him? Well, to put it as succinctly as I can, in South Africa, we let go of the caste system in the bowels of a ship in the 1800s, but we adopted a system that became very insidious. Fellow writers and historians, Ashwin Desai and Goolam Vahed in their detailed opus, Inside Indenture, A South African Story 1860 – 1914, describe these people who dropped their caste into the Indian Ocean as "twice-born." Here, they refer to the fact that in the shiphold, there was no room for caste or class. An Indian inside there was an Indian who ate and slept alongside all others. But once they arrived at the port, and the documents of demographics were being created, a lower caste could easily take himself up a few notches. Today, in contemporary South Africa, caste is obsolete. We all know enough by now to question the Maharaja and Singh surname with a studied eye for actual refinement in behaviour, language and of course education. This does not mean there are no divisions. The divisions go deep. They are based on religion, economics, language and colour. Of course, I know that these divisions are changeable ones– much like dropping your caste at a shipyard, now you can change your religion, think and grow rich, lighten your skin and perfect your English. This malleability scares the ones who wielded class like gold crowns. I admit, my maternal family and my husband's family are those that did. They are forgiven because they didn't know they were doing it.
In South Africa, the business class came to the shores of Natal mainly from the villages of Gujarat. My father-in-law describes it well when he tells me in thick Gujarati: "One side of the street is Muslim Desai family. Opposite side of street is Hindu Desai family. Both Desais understand each other and get along better than even Muslim Urdu speakers or Calcuttiah people."
I don't look at anything he is saying as derogatory. The reason is that he is not insulting anyone, he is simply stating facts. The Gujarati community aggregated together in a code of business and called each other "Aapra-wallahs'. They still use this term today. An acquaintance, who is a great-grandson of Mahatma Gandhi, once came over to my house to collect items I wanted to donate to a family rendered homeless after a fire. I had known him for some years, and had interacted with him many times on charitable or literary correspondence. But, within minutes of the mutual spotting of an Aapra-wallah in the room, I ceased to exist in the conversation. My husband, a Muslim, and my associate, a Hindu, both spoke Gujarati that went far above my head. I had learned the basics of the language, to communicate with my husband's family who spoke only Gujarati. My mother's family were too high class to speak any vernacular, and only the Queen's English would do. My father's family spoke a combination of Urdu, Hindi and Bhojpuri. My best friend spoke Afrikaans and the children I grew up playing with spoke Zulu. Add to this mix the terms that each of us reserved for each grouping, which are as derogatory as being called Coolies, and it is no wonder that I cannot sleep some nights.
Indians who left as indentured labourers from the port of Calcutta are called Calcuttiahs, and Indians who left as indentured labourers from the port of Madras are called Madrasis. The Muslim community have their own lines of division and I find that these lines are deeply hurtful. Muslims who arrived in South Africa as indentured labourers are thought to come from Hyderabad. Although many chroniclers say that the majority of the Muslim community in South Africa who are not business arrivals are actually converts to Islam. This is how the Muslim community divide their people – colour and language. It used to be money, but now everyone is keeping up with the Joneses and the famous Gujarati Trust Funds** are running on empty, having cossetted very large and extravagant families for two generations.
The Memon Muslim community is a very small one, but they wield a large economic clout. They are known to have come from different areas around India, originally from Kathiawar, but finally settled as a community near Porbandar in Gujarat, from where a number of them migrated to South Africa as traders and businessmen. Another batch of Gujarati Muslims came from different villages in Gujarat, and left for South Africa from the port of Surat. They proudly refer to each other as Surtis and use the term "Hedroo," to describe any other Muslim who is not Gujarati or Memoni. Hedroos, a terrible term, is used to speak of the class of Muslims whom the Surti community look upon as low class and poor. Inter-marriages between Surtis and Hedroos are still frowned upon. I am reminded of my own wedding day, when my husband's aunt told me that in the history of the Dala family, it was the first time they had accepted a "mixed" girl for any of their boys. Their bloodline had remained pure Gujarati till 2006, the year of my nikkah. I responded to the aunt by a small nod that day, and replied to her: "Hahn ji."
**Over 100,000 Indians arrived as slaves from the subcontinent in 1684 and lived in Cape Town. The first Indian indentured labourers arrived on 16 November 1860.The passenger/ trader Indians began arriving around 1875 to meet the need for commercial trade in the community, Black and Indian as well as Coloured.
**Gujarati Trust Funds were set up from the mid 1870s by wealthy Gujarati families, to cater for all educational, medical and housing needs of their community. When Gandhi arrived in South Africa, the Gandhi Trust was set up to cater for legal needs and to publish a newspaper called The Indian Opinion.
Zainab Priya Dala What Gandhi Didn't See: Being Indian in South Africa Speaking Tiger, New Delhi, 2018. Hb. pp. 150. Rs 499
Amazon KDP event in New Delhi, 30 Nov 2017
01 12 , 2017 3 Comments Share
I moderated a panel discussion on self-publishing for Amazon Kindle Direct Publishing Author Academy. The panelists included Sanjeev Jha, Director, Kindle Content, India, successful fiction writer Vineet Bajpai, and romance novelist Sundari Venkataraman on Thursday, 30 November 2017, Le Meredien, Delhi.
It was a fabulous event consisting of an informative presentation by Sanjeev Jha after which a lively discussion ensued. The presentation was an excellent walk through about the various features KDP offers. For instance, KDP Select, the helpline support, digital tools to help upload illustrated books particularly children's books etc. Apparently since the KDP was launched in September 2015 there are now more than 3.2 million books available on the platform. He reisterated that many readers like to browse through books digitally and if the author is readable or establishes their reputation there is the likelihood of the book translating into actual sales of print editions. Some of the most popular genres remain romance and self-help. A categorisation which is also noted in the traditional forms of publishing too. KDP was launched with the view to allow authors to access their readers with only the digital platform in between. Over time it has proven to be quite a popular way of publishing. In Dec 2016, ebooks in five Indian regional languages were launched on the Kindle. As of now it is possible to publish books on the KDP in Hindi, Tamil, Marathi, Gujarati and Malayalam but it still in the Beta version so is not being publicised too much for now. Interesting facts emerged for instance that Amazon pays royalties to its authors depending upon how many pages have been read and not necessarily by the book. For instance, Sundari Venkataraman ( who has been a regular user of KDP since Feb 2014 and now has 20+ books on the platform) mentioned that there are months when she measures her books by the number of pages read and has notched up numbers such as 15-18,000 pages. It is not very clear how many books were opened and read or whether there was a "read through" in the process or not. Vineet Bajpai made it amply clear with his lucid interventions that publishing on KDP is a convenient process for it gives access to ready data immediately yet it also requires immense discipline and dedication to ensure that the book is discovered and read. In the short span of five months since his book was launched in August 2017, he has sold more than 25,000 print copies. Both the authors agreed that they dedicate time to marketing and promotion, otherwise as another author from the audience mentioned her ten books languish on the platform.
The audience consisted of a diverse cross-section of people. There were seasoned, award-winning authors to debut authors who had unpublished manuscripts but were not sure which method to adopt — traditional or digital. There were quite a few teenagers interested in writing who were being represented by their parents. There were storytellers in various languages keen to understand how KDP will be beneficial ? Would they be able to publish stories + audio clips of their performances? There were authors who were puzzled by the distinction between KDP and KDP Select and what it meant in terms of exclusivity and support they could expect from Amazon. There were KDP authors who had had a good experience of the platform and wished to understand how to exploit it further for everyone in the hall was in agreement that Amazon, unlike other publishing firms, is responding in real time to its users ( authors/readers) and constantly improving its bouquet of offerings. There were book bloggers, journalists ( all media), ex/servicemen, doctors, strategic study analysts, translators, poets, print publishers wishing to understand the mechanisms of digital publishing etc. Some of the pertinent questions asked by the audience present were about editing a manuscripts, ROI on publishing a book using KDP, how are books discovered from the 3.2m Kindle titles available, how do authors earn royalties especially if their books are offered in the Kindle Unlimited bundle, how is plagiarism detected, what is the ideal length of a book? The conversations went on for much longer than expected and were continued over lunch.
2017 marks ten years of Kindle. When it was first launched traditional publishers were not sure how it would affect publishing. For some years thereafter a "disruption" was noticed when ebooks became exceedingly popular and many publishers made modifications to their business models. For instance by doing away with renting spaces in warehouses for stocking printed copies of their backlists and moving to the print-on-demand ( POD) model where it is possible to order one copy at a time. Another way was to penetrate newer markets using digital devices by launching apps on smartphones and not necessarily restricting themselves to specific hardware such as the Kindle. Now notably there has been a plateauing of ebook sales and print books are becoming more and more scrumptious in production. Having said that there is no doubt that Amazon with the launch of Kindle and its KDP programme with its mechanised process has democratised the publishing of a book in a manner seen first with Gutenberg. The Industrial Revolution in the nineteenth century scaled up the productivity of printing presses by improving their construction and using steam power to operate them. Now with the digital process it has made it easy for every person to publish, circumventing publishing gatekeepers and tastemakers, accessing readers worldwide, in a very short span of time — a few hours. It is this seeming collapse of time which has sped up the process of production and expectations. Of course there is the flip side of this that despite Amazon offering its KDP authors the tools create book covers, many individuals need to invest in having their manuscripts edited as that is not a service option. Also to have the book discovered the onus of promoting the book lies with the author and not with Amazon.
The response to it has been enthusiastic with many participants writing in with appreciative notes of thanks, particularly how informative the session was!
Amazon for Authors, KDP in Delhi, 30 November 2017
Amazon Kindle Direct Publishing Author Academy is hosting an event over lunch at Hotel Le Meredien, New Delhi . It is to introduce and discuss their self-publishing programme– Kindle Direct Publishing or KDP. The panel will include Sanjeev Jha, Director for Kindle Content, India, Amazon. I will moderate the conversation.
Anyone who is interested in selfpublishing their book online is welcome to attend. It could be a book or a manual ranging from fiction, non-fiction, self-help, parenting, career advice, spirituality, horoscopes, philosophy, first aid manuals, medicine, science, gardening, cooking, collection of recipes, automobiles, sports, finance, memoir, biographies, histories, children's literature, textbooks, science articles, on Nature, poetry, translations, drama, interviews, essays, travel, religion, hospitality, narrative non-fiction, reportage, short stories, education, teaching, yoga etc. Any form of text that is to be made available as an ebook using Amazon's Kindle programme.
In December 2016 Amazon announced that Kindle books would be available in five regional languages in India — Hindi, Tamil, Marathi, Gujarati and Malayalam. This is a game changing move as it enables writers in other languages apart from English to have access to a worldwide platform such as the Kindle. Best-selling author Ashwin Sanghi called it an "outstanding initiative by Amazon India. It's about time that vernacular writing moved out from the confines of paperback. It will also enable out-of-print books to be made available now." Another best-selling author, Amish Tripathi, said this will address the inadequate distribution and marketing of Indian language books, for the much larger market is the one in Indian languages. "I am personally committed to this and am very happy that of the 3.5 million copies that have been sold of my books, a good 500,000 of them are in Indian languages." Others remarked upon the best global practices it would bring to local publishing.
Sanjeev Jha
Director for Kindle Content, India, Amazon
cordially invites you for a session on
Amazon for Authors:
Navigating the Road to Self-Publishing Success
Hear how Indian authors have used Kindle Direct Publishing (KDP) to build and reach audiences across a variety of genres
Date: Thursday, 30 November 2017
Time: 12 -1pm (followed by lunch)
Venue: Hotel Le Meredien, Delhi
This event is free. Registration is mandatory. Please email to confirm participation: jayabhattacharjirose1@gmail.com .
Jaya Bhattacharji Rose
International publishing consultant
Eunice de Souza: A Tribute by Salil Tripathi
This morning poet Adil Jussawala posted on his Facebook page:
Image from the Internet
Eunice de Souza
(1 August 1940 – 29 July 2017)
Gone suddenly.
Social media exploded with shock. Very soon some extraordinary tributes began being pouring in for an extraordinary woman. One of the earliest tributes posted on his Facebook page was by noted journalist Salil Tripathi. It is published below with his permission.
Those who did not know her thought she was temperamental, but those who knew her knew she was generous. She was encouraging and warm if she thought what you wrote deserved to be read more widely, sharp and incisive if she thought you needed to work harder, and candid without being cruel if she thought you should not try writing.
Ammu Joseph edited Post Script, the wonderful weekend magazine of the Indian Post, which we were all part of when it was launched in 1987, and Eunice De Souza edited the books page, and as Ammu reminds us below, she brought her own ideas and was receptive to other ideas to make it what was easily the best weekend magazine of its time. Eunice discovered new voices and gave recognition to some old ones among critics. Jeet Thayil was our poetry editor.
Those were heady days for English poetry in Bombay – Dom Moraes had returned to writing, Nissim Ezekiel ran PEN and organised readings at Theosophy Hall, Arun Kolatkar could be found at Kala Ghoda at Wayside Inn, Dilip Chitre was a regular feature at readings, Adil Jussawalla was at Debonair and with Udayan Patel published poetry under the imprint Praxis, Saleem Peeradina taught at the Open Classrooms in Sophia (where I was a student, as was Arshia Sattar), Gieve Patel wrote poems, plays, and found time to run a medical practice, and there was Newground and Clearing House and OUP still published poetry.
And among all those male voices, there were strong women voices present – Eunice De Souza and Melanie Salgado.
Along with Jeet, Ranjit Hoskote, and Menka Shivdasani had begun writing their early poems then, and it was a small circle, and I'm probably missing out some names, but it was one of those moments where it felt like saying – bliss was it in that dawn to be alive, But to be young was very heaven!
Eunice was terrific at spotting young talent. I was one of two editors who edited the op-ed page of the Indian Post, and she introduced me to some of her bright students, many of whom went on to write for the Indian Post. I remember in particular Dinyar Godrej, who is now at the New Internationalist and the late Alan Twigg who we lost so tragically and too early, who reviewed films (and wrote a fine piece on Brodsky when he won the Nobel). She also wrote for my page, on literature, feminism, and occasionally, the city itself.
Her poetry was funny, sharp, bold, and strong. I remember Fix, her first collection, with which she announced her presence. I particularly liked the next collection, Women in Dutch Painting. She had at least two more collections to follow.
She read my poems, and urged me to continue, asking me to avoid sentimentality that she though crept into my poems because when I started writing poems, I wrote in Gujarati. She stressed I should write in a more 'clean' way.
Many years later, in her columns, she wrote two fine pieces about my recent books – reviewing them with care and attention, and reading the pieces this morning I feel that impulse of hers again. Urging me to go on. I will, as will many others who were lucky enough to have known her. She won't be with us in one sense, but in many ways, she will always be. Miss you, Eunice.
Salil Tripathi
"The Communist Manifesto" and its publishing history
While browsing through the fine collection of titles of Penguin Little Black Classics I was interested to note that title 20 was The Communist Manifesto ( 1948). Of the entire collection which is a magnificent sweep of literature through the ages and different nations it is curious to see the manifesto included. It was probably included for its impact globally as it is amongst the most widely read and disseminated texts worldwide even a 170 years after it was first published. In fact Leftword Books published a collection of essays on the manifesto called A World To Win (1999). One of the essays is on the publishing history of the manifesto in India ( available at this link for free download with the publisher's permission). It is a fascinating account of how the manifesto was first published in British India. The first Indian translator of the Manifesto had an interesting career. Soumyendranath was the grand nephew of Rabindranath Tagore. It is fitting that the Manifesto got published first in Bengali, Urdu, Marathi, and Tamil, as it is in the centres where these languages predominate that the Communist movement first struck roots. The early Communist groups were based in Calcutta, Bombay, Lahore and Madras. Later it was translated into Malayalam, Gujarati, Oriya, Hindi and Punjabi. In the fifties and later, the Manifesto was published regularly in different Indian languages by Progress Publishers, Moscow.
No wonder Penguin Random House included The Communist Manifesto in its Little Black Classics series.
Kindle books in Indian languages could be a game changer: What Amazon's new initiative will mean for publishing in Indian languages
( My article on Kindle books being introduced in Indian languages was published in The Mint on 21 Dec 2016. )
Amazon India has announced that Kindle will launch digital books in five Indian languages—Hindi, Tamil, Marathi, Gujarati and Malayalam. The titles include Ishq Mein Shahar Hona by Ravish Kumar (Hindi), Rajaraja Chozhan by Sa. Na. Kannan (Tamil), Mrutyunjay by Shivaji Sawant (Marathi), Ek Bija Ne Gamta Rahiye by Kaajal Oza Vaidya (Gujarati), Aarachar by K.R. Meera (Malayalam) and Mayapuri by Shivani (Hindi). Kindle devices seventh generation and above will support Indic scripts, enabling readers to access such books.
This is a move that could be a game changer in India. Amazon India has moved methodically to embed itself in Indian publishing. First, it launched Kindle with free lifetime digital access provided by BSNL, but only for English e-books. In November, the acquisition of local publishing firm Westland—known for its commercial fiction best-sellers and translation programme—was completed at reportedly $6.5 million (around Rs44 crore), a small portion of the $5 billion allocated by Jeff Bezos as investment in India. In fact, Seattle-based Amazon Publishing's translation imprint, AmazonCrossing, has surpassed all other publishers in the amount of world literature it makes available in the US. This was first highlighted in December 2015 by Chad Post, publisher, Open Letter Books, on his influential website, Three Percent. In October 2015 AmazonCrossing announced it had a $10 million budget to invest in translations worldwide. It is probably no coincidence that Amazon India vice- president and country manager Amit Agarwal has been inducted into the Bezos core team, which is responsible for its global strategy.
In an email, Post responded to the news, saying: "This seems like a great thing for Indian readers and anyone interested in Indian literature. Amazon's stated goal is to make as many books available in as many formats to as many people as possible, and this program is a strong move in that direction. Increasing digital access to these books will be huge—it greatly expands the potential audience, and could help AmazonCrossing expand into publishing Indian writers in translation. AmazonCrossing published 60 works translated into English in 2016, which is far more than any other publisher. The majority of these titles are translated from German, French and Spanish, but AmazonCrossing has expanded into doing works from Iceland, Turkish, Chinese and Indonesian, so it makes sense that they would be interested in finding books from these five Indian languages."
In India, this announcement could not have come at a more opportune moment. With demonetization, Indians who prefer dealing in cash are perforce moving to digital payments. Also, by July 2017, it will be mandatory for all handsets manufactured, stored, sold and distributed in India to support the inputting of text in English, Hindi and at least one more official Indian language, and support reading of text in all these languages, thus making it feasible to read books other than English on the Kindle app too.
Kannan Sundaram, publisher, Kalachuvadu, welcomed the decision: "We hope it will increase our revenue from e-books which is pretty low now. Tamilians are spread all over the world. It is near impossible to reach hard copies to them. So this will boost the chances for them to read Tamil books of their choice." Best-selling author Ashwin Sanghi called it an "outstanding initiative by Amazon India. It's about time that vernacular writing moved out from the confines of paperback. It will also enable out-of-print books to be made available now." Another best-selling author, Amish Tripathi, said this will address the inadequate distribution and marketing of Indian language books, for the much larger market is the one in Indian languages. "I am personally committed to this and am very happy that of the 3.5 million copies that have been sold of my books, a good 500,000 of them are in Indian languages." Others remarked upon the best global practices it would bring to local publishing.
Well-known Hindi lexicographer Arvind Kumar says it will influence reading patterns by encouraging cross-pollination of literature across cultures by "opening new avenues for translation of two-way Hindi to English and other Indian languages which are being introduced on Kindle, and from many non-English languages like French and German or, say, Latin American into Hindi". Mini Krishnan, OUP, too endorsed it, saying readership in the Indian languages is healthy, so "a highly portable personal library will surely do well".
Penguin Random House signs a co-publishing deal with Manjul Publishing House
Penguin Random House reinforces commitment to India's regional languages
New co-publishing deal with Manjul Publishing
Vaishali Mathur appointed to Head of Language Publishing and Rights
Penguin Random House in India today strengthened its commitment to ensuring its authors' works reach the widest possible readership by announcing a new co-publishing partnership for local language translation with Manjul Publishing House and the appointment of Vaishali Mathur to Head of Language Publishing and Rights.
Under the partnership with Manjul Publishing, Penguin Random House titles will be made available in Hindi, Gujarati, Tamil, Telugu and Marathi in the first roll out phase. An initial list of about 50 titles will be released over the course of 2016, growing to a wider range in the coming years. This list will encompass both adult and children's titles across fiction and non-fiction, and consist of both newly released titles and some of Penguin Random House's most popular perennial bestsellers. To drive this initiative, Vaishali Mathur will take on the newly created role of Head of Language Publishing and Rights. Alongside her current role as Executive Editor for commercial publishing, Vaishali will take on a wider responsibility for further language sales as well as rights deals to language publishers in India and worldwide.
CEO Gaurav Shrinagesh comments:
"It has long been Penguin Random House's aim to provide books and content for a large range of readers, not only throughout India but also across the globe. Through this new strategic partnership with Manjul Publishing and the appointment of Vaishali to oversee our translation and rights sales, I am delighted that we will now be able to expand the reach of our authors' works across languages and territories."
Vaishali Mathur, Executive Editor and Head of Language Publishing and Rights adds:
"I am extremely enthused with this opportunity to bring Penguin Random House's extensive catalogue of Indian and International books to the readers of local languages across the country. With this program we will be able to reach out to a larger readership and provide our authors with a wider canvas."
Vikas Rakheja, Managing Director, Manjul Publishing House says:
"We at Manjul Publishing House are thrilled to be associating with Penguin Random House in India to co-publish their select titles in Hindi and other Indian language translations. At Manjul we hold the unique distinction of single-handedly creating the niche segment of Indian language translations in the Indian publishing industry and are pleased that we will now be able to apply this expertise to popular Penguin Random House titles. We are certain that this co-publishing venture will successfully take mainstream titles from the Penguin Random House stable to the vernacular reader in India, thereby expanding their reach considerably."
In addition to focusing on translations to local languages, Penguin Random House in India has long been the leading publisher for translation of works into English. Through its acclaimed Penguin Classics list as well as individual translations, its authors have been lauded with awards including those of the Sahitya Akademi, the Crossword Book Award and for the past three years its translated fiction has appeared on the shortlist for the prestigious DSC Prize for South Asian Literature.
Caroline Newbury
VP Marketing and Corporate Communications
Random House India
cnewbury@penguinrandomhouse.in
Aleph Book Company Amazon Bengali biography Bloomsbury Children's literature debut Debut novel Delhi English Essays feminism fiction French Hachette Hachette India HarperCollins Hindi historical fiction India Jaipur literature festival London Marathi Memoir novel Partition Penguin Books India Penguin Random House Picador Publishing reading Ruskin Bond Salman Rushdie Scholastic Scholastic India short stories Speaking Tiger Books Tamil translated translation translations Urdu Westland yalit Zubaan
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redpajama_set_name: RedPajamaCommonCrawl


your hard work aside, this is just a general observation..
to be honest, i don't see what the benefit of validating to xhtml strict is, ive created (for reals) a few hundred websites, the vast majority of them xthml 1.0 transitional, with many of the html 4.0.
the fact that you would have to wrap unseen tags with a block level element I think is a waste of time. im not sure how that really affects anybody, maybe other than screen readers, im not sure it really increases browser load time or anything like that. and since a fieldset by default renders with a border in almost every browser, the fact that you would have to use display:none on it means that there is something wrong with either the spec or the implementation. it wouldn't be the first time that a spec has hindered practicality, ie; float?
take meyerweb [dot] com for example. eric meyer is a pretty well known author on css and html, and would be the first to really make a fit about something. He uses html 4.0 loose doctype on his pages. he has a write up about it on his site someplace that explains his decision on it, sorry I can't find the link at the moment, but its a good read.
really i think the most important part of a web page is right at the very top. the doctype. without one, good luck getting things to render with any sort of consistency.
I believe this is not something new for XHTML, it also goes for HTML 4.01 Strict.
The Form tag is a block level element.
It has the XHTML Strict definition, and it does not list input as a valid content for form.
Strict is useful: it indentifies more errors in your markup. Browsers are a poor way to find broken markup.
The catch is that some validation errors are kind of annoying, at least to those of us who need/ have to use non-valid markup sometimes. There are ways around that, but it's not a big hassle, so I use "strict" and live with it.
Actually, I think you need a legend element under fieldset if you want your page to be valid.
I use Strict XHTML in my doctype, as I feel it renders more accurately in all browsers. Coupled with Yahoo's reset CSS, it makes my job much easier when it comes time to QA. As for input tags not validating inside of a form tag, a sound reason I can think of for that is you may not always use input tags within a form. If I want to place a button on my site, I will use input type=button and use CSS to style it. Works for me, and keeps it accessible if the CSS or images are not loaded.
Instead of using …, why not use the simpler …? It makes the arguments above that are agaisnt fieldset hack, void.
Yeah, that's right. We need to put the input type=hidden block in a like below… to make the code xHtml validate.
Unfortunately to validate as xhtml strict the input must actually be inside a fieldset tag.
To validated AAA it the fieldset must have a legend tag, and all un hidden inputs should have labels.


The day after more than half of his officers voted they have no confidence in his leadership, Pittsburgh Police Cameron McLay admitted that it hurt.
McLay said that he takes the implications of the vote — in which more than half of the officers said they aren't confident in McLay's leadership — and his relationship with his officers seriously.
At one of a series of town hall meetings at the Pittsburgh Firefighters #1 Union Hall, seven uniformed police –– including McLay –– lined the walls around the Pittsburghers who came to provide feedback and share concerns with the police department. According to the Pittsburgh Police, 40 to 50 citizens attended the meeting.
McLay said the results of the vote were nothing out of the ordinary for a police chief of a major city, especially early on in the term of the first police chief brought in from the outside in 157 years.
After an introduction from Chief McLay, Zone 4 Commander Daniel Herrmann led a question and answer session, beginning with several anonymous questions which were submitted ahead of time.
After the questions about the vote, Herrmann opened the floor for the audience to ask questions. Citizens in attendance asked questions on topics such as unsatisfactory experiences with 911 operators, persistent traffic violations in Oakland –– especially drivers running stop signs on Robinson Street –– and the need for better relations between civilians and police.
Saundra Mckamey, a Hazelwood resident and executive director of P.O.O.R.L.A.W., a nonprofit organization dedicated to fostering positive change in the Hazelwood community, spoke out against police who abuse their authority.
Herrmann responded positively to the audience's questions, including Mckamey's.
After the session ended, Mckamey voiced concerns about racially-biased attitudes of some of the police officers toward Hazelwood residents, though she said the problem was with a small minority of police.
After the event, McLay said the first step to solving that problem and all other conflicts between police and civilians is keeping lines of communication open and encouraging mutual understanding.


text:
Q: WCF maxReceivedMessageSize issue I'm having the common error of MaxReceivedMessageSize of 65536.
After reading some of the relevant posts on the forum, I'm still getting this error and just not being able to understand what I am missing.
Heres WCF web.config:
<?xml version="1.0"?>
<configuration>

  <appSettings>
    <add key="aspnet:UseTaskFriendlySynchronizationContext" value="true" />
  </appSettings>
  <system.web>
    <compilation debug="true" targetFramework="4.5" />
    <httpRuntime targetFramework="4.5"/>
  </system.web>

  <system.serviceModel>

  <bindings>
    <basicHttpBinding>
      <binding name="ExtendedMaxSize"
          maxBufferSize="999999" maxReceivedMessageSize="999999" />
    </basicHttpBinding>
  </bindings>
  <services>
    <service name="WCFHaifaNetMobile.Service1" behaviorConfiguration="">

      <endpoint address=""
                binding="basicHttpBinding"
                bindingConfiguration="ExtendedMaxSize"
                contract="WCFHaifaNetMobile.IService1" />
    </service>
  </services>

    <behaviors>
      <serviceBehaviors>
        <behavior>

          <serviceMetadata httpGetEnabled="true" httpsGetEnabled="true"/>

          <serviceDebug includeExceptionDetailInFaults="false"/>
        </behavior>
      </serviceBehaviors>
    </behaviors>
    <protocolMapping>
        <add binding="wsHttpBinding" scheme="https" />
    </protocolMapping>
    <serviceHostingEnvironment aspNetCompatibilityEnabled="true" multipleSiteBindingsEnabled="true" />
  </system.serviceModel>
  <system.webServer>
    <modules runAllManagedModulesForAllRequests="true"/>

    <directoryBrowse enabled="true"/>
  </system.webServer>

</configuration>

My MVC 4 application config file:
<?xml version="1.0"?>

<configuration>

  <configSections>
    <sectionGroup name="system.web.webPages.razor" type="System.Web.WebPages.Razor.Configuration.RazorWebSectionGroup, System.Web.WebPages.Razor, Version=2.0.0.0, Culture=neutral, PublicKeyToken=31BF3856AD364E35">

    </sectionGroup>

  </configSections>

  <system.web.webPages.razor>
    <host factoryType="System.Web.Mvc.MvcWebRazorHostFactory, System.Web.Mvc, Version=4.0.0.0, Culture=neutral, PublicKeyToken=31BF3856AD364E35" />
    <pages pageBaseType="System.Web.Mvc.WebViewPage">
      <namespaces>
        <add namespace="System.Web.Mvc" />
        <add namespace="System.Web.Mvc.Ajax" />
        <add namespace="System.Web.Mvc.Html" />
        <add namespace="System.Web.Optimization"/>
        <add namespace="System.Web.Routing" />
      </namespaces>
    </pages>
  </system.web.webPages.razor>

  <appSettings>
    <add key="webpages:Enabled" value="false" />
    <add key="ClientValidationEnabled" value="true"/>
    <add key="UnobtrusiveJavaScriptEnabled" value="true"/>
  </appSettings>

  <system.web>
      <customErrors mode="Off">
    </customErrors>

    <httpHandlers>
      <add path="*" verb="*" type="System.Web.HttpNotFoundHandler"/>
    </httpHandlers>

    <pages
        validateRequest="false"
        pageParserFilterType="System.Web.Mvc.ViewTypeParserFilter, System.Web.Mvc, Version=4.0.0.0, Culture=neutral, PublicKeyToken=31BF3856AD364E35"
        pageBaseType="System.Web.Mvc.ViewPage, System.Web.Mvc, Version=4.0.0.0, Culture=neutral, PublicKeyToken=31BF3856AD364E35"
        userControlBaseType="System.Web.Mvc.ViewUserControl, System.Web.Mvc, Version=4.0.0.0, Culture=neutral, PublicKeyToken=31BF3856AD364E35">
      <controls>
        <add assembly="System.Web.Mvc, Version=4.0.0.0, Culture=neutral, PublicKeyToken=31BF3856AD364E35" namespace="System.Web.Mvc" tagPrefix="mvc" />
      </controls>
    </pages>
  </system.web>

  <system.webServer>
    <validation validateIntegratedModeConfiguration="false" />

    <handlers>
      <remove name="BlockViewHandler"/>
      <add name="BlockViewHandler" path="*" verb="*" preCondition="integratedMode" type="System.Web.HttpNotFoundHandler" />
    </handlers>
  </system.webServer>
<system.serviceModel>

  <bindings>
    <basicHttpBinding>
      <binding name="ExtendedMaxSize"
          maxBufferSize="999999" maxReceivedMessageSize="999999" />
    </basicHttpBinding>
  </bindings>
  <services>

    <service name="HaifanetMobile.ServiceClient1" behaviorConfiguration="">

      <endpoint address=""
                binding="basicHttpBinding"
                bindingConfiguration="ExtendedMaxSize"
                contract="ServiceClient1.IService1" />
    </service>
  </services>

</system.serviceModel>
</configuration>

A: If you get a error with MaxReceivedMessageSize of 65536 then:

*

*Check the server and client configuration and set on both sides the maxReceivedMessageSize and maxBufferSize to the same value

*If the error is still there check if you have edited the right config files

*If the error is still there check if the binding realy is the binding you are using

*If the error is still there start wcf tracing: wcf tracing, this will tell you exactly if the bad config is on the server or on the client.

redpajama_set_name: RedPajamaStackExchange


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text:
US, with death toll exceeding China's, has most infections worldwide
US President Donald Trump with Dr Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases, who has said the pandemic could kill between 100,000 and 200,000 people in the US. PHOTO: REUTERS
After recording 700 deaths in one day, Trump warns of 'painful' two weeks ahead
WASHINGTON: The United States death toll from the coronavirus pandemic topped 4,000 early yesterday, exceeding that of China's more than 3,300 fatalities.
It recorded 700 deaths in a single day for the first time on Tuesday, equivalent to a person dying every two minutes.
The number of confirmed US cases has reached 189,510, the most in the world, though Italy and Spain have recorded more fatalities.
President Donald Trump warned Americans on Tuesday of a "painful" two weeks ahead in fighting the coronavirus, with a death toll that could stretch into the hundreds of thousands even with strict social distancing measures.
In perhaps his most sombre news conference to date about the pandemic, Mr Trump, who has faced criticism for playing down the threat of the outbreak in its initial phases, urged the population to heed guidance to limit groups to no more than 10 people, work from home and not dine in restaurants or bars.
"It's absolutely critical for the American people to follow the guidelines for the next 30 days. It's a matter of life and death," Mr Trump said.
Fall in Japan's Covid-19 numbers baffles experts
Tracing app a must for most adults in bars, eateries in HK
China gives emergency approval for first specialised Covid treatment
Parents' groups in S. Korea protest against vaccine pass rule for kids
White House coronavirus coordinator Deborah Birx displayed charts demonstrating data and modelling that showed an enormous jump in deaths to a range of 100,000 to 240,000 people from the virus in the coming months.
That figure was predicated on Americans following mitigation efforts. One of Dr Birx's charts showed as many as 2.2 million people were projected to die without such measures, a statistic that prompted Mr Trump to ditch a plan he articulated last week to get the US economy moving again by Easter on April 12.
The modelling showed the number of deaths across the nation would peak around the middle of this month.
The president said the next two weeks would be "very, very painful". "We want Americans to be prepared for the hard days that lie ahead," Mr Trump said, predicting light at the end of the tunnel after that.
Dr Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases, who said previously the pandemic could kill between 100,000 and 200,000 people in the US, said all efforts were being made to make those numbers lower.
The federal guidelines, which now are in place through the end of this month, include admonitions to avoid discretionary travel, not visit nursing homes, and practise good hygiene.
"There's no magic bullet. There's no magic vaccine or therapy. It's just behaviours: Each of our behaviours translating into something that changes the course of this viral pandemic over the next 30 days," Dr Birx said.
The US government raced on Tuesday to build hundreds of makeshift hospitals near major cities as healthcare systems were pushed to capacity, and sometimes beyond, by the coronavirus pandemic.
Nearly half of the new fatalities were in New York state, the epicentre of the pandemic despite closed businesses and deserted streets. New York City Mayor Bill de Blasio pleaded for immediate reinforcements in the country's biggest city from the Trump administration. - AFP, REUTERS


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text:
Q: Targeting Windows Outlook Desktop Client I'm designing an HTML email. It's going relatively well, except for Outlook, as expected. The web-based Outlooks are fine, but I need to target the Outlook desktop clients.
I've tried variations of this code below, but it just outputs that code above the newsletter, thus failing to use it:
<!--[if mso]
<style type="text/css">
  #strip, #wrap, #header, #main_cont, #footer, #footer_content{ width: 600px !important; }
  #main_cont{ width: 600px !important; }
  #side{ width: 196px !important; }
  #main{ width: 400px !important; }
</style>
![endif]-->

I've also tried 'max-device-width' instead of width, but to no avail. Here's what the test screen outputs in all Outlook desktop clients: http://www.epicuploader.com/13_12_zaBlRga.jpg
I just want the Windows Outlook desktop version (Mac is fine) to render at 600px in width with the main_cont, side, and main divs to render properly as instructed too. I've looked through other topics on here, but none seem to address this particular problem.
I'm using Mailchimp too.

A: I think you forgot a > after <!--[if mso] and a < before ![endif]-->:
<!--[if mso]>
<style type="text/css">
#strip, #wrap, #header, #main_cont, #footer, #footer_content{ width: 600px !important; }
#main_cont{ width: 600px !important; }
#side{ width: 196px !important; }
#main{ width: 400px !important; }
</style>
<![endif]-->

A: You may have to specify the Outlook version i.e.
<!--[if gte mso 9]>
    <style type="text/css">
    /* Your Outlook-specific CSS goes here. */
    </style>
<![endif]-->

See here for more details regarding versions (9 is Outlook 2000).